Love Patchwork Amp Amp Quilting November 2017

NIN THoE.
1UK
ISSUE FIFTY FOUR
ISSUE 54 2017
EXCLUSIVE
DESIGNS
Time SavIng QuiCk GifTs
TecHnIquEs Whip up a rainbow
colour cushion
• eaSy imProv DesigN
• SimplE strIpes QuiLt
• SupEr-Size hst UniTs
Easy PieCing
Big, bold blocks
for beginners
SCRAP
HAPPY
Raid your stash for prints
Mix+matc h
fab ric s in a
sin gle col ourwa y
AVON Direct Sewing Machines, Bristol – 0117 9778216 AUTUMN 2017
BEDFORDSHIRE BSK Limited, Bedford – 01234 217096
My Sewing Basket, Dunstable – 01582 371127
Tudor Rose Patchwork, Oakley, Bedford – 01234 824983
BERKSHIRE Sew Devine, Reading – 0118 926 8664
BUCKINGHAMSHIRE Alans Sewing Machines, High Wycombe – 01494 527600
Threads and Patches, Milton Keynes – 01908 649687
CAMBRIDGESHIRE Sew Creative Ltd, Cambridge – 01223 350691
Sew Much To Do, Ely – 01353 664 000
CHESHIRE Allan Sheen Sewing Machines, Winsford – 01606 593554
All Fabrics, Stalybridge – 0161 478 8236/01706 624 651
Jaycotts, Chester – 01244 394099
J & P Sewing Machines, Warrington – 01925 633 831
Phil Morton Sewing Machines, Macclesfield – 01625 433 131
CORNWALL The Sewing Studio, Redruth – 01209 216942
DERBYSHIRE Elegance, Derby – 01332 382292
Ilkeston Sewing & Janome Centre, Ilkeston – 01159 307664
DEVON Exeter Sewing Machine Company, Exeter – 01392 275 660
Soft Touch Needlecrafts, Tavistock – 01822 617673
DORSET Bournemouth Sewing Machines, Bournemouth – 01202 424825
Hansons Fabrics, Sturminster Newton – 01258 472698
So N Sews, Weymouth – 01305 766 411
DURHAM UK Sewing Machines, Darlington – 01325 463 630
ESSEX Creative Lady, Burnham on Crouch – 01621 928 225
Franklins, Colchester – 01206 563955 & 574758
Franklins, Chelmsford – 01245 346300
Home of Sewing by Regent, Ilford – 0208 478 0669
Superstitch Machine Co, Leigh on Sea – 01702 478830
GLOUCESTERSHIRE Cotswold Sewing Machines, Stroud – 01453 763660
West End Sewing Centre, Cheltenham – 01242 244025
HAMPSHIRE Eastleigh Sewing Centre, Eastleigh – 02380 650 808
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Reads of Winchester, Winchester – 01962 850 950
Sew Creative, Petersfield – 01730 858020
HEREFORDSHIRE Badder Fabrics, Hereford – 01432 379137
HERTFORDSHIRE Chicks Embroidery, Letchworth – 01462 670 007
Rebecca Woollard Sewing School, Hatfield Heath – 07887 654 717 BRAND
Rona Sewing Machines, Waltham Cross – 01992 640250
Sewfine Sewing Machines, Watford – 01923 693734 NEW OFFER
KENT Ashford Sewing Centre, Ashford – 01233 620948
Barcham Sewing Centre, Whitstable – 01227 264 271 £299
Maidstone Sewing Centre, Maidstone – 01622 670 254 MODEL 230DC
The Sewing Space. Kent – 01303 261329
• FULLY COMPUTERISED
The World of Sewing, Tunbridge Wells – 01892 533188
• 30 stitch choices
LANCASHIRE Etty-Lilly, Carnforth – 01524 734713 • 3 styles of auto 1-step buttonholes
Hobkirk Sewing Machines, Blackburn – 01254 693555 • Jam proof drop in bobbin
Lestan Sewing Machines, Nelson – 01282 614511 • Auto needle threader
M & S Sewing Machines, Heywood – 01706 624651 & 366943
R. Bullock & Son Ltd, Wigan – 01942 247836
Easy to use… Make the
Transworld Sewing Machines, Leigh – 01942 608028 right choice first time!
LEICESTERSHIRE Cresswell Sewing Machines, Leicester – 07979 798 010
The Sewing Café, Hinkley – 01455 698 034
LINCOLNSHIRE Couling Sewing Machines, Lincoln – 01522 521841
Seweezy, Gainsborough – 01427 614570 WORCESTERSHIRE Creative Hands 2, Worcester – 01905 24940
LONDON (GTR) All London Sewing, South West London – 0208 3373444 Inkberrow Design Centre, Redditch – 01527 69100
Lewisham & Deptford Sewing Machines, Deptford – 0208 692 1077
YORKSHIRE A1 Woodseats Sewing Machines, Sheffield – 0114 2552822
SM Sewing Machines Ltd, London – 0208 4524257
Arcade Sewing Machines, Huddersfield – 01484 429808
The Sewing Centre, Battersea – 0207 228 3022
C & G Sewing Machines, Bradford – 01274 306352
The World of Sewing, Pratts Bottom – 01689 638638
Electra (DA) Company, Doncaster – 01302 340 369
Wimbledon Sewing Machine Co Ltd, Tooting Bec – 020 8767 0036
Fabric Mouse, Catterick – 0800 6889971
MANCHESTER (GTR) Bamber Sewing Machines, Manchester – 0161 707 7786
Flynn’s Sewing Centre, York – 01904 692999
MERSEYSIDE Affordable Sewing, Moreton, Wirral – 0151 677 7755
Sewing Centre, Scarborough – 01723 363167
Sewing & Knitting Centre, Southport – 01704 534688
White Rose Sewing Machines, Harrogate – 01423 503767
NORFOLK Sew Creative, Norwich – 01603 305888
CHANNEL ISLANDS Rachel’s Textiles Studio, Jersey – 01534 878 877
Sewing Machine World, Kings Lynn – 01553 773362
ISLE OF MAN Joan’s Wools & Crafts, Onchan – 01624 626 009
NORTHAMPTONSHIRE Sew Northampton, Northampton – 01604 637200
IRELAND Sew N Knit Belfast, Belfast – 028 9045 6015
NOTTINGHAMSHIRE Cresswell Sewing Machines, Nottingham – 0115 9267572
Sew N Knit Lisburn, Lisburn – 028 9267 0908
OXFORDSHIRE Witney Sewing Machine Centre, Witney – 01993 704535
Singer Sewing Centre, Ballymena – 028 2564 0034
SHROPSHIRE Sewing Machine Centre, Shrewsbury – 01743 343902
SCOTLAND David Drummond, Edinburgh – 0131 539 7766
SOMERSET Bredons Sewing Machines, Taunton – 01823 272450
Pembertons Sewing Machines, Stirling – 01786 462993
SUFFOLK Franklins, Ipswich – 01473 221188
Quilt Creations, Inverness – 01463 719369
Sew Much To Do, Bury St Edmunds – 01284 755459
Sew Materialistic, Ayr – 01292 280844
SURREY All Redgwell Sewing, Worcester Park – 0208 3373444
Sew Yarn Crafty! Dunfermline – 01383 723995
C & A Sewing Machines, Cranleigh – 01483 267777
The Sewing Machine Shop, Fochabers – 01343 823961
Discount Sewing Machines, Lightwater – 01932 349000
WALES Butterfly Fabrics, Cardiff – 02920 470808
Woking Sewing Centre, Addlestone – 01932 352606
Clare Sewing Machine Shop, Aberystwyth – 01970 617786
Woking Sewing Centre, Newhaw – 01932 352958
Cliffords Sewing Machines Ltd, Swansea – 01792 655 928
SUSSEX Clothkits Ltd, Chichester – 01243 533180
J & B Sewing Machine Co Ltd, Cardiff – 02922 402418
Eclectic Maker, Worthing – 01903 681000
J & B Sewing Machine Co, Ltd, Newport – 01633 281555
Hastings Sewing Centre, Hastings – 01424 423108
Sewing Machines Direct, Wrexham – 01978 851 235
TYNE & WEAR G Tully Sewing Machines, Sunderland – 0191 565 7995
Sewing Machine Sales, Whitley Bay – 0191 2525825
WARWICKSHIRE Coventry Sewing Centre, Coventry – 02476 222134 The ‘Sewing with Style’ offers are available from Janome sewing machine
WILTSHIRE Franklins, Salisbury – 01722 554466 retail outlets nationwide. Promotion starts 4th September until
2nd January 2018. (All offers subject to stock availability.)
Nimble Thimbles, Swindon – 01793 950 750
WEST MIDLANDS Brewers Sewing Machines, Wolverhampton – 01902 458885
D C Nutt Sewing Machines, Walsall – 01922 497603
Frank Nutt, Kings Heath - 0121 444 3978
L & M Nutt, Sutton Coldfield - 0121 373 5497
S Nutt Sewing Machines, Birmingham - 0121 327 2828
www.janome.co.uk The world’s leading sewing machine manufacturer

