10 TIPS

TO MAKE
CURVES
EASIER
From Darlene
Zimmerman
page 90

Aha! Designers
Share Quilting
Breakthroughs
STRIP PIECING
for Any
Skill Level

Autumn Abundance

AllPeopleQuilt.com
 by Betsy Chutchian
KIT 31500 Eliza's Indigo Size: 80" x 92.75"
(project sheet also available)

I n 1739, at age 16, Eliza Lucas

moved from her home in Anti-
gua to South Carolina, where she
would care for her invalid mother,
siblings, and manage the three
plantations inherited by her father.
Relying on her study of botany in
England, Eliza experimented with a
variety of seeds, but it was with the
indigo seeds sent from her father in
Antigua, that Eliza found success.
After several crops were killed by
frost and another crop sabotaged
by an overseer, Eliza’s indigo crop
was so successful, that she saved
the seeds and shared them with
other planters. Indigo dye proved a
SURÀWDEOHFURSZLWKWKHYROXPHRI
export to England increasing from
5000 lbs in 1745-1746 to 130,000
pounds in 1748, making it one of
the major cash crops, for South
Carolina until the American Revo-
lution.

Eliza married Charles Pickney in

1745 at age 20. Widowed in 1758
is pleased to welcome
at age 32, Eliza continued to man-
Betsy Chutchian as one of our newest age the couple’s many plantations
designers. Learn more about Betsy and and raise her family. Eliza died in
our other designers at Moda’s cutting table, Philadelphia in 1793, an educated,
blog.modafabrics.com/designers independent business woman of
colonial America. George Wash-
For more kits, patterns, and fabric ington served as a pallbearer at her
featuring Eliza’s Indigo, visit your favorite funeral.
independent retailer, October 2015.
 contents
departments
From the Editors ................... 4
Sew in the Know ....................8
an inside look at how to
make the most of your
quilting notions plus seasonal
social media faves
Tips from Readers ............... 14
Back to Basics ................... 106

features
PEOPLE AND PLACES
Quilts Made from
Memories and Dreams ........17
Learn about The Quilted
Conscience, an efort that
uses quilting to ease the
challenges of immigrants,
especially children.
A Heated Competition ...... 22
Discover a game show-style
team quilting competition:
the Iron Quilter Challenge.

22

On the Cover
QUILT BETTER
Aha! Designers Share
Quilting Breakthroughs
8, 27, 45, 48, 60, 72, and 77
Strip Piecing for Any Skill
Level 24, 58, and 74
Three Seasonal Projects
24, 66, and 98
COVER PHOTO
MARTY BALDWIN

58

ALLPEOPLEQUILT.COM 1
contents
projects

Midnight Hour...................... 24
Utilize fall-look fabrics and
multiple strip sets to create
a special seasonal quilt.
Shine..................................... 34
Bright and happy prints
star in a foundation-
pieced throw.
Out of the Woods .............. 46 24
Hand-stitch a trio of 34
woodland-theme sachets.
Top-Notch Diamonds ......... 52 58
Log Cabin-style strips
add pops of color and
dimension to a chic
wall hanging.
Flashes of Brilliance ........... 58
No templates are required
to re-create a stunning
antique quilt.
46 52
Happy Jack ..........................66
Embellish a simple table
runner with felted wool
jack-o'-lantern appliqués. 74 88
Sunset Strips ........................ 74
Strip-piece fabrics in
colors reminiscent of an
autumn sunset for an
easy-to-make quilt.
Daisy Chains......................... 88
A field of fall flowers
covers a cozy flannel 66
throw.
Linking the Seasons ...........98
Stitch a pair of wall
hangings in two
98
83 MAKEIT
colorways—autumn and
winter. mini

piece &
PLAY: 112

LESSON 5 Polka dots and small-

Draw design scale prints team up
inspiration from in a little version of
surrounding Midnight Hour.
landscapes.

2 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

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To develop our irst longarm quilting machines, we took our time. With over 120 years
of experience and innovation, we’ve equipped our 24” longarm machines with the features
and quality quilters demand. From the electronically controlled tension system with
numeric settings to the BERNINA Stitch regulator, to the unique threading system and
adjustable handles, you will love the Q 24 longarm for home and studio.

The BERNINA Q 24 is standard as a quilt frame model.

bernina.com/longarm
from the editors
Sewing from the heart. When I’m between
projects, when I’m creatively stalled, or when I need to
feel the reward of starting and finishing a project, I make
pillowcases. It’s not just because American Patchwork
& Quilting created the One Million Pillowcase Challenge,
which encourages quilters to make and donate pillowcases
to local charities. It’s simply the difference that sewing
even one pillowcase can make.
Last fall, at our debut 24-Hour Pillowcase Sew-a-Thon,
I saw firsthand how the pillowcase-making process
can change lives. We helped children and adults make
pillowcases, introducing some of them to sewing for the
first time (or the first time that they enjoyed sewing!). We ABOVE: In addition to the 24-hour event, we made 1,508
pillowcases with sewers at the Sewing and Stitching Expo
spoke with individuals who had donated pillowcases and
in Puyallup, Washington, last spring. From left to right are
individuals who had received pillowcases, and heard both Assistant Editor Lisa Schumacher, Sales Promotion Manager
sides of the heartwarming stories. Sewers and quilters Bethany Peterson, Advertising Sales Director Amy Gates, and me.

around the globe posted on social media from

their sewing rooms, quilt shops, and even a mall, all Even as we cleaned up, exhausted but exhilarated after
united in a common goal—to make life a tiny bit better the 24-hour marathon event, we were so overwhelmed
for someone by sharing pillowcases they created and and humbled by the participation, the dedicated efforts
then donated to local organizations. near and far, and the support from each person that
So whether you spent an hour making a pillowcase or posted, sewed, or helped out that we immediately started
two, spent an evening sewing with making plans for the Second Annual 24-Hour Pillowcase
a group of friends, or sewed a Sew-a-Thon! Will you join the fun this year? For more
dozen or more with us in Iowa information on the event, held this year on September 18
or at one of the events around and 19, visit AllPeopleQuilt.com/sewathon.
the continent, let me extend our
gratitude for your efforts. We know
each pillowcase made a difference
when it reached its destination.

It’s all about the tips! You’ve told us time and again that one of your favorite
parts of American Patchwork & Quilting® magazine is tips, whether they are from fellow
readers, quilt designers, or editors. So we sprinkled tips from each of those categories
throughout this issue, all in an effort to help you make better quilts. On
page 14 readers share eight tricks to make the most of sewing notions.
On page 10 the editors offer four quick substitutions for sewing
supplies. We also included “aha!” moments from several of our
favorite quilt designers and their students. We didn’t have room
for all of the lightbulb moments in the issue, so be sure to visit
AllPeopleQuilt.com/168 to read more.
aha!
—Elizabeth Tisinger Beese, Senior Editor

4 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

to better EDITORIAL CONTENT CHIEF Linda Augsburg

serve you GROUP EDITORIAL LEADER

ASSISTANT MANAGING EDITOR
Doug Kouma
Jennifer Speer Ramundt

More for you:

With instructions for more
than 40 projects, Christmas
Quilts and More™ will inspire
you to make a gift for
everyone on your list! Look
for it starting August 18.
SENIOR EDITOR DESIGN DIRECTOR
Embark on a virtual Elizabeth Tisinger Beese Nancy Wiles
EDITORS ASSISTANT ART DIRECTOR
shop hop using the Jill Abeloe Mead and Jody Sanders Elizabeth Stumbo
pages of Quilt Sampler® Fall/Winter ASSISTANT EDITOR CONTRIBUTING ILLUSTRATOR
Lisa Schumacher Chris Neubauer
2015 magazine, plus get instructions
ASSISTANT MULTIMEDIA EDITOR CONTRIBUTING PHOTO STYLISTS
for 10 exclusive projects. he issue Lindsay Fullington Tari Colby and Jody Tramontina
goes on sale September 8. Find it CONTRIBUTING QUILT TESTER CONTRIBUTING GRAPHIC DESIGNERS
Laura Boehnke Mary Pat Crowley, Hannah Erickson,
on newsstands, local quilt shops, or CONTRIBUTING TECHNICAL EDITORS and Alison Gamm
AllPeopleQuilt.com/shop. Sue Bahr and Lisa Flyr ADMINISTRATIVE ASSISTANT
CONTRIBUTING COPY EDITOR Lori Eggers
Mary Helen Schiltz
Many of our magazines also are CONTRIBUTING WRITERS BUSINESS MANAGER, EDITORIAL
available as digital editions. Visit Suzanne Smith Arney, Angela Ingle, and Emily VanSchmus Cindy Slobaszewski
AllPeopleQuilt.com/getdigital for CONTRACTS AND DATABASE MANAGER
SENIOR COPY EDITORS MaryAnn Norton
more information. Sheila Mauck and Metta Cederdahl West LEAD BUSINESS OFFICE ASSISTANT
ASSOCIATE COPY EDITORS Gabrielle Renslow
Letters & comments: Martha Long and Joleen First Ross BUSINESS OFFICE ASSISTANT
Kim O’Brien-Wolett
apq@meredith.com PREPRESS DESKTOP SPECIALIST
Randy J. Manning ADVERTISING OPERATIONS MANAGER
Find us online: COLOR QUALITY ANALYST Libby Ehmke
Heidi Parcel
Website: AllPeopleQuilt.com DIRECTOR, PREMEDIA SERVICES
PRODUCTION MANAGER
Sandy Williams
Facebook: facebook.com/apqmagazine Amy Tincher-Durik NEWSSTAND
Pinterest: pinterest.com/apqmagazine QUALITY/TECHNICAL DIRECTOR Jennifer Hamilton
Dave Wolvek BUSINESS DIRECTOR
Twitter: twitter.com/allpeoplequilt DIRECTOR, MEREDITH PHOTO STUDIOS Janice Croat
Bob Furstenau ASSOCIATE ADVERTISING BUSINESS MANAGER
Subscription help: PHOTO STUDIO SET CONSTRUCTION MANAGER
Dave DeCarlo
Edward Hayes
SENIOR BUSINESS MANAGER
AllPeopleQuilt.com/resources PHOTO STUDIO BUSINESS MANAGER Jenna Bates
800/677-4876 Terri Charter BUSINESS MANAGER
Tony Rouse
American Patchwork & Quilting VICE PRESIDENT/GROUP PUBLISHER CONSUMER MARKETING DIRECTOR
P.O. Box 37508 Scott Mortimer Liz Bredeson
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Patchwork & Quilting, Quilt Sampler, SALES ASSISTANT
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magazines, e-mail apq2@meredith.com –––––––––––––––
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or call 866/378-1064. PRESIDENT TOM HARTY

Note to readers: It is permissible EXECUTIVE VICE PRESIDENTS

President, Parents Network CAREY WITMER
to make and publicly display a single President, Women’s Lifestyle THOMAS WITSCHI President, Meredith Digital JON WERTHER
finished product of any project in this Creative Content Leader DANA POINTS
Chief Marketing Officer NANCY WEBER Chief Revenue Officer MICHAEL BROWNSTEIN
issue, including for purposes of General Manager DOUG OLSON
competitive winnings up to $1,000, SENIOR VICE PRESIDENTS
so long as visible credit is given to the Chief Digital Officer ANDY WILSON Digital Sales MARC ROTHSCHILD
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our promise Content Licensing LARRY SOMMERS Corporate Marketing STEPHANIE CONNOLLY
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Prior to publication we cut, Strategic Sourcing, Newsstand, Production CHUCK HOWELL
sew, and assemble at least –––––––––––––––
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patterns and instructions. President, Meredith Local Media Group PAUL KARPOWICZ
hen an experienced team –––––––––––––––
Vice Chairman MELL MEREDITH FRAZIER
of editors reviews the In Memoriam — E. T. MEREDITH III (1933–2003)
materials lists, how-to
For editorial questions: American Patchwork & Quilting, 1716 Locust St., LN-204, Des Moines, IA 50309-3023.
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For reuse and reprint requests, contact CLpermissions@meredith.com.

6 AMERICAN PATCHWORK & QUILTING

 IN THE

know
Knowledge really is power. Get the facts,
choose the right tools for your projects, and
learn how to make the most of your supplies.

by the numbers
We asked readers: For which holiday are
you more likely to purchase theme fabrics?

72%
Christmas
18%
Halloween
7%
Fourth
3%
Valentine’s
Turn your home into a haunted house with Halloween
quilts featuring novelty prints, fall colors, and scary
of July Day motifs. Find free patterns at AllPeopleQuilt.com/149.
Vote in our next poll at AllPeopleQuilt.com/vote.

A
aha!
I USE COTTON BATTING FOR MY DESIGN WALLS,
AND I AM CONSTANTLY TRYING TO PICK THE
THREADS OFF IT. I’ve tried many things to get it clean
with no luck. While teaching at the Philadelphia Modern
Quilt Guild we started a discussion about the best tools in
our studios that were not meant for sewing, and one was
for cleaning the strings off your design walls. Ready for it?
A toilet brush! $1 at IKEA ... works like a charm!
—Victoria Findlay Wolfe, vfwquilts.com

*Look for more aha! moments from our designers throughout the issue!

A: Use your favorite fall prints B

in an easy-to-assemble Log
Cabin table topper. Bonus:
Make two more tiny quilts out
Fall in love with these pinworthy of your scraps.
projects! Our Pinterest board of
beautiful autumn designs and B: Fat quarters form a
spooky Halloween projects will modern chevron table runner
have you ready for harvest time. with matching stuffed
pumpkins.
pinterest.com/apqmagazine
Go to AllPeopleQuilt.com/150
for these patterns and more!

8 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 FA B R I C C U T T E R

GO! Fabric Cutter

rotary cutter

ROTARY CUTTING SLOWING YOU DOWN?

CUT FABRIC 90% FASTER WITH THE GO!®

by Bill Kerr of Modern Quilts Studio

Download the GO!® Local Color Quilt pattern and learn
more about GO!® at www.accuquilt.com/GOAPQ10

www.accuquilt.com/GOAPQ10
Patents Pending A1510APQ Fabric provided by RJR Fabrics.
 IN THE

know Quick Fixes

Are you in a hurry to finish a project or did you run
out of supplies during a late-night sewing session?
These substitutions let you make a quick fix.

OUT OF THIS? USE THIS!

Stabilizer to put behind A coffee filter

the base fabric when
machine-appliquéing

check POCKET-SIZE PRIMER

it out While it may be small,
the tiny Know Your Needles
book by Liz Kettle is chock-full of information.
Learn the characteristics of 30 of the most-
used hand and machine needles so you can
choose the correct needle for your next project.
$8.50; Landauer Publishing; landauerpub.com Iron cleaner Dryer sheet or ball of
aluminum foil

Binding clips Metal hair clips

Wash-away marker or Press’n Seal

transfer paper for adhesive wrap
Use fat quarters to make these easy treat marking quilting designs
bags and see more spooky and small Halloween
projects at AllPeopleQuilt.com/167. Get more quick fixes from our beginner sewing website at
AllPeopleQuilt.com/151.

10 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

is her smile. The HQ Avanté 18-inch longarm

The best memories are the ones we create.

satisfaction, and smiles to last a lifetime.

QUILTED BY SARAH WATTS

See inspiration, fabric and pattern at handiquilter.com/sarahw.

WWW.HANDIQUILTER.COM • 1.877.MY.QUILT (697.8458) CONNECT WITH US

 IN THE

know METALLIC PRINTS

Zephyr by Rashida Coleman-

Hale for Cotton + Steel
(cottonandsteelfabrics.com)

When I was in college, I fell in love with Many Trips Around the World
(featured in American Patchwork & Quilting®, August 2001) but didn't
have the time to cut and piece the more than 5,200 squares needed.
Fast-forward 12 years and lots of scraps later: When I ran across the Celebration Glitz by
pattern on the top of my someday pile, I decided it was time. Michael Miller Fabrics
—Sarah Kramer, Leawood, Kansas (michaelmillerfabrics.com)
Share your pictures of quilts made using patterns from American
Patchwork & Quilting® magazine via e-mail (apq@meredith.com).
TRIBAL DESIGNS

we recommend B

Trim your time spent

cutting when you choose
the 45-millimeter rotary
cutter that best fills
your needs. comes with a spare blade.
Bound by April Rhodes for
Art Gallery Fabrics
(artgalleryfabrics.com)
Make a royal
color statement C
with Olfa’s new
Splash cutter in
emperor purple.

Highline by Erin McMorris

for FreeSpirit Fabrics
A: $17.99; olfa.com (makeitcoats.com)
B: $15; sewingandcraftclub.com positions: power (above), traditional (top),
C: $35.99; fiskars.com and 45º to either side (above right).

12 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 “The attic and the cellar were full of good things once more
and Laura and Mary had started to make patchwork quilts.
Everything was beginning to be snug and cosy again.”