Meet the team
Editor Alice Hadley
Art Editor Annelise Brant
Designer Tina Prior
Acting Production Editor Judy Darley
Senior Technical Editor Sarah Griffiths
Digital Editor Zoe Williams
Contributors
Amanda Castor • Angie Wilson • Felice Regina
Jaine Bevan • Jenny Lasslett • Joanna Marsh
Karen Lewis • Lou Orth • Michelle Wilkie
Nicole Calver • Sandi Sawa Hazlewood
Susan Standen • Suzy Williams • Tori Smith STASH MATES
Photography Immediate Media Photo Studio
unless otherwise stated. What's your stash style? Are you a creature of habit, drawn to the same
designers every time? Or do you have a more eclectic approach to
Contact us
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basics (text prints, low volumes and linen-look prints). I tend to buy
ADVERTISING 'hero' prints as and when I need them. To me, the prospect of a
Call: 01173 008 203
Senior Advertising Manager Penny Stokes disorganised stash is overwhelming, but I know many of you find
Client Partnership Manager Beckie Pring
Senior Sales Executive Tiffany Jackson
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Ad Coordinator Emily Thorne
Ad Designer Parvin Sepehr
find something in this issue to tempt you to raid your hoard!
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Direct Marketing Manager Lily Nguyen
Newstrade Marketing Manager Janine Smith
PRODUCTION
Production Controller Lizzie Ayre
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LICENSING
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Joanna Marsh Michelle Wilkie Tori Smith
Joanna got into quilting Michelle began quilting five Tori loves to fill every spare
Immediate Media Company Limited is
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and dispose of it at your local collection point. fresh take on the churn dash inspired design on page 38 designed a sweet sewing set
WWW.LOVEPATCHWORKANDQUILTING.COM 3
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74
16
59
41
29
PROJECTS
CHALK+BERRY SORBET SHADES ANYTHING GOES
16 Harvest scraps in shades of red from

your stash to build up Susan Standen’s
snowball and HST design
44 Improv pick hues for Joanna Marsh’s
modern take on the churn dash in
mouthwatering fabric colours
83 Piece Tori Smith’s adorable sewing
set in tone-on-tone shades,
comprising a needle-book, pincushion,
dinky pouch for all of your essentials
FLORAL DAZE CHROMA COLOUR
24 59
Mix and match HST blocks for Show off a graduated rainbow effect BLOCK OF THE MONTH
Jenny Lasslett’s speedy quilt
SHOAL GOALS
on a neutral background with
Amanda Castor’s handy zip-up pouches 95 FPP Susi Bellingham’s colourful
shopping bag blocks in Row Three
of our Farmers Market Sewalong!
29 You won’t need to fish for BLUEBIRD

compliments with Felice Regina’s
cute shoal of pieced scallop pouches 64 Make Angie Wilson’s log cabin quilt
in crisp blues, whites and reds
MEASUREMENTS NOTE
Either metric or imperial measurements
HAPPY DAYS COLOUR STUDY (sometimes both) are included in each
36 68
Dream of sunnier days as you sew Fit print fabric HSTs together into project, as per the designer’s preference.
Converting measurements could interfere
Michelle Wilkie’s colour-block quilt flying geese units for a satisfying with cutting accuracy. Follow the same units
inspired by beach umbrellas! quilt that uses up scraps from your stash of measurement throughout; do not mix
metric and imperial. Read the instructions
WHIRLIGIG KISS CROSS all the way through before cutting any
fabric. Always make a test block before
41 Put a spin on FPP colour block

geometrics with Lou Orth’s design 74 Mini squares in matching shades
dapple Nicole Calver’s graphic quilt
embarking on a large project.
4 WWW.LOVEPATCHWORKANDQUILTING.COM
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FEATURES 95
OUT THERE NEXT MONTH
9 Each month we pick out our fave

new quilty finds. Fabrics, sewing
accessories, book releases, patterns
81 Your sneak peek at the
goodies we’ve got in store
for you in the next issue of Love
and homewares – if the team love it, Patchwork & Quilting
you’ll find it in these pages
TEMPLATES
B M
90
IN THE KNOW Find all the templates for
34 Our brand new columnist Suzy

Williams aka Suzy Quilts offers
this issue’s lovely projects
right here. If you prefer, you can
o
her take on debate over whether or also download them to print out
not to pre-wash, with help from yourself – find them at
Quality Controller Scrappy the dog lovepatchworkandquilting.com
DESIGNER PROFILE GNOME ANGEL
52 For Giuseppe Ribaudo a career

as a theatre actor came second
to his love of fabrics and quilt design,
98 Angie Wilson explains why she
sees quilting as an all-you-can-
eat buffet, and has us salivating over
as Sandi Sawa Hazlewood finds out fabrics, techniques and more!
Find us on www.facebook.com/lovepatchworkandquilting WWW.LOVEPATCHWORKANDQUILTING.COM 5

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FROM THE MAKERS OF LOVE PATCHWORK & QUILTING MAGAZINE
Packed with over 30 projects! From heirloom quilts to quick weekend makes,
there’s something to suit everyone, from beginners to experienced quilters.
Filled with techniques to complete your quilting repertoire, including English Paper Piecing,
sashiko stitching, turned edge appliqué and Foundation Paper Piecing.
Clear step-by-step instructions for each design, with beautiful photos of every project.
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OUT THERE
Our pick of the trends this month
MAKING MISCHIEF
Chilly evenings call for a brand new hand piecing project
to cosy up with, and we've got our sights set on the
Mischief EPP quilt by Karen the DIY Addict. To make it,
get your hands one of the kits, which come with a set of
clear acrylic templates (you choose the seam allowance),
a ten-page pattern booklet plus all of the pre-cut paper
pieces you'll need to stitch up the blocks. With countless
opportunities for fussy-cutting this is a great excuse to
dive into your stash and cut into those precious prints
you've been saving for a rainy day! Find this kit, and many
more modern EPP designs, at thediyaddict.com
OUT THERE
BIG COUNTRY
We love the new Arroyo sienna pair perfectly with her
collection by Erin Dollar for graphic designs and there's a
Robert Kaufman. The range combination of 44 prints in
evokes big skies, dirt tracks total. Plus, it's printed on a
and American wilderness in a linen blend substrate which
way that makes us keen to adds a delicious texture to the
pack up and head out for a prints. Tempted? Head to
night under the stars. Shades robertkaufman.com to see the
of blue, peach and burnt full collection.
AWKWARD
ANIMALS
How sweet are these hapless quilt characters?
They’re the result of a genius collaboration
between Jessee Maloney and Samarra Khaja,
with Samarra creating awkward animal
illustrations and Jessee transforming them into
quilt patterns. Each month, they release
another into the wild for you to collect! Every
pattern is bursting with personality and at the
time of print there are four available, plus a set
of acrylic templates to help with the piecing (if
you're a bit daunted by curves). The detailed
PDF patterns are the perfect skills builder so
we say dive on in and get sewing! Buy, make,
photograph and share using the hashtag
#awkwardanimalportraits Find out more at
artschooldropout.net or samarrakhaja.com
TOP of the
SHOPS
SWIFT QUILTING
Need a quilt finished at short
notice, but lacking the time,
equipment or (shh!) skills?
Experienced quilter Emma
Bradford is glad to help. Her
company offers longarm quilting
services, using a professional grade
Innova longarm quilting machine,
Aurifil threads, plus a variety of
good quality waddings and extra
wide backings. You can choose
from over 100 quilting designs, or
request for a particular pattern to
be sourced. "As a fellow quilt-
maker, I know the work and love
C ON F E T T I M A K E S that goes into them," she says. "It
makes me happy to help bring
them to completion."
If, like us, you’ll fallen for the to 20 colours per quilt, the swiftquilting.com
speckled beauty of Confetti options are unfailingly upbeat
Metal Ombre by Vanessa and beautiful. Look out for
Christenson of V & Co, you’ll be Candy Wrapper, Dude Ranch,
glad to know that she has also All Star and other dazzlers, set
come up with a stack of to help you make the most of
patterns to match! With more the new collection. See
HSTs than we can count and up vanessachristenson.com
Glitterati
Who doesn't need a small, zip-up Cunningham's cute pattern is the
pouch to make in a gorgeous print perfect purchase. "The Glitta pouch is
fabric, topped with a layer of glitter probably my favourite pattern so far,
enclosed in acetate? Yep, that's a and my kids are crazy for their
purely rhetorical question. Whether pouches," she says. We completely
you want somewhere to hoard small get why, because we all crave a bit
treasures or just fancy a fun, speedy more sparkle in our lives. Download
project to dip into, Laura the pattern at payhip.com/b/luNU