Coming This Fall

LITTLE HOUSE ON THE PRAIRIE®and associated character names and trademarks are owned and licensed by
Friendly Family Productions, LLC. All rights reserved. © 2014 Friendly Family Productions, LLC
tips from readers
Utilize top-notch tricks and tips to make the
most of your sewing notions and supplies.

lock it down
I attached a suction hook to the When my children were younger,
side of my sewing machine so I can they often would use my good
keep a pair of small snips close at scissors as utility scissors. To stop
hand. Now I can find my scissors this, I locked the handles together
immediately (without even looking), with a small padlock, which A
and dangling threads are no longer made the scissors impossible to
a problem. use. I kept the padlock key in my
Mindy Voelker box of pins.
Chester, Maryland Mary Hughes
via e-mail

PUT A CORK ON IT (B)

Because the cover of my seam ripper stencil storage
kept falling off, I decided to use a I organize my quilting stencils
wine cork instead. The sharp tip of in transparent sleeves in a
the seam ripper easily slips into the 12"-square photo album. Pieces
cork and stays in place. of paper—with a traced pattern
Nancy O. Smith on each side—separate the
Blairsville, Georgia stencils and hold each stencil’s
place in the album.
an end to loose ends (C) Karen Dessart
Macon, Georgia
I wrap small ponytail holders
around my bobbins as a colorful
and inexpensive way to contain the
loose thread ends. For a design board, I cut a piece
Jane Bulen of batting slightly larger than my
Stover, Missouri closet door. When I need it, I tuck
the batting piece around the door.
tangle-free stitches When I’m finished using it, it’s B
Before I start hand sewing, I like to easy to take down, fold, and store
run my thread across a bar of soap. until next time.
The soap residue helps keep the Barb Cundari
Steger, Illinois
thread from tangling and washes
out when I’m finished.
Kimberly J. Sutherland
Walla Walla, Washington

FOLD AND ROLL

C
When transporting my iron to quilt
class, I fold the cord several times,
then slip it into an empty toilet
paper roll.
Pam Tolman
Vancouver, Washington

SHARE YOUR TIPS: For each original tip we publish, we’ll send a gift hand-picked by our editors.
E-mail your tips with your name, address, and daytime phone number to apq@meredith.com;
type Quilting Tips in the subject line. Or send tips to American Patchwork & Quilting, Quilting Tips,
1716 Locust St., LN-204, Des Moines, IA 50309.

14 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 WHAT’S NEW NOW:

Stitches to Savor: 2016 Wall-Art

Calendar of Designs by Sue Spargo
$22.99

See the original By Anni Downs | $22.99

antique quilts!

Bring the past to life with antique

quilt designs, lovingly reimagined
with today’s reproduction prints.
Create an heirloom your family will
cherish for generations to come.
By Julie Hendricksen | $24.99

By Christa Watson | $28.99

QUICK TIP

In Remembering the Past, Julie Hendricksen offers advice and helpful tips, such as:
“Mix up prints within each color family to give your quilt plenty
of interest. Starting with fat eighths rather than yardage will give
you the greatest variety, as each one will yield two blocks.”
Check out all of Julie’s tips and advice in Remembering the Past.

Find these books at your friendly local quilt shop

or at ShopMartingale.com.

By Kathleen Brown | $24.99

Connect with us!
WRITER SUZANNE SMITH ARNEY

Nebraska quilter Kay Grimminger

was unfamiliar with hyenas; student
Nyabiel Khor had never made a
quilter’s knot. Each had something to
teach the other, stories to share, and
eventually a unique block to add to the
first Quilted Conscience wall hanging,
Our Dreams & Memories, in 2008. The quilt
realized project director John Sorensen’s dream
of easing the challenges facing immigrants,
especially children, and their new communities.
“This country is an immigrant country,” Kay says.
“They come the same way my ancestors did,
with very little, but with hopes for the future.”
John, now a New York City filmmaker and
author, created The Quilted Conscience (TQC)
workshop project and a 60-minute documentary
film of the same name as an homage to sisters
Grace and Edith Abbott, social justice pioneers

ABOVE: As part of The Quilted Conscience

project, a student cuts fabrics for her appliquéd
quilt blocks. Photo courtesy of The Grand Island
Independent/Scott Kingsley. LEFT AND INSET:
Nyakim Wal expresses her memories and dreams
in her quilt blocks and her poetry. A member of
the Nuer ethnic community, she left her home in
Ethiopia at age five. Photos courtesy
of The Quilted Conscience project.

ALLPEOPLEQUILT.COM 17
 “My dream is that I will be
in the Women’s NBA and a
pro basketball player. I love
basketball. It is fun to play.”
—Nyador Wiyual

LEFT: Nyador Wiyual and Yomaz Dau sew their dream

blocks with quilter Ruth Campbell’s help. Photo
courtesy of The Grand Island Independent/Scott
Kingsley. FAR LEFT AND BELOW: Nyador Wiyual’s
whose work improved child welfare conditions dream block and Nyabiel Khor’s memory block.
and secured rights for immigrants in the early Photos courtesy of The Quilted Conscience project.
20th century. He was inspired by Grace Abbott’s
quote, “Justice for all children is the high ideal in dynamic story quilt depicting her childhood
a democracy.” Like the Abbotts, John grew up in dream of becoming a dancer. The girls sketched
Grand Island, Nebraska, a city that was built and scenes from another, earlier life, and also
settled by Germans and Scandinavians. imagined themselves in future roles—a doctor,
When John later talked with master quilter a judge, a basketball player. Then they chattered
Peggie Hartwell about the power of quilts to bring excitedly as they chose fabrics for their designs.
people together, she knew she had to be a part of Stitching, awkward at first, gradually became
his Quilted Conscience project. She was raised in easier. When finished, they signed their blocks
a large, extended family of South Carolina quilters with pride.
and storytellers. “I grew up making quilts,” she Since then, the intergenerational, cross-
says. “Quilting connects people all over the world.” cultural TQC arts education program has been
And that is how quilting connected Peggie and embraced enthusiastically. In a 2014 letter to
John, Sudanese schoolgirls, and the Flatwater the Nebraska Arts Council, Christa Yoakum,
Floozies quilt guild of Grand Island, Nebraska. program coordinator for Nebraska Is Home,
During five afternoons at the Stuhr Museum wrote, “The Quilted Conscience is more than a
of the Prairie Pioneer in Grand Island, Kay (the quilting workshop and more than a community-
local quilt coordinator), her fellow guild members, building exercise.” She noted that participating
and educator Tracy Morrow of the town’s English organizations “have appreciated the increased
Language Learners program worked with 16 awareness, dignity, and respect leading to
Sudanese refugee children, none of whom had any increased community partnerships and
quilting experience. Peggie made her first trip to volunteerism.”
Nebraska and captivated the students with her

“My memory is of Grandmother picking

berries in Sudan. My grandmother
sees a hyena eating a baby jaguar cub.
My grandmother was scared to see
the two wild animals.” —Nyabiel Khor

18 AMERICAN PATCHWORK & QUILTING OCTOBER 2015

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 “My dad worked in the city and we lived
out of the city in a camp. Every year he
came to rebuild our house so we can
live safe and happy.” —Lay Lay Paw

ABOVE: Three blocks made by Karen students include gathering place and that she hoped the students
Lay Lay Paw’s memory block (far left) about seeing her
father only once a year when she was in Thailand.
and their families would feel that the museum is
ABOVE FAR RIGHT: The Dreams & Memories quilt a place for them.
made by Karen students was unveiled at a museum Peggie employed that same level of personal
reception that included a Karen song and a traditional
dance performed by students. All photos courtesy of engagement when she and John brought TQC to
Joslyn Art Museum. Goose Creek, South Carolina. “Things here revolve
around food,” she says, so a festive potluck was part
When Suzanne Wetzel, ESL/Migrant Teacher of the program in that state. The students’ parents
Trainer at Omaha Public Schools, saw John’s film contributed favorite ethnic dishes.
(which premiered on public television in 2013), Peggie and John traveled to Idaho this summer,
she believed TQC would be a powerful teaching offering TQC as part of Dr. Reshmi Mukherjee’s
tool for her refugee students. A workshop, held at Intensive Semester Learning Experience course
the Joslyn Art Museum in Omaha in September “Other Voices, Alternative Imaginations” at Boise
2014, introduced 20 Karen students, mainly from State University. In this adaptation, two groups of
camps along the Thai-Burma border, to volunteer students, representing refugee and non-refugee
quilters recruited by local quilt coordinator backgrounds, were selected to quilt and digitally
Claudette Lee. document a weeklong workshop themed “Our
The Karen, a Burmese ethnic group, are known Future Together.”
for colorful weaving and cross-stitched geometric
designs, but quilting was a new experience. EXHIBIT:
Livingstone Bright, a high school senior, wasn’t September 15 through November 14, International
sure he wanted to participate, but from the Quilt Study Center & Museum, 1523 N. 33rd St.,
moment he began cutting shapes from colorful Lincoln, NE 68583; quiltstudy.org
cloth, he was caught up in the process. RESOURCES:
Each student created two squares—one a To learn more about The Quilted Conscience, visit
memory of their homeland and one a dream nebraskaishome.org/quiltedconscience.
for their future—to contribute to the Dreams The Quilted Conscience film is available for broadcast
& Memories story quilt, which was unveiled in a by public television stations across the U.S., via
ceremony at the Joslyn Art Museum in February. NETA (National Educational Telecommunications
Association), netaonline.org.
Earlier this year the project was part of a
fiber art installation in Omaha at the Joslyn TQC is creating an Interactive Learning Project with
Art Museum, the KANEKO art center, and the Nebraska Educational Television and the International
Quilt Study Center & Museum. For more information
Omaha Public Library, W. Dale Clark Branch. about this online learning website and for educational
“Extraordinary” is how Nancy Round, director of screenings of the film, contact johnsorensen10012@
education and outreach at the museum, described yahoo.com.
the project. She said it showed the museum as a

20 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 OFXGBCSJDDPśFDUJPO
% VB M'ŕE G PS ƄT ZQJ FD JO H
# 2& X JUI
# &3 /* /" 4 UJU DI 3 FH VMB UP S

MJţMFLJţZX IPG PVO EB OF XC FE

GNER,
US QUILT ARTIST AND FABRIC DESI
FOR BERNINA

LEGENDARY STITCH QUALITY

in perfection you’ve been looking for. THANKS TO THE BERNINA HOOK

Learn more about the BERNINA 7 Series and download free patterns and instructions
for sewing projects at bernina.com/7series.

© 2015 BERNINA of America

 I am a quilter. So when a
a heated the International Quilt Festival in fabric assortments made up of 14
crafting/quilting friend reached out Houston. It’s scheduled for the evening coordinating half-yard cuts. Team
to me last year with, “You WON’T of October 26, and will feature six members can bring as many tools as
believe the fun thing I’m asking you to teams, which is double the usual they desire, and some products, such
do!” and I learned it involved quilting three-team format. Team leaders, as fusible web, are available. But only
with my friends and designer Debbie each of whom choose four team two machines are allowed in each
Cafrey at a consumer quilting event, members, will be designers Charlotte team’s work space so leaders have
I couldn’t resist signing up. Angotti, Gyleen X. Fitzgerald, Debbie to take into account the amount of
I’m now scheduled to be a team Cafrey, John Flynn, Pam Holland, and sewing that needs to be done. Luckily,
member in my third Iron Quilter Marti Michell. team leaders have a few hours before
Challenge, led by Quilts, Inc., which he premise is similar to cooking the event to preview and select their
has been held at various International or fashion-design TV shows: he fabric and plan quilts, so no one has
Quilt Festival locations (Chicago; challenge is to create something out to spend precious sewing minutes
Cincinnati; and Long Beach, California) of speciic materials within a speciied doing math!
over the last few years. his fall time frame. In this case, each team is When the countdown clock
will be the irst time it will occur at challenged to complete a quilt top in starts, cutting, sewing, pressing, and
two hours or less using one of three teamwork are the focus. And because

THE TEAMS
SUPPLIES
LEFT: Teammates may have met that
day or might be longtime friends.
ABOVE: Each fabric assortment
will be turned into a quilt top.
RIGHT: Leaders coach team
members throughout the process. THE CREATION RACE IS ON

22 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 What could you create out of one fabric
bundle in two hours or less working with
a quilting teacher and three teammates?

COMPETITION WRITER LINDA AUGSBURG

PHOTOGRAPHER RHIANNA GRIFFIN OF QUILTS, INC.

I’ve done this before, I can say it gets in jars—for best quilt top. he winner How to host
a little frenzied, with fabric strips
flying about and machines humming
receives the Golden Iron—a glittering
prize to commemorate their victory.
your own challenge
amid music and dancing ("Macarena" Once the challenge is over, quilt 1. Decorate a no-longer-working iron
or "YMCA," anyone?). Meanwhile, tops are inished by team leaders and with gold paint and lots of glitter and
gems. (This step is optional but fun!)
audience members move from work auctioned, with proceeds beneitting
space to work space, viewing the the Texas Quilt Museum. 2. Determine whether you want teams
or individuals competing and how many
progress of each design, learning from Be sure to check out the Iron Quilter you want.
team leaders about the techniques Challenge at the International Quilt
being employed, and cheering on their Festival in Houston this year and don’t
3. Choose the fabrics: Will you assign
bundles of fabrics or let your teams choose
fellow quilters. here are giveaways, forget to say hello. I’ll be sewing on their own? (I love that part of the challenge
show-and-tell, and other fun activities Cafrey’s Cohorts team! is team leaders working with a fabric line
that add to the party atmosphere. that might not be their style.)
Event referees keep things rolling 4. Set a time limit. If possible, have a
along, asking questions and engaging and International Quilt Festival, visit countdown timer projected on a screen in
quilts.com. the workroom so contestants know how
everyone in the room. And in the end,
much time is left. Shout out milestones
votes are cast—marbles are dropped (halfway through, 30 minutes remain, etc.)
to help teams stay on track. (We all know
how easy it is to lose track of time while
quilting!)
5. Promote camaraderie and friendly
competition.
6. Have snacks and beverages for the
spectators and encourage them to ask
questions if they see a technique that is
new to them. Encourage the leaders to
explain their processes and methods.
7. Select a winner with a simple voting
technique. Marbles in identical jars are
easy to see and only need to be counted
if the amounts seem too close to call. Or
use inexpensive plastic beads, pennies, or
poker chips. Voting is optional but is a fun
way to wrap up the event.
CHALLENGE COMPLETED 8. Finish the quilt tops and auction them
off at your next quilt show. If you don’t want
ABOVE: Team leaders Debbie Caffrey, Anita
Grossman Soloman, and Gyleen X. Fitzgerald THE WINNER! to finish them, auction them off at the end
display finished quilt tops for voting. RIGHT: of the challenge and let the proceeds fund
Two-time Iron Quilter Challenge winner Debbie a philanthropic need. If your group doesn’t
Caffrey shows off the Golden Iron at the mind extra rules, designate a finished size
March 2015 event while Shelly Fitzgerald of so you can easily donate them to a favorite
Bernina congratulates all of the teams. charity, such as Project Linus. Æ

ALLPEOPLEQUILT.COM 23
 Strip-set and
pressing tricks
make it a treat
to construct this
seasonal quilt. midnight
 intermediate

DESIGNERS JO KRAMER AND KELLI

HANKEN OF JO’S COUNTRY JUNCTION
(JOSCOUNTRYJUNCTION.COM)

materials
1 5—3⁄4-yard pieces or 33⁄4 yards total
assorted orange prints (blocks, sashing,
border)
PHOTOGRAPHER MARTY BALDWIN

1 43⁄4 yards beige print (blocks, sashing,

border)

1 27⁄ 8 yards black print (blocks, sashing,

border, binding)

1 71 ⁄ 3 yards backing fabric

1 88×106" batting

Finished quilt: 80×98" (full-size with

13" drop; queen-size with 10" drop)
Finished blocks: 161 ⁄ 2" square

Yardages and cutting instructions are

based on 42" of usable fabric width.

ho r
Measurements include 1 ⁄4" seam
allowances. Sew with right sides together
unless otherwise stated.
Press seams in directions indicated
by arrows on diagrams. If no direction
is specified, press seam toward darker
fabric.