OUT THERE
GOOD FEATHERHEAD
READS The big trend for feathers in surface pattern design looks
unlikely to blow over any time soon, which we're happy
about. The colours in this Cholena bundle are lovely, and
will add a touch of subtle warmth to winter quilting
projects. The bright patterned feathers on a grey
background has us plotting our next flying geese blocked
quilt, but mix and match the whole fat quarter stack for
gorgeous quilt tops, cushions and more. We vote for
adding in a few neutral solids from your stash to highlight
BUTTON UP the beautiful palette and print designs. Find the whole
Looking for a special gift for a flock at doughtysonline.co.uk
sewing pal? The Nambu brass
paperweight is a sewing tool
with a bit of heft we can't resist.
Made in Osaka, Japan, they
resemble out-sized buttons
and cunningly hold pencils,
QUILT TRICKS
Another drizzly day? That’s the
pens or even scissors while
keep patterns, templates and
fabrics from flapping about as
you work on your latest quilting
perfect excuse to stay in and pore
project. Made from solid brass,
over Modern Quilt Magic by Victoria they're gorgeously tactile too,
Findlay Wolfe. It’s packed with and will become subtly more
practical advice to expand your textured over time from
piecing skills, with 17 irresistible handling. Each one comes
projects that ooze with Victoria's elegantly packaged in its own
signature scrappy style. Plus enjoy luxurious box – ideal as a
*wow* Christmas present for
six pages of colour-in quilts to inspire southern hemisphere quilters.
your very own combinations. Find them at
searchpress.com handsonworkshop.com.au/
shop
TR EN D
A L E RT NATURE TRAIL
BIG SKY
Annie Brady is inviting us
out into the wilderness for
STAY GOLD her latest Moda Fabrics
With eight prints to choose from, this collection. Plants and
assortment from Aneela Hoey is a sleepy folk-inspired woodland
Sunday sort of collection, with dreamy creatures abound, but it's
horses and blossoms bobbing in gentle the delightfully dappled
breezes. Best suited to quilting in the cosy bears we've got our eye
indoors while winter winds howl outside. on. View the full range at
See them all at cloud9fabrics.com www.unitednotions.com
Have you seen this issue's amazing UK subscription
PSSST offer? Subscribe now and receive a Cotton+Steel
fabric bundle worth £30! Find out more on p22
JURASSIC GEMS
Dinosaur fans will be in ordered rows, and repeats
raptures (or should that be of Triceratops bearing an
raptors?) with the fabulous unlikely resemblance to
new Esoterra collection pressed rose petals on a
from Katarina Roccella. solid grey background. “I
Drawing inspiration from wanted to create a gender
botanical studies with a few and age neutral collection
quirky additions, the that could appeal to all dino
collection features lovers,” explains Katarina.
sauropods grazing, Job done. Go dino spotting
ambered bugs in neatly at artgalleryfabrics.com
OH SO HANDY
Keep essential quilting tools
close to hand with the Handy
Huswif pattern from Jessie
Fincham. Made in your favourite
fabric remnants, it will be your
go-to organiser, and has a bit of
history behind it too. An update
on the 1800s roll up fabric cases
used by housewives, this version
boasts an impressive number
and variety of compartments,
including a special space for
TEMPLATE TALES
We’ve been keeping close tabs on quilting addict Jodi
scissors, a felt needle keep, and of Tales of Cloth for a while, now, pashing over the
a deep back pocket for larger intricate laser cut paper pieces she produces with
items. Because you can never, husband Tim in Victoria, Australia. They’ve just
ever, have too many pockets… released their first acrylic templates, the perfect
Get the pattern from accessory for flawless fussy cutting! For these and
sewandquilt.co.uk more visit talesofcloth.com
OUT THERE
HANDPRINT HEAVEN
Inspired by the serenity of high deserts prints like Pebbles and Mountain that
and handprinted using stamps that really make the collection sing. Whip
designer Alexia Marcelle Abegg carves up some super-size quilt blocks to
herself, the Sienna collection has a make the most of the dreamy colour
gorgeously rustic, artisanal feel. The combinations, or keep it simple with a
cacti and owls of Desert Bloom are cushion or tote bag. See all the prints
hugely appealing, but it's the simple at cottonandsteelfabrics.com
SEW
SKETCHY
Hoarding a secret stash of
notecards is the sneaky way to
never get caught out when
birthdays creep around. These
sets of three by Arbee are
eco-friendly, made in Britain and
can be personalised. Plus they
feature a beautiful sketchy
etching of a vintage sewing
machine and Victorian flower
print. What more could a
wannabe-organised crafter
want? You had us at eco...
notonthehighstreet.com/arbee
INSTA INSPIRES!
#ROUNDWEGOSAL
Angie Wilson aka Gnome Angel is
the undisputed queen of the Sew
Along and most recently she's turned
her attention to Sue Daley’s Round
We Go EPP design. Simply post pics
of your blocks tagged, of course, with
the hashtag and you'll be in with a
chance @sewdarnclose
to win one of the months
prizes. We reckon this is a great way
to kick start your sewing mojo and
meet some like-minded quilters
along the way! Get everything you
need to join in from sewhot.co.uk and
find details at gnomeangel.com
CRIMSON
COORDINATES
This colour-match
design would work
just as well with other
bright primary shades
CHALK+BERRY
Create a rosy red design with print scraps hand
picked from your stash, offset by a
crisp white background
by Susan Standen
QUILT
YOU WILL NEED

Q Red fabrics: Thirty-two (32)
fat eighths
Q Background fabric: 3¾yds
Q Backing fabric: 4½yds
Q Binding fabric: ¾yd
Q Batting: 80in square
FINISHED SIZE
Q 72in square
NOTES
QSeam allowances are ¼in throughout,
unless otherwise noted.
QPress seams open, unless otherwise
instructed.
QHST = Half-square Triangle.
QRST = right sides together.
QWOF = width of fabric.
QWST = wrong sides together.
FABRICS USED
QPrint fabrics are an assortment from
Susan's personal stash.
QBackground fabric is Kona (solid white) for
Robert Kaufman.
SPLASHES OF COLOUR ON THE
CUTTING OUT
PRINT FABRICS ADD INTEREST TO
1 From each of twenty-three of the red fat
eighths cut two (2) 2½in x 15in strips and
two (2) 4½in squares.
THE BOLD REDS IN THIS QUILT
2 From each of the nine remaining fat

eighths cut one (1) 2½in x 15in strip and
two (2) 4½in squares.
4 From the binding fabric cut eight (8)
2½in x WOF strips.
one hundred and twenty-eight (128) of these
individual strips, and will have four left over.
7
MAKING THE NINE-PATCH BLOCKS Repeat steps 5–6, this time sewing a
3 From the background fabric cut:

QThree (3) 15in x WOF strips. Subcut into
forty-four (44) 2½in x 15in strips.
5 Sew a red 2½in x 15in strip to the top and
bottom and a 2½in x 15in white strip
along the long edges. Press the seams
white 2½in x 15in strip to the top and
bottom of a red strip, pressing seams toward
the red fabric. Make eleven (11) of these
QFive (5) 12½in x WOF strips. Subcut into towards the red fabric. Make twenty-two (22) units. Trim the units to make sixty-four (64)
nine (9) 12½in squares and twelve (12) of these units. 2½in x 6½in white/red/white strips (Fig 2).
12½in x 6½in pieces.
QFour (4) 6½in x WOF strips. Subcut into
twenty (20) 6½in squares. 6 Trim each unit into six (6) 2½in x 6½in
red/white/red strips (Fig 1). You will need 8 Arrange two red/white/red strips with
one white/red/white strip in a nine-patch,
Fig 1 Fig 2 Fig 3
Chalk+berry
shown (Fig 7). Sew the blocks together in