ALLPEOPLEQUILT.COM 25
 cut fabrics 2"
assemble Four-Patch units
Cut pieces in the following order. 1. Sew together an orange print
2×42" strip and a beige print 2×42"
From one orange print, cut: strip to make Strip Set D (Diagram 6).
1 20—2" squares Repeat to make 23 D strip sets total.
STRIP SET B
From all assorted orange prints, cut: DIAGRAM 2 Cut strip sets into 454—2"-wide D
1 53—2×42" strips segments. Set aside 14 D segments
1 2—2×21" strips 3. Referring to Diagram 3, sew for sashing units.
From beige print, cut: together two A segments and one B
2"
1 45—2×42" strips segment to make a Nine-Patch unit.
1 1—2×21" strip The unit should be 5" square including
1 17—2×17" sashing strips seam allowances. Repeat to make 80
1 14—2×14" strips Nine-Patch units total.
STRIP SET D
1 80—31 ⁄ 2 ×5" rectangles DIAGRAM 6
From black print, cut: A B A
1 2—31 ⁄ 2 ×42" strips 2. Join a black print 2×42" strip and a
1 9—21 ⁄ 2 ×42" binding strips beige print 2×42" strip to make Strip
1 13—2×42" strips Set E (Diagram 7). Repeat to make
DIAGRAM 3
1 18—5×11" rectangles three E strip sets total. Cut strip sets
1 1—2×21" strip 4. Sew together two black print into forty-eight 2"-wide E segments.
1 4—2×8" rectangles 2×42" strips and an orange print
1 8—2×31 ⁄ 2 " rectangles 2×42" strip to make Strip Set C 2"
1 12—2" sashing squares (Diagram 4). Repeat to make four C
strip sets total. Cut strip sets into
eighty 2"-wide C segments.
assemble block centers STRIP SET E
1. Sew together two assorted orange DIAGRAM 7
2"
print 2×42" strips and one beige
print 2×42" strip to make Strip Set A 3. Sew together two D segments
(Diagram 1). Repeat to make eight to make an orange Four-Patch unit
A strip sets total. Cut strip sets into (Diagram 8). The unit should be 31 ⁄ 2"
160—2"-wide A segments. STRIP SET C square including seam allowances.
DIAGRAM 4
Repeat to make 196 orange Four-
2" 5. Referring to Diagram 5, lay Patch units total. Set
out four Nine-Patch units, four C aside four orange D D
segments, and one orange print 2" Four-Patch units for
square in three rows. Sew together border units. DIAGRAM 8
pieces in each row. Join rows to make
STRIP SET A a block center. The block center 4. Join a D segment and an E
DIAGRAM 1
should be 11" square including seam segment to make an orange-and-black
2. Sew together two beige print allowances. Repeat to make 20 block Four-Patch unit (Diagram 9). The unit
2×42" strips and one orange print centers total. should be 31 ⁄ 2" square including seam
2×42" strip to make Strip Set B allowances. Repeat
C D E
(Diagram 2). Repeat to make four B to make 48 orange-
strip sets total. Cut strip sets into and-black Four-Patch
eighty 2"-wide B segments. units total. DIAGRAM 9

C 2"
sq.

DIAGRAM 5

26 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 Need’l Love for Andover Fabrics (andoverfabrics.com).

aha!
I HATE HAVING TO UNTHREAD MY SEWING
K it
To order a kit of fabrics
for quilt top and binding for
$140 ppd. (Iowa residents,
$148.95 ppd.), contact Forest Mills
MACHINE TO WIND BOBBINS in the middle of a
Quilt Shop, 650 Forest Mills Rd.,
seam, so the Deluxe SideWinder portable bobbin winder
Postville, IA 52162; 563/568-
(simplicity.com) is indispensable! 3807, forestmillsquilts.com;
—Barbara Groves of Me and My Sister Designs e-mail: forestmillsquilts@gmail.com.
(meandmysisterdesigns.com)

ALLPEOPLEQUILT.COM 27
 assemble blocks 2. Referring to Quilt Assembly
31⁄ 2×5" 1. Referring to Diagram 10, sew Diagram, page 30, lay out blocks,
together two orange Four-Patch units sashing units, beige print 2×17"
DIAGRAM 10 and one beige print 31 ⁄ 2 ×5" rectangle sashing strips, and black print
to make a block unit. The unit 2" sashing squares in nine horizontal
should be 31 ⁄ 2 ×11" including seam rows; note orientation of orange-and-
allowances. Repeat to make 80 block black Four-Patch units in each block.
units total.
3. Sew together pieces in each row.
2. Referring to Diagram 11, lay out Press seams toward sashing units and
three orange Four-Patch units, four sashing strips. Join rows to make quilt
block units, one block center, and one center; press seams in one direction.
orange-and-black Four-Patch unit in The quilt center should be 71×89"
three rows. Sew together pieces in including seam allowances.
each row. Join rows to make Block 1,
which should be 17" square including
seam allowances. Repeat to make assemble and add border
four total of Block 1. 1. Sew together two black print
31 ⁄ 2 ×42" strips and one orange print
BLOCK 1
DIAGRAM 11 3. Referring to Diagram 12, lay out 2×42" strip to make Strip Set F
two orange Four-Patch units, four (Diagram 15). Cut strip set into
block units, one block center, and two fourteen 2"-wide F segments.
orange-and-black Four-Patch units in
three rows. Sew together pieces in 2"

each row. Join rows to make Block 2,

which should be 17" square including
seam allowances. Repeat to make 10
total of Block 2.

4. Referring to Diagram 13, lay out

STRIP SET F
four orange-and-black Four-Patch DIAGRAM 15
units, four block units, and one block
center in three rows. Sew together 2. Join two black print 2×42" strips,
pieces in each row. Join rows to make two orange print 2×42" strips, and
BLOCK 2 Block 3, which should be 17" square one beige print 2×42" strip to make
DIAGRAM 12 including seam allowances. Repeat to Strip Set G (Diagram 16). Cut strip
make six total of Block 3. set into fourteen 2"-wide G segments.

2"

assemble D
quilt center
1. Sew together a
reserved D segment and
a beige print 2×14" strip
to make a sashing unit STRIP SET G
2×14"

(Diagram 14). Repeat DIAGRAM 16

to make 14 sashing
units total.

BLOCK 3 DIAGRAM 14
DIAGRAM 13

28 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

3. Sew together three orange print
2×42" strips and two beige print
2×42" strips to make Strip Set H
(Diagram 17). Cut strip set into
fourteen 2"-wide H segments.
2"

STRIP SET H
DIAGRAM 17 Designed for the details.
4. Referring to Diagram 18, sew Featuring Dual Duty Plus® Hand Quilting Thread.
together one each of F, G, and H
segments to make Unit 1. The unit
should be 8×5" including seam
allowances. Repeat to make 14 total
of Unit 1. (Designers Jo Kramer and
Kelli Hanken positioned the orange
prints in the G and H segments in the
same location in each unit.)

UNIT 1
DIAGRAM 18

5. Sew together an orange print

2×21" strip and beige print 2×21"
strip to make Strip Set I (Diagram 19).
Cut strip set into eight 2"-wide
I segments.

2"

STRIP SET I
DIAGRAM 19

For more information visit:

makeitcoats.com
ALLPEOPLEQUILT.COM 29
 1 1 1
2 5×11" 3

1 2 2 1
5×11"

2"sq.
2×17"
1
1
2×17"

2 3 3 2

1 1

2 3 3 2

1 1

2 3 3 2

1
1

1 2 2 1

3 2
1 1 1

QUILT ASSEMBLY DIAGRAM

30 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

6. Join black print 2×21" strip and 2×31⁄ 2" unit in a vertical row. Add a black print
remaining orange print 2×21" strip 2×8" rectangle to right-hand edge of
to make Strip Set J (Diagram 20). row to make Unit 5. The unit should

2×8"
Cut strip set into eight 2"-wide be 5×8" including seam allowances.
J segments. Repeat to make a second Unit 5.

2" 2×31⁄ 2"

UNIT 4
DIAGRAM 24

2×8"
11. Referring to Diagram 25 for
STRIP SET J
DIAGRAM 20
Four-Patch unit orientation, sew
together a black print 2×31 ⁄ 2"
7. Sew together an I and J segment rectangle, a reserved orange Four- UNIT 5
DIAGRAM 25
to make a border Four-Patch unit Patch unit, and a border Four-Patch
(Diagram 21). The unit should be 31 ⁄ 2"
square including seam allowances.
Repeat to make eight border Four-
Patch units total.
MAKEIT
I J
mini
See how cute this block is when it’s
DIAGRAM 21
made smaller! Turn to page 112 for
8. Referring to Diagram 22, sew designer Joanna Figueroa’s take on
together a border Four-Patch unit scaling the block down in size.
and a black print 2×31 ⁄ 2" rectangle
to make Unit 2. The unit should be
31 ⁄ 2 ×5" including seam allowances.
Repeat to make a second Unit 2.

2×31⁄ 2"

UNIT 2
DIAGRAM 22

9. Referring to Diagram 23 for

border Four-Patch unit orientation,
repeat Step 8 to make two of Unit 3.

2×31⁄ 2"

UNIT 3
DIAGRAM 23

10. Referring to Diagram 24 for Four-

Patch unit orientation, sew together
a black print 2×31 ⁄2" rectangle, a
reserved orange Four-Patch unit, and a
border Four-Patch unit in a vertical row.
Add a black print 2×8" rectangle to
left-hand edge of row to make Unit 4.
The unit should be 5×8" including seam
allowances. Repeat to make a second
Unit 4.
ALLPEOPLEQUILT.COM 31
 12. Referring to Quilt Assembly finish quilt 3. Bind with black print binding
Diagram, page 30, for orientation of 1. Layer quilt top, batting, and strips. (For details, see Complete
units, sew together four black print backing; baste. (For details, see Quilt.) ˆ
5×11" rectangles, three of Unit 1, Complete Quilt, page 108.)
one Unit 2, and one Unit 3 to make
a short border strip. Press seams 2. Quilt as desired. Jo machine-
toward black print rectangles. The quilted an echoing swirl design across
strip should be 5×71" including seam the quilt top (Quilting Diagram).
allowances. Repeat to make a second
short border strip.

13. Referring to Quilt Assembly

Diagram, sew together five black
print 5×11" rectangles, four of Unit 1,
one Unit 4, and one Unit 5 to make
a long border strip. Press seams
toward black print rectangles. The
strip should be 5×98" including seam
allowances. Repeat to make a second
long border strip.
QUILTING DIAGRAM
14. Sew short border strips to short
edges of quilt center. Add long border
strips to remaining edges to complete
quilt top. Press all seams toward
border.

The dark border paired with the

assorted oranges of Midnight
Hour give it a distinct fall feeling.
But with its use of scrappy blues
and crisp whites, quilt tester
Laura Boehnke’s variation evokes
a more summer-inspired feeling.
Laura included small pops of red
to match the red tones in the
blue floral and paisley prints for a
perfectly contrasting design.

Dream of summer. Use red,

white, and blue in this quilt pattern FABRICS are from the Prairie Yard Goods collection by Patrick
at AllPeopleQuilt.com/152. Lose for RJR Fabrics (rjrfabrics.com).

32 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 DESIGNER JANE DAVIDSON OF QUILTJANE:
WANT IT, NEED IT, QUILT! (QUILTJANE.COM)

materials 1 Lightweight water-soluble

1 25—18×21" pieces (fat fusible stabilizer, such as
quarters) assorted prints Stitch N Wash Fusible from
in yellow, red, blue, green, Floriani (optional)
aqua, and gray (blocks)
1 Fabric glue pen (optional)
1 78⁄ yard aqua floral (blocks)
1 White dressmaker’s pencil
1 11 ⁄4 yards red print (blocks, (optional)
binding)
1 Lightweight tracing paper or
1 11 ⁄ 8 yards multicolor word other foundation material
print (blocks)
1 Clear monofilament thread
1 78 ⁄ yard white-and-red cross (optional)
print (blocks)
Finished quilt: 601 ⁄ 2" square
1 3— ⁄ 8 -yard pieces assorted
3
Finished block: 20" square
light gray and white prints
(blocks) Yardages and cutting
instructions are based on
1 9×21" piece (fat eighth) each 42" of usable fabric width.
blue-and-white dot, red-and- Measurements include 1 ⁄4"
PHOTOGRAPHER MARTY BALDWIN

white dot, and green-and- seam allowances. Sew with

white dot (circle appliqués) right sides together unless
otherwise stated.
1 37⁄ 8 yards backing fabric Press seams in directions
indicated by arrows on
1 69" square batting diagrams. If no direction is
specified, press seam toward
darker fabric.

34 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 intermediate

Good morning, star

shine! Use happy-
go-lucky prints for
a throw that just
makes you smile.
 plan block design 3. With fabric glue pen, From red-and-white 4. Repeat steps 2 and 3
For some blocks, designer apply glue to 1"–2" of dot, fussy-cut: to make 20 aqua corner
Jane Davidson selected stabilizer edge. Turn fabric 1 3 of Circle Pattern units total.
prints that provide a seam allowance smoothly From green-and-white
definite contrast between over stabilizer edge, finger- dot, fussy-cut: 5. Using marked assorted
the star points (positions pressing it onto the glue. 1 2 of Circle Pattern print 21 ⁄ 2" squares, marked
B1 and B4) and the Working 1"–2" at a time, red print 21 ⁄ 2" squares, and
background. She used finish gluing first circle. white-and-red cross print
fabrics with less contrast in Repeat with remaining assemble corner 5" squares, repeat steps 2
other blocks, resulting in a circles. and side units and 3 to make 16 red corner
more subtle design. Select 1. Use a pencil or white units (Diagram 3).
four assorted prints for From assorted prints, cut: dressmaker’s pencil to mark
each block center, referring 1 36—41 ⁄ 2 " squares for a diagonal line on wrong
to Quilt Assembly Diagram position A1 (9 sets of 4 side of assorted print 21 ⁄ 2"
on page 42 as a guide for matching squares) and 3" squares, aqua floral
color placement. After 1 72—3" squares 21 ⁄ 2" squares, and red print
cutting block pieces, store 1 36—21 ⁄ 2 " squares 21 ⁄ 2" squares. DIAGRAM 3

them by position in labeled From aqua floral, cut: 6. Align a marked assorted
plastic bags. 1 40—21 ⁄ 2 ×6" rectangles 2. Align a marked assorted print 3" square with right-
1 10—33⁄ 4" squares, cutting print 21 ⁄ 2" square with hand end of a multicolor
each in half diagonally top left-hand corner of word print 3×6" rectangle
cut fabrics for 20 triangles total for a multicolor word print (Diagram 4; note direction
Cut pieces in the order that position A4 5" square (Diagram 1; of marked line). Stitch,
follows in each section. 1 20—21 ⁄ 2 " squares note direction of marked trim, and press as before to
The Circle Pattern is on From red print, cut: line). Sew on marked line; make a multicolor segment.
Pattern Sheet 1. To prepare 1 7—21 ⁄ 2 ×42" binding trim seam allowance to Repeat to make 20
circles for appliqué, Jane strips 1
⁄4". Press open attached multicolor segments total.
uses a fabric glue pen 1 32—21 ⁄ 2 ×6" rectangles triangle.
and a fusible stabilizer 1 8—33⁄ 4" squares, cutting
21⁄ 2"
sq. 3×6"
that is a combination of each in half diagonally 3"
sq.
soluble and nonsoluble for 16 triangles total for
5" DIAGRAM 4
fibers. When you wash the position A4 sq.
quilt, the soluble fibers 1 16—21 ⁄ 2 " squares

wash away while the soft From multicolor word 7. Aligning a marked
DIAGRAM 1
nonsoluble fibers remain. print, cut: assorted print 3" square
To prepare appliqués using 1 40—3×6" rectangles with left-hand end of
this method, complete the 1 20—5" squares 3. Align a marked aqua multicolor word print 3×6"
following steps. From white-and-red floral 21 ⁄ 2" square with rectangle, repeat Step 6 to
cross print, cut: bottom right-hand corner of make 20 multicolor reversed
1. Lay stabilizer, fusible 1 32—3×6" rectangles Step 2 square (Diagram 2; segments (Diagram 5).
side down, over Circle 1 16—5" squares again note direction of
Pattern. Use a pencil to From assorted light gray marked line). Stitch, trim,
3" 3×6"
trace pattern nine times. and white prints, cut: and press as before to sq.
Cut out stabilizer circles on 1 72—31 ⁄ 2 ×51 ⁄ 4" rectangles make an aqua corner
DIAGRAM 5
drawn lines. for positions A2 and A3 unit. The unit should be
(9 sets of 8 matching 5" square including seam
2. Following manufacturer’s rectangles) allowances.
instructions, press each From blue-and-white
stabilizer circle onto wrong dot, fussy-cut:
side of designated fabrics, 1 4 of Circle Pattern

leaving 1 ⁄ 2" between circles;

let cool. Cut out each fabric
circle, adding a scant 1 ⁄4" DIAGRAM 2
seam allowance.

36 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 Vintage Shirting
& Dress Prints
Designed by Barbara J. Eikmeier
exclusively for Paintbrush Studio
An Exciting New Block-of-the-Month Program!
“Vintage Sampler” Quilt Designed by Barbara J. Eikmeier

Designed by

To view the “Vintage Shirting and Dress Prints” collection, please visit our website,
www.fabri-quilt.com. For information on the “Vintage Sampler” Block-of-the-Month
program, visit our blog, inspiredbyfabric.blogspot.com. As always, Paintbrush Studio
fabrics can be found at local independent quilt shops and many online retailers.

www.paintbrushstudiofabrics.com
 FABRICS are from the The Sweet Life prints collection by Pat Sloan for Moda Fabrics (modafabrics.com).

8. Sew together a multicolor 9. Using marked assorted make foundation

segment and a multicolor print 3" squares and white- papers
reversed segment to make and-red cross print 3×6" Foundation patterns for units A
a multicolor side unit rectangles, repeat steps 6–8 and B are on Pattern Sheet 1.
(Diagram 6). The unit should to make 16 white-and-red side Trace each foundation pattern
be 3×111 ⁄ 2" including seam units (Diagram 7). 36 times onto lightweight
allowances. Repeat to make tracing paper, tracing all lines
20 multicolor side units total. and numbers. (Or download
foundation patterns at
AllPeopleQuilt.com/169 and
DIAGRAM 7
photocopy or print 36 of each

DIAGRAM 6

38 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 Winter
pattern.) Cut out each pattern roughly
Winter nd
1
⁄4" outside dashed lines to make 36 onderla
W
12 Cozy
Christm
as Qu ilts

Unit A foundation papers and 36

Unit B foundation papers.

foundation-piece A units
1. Gather a set of four matching
position A1 squares, a set of eight by She
rri Falls
That Pat
of
ter n Com
pany
Th is &

matching light gray or white print

position A2 and A3 rectangles, and
four aqua floral position A4 triangles.

2. Referring to Diagram 8 (which

shows the back and front of a pieced
Unit A), use one Unit A foundation
paper, one position A1 square, two
position A2 and A3 rectangles, and
one aqua floral position A4 triangle
to make an Aqua Unit A. (For details,
see Foundation Piecing, page 107.)
Repeat to make four matching aqua
A units total.
1-866-826-2069 www.FatQuarterShop.com
A4 A4 A3

A1 A1

A2

AQUA UNIT A
DIAGRAM 8

3. Repeat steps 1 and 2 to make 20

aqua A units total (five sets of four
matching units).

4. Using red print A4 triangles

instead of aqua floral, and referring to
Diagram 9, repeat steps 1 and 2 to
make 16 red A units (four sets of four
matching units).

A4 A4 A3

A1 A1

A2

RED UNIT A
DIAGRAM 9

ALLPEOPLEQUILT.COM 39
 assemble 2. Mark a diagonal line on 6. Sew together a
aqua blocks wrong side of all print 21 ⁄ 2" multicolor side unit and A
B

The instructions that squares. an aqua side unit to

follow result in one aqua make an aqua border
block. Repeat cutting and 3. Align a marked print unit (Diagram 14; note
assembly steps to make No. 2 square with right- orientation of triangles). 41⁄ 2"
sq.
five aqua blocks total. (For hand end of an aqua The unit should be 5×111 ⁄ 2"
the side units in two aqua floral 21 ⁄ 2 ×6" rectangle including seam allowances.
blocks, Jane used 21 ⁄ 2" (Diagram 11; note direction Repeat to make four aqua
squares from two different of marked line). Sew on border units total.
assorted prints instead of marked line; trim seam
cutting them from prints 2 allowance to 1 ⁄4". Press
DIAGRAM 15
and 3.) open attached triangle to
make a print No. 2 aqua
From one assorted segment. Repeat to make 8. Referring to Diagram 16,
print, cut: four print No. 2 aqua DIAGRAM 14 lay out four aqua corner
1 8—23⁄ 4 ×5" rectangles for segments total. units, the four aqua border
positions B1 and B4 7. Referring to Diagram 15, units, and the aqua block
21⁄ 2"
1 1—41 ⁄ 2 " square sq. lay out a set of four center in three rows. Sew
From a second assorted 21⁄ 2×6"
matching aqua A units, together pieces in each
print, cut: the four B units, and the row. Join rows to make
1 4—31 ⁄ 2 ×5" rectangles for print 41 ⁄ 2" square in three an aqua block. The block
DIAGRAM 11
position B2 rows. Sew together pieces should be 201 ⁄ 2" square
1 4—21 ⁄ 2 " squares 4. Align a marked print in each row. Join rows to including seam allowances.
From a third assorted No. 3 square with left- make an aqua block center.
print, cut: hand end of an aqua The block center should
1 4—31 ⁄ 2 ×5" rectangles for floral 21 ⁄ 2 ×6" rectangle be 111 ⁄ 2" square including
position B3 (Diagram 12; again note seam allowances.
1 4—21 ⁄ 2 " squares direction of marked line).
Stitch, trim, and press as
1. Referring to Diagram 10, before to make a print No. 3
use a Unit B foundation aqua segment. Repeat to
paper, two position B1 make four print No. 3 aqua
and B4 rectangles, one segments total.
position B2 rectangle, and
21⁄ 2"
one position B3 rectangle sq.

to make Unit B. Repeat 21⁄ 2×6"

to make four matching B
units total.
DIAGRAM 12

5. Referring to Diagram 13,

B2 B3
sew together a print No. 2
aqua segment and a print
B1 B4 No. 3 aqua segment to
make an aqua side unit. The
unit should be 21 ⁄ 2 ×111 ⁄ 2"
B3 B2
including seam allowances.
Repeat to make four aqua DIAGRAM 16
side units total.
B4 B1

UNIT B
DIAGRAM 10
DIAGRAM 13

40 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 C

QUILT ASSEMBLY DIAGRAM

assemble red blocks From a second assorted 1. Referring to Assemble print 21 ⁄ 2 ×6" rectangles,
The instructions that follow print, cut: Aqua Blocks, Step 1, repeat Assemble Aqua
result in one red block. 1 4—31 ⁄ 2 ×5" rectangles for page 40, make four Blocks, steps 3–5, to
Repeat these steps to make position B2 matching B units. make four red side units
four red blocks total. 1 4—21 ⁄ 2 " squares (Diagram 17).
From a third assorted 2. Mark a diagonal line on
From one assorted print, cut: wrong side of all print 21 ⁄ 2"
print, cut: 1 4—31 ⁄ 2 ×5" rectangles for squares.
1 8—23⁄ 4 ×5" rectangles for position B3 DIAGRAM 17
positions B1 and B4 1 4—21 ⁄ 2 " squares 3. Using marked print No. 2
1 1—41 ⁄ 2 " square and No. 3 squares and red

42 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 4. Sew together a white-and-
red side unit and a red side
unit to make a red border unit
(Diagram 18; note orientation
of triangles). The unit should
be 5×111 ⁄ 2" including seam
DIAGRAM 18
allowances. Repeat to make four
red border units total.

5. Referring to Assemble Aqua B

A
Blocks, Step 7, use a set of four
matching red A units, four B
units, and the print 41 ⁄ 2" square
to make a red block center 41⁄ 2"
sq.
(Diagram 19).

6. Referring to Assemble Aqua

Blocks, Step 8, use four red
corner units, four red border
units, and red block center to
make a red block (Diagram 20). DIAGRAM 19
DIAGRAM 20

OPTION
A more prominent
background and larger
prints make the colors
stand out in quilt tester
Laura Boehnke’s version
of Shine. Replace the
whimsical phrase fabric
for a large leafy print
and exchange the lighter
florals for bold blocks of
rich color. Laura added a
dark 1"-wide-finished inner
border and 3"-wide-finished
outer border to visually
contain her intense blocks.

FABRICS are from the Color Crush collection and Soho solids
collection, both from Timeless Treasures Fabrics (ttfabrics.com).

44 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

appliqué blocks and
assemble quilt top
1. Referring to Quilt Assembly
Diagram, page 42, position a
aha!
I HAD ONE OF MY BIGGEST AHA MOMENTS EARLY ON AS A
prepared circle appliqué on the QUILTER when I realized that a sewing machine in great working order,
center square of an aqua or red with no tension or stitch issues, really makes any time I spend stitching
block; pin or baste in place. Using fun and stress-free! So now I am very diligent about sending my BMSF
clear monofilament or matching (Best Mechanical Sewing Friend) to get a spa treatment at least once a
thread and a small blind-hem or year at my local authorized dealer. I know that a well-serviced machine
zigzag stitch, sew around edges will keep up with all the sewing I do without hiccups or problems, and
of circle to make an appliquéd that’s priceless! —Kimberly Einmo, kimberlyeinmo.com
block. Repeat to make nine
appliquéd blocks total.

2. Alternate aqua and red

appliquéd blocks in three rows
(Quilt Assembly Diagram). Sew
together blocks in each row;
BLOCK
press seams open. Join rows OF THE
to complete quilt top. Press MONTH
seams open.

finish quilt
Laser-Cut OPTION
1. Layer quilt top, batting, and
backing; baste. (For details, see
Complete Quilt, page 108.)

2. Quilt as desired. Jane

machine-quilted a dense pattern
of concentric circles across the
quilt top (Quilting Diagram).

3. Bind with red print binding

strips. (For details, see Complete
Quilt.) Æ

QUILTING DIAGRAM FRP



December 2015 $25/month

– + shipping
August 2016 Sign up today!
56” × 56”
ALLPEOPLEQUILT.COM 45
DESIGNER KATHLEEN BERLEW
(KBBCR AFTS.BLOGSPOT.COM)
 beginner

materials cut fabrics embroider and

1 5×9" rectangle medium brown Patterns are on Pattern Sheets 3 assemble oak log
wool felt (oak log ends) and 4. sachet
Use two strands of embroidery
1 3×7" rectangle tan wool felt From medium brown felt, cut: floss for all stitches.
(birch log ends) 1 2 of Pattern B

From tan felt, cut: 1. Referring to Pattern A

1 4×6" rectangle each copper 1 2 of Pattern D (Pattern Sheet 4), backstitch
and sage green wool felt (leaf) From copper felt, cut: marked bark details in dark
1 1 of Pattern E brown (the dashed lines) and
1 3×111 ⁄ 2" rectangle dark brown From sage green felt, cut: golden brown (the solid lines)
wool felt (oak log center) 1 1 of Pattern E on dark brown felt 3×111 ⁄ 2"
rectangle.
1 21 ⁄ 2 ×8" rectangle white To backstitch, pull needle up
wool felt (birch log center) transfer embroidery at A (Backstitch Diagram). Insert
lines (optional) it back into fabric at B and bring
1 White tissue paper Designer Kathleen Berlew it up at C. Push needle down at
recommends using patterns A–E D and bring it up at E.
1 Embroidery floss: dark brown and photo, opposite, as a visual
(DMC 801), golden brown guide for stitching the details on
(DMC 420), tan (DMC 422), each piece.
F
black (DMC 310), white, copper If you’d prefer to transfer the B
G E C DA
(DMC 921), green (DMC 520), stitching designs onto the felt
and gold (DMC 3820) pieces, first trace stitching lines
BACKSTITCH DIAGRAM
from patterns A–E onto pieces
1 Pine balsam (approximately of white tissue paper. Pin tissue
4 cups) paper pieces to corresponding
PHOTOGRAPHER MARTY BALDWIN

felt pieces. Hand-stitch on

Finished sachets: 4×3" (oak log), marked lines through paper and
21 ⁄ 2 ×21 ⁄ 2" (birch log), 3×43⁄4" (leaf) felt. When stitching is complete,
gently tear away tissue paper.

ALLPEOPLEQUILT.COM 47
 2. Referring to Pattern B 3. Fold embroidered dark
(Pattern Sheet 4), brown felt rectangle in half
backstitch 15 marked widthwise with wrong side
circles in golden brown inside. With dark brown
(the solid lines), tan (the floss, use a line of running
dotted lines), and dark stitches to sew together
brown (the dashed lines) on short edges with a 1 ⁄4"
each medium brown felt B seam (Diagram 1). Kathleen
circle. Make three straight made a second line of
stitches in center of running stitches, filling in
smallest circles with golden
brown floss.
the gaps between the first
line of stitches (Doubled
Running Stitch Diagram).
Open sewn rectangle to
make a tube.
aha!
ALWAYS KNOT THE END OF THE THREAD
that has the fresh cut and thread the other end
through the needle eye. This way you’re using the
thread in the same direction that it came off the
spool, which will result in fewer knots.
—Carolyn Friedlander, carolynfriedlander.com

ONE OF MY MOST AMAZING LIGHTBULB

moments was when I explained to my students
that we all started out making rotten stitches. But
DIAGRAM 1
we didn’t give up; we just kept trying. I think they
assumed we were great stitchers the first time we
sat down at the sewing machine. We have been
practicing for years.
G F E D C B A
—Melinda Bula, melindabula.com

I RECENTLY HAD A STUDENT ASK HOW TO

STEP 1 properly use a cone or spool of thread on a sewing
machine. If the thread is on a cone, place the cone
on a thread stand so the thread comes off the top.
G H I J K L M If the thread has a parallel or stack wind, the spool
should be placed on the vertical pin. If the thread is
cross-wound, place the spool on the horizontal pin.
STEP 2 —Natalia Bonner of Piece N Quilt, pieceandquilt.com
DOUBLED RUNNING STITCH DIAGRAM

48 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 SUMMER 2015

Minions is a trademark and copyright of Universal Studios.

Licensed by Universal Studios Licensing, LLC. All rights reserved.

quiltingtreasures.com | 800.876.2756 | An Employee - Owned Company

 5. Repeat Step 4 to sew 6. Continue making embroider and
remaining embroidered B running stitches to close assemble birch log
circle to remaining end of opening. Stitch a second sachet
tube, but leave a 2" opening line of running stitches to Use two strands of
for pine balsam filling. (Do complete oak log sachet. embroidery floss for all
not cut thread.) Fill the log Trim edges of side seam stitches.
with pine balsam until firm. to 1 ⁄ 8".
1. Referring to Pattern C
(Pattern Sheet 3),
backstitch marked bark
details in black floss
DIAGRAM 2 on white felt 21 ⁄ 2 ×8"
rectangle.
4. Pin an embroidered B
circle to one end of Step 3
tube. Using dark brown
floss, sew together tube
and B circle with running
stitches 1 ⁄ 8" from edge
(Diagram 2). Repeat to
make a second line of
running stitches over the
first as in Step 3.

50 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

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2. Referring to Pattern D
(Pattern Sheet 4),
backstitch 11 concentric
circles in dark brown (the
dashed lines), golden brown
(the solid lines), and tan (the
dotted lines) on each tan
felt D circle. Make three
straight stitches in center embroider and dotted lines), green (the for pine balsam filling. (Do
of smallest circles with assemble leaf dashed lines), and gold not cut thread.) Fill the leaf
golden brown floss. sachet (the solid lines) on copper with pine balsam until firm.
Use two strands of felt E leaf.
3. Using white floss, embroidery floss for all 3. Continue making
repeat Embroider and stitches. 2. Pin embroidered running stitches to close
Assemble Oak Log Sachet, copper leaf to green felt opening. Stitch a second
steps 3–6, beginning on 1. Referring to Pattern E E leaf. Using gold floss, line of running stitches to
page 48, to complete birch (Pattern Sheet 4), sew together leaves with complete leaf sachet. Æ
log sachet. backstitch marked leaf running stitches 1 ⁄ 8" from
details in copper (the edge, leaving a 2" opening

ALLPEOPLEQUILT.COM 51

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PHOTOGRAPHER MARTY BALDWIN
 DESIGNER BRIGITTE HEITLAND OF ZEN CHIC
(BRIGITTEHEITLAND.DE)

TOP-NOTCH
diamonds Add strips Log Cabin-style to neutral
diamonds for a simply chic wall hanging.

intermediate materials Measurements include 1 ⁄4" assemble blocks

13 8 ⁄ yard solid medium gray seam allowances. Sew with 1. Trim bottom left-hand
(blocks) right sides together unless corner of a solid medium gray
otherwise stated. 5×42" strip at a 60° angle
178 ⁄ yard solid light gray Press seams in directions (Diagram 1). Cutting parallel
(blocks) indicated by arrows on to just-trimmed edge, cut strip
diagrams. If no direction is into six 5"-wide diamonds.
1 10—18×21" pieces specified, press seam toward Repeat with remaining solid
(fat quarters) assorted black, darker fabric. medium gray 5×42" strip
gray, ivory, and multicolor to cut nine medium gray
prints (blocks) diamonds total.
cut fabrics
11 2 ⁄ yard orange dot (binding) Cut pieces in the following
order. 5" 5"
1 2 ⁄ 8 yards backing fabric
7

From solid medium gray, cut:

1 51×49" batting 1 2—5×42" strips

From solid light gray, cut: 60°

1 Acrylic ruler with 60° angle 1 5—5×42" strips
DIAGRAM 1
marking From assorted black,
gray, ivory, and multicolor 2. Using solid light gray
Finished quilt: 421 ⁄ 2 ×41" prints, cut: 5×42" strips, repeat Step 1 to
1 117—18"-long strips in cut 30 light gray diamonds.
Yardages and cutting widths ranging from
instructions are based on 42" 1" to 13⁄4"
of usable fabric width. From orange dot, cut:
1 5—21 ⁄ 2 ×42" binding strips

ALLPEOPLEQUILT.COM 53
FABRICS are from the Reel Time collection by Zen Chic for Moda Fabrics (modafabrics.com).

5. In same manner, add second

and third rows of strips to diamond
unit, trimming strip ends after each
addition (Diagram 6). Designer
Brigitte Heitland varied strip widths
by row, making sure the combined
width of the rows was at least
23⁄4" including seam allowances.
(Depending on your strip width, you
may need to cut and add a fourth row
of strips.)