rows, then sew the rows together to
complete the quilt top.
QUILTING AND FINISHING
15 Cut the backing fabric in half, and sew

together along the long edges using a
½in seam. Make a quilt sandwich with the
backing fabric right side down, the batting
on top, then the quilt top centrally and right
side up. Baste the layers together using your
preferred method.
16
Soften the angles
of your quilt top Quilt as desired. Susan quilted a spiral
with curvy quilting from the centre of the quilt.
as shown. Sew into a block and press seams

to the sides to complete one nine-patch
block (Fig 3). Make sixty-four (64) of these.
12 Repeat steps 9–10, placing one 4½in red
square in one corner of a 6½in
background square to complete one
17 Trim excess batting and backing level
with the quilt top and square up the quilt.
MAKE THE SNOWBALL BLOCKS

quarter-snowball block (Fig 6). Make four (4)
quarter-snowball blocks. 18 Sew the binding strips together
end-to-end using diagonal seams. Press
9 Draw a diagonal on the reverse of four

red 4½in squares. Place one in each ASSEMBLING THE QUILT TOP
the seams open and trim away the dog ears.
Fold in half lengthwise, WST, and press.
corner of a 12½in background square, with
the diagonals running across the corners.
Sew along the drawn line.
13 Sew forty-eight of the nine-patch blocks
together to make twenty-four pairs.
19 Sew the binding to the right side of the
quilt, folding a mitre at each corner. Fold
10 Trim ¼in from each sewn corner. Press

open to complete one snowball block
14 Arrange the pieced blocks and sixteen
remaining 6½in background squares as
the binding over to the back of the quilt and
hand stitch in place to finish.
(Fig 4). Make nine (9) snowball blocks.
11 Repeat steps 9–10, placing a 4½in red

square in the top two corners of a
6½in x 12½in background rectangle to
complete one half-snowball block (Fig 5).
Make twelve (12) half snowball blocks.
Appl y masking tape

to your sewing
machine to line up
th e snowball bloc
ks
wh en sewing th e
c orner HS Ts
Fig 4
Fig 5 Fig 6 Fig 7

chalk+berry
CUSHION
YOU WILL NEED

Q Red fabric: one (1) fat quarter
Q White fabric: one (1) fat quarter
Q Lining fabric: 20in square
Q Backing fabric: ½yd
FINISHED SIZE
Q 18in square
CUTTING OUT
1 From each of the red and white fat

quarters, cut eighteen (18) 4in squares.
2 From the backing fabric cut two (2)

18½in x 12½in rectangles.
MAKING THE HSTS
3 Draw a diagonal line on the reverse of

each white square. Pair each white square
with a red square, RST.
4 Sew ¼in from either side of the drawn

line. Cut along the drawn line and press
each HST unit open, pressing seams toward
MIX PRINTS IN COMPLEMENTARY
the red fabric. You will now have thirty-six SHADES TO CREATE A BOLD
(36) HSTs.
CUSHION WITH IMPACT!
5 Align the 45 degree line of your ruler
along the diagonal seam, and trim each
HST to 3½in square.
FINISHING THE CUSHION

7 Make a quilt sandwich with the lining
fabric, batting and pieced cushion top,
baste using your preferred method and quilt
6 Arrange the HSTs in six rows of six,

referring to the Layout Diagram. Sew
together in rows, then sew the rows together
as desired. Susan quilted a spiral from the
centre of the cushion.
to complete the cushion top.

8 Press under ¼in twice along one long
edge of each backing piece, to enclose
the raw edge. Topstitch in place.
9 Lay the cushion right side up and then

place one backing piece along the top,
aligning the raw edges to the edges of the
cushion top and sides with the hem running
across the centre and with the second piece
aligning the raw edges with the bottom of
the cushion, hems overlapping in the centre.
Pin or clip in place. susaN
stAnden
10 Stitch around the outer edge of the
cushion cover. Finish by zigzag stitching
around the edges, within the seam
England
canadianabroad-susan.blogspot.co.uk
allowance for extra strength. Clip corners canadianabroad
Layout diagram and turn right side out to finish.
eony buds, round and full, burst open
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THROWING
SHAPES
Mix and match
simple units for
an improv layout
FLORAL DAZE
Twist and turn simple HST units with stripe blocks
to whip up an improv design that's
ready in a weekend
by Jenny Lasslett
QUILT
YOU WILL NEED

Q Fabric A (print fabric): 7/8yd
Q Fabric B (solid fabric): 13/8yds
Q Backing fabric: 1¾yds
Q Batting: 42in x 58in
Q Binding fabric: ½yd
FINISHED SIZE
Q 36in x 52in
NOTES
QPress seams open, unless otherwise noted.
QHST = Half-square Triangle.
QPress all fabrics well before cutting.
QPre-wash Essex Fabric as there is more
shrinkage than with plain cotton.
FABRICS USED
QFabric A: Rosa Peach from the Les Fleurs
collection by Rifle Paper Co. for
Cotton+Steel.
QFabric B: Natural from the Essex collection
by Robert Kaufman.
QBacking: Ivory from the Kona Cotton
Solids collection by Robert Kaufman.
QBinding fabric: Navy from the Essex
collection by Robert Kaufman.
Neat mitred CUTTING OUT
corners are the
perfect finish
1 From Fabric A cut:
QThree (3) 4½in x WOF strips. Subcut into
seventy-one (71) 1½in x 4½in strips.
twenty-three (23) 5in squares.
2 From Fabric B cut:

QSeven (7) 4½in x WOF strips. Subcut
into one hundred and forty-two (142)
2in x 4½in strips.
twenty-three (23) 5in squares.
3 From the binding fabric cut five (5)

2½in x WOF strips.
MAKING THE STRIPE BLOCKS
4 Chain piece each 1½in x 4½in Fabric A

strip to a 2in x 4½in Fabric B strip, along
Floral daze
larger than the quilt top. Baste the layers
A SINGLE PRINT WITH A SOLID

together using your preferred method.
BACKGROUND REALLY MAKES 12 Quilt as desired. Jenny quilted a series

of diagonal lines.
THIS IMPROV DESIGN SING!
13 Trim the excess batting and backing
level with the quilt top edges and square
the long edges. To chain piece, once you have
sewn the first pair, allow the machine to run 8 Press each HST unit open. Keeping the
45-degree line of your ruler aligned with
up the quilt.
a few stitches, before continuing to the next

pair, without snipping your thread. Once all
pairs are sewn, remove from the machine
the diagonal seam, trim the units to
4½in square. 14 Sew the binding strips together
and snip the threads between each unit. ASSEMBLING THE QUILT TOP Fold in half lengthwise, WST, and press.
Press seams open on each unit.
9 Arrange your stripe blocks and HSTs
in thirteen rows of nine blocks.
5 Chain piece the remaining 2in x 4½in

Fabric B strips to the A/B units from Step
Arrange the blocks in any order and
orientation you choose. Use a design wall,
quilt, folding a mitre at each corner.
4, along the Fabric A edge. Snip threads

between units, and press seams open to
complete seventy-one (71) stripe blocks.
the top of a bed or a clear area of floor to
organise the blocks in a design you like.
Have fun with this part!
16 Fold the binding over to the back of the
quilt. and hand stitch in place to finish.
10
MAKING THE HSTS Once you have finalised your
6 Pair one Fabric A square and one Fabric

B square, RST. On the wrong side of
arrangement, sew the blocks together
in rows. Then sew the rows together to
Fabric A mark a diagonal line from corner
to corner.
complete the quilt top.
Jenny
LassletT
7 Stitch ¼in either side of the marked line
and then cut through both layers on the
marked line, to make two HST units. Repeat
11 Press the quilt top and backing well.
Make a quilt sandwich by placing the
USA
jennylasslett.com
with remaining Fabric A and B 5in squares to on top, then the quilt top centrally and right jenny.lasslett
make forty-six (46) HST units. side up. The backing and batting are slightly

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SHOAL
GOALS
Store your stuff in style with a sew of
scallop-scaled fish pouches!
By felice regina
POUCH
YOU WILL NEED

Q Exterior fabric: one (1) fat quarter
Q Scale fabric: ½yd
Q Lining fabric: 3/8yd
Q Black felt: two (2) 1¼in squares
Q White felt: two (2) 1in square
Q Fusible webbing four (4)
1¼in squares
FINISHED SIZE
Q 6in x 12in
NOTES
QAll seam allowances are ¼in, unless
otherwise instructed
QBackstitch at beginning and end of all
seams
QRST = right sides together
QWOF = width of fabric
QFor templates, see p90.
CUTTING OUT
1 From exterior fabric cut:

QTwo (2) 6½in x 4½in pieces (head).
QSix (6) 6½in x 1½in pieces (body).
QTwo (2) Tail template pieces.
A WIDE DRAWSTRING MOUTH

2 From scale fabric cut:
QTwo (2) 7in x 2½in pieces (lips).
MAKES THIS A CUTE STORAGE
forty-four (44) 3½in x 2¾in pieces. Pin RST SOLUTION FOR YOUR STUFF!
in pairs. Trim using Scale template.
3 From lining fabric cut:

QTwo (2) Lining template pieces.
QTwo (2) 2in x 23in pieces (drawstring).
4 Trace two (2) eye and two (2) pupil pattern

pieces onto the paper-backed fusible
web. Fuse eye pieces to white felt according
to manufacturer’s instructions and cut out.
Do the same for pupil pieces and black felt.
MAKE THE POUCH
5 Sew each pair of scale pieces together

along the curved edge, leaving the top
straight edge open. Trim seam allowance
with pinking shears or clip notches into the
curve. Turn right side out and press.
6 Baste the straight edge shut using a 1/8in

seam allowance. Make a total of
twenty-two (22) scales.
shoal goals
7 Take one 7in x 2½in lip piece and press

under ¼in at each short edge. Press the
edges under ¼in once more to enclose the
raw edge. Topstitch in place.
8 Press the lip piece in half lengthwise and

baste all the way along the long edge
using a 1/8in seam.
9 Repeat steps 7–8 with your second fish

lip piece.
10 Fuse one white felt eye pieces in place on

each of the 6½in x 4½in head pieces.
Position 11/4in from the one short edge,
If you prefer, use a
mix of fabrics in
centred horizontally. Secure with a blanket or similar shades
zigzag stitch.
11 Fuse the black felt pupil pieces in the

centre of each eye and stitch in place.
15 Fold one scale in half and finger press to
mark the centre. Lay the scale on top of
the body piece, matching the centres and
18 Repeat steps 15–17 to make a third row
of scales.
12 Fold all tail and body pieces in half

aligning the raw edges. Pin in place.
19 For the fourth row of scales, repeat steps
15–17, this time sewing the head piece to
vertically and finger press to find and
mark centres. 16 Place a second scale to the left of the
centre scale so that the left edge of the
the top instead of a body piece.
13 With one tail piece right side up, position

two scales on top, aligning the straight
centre scale overlaps by ½in. Pin in place.
Place a third scale on the right side so that its
left edge overlaps the centre scale by ½in.
20 Baste along the edges of the fish body,
using a 1/8in seam allowance, to secure
the edges of the scales. Trim away any excess
raw edges. The scales should each be ½in Pin in place. The left and right scales will scales from the edge of the body.
from the centre crease, and extend beyond extend beyond the sides of the tail.
the edges of the tail. Pin in place.
17 Lay one body piece on top, right side 21 Repeat steps 13–20 to complete a
second fish body. In step 19, make sure
14 Lay one body piece on top of the scales,

right side down, matching the centres of
the tail and body and aligning the long raw
down, as you did in the previous step,
matching and pinning at the centre,
sandwiching the scales. Sew along the long
when attaching the head that the eye is at the
opposite side to the first body.
edges. Sew along the long raw edge. Press

seam towards the body.
raw edge as before and press seam towards
the top body piece. 22 Place the two fish bodies RST so that
their eyes are touching and align the

shoal goals
raw edges. Match and pin at the head seam.

Pin and sew around the sides and tail, leaving
the top edge of the head open.
23 Clip in towards the tail at the valleys but

do not clip through stitching. Clip the
corners of the tail. Do not turn pouch.
24 Position a lip piece inside of the pouch,

aligning the raw edges of one head
piece with the basted raw edge of the lip
piece. Pin in place and baste with 1/8in seam
allowance. Repeat with the second lip piece
on the opposite side of the pouch.
25 Place the two lining pieces RST and pin.