DIAGRAM 6

6. Referring to Diagram 7, measure

3. Referring to Diagram 2, align 4. Referring to Diagram 4, align 71 ⁄ 2" from gray diamond edges and
an assorted black, gray, ivory, or Step 3 long trimmed strip with trim diamond unit to make a medium
multicolor print 18"-long strip with adjacent edge of medium gray gray block.
edge of a medium gray diamond; diamond; stitch as before. Press
strip should extend about 1 ⁄4" beyond strip open. Trim strip ends as before 7. Repeat steps 3–6 to make nine
diamond corner. Sew together. Press (Diagram 5) to make a diamond unit. medium gray blocks total.
strip open and trim both strip ends Discard trimmed pieces.
even with diamond edges (Diagram 3). 8. Using solid light gray diamonds,
Reserve long trimmed strip; discard repeat steps 3–6 to make 30 light
short trimmed piece. gray blocks.

1 ⁄ 2"
7

DIAGRAM 4

DIAGRAM 2
71⁄ 2"

DIAGRAM 7

DIAGRAM 5

DIAGRAM 3

54 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 Y E A R S
Classic Colors. Timeless Sophistication.
FOR

Kaffe Fassett, the iconic Rowan fabric and knitwear designer, famed
for his use of color and glorious floral patterns, is celebrating 20 years
of designing fabrics with Rowan! Join us at Fall Quilt Market as we
celebrate him and his remarkable career.

Visit the Discover section of makeitcoats.com for more inspiration.

 QUILT ASSEMBLY DIAGRAM

Cutting line
Stitching line
assemble quilt top 1⁄4"

1. Referring to Quilt Assembly

Diagram, lay out blocks in nine
diagonal rows. Sew together blocks
in each row. Press seams in one
direction, alternating direction with
1⁄4"

each row. Join rows; press seams in

one direction.

2. Referring to solid red lines on

Diagram 8, trim joined rows 1 ⁄4"
beyond block points to complete
quilt top.

DIAGRAM 8

56 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

Choose bright prints to give
the originally subdued palette
punches of color as quilt tester
Laura Boehnke did. To show off
her selected larger-scale prints,
she featured them in the diamonds
and surrounded the diamonds
with skinny strips in medium- and
small-scale prints.

Punch it up! Go to
AllPeopleQuilt.com/153 for
this bold quilt pattern.

FABRICS are from the So Chic collection by Waverly for Quilting

Treasures (quiltingtreasures.com).

finish quilt
1. Layer quilt top, batting, and
backing; baste. (For details, see
Complete Quilt, page 108.)

2. Quilt as desired. Brigitte

machine-quilted a diamond-shape
spiral in each gray diamond and
added chevron motifs in the try this!
assorted print areas (Quilting
Diagram).

3. Bind with orange dot binding

strips. (For details, see Complete
I knew the large open diamonds in Top-Notch Diamonds
Quilt.) Æ
would be a great spot for machine embroidery. To
complement the piecing rather than overpower it, I used
single-color, redwork-inspired designs (the Farm and
Country Quick-Stitch Design Pack in small format from
Embroidery Library; www.emblibrary.com). Using tear-
away stabilizer on the bottom and wash-away stabilizer on
the top, I stitched the designs on 15 oversized tan print
diamonds, then trimmed them to the correct size after
embroidering. I placed the embroidered diamonds in the
quilt rows that included three complete diamonds across.
—Linda Augsburg, editorial content chief

QUILTING DIAGRAM

ALLPEOPLEQUILT.COM 57
 FLASHES OF

brilliance Diamonds form six-pointed stars in a glorious antique quilt.

For this updated method, no templates are required!
QUILT COLLECTOR PAM BUDA OF HEARTSPUN QUILTS (HEARTSPUNQUILTS.COM)

PHOTOGRAPHER MARTY BALDWIN

58 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

advanced
 materials 60° 60° line
1 42 ⁄ 3 yards muslin (blocks, setting
and corner triangles, binding)
81⁄4×42"
1 25— ⁄4-yard pieces or 4 yards total
1

assorted dark prints (blocks)

1 25—1 ⁄ 8 -yard pieces or 21 ⁄ 2 yards DIAGRAM 1

total assorted medium prints
(blocks) 2. Align 60° line of acrylic ruler
with bottom of strip and right-hand DIAGRAM 3

1 25— ⁄ 8 -yard pieces or 2 ⁄ 2 yards

1 1
edge of ruler at top corner of strip
total assorted light prints (blocks) (Diagram 2). Cut along ruler edge to 5. Referring to Diagram 4, cut five
make a setting triangle. setting triangles in half to make 10
1 47⁄ 8 yards backing fabric corner triangles (five left-hand and
five right-hand).
1 84×86" batting

1 Acrylic ruler with 60° angle marking

Finished quilt: 751 ⁄ 2 ×78"

Yardages and cutting instructions

are based on 42" of usable fabric 60° line
DIAGRAM 4
width.
Measurements include 1 ⁄4" seam 6. Using muslin 21 ⁄4 ×42" strips,
DIAGRAM 2
allowances. Sew with right sides repeat steps 1–3 to cut 750
together unless otherwise stated. E triangles (Diagram 5).
Press seams in directions indicated 3. Referring to Diagram 3, rotate
by arrows on diagrams. If no direction ruler and cut a second setting
E 21⁄4×42"
is specified, press seam toward triangle. Continue in same manner
darker fabric. to cut seven setting triangles total DIAGRAM 5
from strip.

cut muslin triangles 4. Using remaining muslin 81 ⁄4 ×42"

and binding strips strips, repeat steps 1–3 to cut 45
From muslin, cut; setting triangles total. (You will need
1 7—81 ⁄ 4 ×42" strips to cut only three triangles from
1 8—21 ⁄ 2 ×42" binding strips one strip.)
1 32—21 ⁄ 4 ×42" strips

1. Trim top left-hand corner of a

muslin 81 ⁄4 ×42" strip at a 60° angle
(Diagram 1). aha!
KEEPING TRACK OF THE BIAS EDGES OF
60º TRIANGLES HAS BEEN A GAME CHANGER.
I recently started marking the straight-grain edges of those
trangles with Wonder Clips so I can see at a glance which edges
are on the bias. While I’m piecing, I make sure the non-bias
edges of the triangles end up on the tops or bottoms of blocks
or rows. My piecing with triangles has been more accurate with
less bias to worry about!
—Sherri McConnell of A Quilting Life (www.aquiltinglife.com)

60 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 It takes flexibility
to a whole new level.
Introducing: the NEW OLFA Folding Cutting Mat

It folds brilliantly. It unfolds seamlessly. The OLFA Folding

Cutting Mat gives you a durable cutting surface to make your
quilting and crafting projects effortless, wherever you are.
If only everything folded this easily. Namaste. Available in 2 portable sizes: 12 x 17 in and 17 x 24 in

olfa.com
OLFA is a registered trademark of OLFA Corporation, Japan, used under license by World Kitchen, LLC. ©2015 World Kitchen, LLC
 cut and assemble blocks 3. Referring to Diagram 9, trim assemble quilt top
The following instructions make one bottom left-hand corner of remaining 1. Referring to Diagram 12, lay
block. Repeat these steps to make D print strip at a 60° angle. Cutting out five blocks, eight muslin setting
25 blocks total. parallel to just-trimmed edge, cut triangles, and one muslin left-hand
strip into six 2"-wide D segments. corner triangle in five diagonal rows.
From one dark print, cut:
1 1—2×21" A strip 2" 2"
From a second dark print, cut:
D
1 4—2×21" D strips

From one light or medium print, cut:

DIAGRAM 9 trim
1 2—2×21" B strips

From a second light or medium 4. Referring to Diagram 10, lay out

print, cut: one of each segment and five muslin
1 3—2×21" C strips E triangles in five rows. Sew together
pieces in each row. Join rows to make
1. Referring to Diagram 6, sew a Sugar Loaf unit. Repeat to make six
together one each of print A–D matching Sugar Loaf units total.
2×21" strips to make a strip set. Trim
bottom left-hand corner of strip set at
a 60° angle. Cutting parallel to just- E

trimmed edge, cut strip set into six

2"-wide A/B/C/D segments. D E

2" 2" C D E

A
B C D E
B

C
A B C D E
D
DIAGRAM 10

DIAGRAM 6
5. Referring to Diagram 11, lay out
2. Referring to Diagram 7 and Sugar Loaf units in two rows. Sew
Diagram 8 for which strips to use and together units in each row. Press
what direction to press, repeat Step 1 seams in opposite directions in each
to make six B/C/D segments and six row. Join rows to make a block. Press
C/D segments. seam in one direction.

2" 2"

C E
D
D C
B
A
DIAGRAM 7

2" 2"

DIAGRAM 8

DIAGRAM 11 DIAGRAM 12

62 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

Sew together pieces in each row.
Press seams toward setting and
corner triangles. Join rows; press
seams in one direction. Add a muslin
right-hand corner triangle to bottom
right-hand corner; press seam toward
my idea
When I first saw the quilt I immediately
triangle. Trim top block through thought—English paper piecing! I started
center to make a row. by hand-piecing six diamonds together
to make the star in the
2. Repeat Step 1 to make five middle and worked my
way outward, adding
rows total.
rounds of diamonds. I
think it will make a nice
3. Lay out rows, rotating every other table topper. It was a
row 180º (Quilt Assembly Diagram). great take-along project.
Join rows to complete quilt top; press —Jody Sanders, editor
seams in one direction.

QUILT ASSEMBLY DIAGRAM

ALLPEOPLEQUILT.COM 63
 finish quilt inside each diamond and triangle and
1. Layer quilt top, batting, and quilted pairs of parallel lines in the
backing; baste. (For details, see setting and corner triangles (Quilting
Complete Quilt, page 108.) Diagram).

2. Quilt as desired. The unknown 3. Bind with muslin binding strips.

quiltmaker outline-quilted by hand (For details, see Complete Quilt.) Á

QUILTING DIAGRAM

64 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 Three blocks and a dark navy star print background make a
celestial-theme table runner. Quilt tester Laura Boehnke added
3
⁄4"-wide and 11 ⁄ 2"-wide borders to create a 20×58" piece that
has a more finished look than the antique quilt. To fit a longer
table, add more blocks in coordinating colors and patterns.

FABRICS are from the La Vie Boheme Cottons collection by Amanda Herring for Riley Blake
Designs (rileyblakedesigns.com).

ALLPEOPLEQUILT.COM 65
DESIGNER LISA DEBEE SCHILLER
 beginner

jack
GIVE WOOL APPLIQUÉ
A GO! A PLEASANT
MIX OF PURPLE,
ORANGE, AND YELLOW-
GREEN GIVES THESE
JACK-O’-LANTERNS THEIR
WHIMSICAL GLOW.

materials 1 Orange buttons: about felted wool in cutting instructions,

1 9×16" piece yellow-green twenty-four 1 ⁄4"-diameter Felted wool doesn’t fray, leaving 1 ⁄4" between
felted wool (appliqués) and four 7⁄ 16"-diameter so there is no need to turn tracings. Cut out each
under the edges of felted fusible-web shape roughly
1 9×28" piece purple felted 1 Lightweight fusible web wool appliqué pieces. 1
⁄ 8" outside traced lines.
wool (appliqués) To felt your own wool,
1 Freezer paper: 17×36" machine-wash it in a hot- 2. Following the
1 9×28" piece orange felted water-wash, cool-rinse manufacturer’s
wool (appliqués) 1 Nonstick pressing sheet cycle with a small amount instructions, press each
(optional) of detergent; machine- fusible-web shape onto
1 17×36" rectangle black dry it on high heat, then designated wool; let cool.
wool (felted or unfelted) Finished table runner: steam-press. Cut out wool shapes on
for appliqué foundation 151 ⁄4 ×341 ⁄ 2" drawn lines. Peel off paper
backings.
⁄ yard backing fabric
1 5 8 Yardages and cutting cut and prepare
instructions are based on appliqués From yellow-green
1 Embroidery floss: 42" of usable fabric width. The appliqué patterns— wool, cut:
orange, purple, yellow- Measurements include 1 ⁄4" A, B, C, E, and F—are on 1 2 of Pattern A

green, and variegated seam allowances unless Pattern Sheets 3 and 4. 1 Several 1 ⁄ 4"-wide strips to
PHOTOGRAPHER MARTY BALDWIN

orange-and-black otherwise indicated. Sew To use fusible web for use for “glowing” part of
with right sides together appliqués, complete the appliqués
1 Baby rickrack: 2 yards unless otherwise stated. following steps. From purple wool, cut:
each of yellow-green 1 2 each of patterns B

and black 1. Lay fusible web, paper and F

side up, over the appliqué 1 12 of Pattern E

patterns. Use a pencil to From orange wool, cut:

trace each pattern the 1 2 of Pattern C

number of times indicated 1 14 of Pattern E

ALLPEOPLEQUILT.COM 67
 Use narrow strips
of yellow-green wool
to create glowing
eyes.
appliqué table 5. With a strand of purple
runner top floss, buttonhole-stitch
1. Referring to Jack- around C pumpkin and
o’-Lantern Appliqué pumpkin eyes, nose, and
Placement Diagram, mouth openings, catching
position a purple wool adjacent yellow-green wool
B shadow on a yellow-green strips in the stitching to
wool A base; top with an secure them. With a strand
orange wool C pumpkin. Do of yellow-green floss,
not fuse pieces in place yet. buttonhole-stitch around
remaining edges of yellow-
2. Referring to Quarter- green wool 1 ⁄4"-wide strips
Inch Strip Placement to make a jack-o’-lantern
Diagram on Pattern appliqué.
Sheet 2, cut yellow-green
wool 1 ⁄4"-wide strips into
short pieces and tuck into C B
orange pumpkin eyes, nose,
and mouth openings to A

make those areas appear

to glow.

3. Place layered appliqué BUTTONHOLE STITCH

pieces atop a scrap DIAGRAM

of freezer paper or a 6. Repeat steps 1–5 to

nonstick pressing sheet make a second jack-o’-
to avoid getting fusible lantern appliqué.
web on your ironing board.
Following manufacturer’s
1⁄4"-wide
instructions, fuse layers A
B strips
together. (You may need
cut and prepare through both layers of to use steam to penetrate
C
appliqué foundation freezer paper on traced line through layers.)
Patterns D1 and D2 are on to make a freezer-paper
Pattern Sheets 2 and 3. template. 4. Using one strand of
orange floss, buttonhole-
1. Fold a 17×36" sheet 2. Using a hot dry iron, stitch around B shadow.
of freezer paper in half press freezer-paper To buttonhole-stitch, pull
lengthwise and crease; template, shiny side down, needle up at A (Buttonhole JACK-O’-LANTERN
unfold. Lay freezer paper, onto black wool 17×36" Stitch Diagram). Form APPLIQUÉ PLACEMENT DIAGRAM
shiny side down, over rectangle; let cool. a reverse L shape with
patterns D1 and D2 thread, and hold angle of
with crease on dotted 3. Hand-baste right along L shape in place with your
pattern edge. Use a edges of freezer-paper thumb. Push needle down
pencil to trace patterns template to transfer shape at B and come up at C to
D1, D2, and D1 reversed to black wool rectangle and secure stitch. Continue
on half of freezer paper. make appliqué foundation. in same manner around
Refold freezer paper in Carefully peel off freezer entire shape. Stitches
half lengthwise, then cut paper and discard. should be about 1 ⁄ 8" wide
and 1 ⁄ 8" long.

68 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 APQS L I F E T I M E W A R R A N T Y

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he considered two things: ease of use and the warranty.
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and labor, he knew he was in good hands.
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 7. Referring to Table Runner
Appliqué Placement Diagram,
arrange purple and orange wool
E and F triangles on black wool
appliqué foundation, 1 ⁄4″ from the

strand of floss in the contrasting

color (purple or orange).

Twist together 8. Arrange jack-o’-lanterns on

black wool appliqué foundation,
two lengths of 31 ⁄ 2" from long edge of purple F
rickrack for triangles (Table Runner Appliqué
adorable DIY trim. Placement Diagram). Fuse jack-o’-
lanterns in place. Using a strand
of variegated orange-and-black
floss, featherstitch around edges
of each jack-o’-lantern.
To featherstitch, pull your
needle up along seam line at A
(Featherstitch Diagram), form a V
shape with the floss, and hold the
angle in place with your thumb.
A Push the needle down at B, about
B 3
⁄ 16″ to right of A. Come up at C,
D about 1 ⁄4" below A, to secure the
E stitch. For the next stitch, form a
F V shape with floss, insert needle
G
at D (about 3⁄ 16″ to left of C), and
bring it out along seam line at E
to secure stitch. Continue in the
FEATHERSTITCH
DIAGRAM
same manner.

E E E E
E
D
E

E
E E E E

TABLE RUNNER APPLIQUÉ PLACEMENT DIAGRAM

70 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 The Winning Choice

9. Twist yellow-green and black ®

rickrack together and hand-stitch
in place along inside edges of
triangle appliqués.

10. Trim appliquéd foundation

1⁄4"
1
⁄4" beyond basted lines to make
table runner top (Diagram 1).

finish table runner

From backing fabric, cut:
1 2—9×36" rectangles

1. Using a 1 ⁄ 2" seam, sew

together backing fabric 9×36"
rectangles, leaving an opening in
DIAGRAM 1
the middle of the seam for turning
(Diagram 2). Press open to make
backing rectangle.