Sew the along the sides, leaving the top
and bottom open. Turn right side out.
26 Place the sewn lining inside fish body

with RST. Align raw edges of the top
openings, matching and pinning at side
seams. Sew around the entire opening.
27 Turn the pouch right side out through

the opening in the lining. Press well.
28 Fold the short ends of one drawstring
piece ¼in to the wrong side. Fold the
drawstring in half lengthwise, wrong sides
press. Press in half again to enclose the raw
edges. Stitch along the folded edges with
1
/8in seam allowance. Repeat with the second
Close the opening in the lining with a ladder together, and press. Unfold and bring the drawstring.
stitch or by machine. long raw edges in to meet the fold, and
29 Thread one drawstring through the

fish’s lips on both sides of the bag and
knot the ends.
30 Repeat with the second drawstring at

the opposite side of the pouch to finish.
FelicE
ReginA
USA
iamlunasol.com
iamlunasol
I N T H E K NOW
PRE-WASH
PROS & CONS
Our brand new columnist Suzy Williams
aka Suzy Quilts has some crucial points
to share for and against the pre-wash
A wise woman once said to me, bleeding, that makes it bloody,

“Suzy, the very first thing you should right?) add a couple tablespoons of
do when you get home from a shop Retayne to the wash. Retayne might
is throw all of your new fabric into sound a bit scary, but it’s probably
the washing machine. Pre-washing sold at your local quilt shop, and is
is absolutely essential.” just a chemical that helps to lock
Another wise woman also said to fabric dye in place.
me, “Pre-washing?? I ain’t got time Sensitive skin, anyone? If you have
for that.” Thus began my inner a propensity for itchy, irritated skin,
debate – whether to pre-wash or then you may want to consider
not to pre-wash? jumping into the pre-wash camp.
By washing your freshly purchased
Reasons for fabric before sewing with it, you are
Those who pre-wash have their removing any sizing (more on this
reasons. It prevents bleeding. starch-like substance later) or
Pre-washing does more than just chemicals acquired during its time
fluff up your fabric. One of the most in a factory.
PRE-WASHING CAN PREVENT

REDS, PURPLES, AND DARK
BLUE DYES FROM SPREADING
important things washing your fabric Plus, shrinkage. This word is going more-or-less the same as when I first Above: Suzy’s
can prevent is the dreaded bleed. to make an appearance in both the sewed it together?” faithful sidekick
Scrappy gives these
For those who’ve never experienced ‘Pros’ and the ‘Cons’ list. Basically,
un-washed fabrics
a bleeding quilt, thank the sewing fabric shrinks once it’s been washed Reasons against her seal of approval
gods for your good fortune. and dried. Yes, yes, I know you Pre-washing? Notgonnahappen. It
However, if you HAVE watched in already know that. What you may not takes too much time. Also
horror as navy dye seeps into a have thought about is how this sometimes you forget! Also
once-cream fabric, raise your hand. radically changes the look of your sometimes you are running home
You, my friends, don’t need me to quilt if the majority of the shrinkage from the fabric shop because it is
tell you that pre-washing fabric can happens after it’s been quilted. By imperative that you begin cutting
prevent vibrant dyes from spreading pre-washing your fabric, you are into that fabric you just purchased
onto other fabric. Reds, purples, and decreasing the crinkle effect – similar immediately. Like world-endingly
dark blues are the usual suspects. In to the butterfly effect in that this one imperative that not a second is lost.
my case, it was a fabulous navy with decision can be world changing… What I’m saying is, sometimes life
beautiful metallic gold dots. Thanks Think about it. gets busy and you just want to quilt!
to colour bleed, that fabric ended up So ask yourself, “Do I want my For those of us who are not great at
becoming my enemy. quilt to shrink up and look instantly planning ahead (raising my hand),
To help prevent this bloody vintage and crinkled after it’s been pre-washing feels like the step we
tragedy (Can I say that? If it was once laundered?” Or “Do I want it to look forget to take until it’s too late.
I N T H E K N OW
“Sometimes life gets

busy and you
just want to quilt.
We forget to pre-
wash because once
that rotary cutter is
in hand, nothing
else matters!”
SUZY QUILTS
Below: There’s little

better than a soft
crinkled quilt fresh
from the dryer! Tips
1 Don’t pre-wash pre-cuts,
by which I mean anything
the size of a fat quarter or
smaller. The raw edges of these
cuties may unravel a lot when
pre-washed, so much so that it
no longer fits the requirements
Because once that rotary cutter is in for a fat quarter quilt pattern.
hand, nothing else matters.
Remember those chemicals? We
actually like some of them. As
mentioned previously, sizing finds its
2 Colour catchers can save
your life. Whether you
choose to pre-wash or not, it’s
way onto fabric fresh from the a good idea to throw a colour
factory. Sizing is similar to starch in catching sheet into the wash
that it adds crispness to the fabric with your quilt – especially if
and reduces wrinkles. This stiffness your fabrics include saturated
makes it easier to cut and sew. shades. Find these in the
Shrinkage. Oh, hello again. Fancy laundry detergent aisle.
seeing you here. If you love the look word. Just don’t look it up.
of a fluffy, puffy, puckery, cosy,
cuddly quilt, then pre-washing fabric
is not for you. Fabric is going to
Now go forth and pre-wash! Or
don’t. It’s totally up to you. As you
can see, Quality Controller Scrappy
3 In case a colour bleed
does happen, keep a
bottle of Synthrapol to hand.
shrink after that first wash, so if it’s the dog is happy either way. It’s the opposite of Retayne and
now part of a quilt, it will slightly pull releases dye, thus saving your
at that stitching – giving your quilt suzyquilts quilt, and possibly your sanity.
maximum crinkleage. And that’s a suzyquilts.com
BEACH BOLDS
Choose bright solids
that create a cheerful
sunny palette while
keeping you snug!
HAPPY
DAYS
This quick and easy quilt pattern will
brighten up winter mornings – tweak the
colours as you like to evoke sunnier days!
By Michelle Wilkie
QUILT
YOU WILL NEED

Q Fabric A: ¾yd
Q Fabric B: 1¼yds
Q Fabric C: ¾yd
Q Fabric D: ¾yd
Q Fabric E: ¼yd
Q Backing fabric: 4yds
FINISHED SIZE
Q 60in square approx
NOTES
instructed.
FABRICS USED
All solid fabrics are from Robert Kaufman
Kona Solids line in the following colours:
QFabric A – Salmon.
THESE BLOCKS WERE INSPIRED
QFabric B – Petal.
QFabric C – Pearl Pink.
BY BEACH UMBRELLAS, SO TRY
QFabric D – Honey Dew. BRIGHT SUMMER COLOURS!
QFabric E – Shadow.
A vivid print
binding will help QBinding fabric is High Meadow (Honey
your quilt to shine! Suckle), Meriwether by Amy Gibson for
Hawthorne Threads
QBackground fabric is Ludovika by Edholm
Ullenius for Ikea.
CUTTING OUT
1 From Fabric A cut nineteen (19)