Open

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ALLPEOPLEQUILT.COM 71
 2. With right sides together, layer
table runner top and backing
rectangle. Sew edges together,
stitching on top of or barely inside the
Trim and taper
table runner top basting (Diagram 3). outside points

SAMPLER 3. Trim away excess backing, leaving

SWEEPSTAKES a 1 ⁄4" seam allowance. Carefully
trim seam allowances so they taper
to almost nothing at each outside
point (Diagram 4). Clip into the seam Clip into
inside points
allowance right up to, but not through,
the stitching at each inside point.

4. Turn right side out through opening

in backing. Carefully poke out each
point with a bamboo skewer or knitting
DIAGRAM 4
needle. Press flat, pressing from the
backing side to avoid scorching the
wool. Slip-stitch opening closed and
add buttons (see photo, page 66) to
complete table runner. x

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Enter for the chance to
win an AccuQuilt GO!
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DIAGRAM 3

aha!
Visit
AllPeopleQuilt.com/go
to enter
No purchase necessary to enter or win. I TEACH FUSIBLE APPLIQUÉ BY MACHINE A LOT.
Subject to Oficial Rules at www.facebook. Many of my students’ lightbulb moments happen when I
com/apqmagazine. The GO! Sampler share tips for some aspect of fusible appliqué that has
Sweepstakes begins at 9:00 a.m. C.T. on
not worked well for them. For instance, how do you keep
08/01/15 and ends at 11:59 p.m. C.T.
on 08/31/15. Open to legal residents of from getting those pesky eyelashes around the edge of an
the 50 United States, and the District of appliqué? This is caused by nicking the appliqué shape with
Columbia, 18 years or older. Limit one (1) the needle as you are stitching around it. Move a tiny bit
entry per person and per email address
using only one (1) Facebook account. to the outside of the shape so you don’t through the edge.
Void where prohibited. Sponsor: Meredith —Pat Sloan, patsloan.com
Corporation. This sweepstakes is in no
way sponsored, endorsed, administered
by, or associated with Facebook. You are
providing your information to sponsor and 72 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015
not to Facebook.
 Fall-hue fabrics transform
jack-o’-lanterns into harvest
pumpkins on quilt tester
Laura Boehnke’s cotton
version of Happy Jack.
Laura didn’t cut out the
facial feature openings
of Pattern C. Instead, she
stitched curved, thick lines in
heavyweight aqua thread to
give each appliqué its plump
pumpkin shape, using the
curved top and bottom edges
of Pattern C as a guide.

Deb Strain for Moda Fabrics (modafabrics.com).

ALLPEOPLEQUILT.COM 73
 beginner DESIGNED BY THE AGF STUDIO FOR ART GALLERY
FABRICS (ARTGALLERYFABRICS.COM)
MACHINE QUILTED BY ONCE UPON A QUILT

Combine warm and cool

colors in hues reminiscent
of autumn sunsets in
easy-to-make strip sets.

materials cut fabrics

1 17⁄ 8 yards navy blue print (segments, Cut pieces in the following order.
sashing squares, binding)
From navy blue print, cut:
1 4—1 ⁄ 2 -yard pieces assorted prints 1 23—21 ⁄ 2 ×42" strips

(zigzag designs in quilt top) 1 16—21 ⁄ 2 " sashing squares

From each of the four prints, cut:

1 5—3⁄ 8 -yard pieces assorted solids 1 2—61 ⁄ 2 ×42" strips

(diamond designs in quilt top) From each of two solids (on left and
right edges of quilt; light blue and
1 41 ⁄ 8 yards backing fabric red in the featured quilt), cut:
1 8—21 ⁄ 2 ×81 ⁄ 2 " strips

1 71 ×73" batting 1 8—21 ⁄ 2 ×61 ⁄ 2 " strips

1 16—21 ⁄ 2 " squares

Finished quilt: 621 ⁄ 2 ×641 ⁄ 2" From each of the three remaining
solids (turquoise, yellow, and yellow-
Yardages and cutting instructions are green in the featured quilt), cut:
based on 42" of usable fabric width. 1 8—21 ⁄ 2 ×101 ⁄ 2 " strips

Measurements include 1 ⁄4" seam 1 8—21 ⁄ 2 ×61 ⁄ 2 " strips

PHOTOGRAPHER JASON DONNELLY

allowances. Sew with right sides together 1 8—21 ⁄ 2 " squares

unless otherwise stated.

K it To order a kit of fabrics

for quilt top and binding
for $68.98 plus shipping,
contact Fat Quarter Shop,
fatquartershop.com;
866/826-2069.

ALLPEOPLEQUILT.COM 75
 FABRICS are from the Wild & Free collection by Maureen Cracknell and the Pure Elements
solids collection, both for Art Gallery Fabrics (artgalleryfabrics.com).

make segments 2. Repeat Step 1 with remaining 21⁄ 2"

1. Aligning long edges, sew navy three assorted prints to make
blue print 21 ⁄ 2 ×42" strips to opposite 128—21 ⁄ 2"-wide A segments total
edges of a print 61 ⁄ 2 ×42" strip to (32 in each print).
make Strip Set A (Diagram 1). Press
seams toward navy blue print. Repeat
to make a matching strip set. Cut
strip sets into thirty-two 21 ⁄ 2"-wide
A segments. STRIP SET A
DIAGRAM 1

76 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

aha!
MY AHA MOMENT WAS REALIZING THAT
DECISIONS
THE THREAD—THE SEAM LINE ITSELF—is
part of the 1 ⁄4" seam allowance. This fraction of
an inch is a subtle measurement but makes a huge
difference when compounded across the face of
a quilt. Once you know that the thread is part of
the seam allowance it changes how you see the
1
⁄4" seam allowance as you’re sewing and how you
measure it for accuracy after sewing. TL2010Q
—Becky Goldsmith of Piece O’ Cake Designs,
pieceocake.com

MY FAVORITE TIP IT SEEMS NOT MANY

PEOPLE KNOW ABOUT IS using a knotless
start when sewing binding. I fold a length of TL2200QVP-S
thread in half, thread the folded end through the
needle, and pull the folded end down to where the
knotted end of the thread would normally be, with
the tails up closer to the eye. When I start sewing,
I pull the thread through until the folded end is
close to the fabric and then I thread the needle
through the fold/loop and pull it tight. This method
uses a doubled thread so the stitches are very
sturdy—I can sew without fear of a knot popping
out or the thread breaking. TL2200QVP
—Elizabeth Hartman, ohfransson.com

I LOVE APPLIQUÉING CIRCLES and these

QD-BH&G © 2015 Juki America, Inc. All Rights Reserved. Juki is a Registered Trademark of Juki America, Inc.

two products have changed my life—Karen Kay

Find out
Buckley’s Perfect Circles (karenkaybuckley.com), more at
which are heat-resistant plastic discs in various jukihome.com
or any
sizes, and Flatter smoothing spray by Soak Authorized
(soakwash.com). To create beautiful circles for Dealer in your
area.
appliqué, spray your fabric circles with Flatter,
then gather them up around the appropriate-size
Perfect Circle and press for a fabulous crisp edge.
—Jen Kingwell, jenkingwelldesigns.blogspot.com

APLIQUICK TOOLS ARE ONE OF THE

MOST EXCITING NEW PRODUCTS in the
marketplace. When combined with appliqué paper
and a fabric glue pen, Apliquick rods make even
the smallest pieces of appliqué easy to do for any
JukiHomeSewing
level of ability quilter.
®
—Lynette Anderson, lynetteandersondesigns.com.au
To order, visit littlequiltstore.com.au/shop/
category/apliquick-tools/
Home is where your Art is
Juki America, Inc. • 8500 NW 17th St. Miami, FL 33126
ALLPEOPLEQUILT.COM 77
 21⁄2" A 21⁄ 2×101⁄ 2" B A 21⁄ 2×101⁄ 2" A 21⁄2"
sq. sq.

21⁄2" 21⁄2" A 21⁄ 2×61⁄ 2" A 21⁄2" A 21⁄ 2×61⁄ 2" A 21⁄2" 21⁄2"
sq. sq. sq. sq. sq.

21⁄ 2×61⁄ 2" A 21⁄2" A 21⁄ 2×61⁄ 2" A 21⁄2" A 21⁄ 2×61⁄ 2"
sq. sq.

21⁄ 2×81⁄ 2" A B 21⁄ 2×101⁄ 2" A B 21⁄ 2×81⁄ 2"

21⁄ 2×81⁄ 2" A B 21⁄ 2×101⁄ 2" A B 21⁄ 2×81⁄ 2"

21⁄ 2×61⁄ 2" A 21⁄2" A 21⁄ 2×61⁄ 2" A 21⁄2" A 21⁄ 2×61⁄ 2"
sq. sq.

21⁄2" 21⁄2" A 21⁄ 2×61⁄ 2" A 21⁄2" A 21⁄ 2×61⁄ 2" A 21⁄2" 21⁄2"
sq. sq. sq. sq. sq.

21⁄2" A 21⁄ 2×101⁄ 2" B A 21⁄ 2×101⁄ 2" A 21⁄2"

sq. sq.

QUILT ASSEMBLY DIAGRAM

3. Remove a navy blue print square assemble quilt top 2. Sew together pieces in each row;
from an A segment to make Segment B 1. Referring to Quilt Assembly press all seams toward navy blue print
(Diagram 2). Repeat, making 16 Diagram, lay out A and B segments, squares. Join rows to complete quilt
B segments total from one print (print navy blue print 21 ⁄ 2" sashing squares, top; press seams in one direction.
used in second zigzag) and eight and all solid strips and squares in 32
B segments total horizontal rows.
from a second
print (print used SEGMENT B
in fourth zigzag). DIAGRAM 2

78 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 finish quilt
1. Layer quilt top, batting, and
backing; baste. (For details, see
Complete Quilt, page 108.)

2. Quilt as desired. The featured quilt

is stitched with a horizontal wave
design (Quilting Diagram).

3. Bind with remaining navy blue

print 21 ⁄ 2 ×42" strips. (For details, see
QUILTING DIAGRAM
Complete Quilt.) Æ

OPTION
The original Sunset Strips alternates solids and prints
in the zigzags and diamonds. For her variation, quilt
tester Laura Boehnke used all prints but played with
value in those prints, using lights for the zigzags and
medium and dark prints for the diamonds.

FABRICS are from the Lady Bug Blooms collection by Anne

Bollman of Anne Was Here for Clothworks (clothworks.com).

Pull out the red carpet! Get the

pattern for this red-and-cream
quilt at AllPeopleQuilt.com/154.

80 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 product information resource guide
Have you found exactly the quilting products you need? You will, when you send for
these useful ideas and FREE (unless noted) product information from the advertisers of
Better Homes and Gardens® American Patchwork & Quilting® magazine. Complete the
postage-paid card or visit us online at www.apqinfotogo.com and select all the items
that interest you. Information is either mailed or emailed directly to you.

books/magazines long arm machines sewing machines

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*INFORMATION IS ONLY AVAILABLE VIA EMAIL

sewing patterns and tips for beginners
BASICS
101

Sewing Basics First Projects Sewing Projects Fabric & Color Make it Yours Great Gifts Mend & Repair Q&A

Want to learn
to sew but
don’t know
where to start?
Visit howtosew.com
for free projects,
sewing basics, gift ideas
and more!

www.howtosew.com
Find us on facebook! www.facebook.com/howtosewblog
piece &
PLAY
WRITTEN BY JEAN WELLS (STITCHINPOST.COM)

Designer Jean Wells

teaches you how to
expand your piecing,
plus offers tips for
playing with color!

SOLID FABRICS are from the Kona Cotton solids collection from Robert Kaufman Fabrics (robertkaufman.com).

ALLPEOPLEQUILT.COM 83
 LESSON 5:
LANDSCAPE-STYLE PIECING
I developed the landscape style of piecing to capture
the feeling of being outdoors. It refers to any of my
compositions that are horizontal in nature. This lesson
builds on the techniques I described in the first three
lessons of “Piece & Play” (American Patchwork &
Quilting, February, April, and June 2015).

using seasonal inspiration When looking at what I composed (Photo A), pay
Seasonal palettes can be inspiration for color choices. attention to the proportions of each color. In a good
Use a nature photo you’ve taken or one you find in a composition you want to make sure the colors do not
magazine or online (Pinterest is great for this!). The fight each other or vie for attention. To avoid this, make
changing terrain surrounding my home in central Oregon one set of color tones more dominant, one secondary,
provided the inspiration for the landscape-style piecing and one more of an accent or punch.
I did for a journal cover (page 83). In winter, the natural
vegetation turns to neutral tones, except for the native
evergreens. So for this lesson, I wanted to re-create a A
similar subtle grayed palette interrupted with sudden
bursts of color.
I selected mostly gray and white solids for the
background. During the fabric auditioning stage,
I searched my palette box for solid bits of color to
enliven this monochromatic landscape. I chose to
represent those unexpected pops of color that peek
through the subdued ground colors with soft gold,
almost-olive green, and purple.

COLOR CUES: Secondary colors (green,

orange, and violet), like primaries (blue, yellow,
and red), are evenly spaced around the color
wheel. A secondary color results when two create a landscape-pieced journal cover
primary colors are mixed (i.e. blue and yellow
For this landscape-piecing lesson, I combined the
make green). I sometimes use the colors that form
techniques of freehand curved piecing (Lesson 1),
a triangle on the color wheel as a starting point for
auditioning fabrics. The secret for using this triadic itty-bitty piecing (Lesson 2), and skinny insert strips
color scheme is to use unequal amounts of your three (Lesson 3). For a journal, I used a 71 ⁄ 2 ×93⁄4" moleskin
chosen colors. In this lesson, yellow-golds dominate book that has unlined pages. (I prefer unlined pages
the scheme that plays against the gray and off-white because I like to sketch and attach pictures and/or
background. A smaller amount of green plays second fabric swatches.)
fiddle to the yellow-golds. And a dash of solid purple
adds the needed sizzle. materials
1 Assorted fabrics from palette box
⁄ yard lining fabric
1 1 2

1 1 ⁄ 2 yard white cotton flannel

1 Hard- or soft-bound paper journal

84 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 #millionp
illowcase
challeng
e

A SMILE STORY
Pile on the Smiles Valorie Schmitt started Cases for
For people who love to sew or quilt, it’s so easy to lift spirits Comfort in 2009 in an effort to pay
forward all the kindnesses shown to
and bring smiles to hospitalized kids, homeless families, and her family while her son, Mitchell, was
others in need. Simply join American Patchwork & Quilting® fighting cancer. To date, Cases for
Comfort has donated more than 3,000
magazine’s 1 Million Pillowcase Challenge. Make one, two, or
pillowcases to kids battling cancer
more pillowcases. You’ll create just as many smiles. or other life-threatening diseases.
Participants sew themed pillowcases for
holidays, for birthdays, and in celebration
Join the movement today. Find complete details, download
of transplants, the end of treatment, and
free patterns, and be sure to record your donations online at: release days. Valorie says, “Our hope is
that it helps them forget they are sick, if
AllPeopleQuilt.com/millionpillowcases even for a moment, and lets them know
that we are praying for them.”
 C

Add
1" to
journal
height.

Add 7" to entire

journal width.
B

1. To determine the size your landscape-pieced

rectangle needs to be to cover your journal, measure COLOR CUES: Adding visual texture
the height of the journal and add 1" (Photo B). Then As I worked through the color placement using only
measure the distance from the right-hand edge of solids, I felt something was missing. So I added
the journal front around to the right-hand edge of the visual texture with a gold-and-gray circular print and
journal back, and add 7". Use these measurements to an off-white-and-gray leaf print. The prints bring
cut lining and flannel rectangles.
feeling and depth to this composition (with the
circular print, especially, creating movement) and
help to carry through the mood of the inspiration
2. Pull 8–10 strips from your palette box. Cut them in landscape. (The leaf print reminded me of clumps of
varying widths from 2" to 21 ⁄ 2" and a few inches longer snow lying on the gray sagebrush outside my door.)
than the Step 1 width measurement. If you intend to
repeat a single fabric in the design, cut it into two or
three strips. 4. Using all the techniques learned in previous issues
this year (freehand curved piecing, itty-bitty piecing,
3. To compose your design, lay out trimmed strips and skinny insert strips), create a landscape-pieced
horizontally. Overlap the strips, letting only the amount rectangle (Photo D). For a refresher on freehand
of color show that you want in the finished piece curved piecing, watch a video at AllPeopleQuilt.com/
(Photo C). Pay attention to the proportion of colors. In learnalong. To create interest, vary the width of the
my composition, notice the itty-bitty piecing toward the strips and piece different colors together.
top that showcases all the fabrics in small amounts.
Then notice that the strip widths vary so that the grays 5. With wrong sides together, place the landscape-
play a major role and purple, gold, and green are more pieced rectangle on top of the flannel rectangle; pin
like accent colors. For me the white is a bit of light that together. Machine-stitch through the layers to create
makes it all sing. Work with the colors until you are a quilted look. This is an opportunity to repeat the
satisfied. piecing lines and create unity in the design.

share it!
Show us what you made MORE KNOW-HOW: Jean Wells
We’d love to see how you’re using this technique—whether you are expands on intuitive quilting design
and using color in two of her books,
creating the journal cover or another project. Share photos of your
Journey to Inspired Art Quilting (C&T
finished projects on Facebook and Instagram with #APQlearnalong Publishing; 2012) and Intuitive Color &
or e-mail jean@stitchinpost.com. To see what the staff members Design (C&T Publishing; 2009).
Find out more about Jean at
at American Patchwork & Quilting® magazine and Stitchin’ Post
stitchinpost.com.
did with this technique, visit AllPeopleQuilt.com/learnalong and
stitchinpostinsisters.typepad.com.
6. Square up the quilted pieced rectangle according
to the Step 1 measurements. Press flat from the
wrong side.

7. With right sides together and using a scant 1 ⁄ 2" seam,

sew together the pieced rectangle and lining rectangle,
leaving a 3" opening in one edge. Trim across corners,
then turn right side out through opening. Press flat and
hand-stitch the opening closed.

8. Open the journal and center it on the lining side of

the pieced rectangle. Close the journal and fold the
excess pieced rectangle to the insides of the front and
back covers; pin at the top and bottom. Hand-stitch the
pinned edges together or topstitch close to the edges to
complete the journal cover (Photo E). Æ

Supplies
Get the 7½ ×9¾" moleskin unlined journal
($6.95 plus shipping) and a 12-pack of fat quarters in
the two prints used in author Jean Wells’ journal cover
($40 plus shipping) from her quilt shop, Stitchin’ Post, at
stitchinpost.com.

ALLPEOPLEQUILT.COM 87
 DESIGNER DARLENE ZIMMERMAN OF NEEDLINGS
(FEEDSACKLADY.COM)
MACHINE QUILTER BARB SIMONS OF
STONE RIDGE QUILTING

Traditional Joseph's Coat

blocks create the look
of a field of multicolor
flowers in the fall.

materials
1 4 yards tan print flannel (A pieces)

1 21—18×21" pieces (fat quarters) assorted

dark print flannels (B pieces)

1 1 2⁄ yard black felted wool (circle appliqués)

1 2 3⁄ yard red print flannel (binding)

1 37⁄ 8 yards backing fabric

1 68×76" batting

1 Freezer paper (optional)

1 Perle cotton No. 8: medium brown

1 Joseph’s Coat template set by Darlene

Zimmerman for EZ Quilting (simplicity.com)
PHOTOGRAPHER MARTY BALDWIN

(optional)

Finished quilt: 60×68"

Yardages and cutting instructions are based on

42" of usable flannel and wool fabric width.
Measurements include 1 ⁄4" seam allowances. Sew
with right sides together unless otherwise stated.

ALLPEOPLEQUILT.COM 89
 Yes, you can sew curves with lannel! Be sure to
O cut fabrics From tan print
use a high-quality flannel. Cut pieces in the following flannel, cut:
order. 1 190 of Pattern A

If you are using the Joseph’s Coat template

O Patterns are on From each assorted dark
set (below), use a 45-millimeter rotary cutter to cut Pattern Sheet 1. To make print flannel, cut:
around the shapes (a 28-millimeter cutter is too small). templates of patterns A 1 15 of Pattern B (you will

and B, see Make and Use use 304 of the 315 total
To make the best use of your fabric when cutting
O Templates, page 106. (If pieces cut)
A pieces, irst cut 6×42" strips from tan print you are using the Joseph’s From black wool, cut:
lannel. Cut nine A pieces across each strip, rotating Coat template set, follow 1 115 of Pattern C

every other A piece 180º to nest the pieces together. the manufacturer’s From red print
instructions to cut A and flannel, cut:
Keep templates from slipping while you cut
O B shapes. If you wish to 1 Enough 11 ⁄ 2 "-wide bias

by backing them with a few 1" squares of clear use the circle shape from strips to total 300" in
gridded bandage tape from a pharmacy. the template set instead length for binding (For
of Pattern C, do not details, see Cut Bias
Always sew with the tan print lannel A piece on
O include the circle seam Strips, page 106.)
top. Normally the largest piece (in this case, the A piece) allowances.)
would be on the bottom. However, the triangle shape of To use freezer paper
the A piece more easily curves to it the melon shape of to cut black wool C circle assemble
the B piece when you sew with the A piece on top. appliqués, complete the center units
following steps. 1. Layer a tan print flannel
There is no need to pin. You may want to sew a
O A piece atop an assorted
few A/B (petal) units for practice before beginning the 1. Lay freezer paper, shiny dark print flannel B piece,
project. If your A piece is too long, you’ve stretched it side down, over Pattern C. aligning the top of one “leg”
instead of easing it around the curve. You may wish to Use a pencil to trace the of the A piece with the top
pin (at ends and center) the irst few units you assemble pattern 115 times, leaving of the B piece (Diagram 1).
to keep yourself on track. 1
⁄4" between tracings. Sew pieces together,
Cut out freezer-paper holding the raw edges
OMaintain an accurate 1⁄ 4" seam. Accurate seam shapes roughly 1 ⁄ 8" outside together just in front of
allowances were added to the templates, and sewing a drawn lines. the needle and easing the
wider or narrower seam will distort the pattern. tan print A piece along the
2. Using a hot dry iron, curve of the dark print B
OFinger-press seams. An iron can stretch and distort press each freezer-paper piece as you stitch. Finger-
the pieces. Instead, lay the units right side up on a hard shape, shiny side down, press seam toward B piece
surface. Firmly pull your ingernail across the seam, onto black wool; let cool. to make a petal unit; do not
pressing it in the direction you want it to go. Later you Cut out wool shapes on iron. (See “Designer Tips,”
can press the seam with an iron; use an up-and-down drawn lines and peel off left, for designer Darlene
motion rather than sliding the iron. freezer paper. Zimmerman’s insights on
Don’t use steam until the quilt top stitching and pressing the
is inished. pieces.) Repeat to make
174 petal units total.
Press each lower unit lat
O

before adding the C centers.

O Add the centers as you A B A

complete each unit or row.
It’s much easier to appliqué the B

smaller units. DIAGRAM 1

90 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 Featured Fabrics
Visit your local quilt shop for these
featured fabrics! Free patterns available at
#millionpillowcasechallenge
allpeoplequilt.com/millionpillowcases

1 2 3 4

5 6 7 8

9 10 11 12

Paintbrush Studio Timeless Treasures

1. Briarclif 7. Traffic Jam Scenic, Crazy Stripe, Sky
2. Vera Cruz by George McCartney, Pin Dot Basic, Hatch Basic
8. Let’s Get Nutty, Sketch Basic
Michael Miller Fabrics
3. Sodalicious by Emily Herrick Moda Fabrics
4. Birds and the Bees by Tamara Kate 9. Varsity by Sweetwater
10. Meadowbloom by April Rosenthal of Prairie
Grass Patterns
Robert Kaufman Fabrics
5. Whatever the Weather
by The Red Thread Northcott
6. Shimmer by Jennifer Sampou 11. Artisan Spirit Painter’s Palette
by Deborah Edwards
12. Little Mermaids and coordinating Toscana
by Deborah Edwards

View these fabrics at AllPeopleQuilt.com/featuredfabrics

 3. Referring to Diagram 5, as before. Appliqué four
sew together five appliquéd black wool C circles over
flower units and eight openings in joined units to
remaining petal units. make Row A (Diagram 6).
Finger-press and iron Repeat to make three A
rows total.

DIAGRAM 2

2. Referring to Diagram 2 2. Center a black wool

and stitching each seam C circle over opening in a
with the tan print A piece flower unit (Diagram 4).
on top, sew together six Using medium brown perle
petal units to make a center cotton, blanket-stitch
unit. Finger-press seams as around circle to secure in
before. Repeat to make 25 place. Repeat to appliqué
center units total. C circles on remaining C
flower units.

assemble A rows
1. Referring to Diagram 3,
join six assorted dark print
flannel B pieces to outer C
edges of a center unit to
make a flower unit. Finger- C

press seams toward B

pieces. Gently press with a
dry iron in an up-and-down DIAGRAM 4
motion. (Note: If the unit
doesn’t lay flat in the center, To blanket-stitch, pull
the seam allowances at the needle up at A (Blanket
ends of the A and B pieces Stitch Diagram), form
may be too narrow; if so, a reverse L shape with C

simply remove stitches and thread, and hold angle of

sew again.) Repeat to make L shape in place with your
15 flower units total. thumb. Push needle down
at B and come up at C to
secure stitch. Continue in
same manner.

A C
B

DIAGRAM 3

BLANKET STITCH ROW A

DIAGRAM DIAGRAM 5 DIAGRAM 6

92 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 Purcha
& Prin se
t!
Visit AP
more th QShop.com
sewing an 100 quilti to find
pattern ng and
Buy, do
wn s.
feature load, and prin
Pais ley Parade d in pre t hard-
Quilting ® vious is to-find
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Bac k to Sch ool Army Stars

En cha nte d Sta rs All For Fall M ak ing th e Cu t

e
W ild G oo se C h as

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 To order a kit of fabrics for quilt top assemble B rows
K it and binding ($125.95 plus shipping; 1. Sew together a tan print B
Minnesota residents, $135.24 plus flannel A piece and two A
shipping) or a kit of fabrics for quilt top,
assorted dark print flannel B
binding, and flannel backing ($175.95 plus
B pieces to make a double
shipping; Minnesota residents, $188.93
petal unit (Diagram 7). Finger- DIAGRAM 7
plus shipping), contact Quilt Haven on Main;
320/587-8341 or 888/843-8215; press seams toward B pieces;
e-mail: info@quilthavenonmain.com. do not iron. Repeat to make
16 double petal units total.

94 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 digital issues
2. Referring to Diagram 8,
sew together four assorted
before, being careful not
to stretch bias edges.
available!
dark print flannel B pieces, Appliqué nine black wool
five center units, and C circles over openings in
eight double petal units. joined units to make Row B
Finger-press and iron as (Diagram 9).

3. Repeat Step 2 to make

a second B row.

C
on-sale
8/18/15
C

DIAGRAM 8
ROW B
DIAGRAM 9
Find them here
ALLPEOPLEQUILT.COM 95 bhgspecials.zinio.com
 Row A Row B Row A Row B Row A

assemble quilt top

1. Referring to Quilt
Assembly Diagram,
alternate A and B rows.
Sew together the left-hand
A and B rows, stitching with
B row on top, to make left-
hand section. Finger-press
seam toward the B pieces,
then iron gently. Repeat
with the right-hand B and
A rows to make right-hand
section.

2. Referring to circles
with dashed red lines in
Quilt Assembly Diagram,
appliqué black wool C
circles over openings
in left- and right-hand
QUILT ASSEMBLY DIAGRAM sections.

3. Join left- and right-hand

sections to opposite edges
of center A row; finger-
press and iron as before.

4. Referring to circles
with dashed red lines in
Diagram 10, appliqué
black wool C circles over
openings between rows
and over openings in outer
edges of rows to complete
quilt top. Outer circle
appliqués should extend
past quilt top edges; they
will be trimmed after
binding is added.

DIAGRAM 10
96 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015
 Create a lighter version of
this quilt by swapping flannel
for cotton. Quilt tester Laura
Boehnke wanted to give this
smaller quilt a more airy feel, so
she used cool colors paired with
a creamy background in cotton
fabrics. Laura fussy-cut many
of the B melon pieces, centering
them over stripes.

FABRICS are from the Historical Stripes collection by Paula Barnes

and the Past Endearments by Judie Rothermel, both for Marcus Fabrics
(marcusfabrics.com).

finish quilt 4. Referring to Complete foot and pivot layers. Take a stitch or two to
1. Layer quilt top, batting, Quilt, join red print flannel Stitch binding along next secure each miter. Stitch
and backing; baste. (For 11⁄2"-wide bias strips to curved edge. Continue in binding in place up to next
details, see Complete Quilt, make one long binding strip. same manner around quilt V and continue in same
page 108.) Cut one end of binding strip top, ending with a small manner. ■
diagonally and fold under; diagonal overlap of binding.
2. Quilt as desired. Barb this will be the starting end.
Simons machine-quilted 6. Carefully trim backing,
curved lines in the tan 5. Beginning at top of one batting, and outer black
print flannel A pieces curved edge, place binding wool C circles even with
and stitched in the ditch strip against right side of quilt top edges. Fold
between the A and B pieces quilt top, aligning binding binding raw edge under
(Quilting Diagram). strip’s raw edge with raw 1
⁄4"; turn folded edge to
edge of quilt top. Starting back. Hand-stitch binding
3. Machine-baste a scant 2" from folded end of strip, to backing fabric, covering
1
⁄4" from edge of quilt top to sew through all layers, machine stitching. To make
secure layers and prevent stopping at point of first a miter at each V, hand-
shifting. V between two dark print stitch up to V and work QUILTING DIAGRAM
flannel B pieces. With inside corners to create a
needle down, lift presser small pleat on each side.

ALLPEOPLEQUILT.COM 97
 intermediate

LINKINGTHE

Decorate a single spot

in your house with a
wall hanging in two
colorways—one for
autumn and one for the
winter holidays.
DESIGNER ANNEMARIE S. YOHNK OF
QUILTS REMEMBERED (QUILTSREMEMBERED.COM)

S
ER IO
BLACK AND GOLD
V

1
N

materials cut fabrics

1 34 ⁄ yard cream print (blocks, setting squares) Cut pieces in the following order.

1 5 8⁄ yard gold print (blocks, border) From cream print, cut:

1 12—51 ⁄ 2 " setting squares

1 13—11 ⁄ 2 ×21" strips assorted black prints (blocks) 1 52—11 ⁄ 2 ×31 ⁄ 2 " rectangles

1 34—17⁄ 8 " squares

1 3 8⁄ yard black-and-gold print (binding) From gold print, cut:

1 4—31 ⁄ 2 ×251 ⁄ 2 " border strips

1 11 ⁄ 8 yards backing fabric 1 34—17⁄ 8 " squares

From each assorted black print, cut:

1 40" square batting 1 11—11 ⁄ 2 " squares (You will use 137 of

the 143 total cut.)

Finished quilt: 311 ⁄ 2" square From black-and-gold print, cut:
PHOTOGRAPHER JASON DONNELLY

Finished block: 5" square 1 4—21 ⁄ 2 ×42" binding stripss

Yardages and cutting instructions are based

on 42" of usable fabric width.
Measurements include 1 ⁄4" seam allowances. Sew
with right sides together unless otherwise stated.
Press seams in directions indicated by arrows on
diagrams. If no direction is specified, press seam
toward darker fabric.

ALLPEOPLEQUILT.COM 99
 assemble blocks and 4. Referring to Diagram 3, lay out 5. Using five remaining assorted
border star units a star unit, four black print 11 ⁄ 2" (not matching) black print 11 ⁄ 2"
1. Use a pencil to mark a diagonal squares that match the black print squares, repeat Step 3 to make
line on wrong side of each cream print in the star unit, and four cream print a border star unit. Repeat to make
17⁄ 8" square. 11 ⁄ 2 ×31 ⁄ 2" rectangles in three rows. four border star units total.
Sew together pieces in each row.
2. Layer a marked cream print square Join rows to make a block. The block
atop a gold print 17⁄ 8" square. Sew should be 51 ⁄ 2" square including assemble quilt top
together with two seams, stitching seam allowances. Repeat to make 13 1. Referring to Quilt Assembly
1
⁄4" on each side of marked line blocks total. Diagram, lay out blocks and cream
(Diagram 1). Cut apart on drawn line. print 51 ⁄ 2" setting squares in five
Press seam allowances toward darker rows. Sew together pieces in
11⁄ 2"
11⁄ 2×31⁄ 2"
print to make two triangle-squares. sq. each row. Press seams toward setting
Each should be 11 ⁄ 2" square including squares. Join rows to make quilt
seam allowances. Repeat to make 68 center. Press seams in one direction.
triangle-squares total. The quilt center should be 251 ⁄ 2"
11⁄ 2×31⁄ 2"

square including seam allowances.

2. Sew gold print 31 ⁄ 2 ×251 ⁄ 2" border

strips to opposite edges of quilt
center. Press seams toward border.
DIAGRAM 1

3. Lay out five matching black print 3. Sew a border star unit to each end
DIAGRAM 3
11 ⁄ 2" squares and four triangle- of remaining gold print 31 ⁄ 2 ×251 ⁄ 2"
squares in three rows (Diagram 2;
note orientation of cream print
triangles). Sew together pieces in 31⁄ 2×251⁄ 2"
each row. Join rows to make a star
unit. The unit should be 31 ⁄ 2" square
including seam allowances. Repeat to 51⁄ 2"
sq.
make 13 star units total.

11⁄ 2"
sq.
31⁄ 2×251⁄ 2"

DIAGRAM 2

QUILT ASSEMBLY DIAGRAM

100 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

border strips to make two pieced
border strips. Press seams toward
gold print strips. Join pieced border
strips to remaining edges of quilt
center to complete quilt top. Press
seams toward border.

finish quilt
1. Layer quilt top, batting, and
backing; baste. (For details, see
Complete Quilt, page 108.)

2. Quilt as desired. Designer

Annemarie Yohnk machine-quilted
three diagonal lines along the chains
created by the black print squares,
stitching through the centers and
along the corners of the squares
(Quilting Diagram). She stitched
curved lines in the cream print
triangles, a feathered wreath in each
setting square, and a feathered vine
in the gold print border strips.

3. Bind with black-and-gold print

binding strips. (For details, see
Complete Quilt.)

QUILTING DIAGRAM

ALLPEOPLEQUILT.COM 101
 S
ER IO RED AND CREAM 1 3 8⁄ yard mottled red (binding)
V

2
N

materials
1 1 2⁄ yard cream-and-tan print (star units, 1 11 ⁄ 8 yards backing fabric
setting squares)
1 40" square batting
1 1 8⁄ yard red vine print (triangle-squares in
star units) Finished quilt: 311 ⁄ 2" square
Finished block: 5" square
1 17—11 ⁄ 2 ×21″ strips assorted red prints
(star units, blocks) Yardages and cutting instructions are based on
42″ of usable fabric width.
1 1 4⁄ yard cream-and-red print (rectangles in Measurements include 1 ⁄4" seam allowances. Sew
blocks) with right sides together unless otherwise stated.
Press seams in directions indicated by arrows on
1 1 2⁄ yard red stripe (border) diagrams. If no direction is specified, press seam
toward darker fabric.

102 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 SEPTEMBER 18-19, 2015
Join American Patchwork & Quilting for 24
hours of sewing pillowcases for charity.
FREE event at Meredith Corporation in
Des Moines, Iowa.
Twenty-four hours of sewing, door prizes,
and fun — come and go as you please!
Pillowcases will be donated to local charities.
Friday, September 18, at 3 p.m. to
Saturday, September 19, at 3 p.m.

Can’t make
it to Des Moines?
Join us virtually or at
a location near you!

AllPeopleQuilt.com/
sewathon
for details
2015 SPONSORS
 cut fabrics 2. Quilt as desired. Designer
Cut pieces in the following order. 11⁄ 2" Annemarie Yohnk machine-quilted
sq. 11⁄ 2×31⁄ 2"
diamond shapes in the setting
From cream-and-tan print, cut: squares, diagonal lines in the blocks,
1 12—51 ⁄ 2 " setting squares and a chevron and star pattern in the
1 34—17⁄ 8 " squares border (Quilting Diagram).
From red vine print, cut:
1 34—17⁄ 8 " squares 3. Bind with mottled red binding
From each assorted red print, cut: strips. (For details, see Complete
1 9—11 ⁄ 2 " squares (You will have 4 Quilt.) Ð
left over from each of 4 prints.)
From cream-and-red print, cut:
1 52—11 ⁄ 2 ×31 ⁄ 2 " rectangles DIAGRAM 5
From red stripe, cut:
1 4—31 ⁄ 2 ×251 ⁄ 2 " border strips Diagram, below, use blocks, cream-
From mottled red, cut: and-tan print 51 ⁄ 2" setting squares,
1 4—21 ⁄ 2 ×42" binding strips red stripe 31 ⁄ 2 ×251 ⁄ 2" border strips,
and remaining star units to make
quilt top.
assemble blocks
1. Use a pencil to mark a diagonal
line on wrong side of each cream- finish quilt
and-tan print 17⁄ 8" square. Referring 1. Layer quilt top, batting, and
to Assemble Blocks and Border Star backing; baste. (For details, see
Units, Step 2, page 100, use marked Complete Quilt, page 108.) QUILTING DIAGRAM
cream-and-tan print squares and red
vine print 17⁄ 8" squares to make 68
triangle-squares. 31⁄ 2×251⁄ 2"

2. Using red print

11 ⁄ 2" squares 11⁄ 2"
51⁄ 2"
sq.
sq.
instead of black
print, repeat
Assemble Blocks
and Border Star
Units, Step 3,
page 100, to
make 17 star
31⁄ 2×251⁄ 2"

units (Diagram 4); DIAGRAM 4

set aside four for
border.

3. Referring to Assemble Blocks and

Border Star Units, Step 4, page 100,
use star units, red print 11 ⁄ 2" squares
that match the red print in the star
units, and cream-and-red print
11 ⁄ 2 ×31 ⁄ 2" rectangles to make 13
blocks (Diagram 5).

assemble quilt top

Referring to Assemble Quilt Top,
page 100, and Quilt Assembly QUILT ASSEMBLY DIAGRAM

104 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 quilted color option
Medley collection, and the Bella Suede collection, all for P&B Textiles (pbtex.com).

Using a thread color just a

FABRICS are from the Fantasy Garden collection by Marie Virginia, the Suede

few shades darker than the

fabric helps to accentuate
QUILTING DESIGNS courtesy of Handi Quilter (handiquilter.com).

the quilted flowers.

—Marie Eldredge,
”
Handi Quilter Studio Educator

FANCY FLORALS: To give this quilt a light

and airy makeover, replace the original black-
and-gold or red-and-cream color scheme with a
large floral print in lighter colors. Quilt tester Laura
Boehnke chose a garden-inspired palette of greens,
blues, pinks, and oranges, along with a pink floral, to transform
the fall and winter quilts into a springtime masterpiece.
Inspired by the garden theme, Handi Quilter educator Marie
Eldredge free-motion-quilted a string of vines and leaves in the
green squares of each block. She also used two computerized
designs (just released with the Handi Quilter Pro-Stitcher
update) to add a flower design to the setting squares and a
basket-weave design to the border.
“What a great drawing board on which to scatter all of these
flowers,” Marie says. Since the cream fabric is so light, Marie
used a slightly darker thread color to make her quilting designs
stand out. Æ

Extra, extra! Get the full quilting diagram and

instructions for this quilt at AllPeopleQuilt.com/155.

QUILTING DIAGRAM

ALLPEOPLEQUILT.COM 105
 back to Refer to these tips
and techniques

basics whenever you need

information for
your projects.

cut bias strips For hand piecing and appliqué, To make pieces for hand piecing,
Strips for curved appliqué pieces and make templates the exact size place a template facedown on the
for binding curved edges should be cut finished pieces will be (without seam wrong side of the fabric and trace.
on the bias (diagonally across the grain allowances). For piecing, this means If desired, mark the matching points
of a woven fabric), which runs at a tracing the patterns’ dashed lines. on the corners of the seam lines.
45° angle to the selvage and has the For machine piecing, make Reposition the template at least 1 ⁄ 2"
most stretch. templates that include seam away from the previous tracing, trace
To cut bias strips, begin with a fabric allowances by tracing the patterns’ again, and repeat (Diagram 1).
square or rectangle; use an acrylic solid and dashed lines onto the
ruler to square up the left edge if template plastic. A
necessary. Make a cut at a 45° angle For easy reference, mark each
to the left edge (Bias Strip Diagram). template with its letter designation,
Handle the diagonal edges carefully grain line (if noted by an arrow on
to avoid distorting the bias. To cut a the pattern), and block or quilt name.
strip, measure the desired width from Also mark the matching point of each
the 45° cut edge; cut parallel to the corner on the seam line (these may
edge. Cut enough strips to total the be indicated with dots on the printed DIAGRAM 1
length needed. pattern). Cut out the traced shapes on
their outside lines. Using a pushpin, To make pieces for hand appliqué,
45º
make a hole in the template at each place a template faceup on the right
45º corner matching point. The hole must side of the fabric and trace. The lines
be large enough for the point of a you trace on the fabric are the sewing
BIAS STRIP DIAGRAM pencil or marking pen to mark through. lines. Mark cutting lines 1 ⁄4" away
Verify each template’s shape from the sewing lines, or estimate the
make and and size by placing it over its distance by eye when cutting out the
use templates printed pattern. Templates must be pieces with scissors. For hand piecing,
MAKE TEMPLATES accurate because errors, however add a 1 ⁄4" seam allowance; for hand
A template is a pattern made from small, compound many times as you appliqué, add a 3⁄ 16" seam allowance.
extra-sturdy material so you can trace assemble a quilt. To check templates’ Because templates used to make
around it many times without wearing accuracy, make a test block before pieces for machine piecing have seam
away the edges. Acrylic templates for cutting the fabric pieces for an allowances included, you can use
many common shapes are available entire quilt. common tracing lines for efficient
at quilt shops. Or make your own cutting. Place a template facedown on
by duplicating printed patterns on USE TEMPLATES the wrong side of the fabric and trace.
template plastic. To trace a template on fabric, use a Mark the corner matching points
To make permanent templates, pencil, a white dressmaker’s pencil, through the holes in the template;
purchase easy-to-cut template chalk, or a special fabric marker that they should each be right on the seam
plastic, available at quilt shops and makes a thin, accurate line. Do not use line. Reposition the template without
crafts supply stores. Lay the plastic a ballpoint or ink pen; the lines may leaving a space between it and the
over a printed pattern. Trace the bleed if washed. Test all marking tools previous tracing, trace again, and
pattern onto the plastic using a ruler on a fabric scrap before using them. repeat (Diagram 2). Using a rotary
and a permanent marker to ensure cutter and ruler, cut out pieces,
straight lines, accurate corners, and cutting precisely on the drawn lines.
permanency.

106 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

 isn’t a worry. However, it requires To check placement, pin on the line
you to think about piecing in a between positions 1 and 2; then flip
different way. the pink print rectangle open. Make
B To foundation-piece, you stitch sure the rectangles completely cover
fabric pieces to a foundation paper positions 1 and 2 and extend at least
with the marked side of the paper 1
⁄4" into adjacent positions. If they
facing up and the fabric pieces don’t, reposition and recheck until
DIAGRAM 2 layered underneath. The resulting they do.
pieced unit will be a mirror image of Working with marked side of
the foundation paper. To illustrate the foundation paper up, use a small stitch
plan for cutting process, Diagrams 3–7 show the right length (1.5 millimeters) to sew on
Our project instructions list pieces in and wrong sides of a unit as it is being the stitching line through all layers,
the order they should be cut to make constructed. extending stitching past the beginning
the best use of your fabrics. To make a foundation paper, trace and end of the line by a few stitches
Always consider the fabric grain desired pattern onto tracing paper or (Diagram 4).
before cutting. The arrow on a pattern the foundation material of your choice,
piece indicates which direction the including all lines, numbers, and dots.
2
grain should run. One or more straight Repeat to make the desired number of
edges of a pattern piece should foundation papers. Cut out the traced
follow the fabric’s lengthwise or foundation papers roughly 1 ⁄4" outside 1 3
crosswise grain. the dashed outer lines.
4
The lengthwise grain, parallel to the Roughly cut out fabric pieces that
selvages (the tightly finished edges), are at least 1 ⁄ 2" larger on all sides than
has the least amount of stretch. The the area on the foundation they will
crosswise grain, perpendicular to the cover. (For this example, green and DIAGRAM 4

selvages, has a little more give. The pink print rectangles were cut to cover
edge of any pattern piece that will be the triangles on the foundation paper.) Turn stitched layers over so
on the outside of a block or quilt should With right sides together, layer foundation paper is on the bottom.
be cut on the lengthwise grain. Do not green print position 1 rectangle atop Press pink print rectangle open.
use the selvage of a woven fabric in a pink print position 2 rectangle; align a Referring to Diagram 5, trim green
quilt. When washed, it may shrink more pair of long edges. print rectangle (not the foundation
than the rest of the fabric. Place a foundation paper, marked paper) to about 1 ⁄4" beyond next
In projects larger than 42" in length side up, atop the layered rectangles, stitching lines (the line between
or width, we usually specify that positioning the paper so the aligned positions 1 and 3, and the line
the border strips be cut the width rectangle edges are 1 ⁄4" beyond the between positions 1 and 4). Roughly
(crosswise grain) of the fabric and stitching line between positions 1 trim pink print rectangle to the edge
pieced to use the least amount of and 2 and at least 1 ⁄4" beyond the of the foundation paper (you will trim it
fabric. If you’d prefer to cut the border foundation’s outer stitching line later on the dashed lines when you trim
strips on the lengthwise grain and not (Diagram 3). the entire unit).
piece them, you’ll need to refigure the
yardage needed.
2

foundation piecing 1 3
To make precisely pieced, intricate 2
4
blocks or units, you can sew together
fabric pieces on a paper pattern or
3 1
foundation. Some quilters find this
technique (also called paper piecing) DIAGRAM 3
to be freeing because precise cutting
isn’t required and grain line direction
DIAGRAM 5

ALLPEOPLEQUILT.COM 107
 back to basics

With right sides together, align pink Binding for most quilts is cut on Start sewing again at top of
print position 3 rectangle with long the straight grain of the fabric. If your horizontal fold, stitching through all
trimmed edge of green print piece. quilt has curved edges, cut binding layers. Sew around quilt, turning each
Turn stitched layers over so foundation strips on the bias. Cutting instructions corner in same manner.
paper is on top. Sew on the stitching for the projects in this issue specify When you return to the starting
line (Diagram 6). Turn stitched layers the number of binding strips or a point, encase binding strip’s raw edge
over so foundation paper is on bottom. total length needed to finish the quilt. inside the folded end (Diagram 14).
Press pink print rectangle open. Instructions also specify enough width Finish sewing to the starting point
Roughly trim pink print rectangle to the for a French-fold, or double-layer, (Diagram 15).
edge of the foundation paper. binding because it’s easier to apply Turn binding over each edge to the
and adds durability. back. Hand-stitch binding to backing
Join strips with diagonal seams to fabric, making sure to cover all
make one continuous binding strip machine stitching.
(Diagram 8). Trim excess fabric, To make mitered corners on the
2 leaving 1 ⁄4" seam allowances. Press back, hand-stitch up to a corner; fold a
seams open. Fold one end of the miter in the binding. Take a stitch or
1 3
binding strip under 1" (Diagram 9); two in the fold to secure it. Then stitch
press. With wrong side inside, fold the binding in place up to the next
4
strip in half lengthwise and press corner. Finish each corner in same
(Diagram 10). manner.
DIAGRAM 6

In same manner, add pink print

position 4 triangle. Trim all fabric
layers and foundation paper on the DIAGRAM 9
DIAGRAM 11
outer dashed lines to complete a
foundation-pieced unit (Diagram 7). DIAGRAM 8
Remove foundation paper with
DIAGRAM 10
tweezers or the blunt edge of a
seam ripper.
Beginning in center of one edge,
DIAGRAM 12
place binding strip against right side
of quilt top, aligning binding strip’s
raw edges with quilt top’s raw edge
(Diagram 11). Begin sewing the
binding in place 2" from the folded
end. Stop sewing when you’re 1 ⁄4" (or a
DIAGRAM 13
DIAGRAM 7 distance equal to the seam allowance
you’re using) from the corner.
Backstitch, then clip threads. Remove
complete quilt quilt from under the sewing-machine
Cut and piece backing fabric to presser foot.
measure at least 4" bigger on all sides Fold binding strip upward, creating
than the quilt top. Press seams open. a diagonal fold, and finger-press DIAGRAM 14
With wrong sides together, layer quilt (Diagram 12).
top and backing fabric with batting in Holding diagonal fold in place with
between; baste. Quilt as desired. Trim your finger, bring binding strip down in
batting and backing fabric even with line with next edge of quilt top, making
the quilt top edges. a horizontal fold that aligns with the
quilt edge (Diagram 13).
DIAGRAM 15

108 AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

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112
(FIGTREEQUILTS.COM)

brights from her stash to make a

original quilt, on Pattern Sheet 2.

Joanna Figueroa chose lights and

instead of the 161 ⁄ 2" blocks in the

downsize version of Midnight Hour

using one light print for the

(page 24). Get instructions for this four-

AMERICAN PATCHWORK & QUILTING | OCTOBER 2015

block table topper, which has 11" blocks

For a subtle scrappiness, instead of

make it mini

background, mix a variety of light

prints that all have a cream ground.
QUILTMAKER JOANNA FIGUEROA OF FIG TREE & CO.

PHOTOGRAPHER MARTY BALDWIN

American Patchwork & Quilting® (ISSN 1066-758X), October 2015, Volume 23, No. 5. American Patchwork & Quilting is published bimonthly in February, April, June, August, October, and December by Meredith Corp., 1716 Locust St., Des Moines, IA 50309-3023.
Periodicals postage paid at Des Moines, IA, and at additional mailing offices. SUBSCRIPTION PRICES: $29.97 per year in the U.S.; $39.97 (U.S. dollars) per year in Canada and overseas. POSTMASTER: Send all UAA to CFS. (See DMM 507.1.5.2). NON-POSTAL
AND MILITARY FACILITIES: Send address corrections to American Patchwork & Quilting, P.O. Box 37508, Boone, IA 50037-0508. In Canada: Mailed under Publications Mail Sales Product Agreement No. 40069223; Canadian BN 12348 2887 RT. Return
undeliverable Canadian addresses to: American Patchwork & Quilting, 2835 Kew Dr., Windsor, ON N8T 3B7. Better Homes and Gardens is a registered trademark in the United States, Canada, and Australia. Better Homes and Gardens marca registrada en México.
© Meredith Corp. 2015. All rights reserved. Printed in the U.S.A.
 Dots and Dash • 60" x 75”" • by Kat Wilson Tucker of Next Step Quilt Designs • www.nextstepquiltdesigns.com

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