3in x 10½in and twelve (12) 3in x 5½in strips.
2 From Fabric B cut thirty-six (36)

3in x 10½in and twelve (12) 3in x 15½in strips.
3 From Fabric C cut thirty-one (31)

3in x 10½in strips.
4 From Fabric D cut twelve (12) 3in x 15½in

and twelve (12) 3in x 5½in strips.
5 From Fabric E cut ten (10) 3in x 10½in

strips.
6 From the binding fabric cut seven (7)

2½in x WOF strips.
Happy Days
Column 1 Column 2 Column 3 Column 4 Column 5 Column 6

B D C
A
E
Layout diagram
17 Cut your backing fabric in half across the
width. Remove selvedges and sew along
the length using a ½in seam.
PIECING THE QUILT TOP

12 For column 4, use twelve (12) Fabric B, 18 Make a quilt sandwich and baste using
your preferred method. Quilt as desired
7 Chain piece five (5) Fabric B and seven (7)

Fabric E 3in x 10½in strips to Fabric A
nine (9) Fabric C and three (3) Fabric E
3in x 10½in strips. Press seams toward B.
– Michelle quilted horizontal lines.
strips. Press seams toward the Fabric A strips.
13 For column 5, use twelve (12) Fabric A 19 Trim away excess batting and backing
fabric and square up the quilt.
8 Lay out these pairs to form the first

column, referring to the Layout Diagram.
Continue piecing, and pressing toward
and twelve (12) Fabric D 3in x 5½in
strips. Press seams toward Fabric D strips.
20 Sew your binding strips into one long
length and use to bind your quilt. Take
Fabric A until the column is complete.
14 For column 6, use two (2) Fabric A,
twelve (12) Fabric B and ten (10) Fabric C
care to mitre each corner.
9 Piece each column in this way, using the

strips as indicated in the following steps,
and referring to the layout diagram.
3in x 10½in strips. Press seams toward Fabric
A and C strips.
MichellE
FINISHING THE QUILT
10 For column 2, use twelve (12) Fabric B

and twelve (12) Fabric D 3in x 15½in
strips. Press seams toward Fabric D strips.
15 Place columns 1 and 2 RST, nesting the
seams. Pin in place and sew together.
Press seams open or to one side.
WilkiE
USA
11 For column 3, use five (5) Fabric A, seven

(7) Fabric B and twelve (12) Fabric C 3in x
10½in strips. Press seams toward A and B.
16 Continue adding columns to the quilt
top, carefully nesting seams in each
column until the top is complete.
factotum-of-arts.com
ml_wilkie

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*T&C’s apply, 1x£100 voucher up for grabs for each craft category,
see www.britishcraftawards.com for full T&Cs and more information.
WHIRLIGIG
Make a quartet of foundation paper pieced
blocks into a stunning wall hanging
By lou orth
MINI QUILT
YOU WILL NEED

Q Dark, medium and light prints
in four colours (pink, purple,
green and blue): one (1) fat
sixteenth each
Q Background fabric: ½yd
Q Backing fabric: 25in square
Q Binding fabric: ¼yd
Q Sixteen (16) copies of FPP
Template
FINISHED SIZE
Q 20in square approx
NOTES
QPress seams to the side, unless otherwise
instructed.
QShorten your stitch length to 1.5 for
foundation paper piecing.
THIS FPP PROJECT PAIRS SOLIDS
QWST = wrong sides together. WITH A GEOMETRIC DESIGN TO
QTemplates include seam allowance around
the outer edges only. MAKE A BOLD STATEMENT
For templates, see p90.
FABRICS USED
All fabrics used are from the Kona Cotton
Solids collection by Robert Kaufman in the
3 From each of the four light prints cut
four (4) 2¼in x 4in pieces (Section 4).
following colours:
QBackground Grey: Silver.
QDark Pink: Valentine.
QSixteen (16) 2¼in x 4in pieces
(Section 5)
QMedium Pink: Azalea. QEight (8) 6½in squares. Cut each square
QLight Pink: Bubble Gum. along the diagonal to make sixteen (16)
QDark Purple: Mulberry. triangles (Section 6).
QMedium Purple: Magenta.
QLight Purple: Thistle.
QDark Green: Lime.
QMedium Green: Peapod.
5 From the binding fabric cut three (3)
2½in x WOF strips.
QLight Green: Cactus. PIECING THE TEMPLATES

QDark Blue: Cyan.
QMedium Blue: Breakers.
QLight Blue: Capri.
6 Piece each copy of the template as
follows. Piece four templates for each
colour group.
7
CUTTING OUT Take one copy of the Whirl template and
1 From each of the four dark prints cut

four (4) 3½in squares (Section 1).
the corresponding Section 1 fabric piece.
Place the fabric right side up on the
unprinted side of the template against
2 From each of the four medium prints

cut eight (8) 3½in x 2½in pieces
(Sections 2 and 3).
Section 1. Ensure that the fabric covers the
whole section, plus at least ¼in all round. Pin
carefully in place.
Whirligig
Black and white

binding makes the
block colours pop
8 16
Place the Section 2 fabric piece right side ASSEMBLING THE TOP Sew the binding strips together
down on top of the Section 1 fabric
piece, matching up the raw edges on the
side where Sections 1 and 2 will be joined
11 Arrange each set of four blocks, referring
to the photo for placement. Sew
together in a four-patch.
and making sure that when folded back
along the seam line, Section 2 will be
covered by the fabric plus at least ¼in all
round. Pin in place.
12 Sew the four blocks together to
complete the quilt top, pressing seams
to one side.
quilt, folding a mitre at each corner. Fold
9 Turn the template over to the printed QUILTING AND FINISHING

side and stitch along the marked line
between Sections 1 and 2, backstitching at
the beginning and end of the seam. Fold the
template away from the seam and trim to on top, then the quilt top centrally and right
¼in. Fold the template back, turn the work side up. The backing and batting are slightly
to the fabric side, flip Section 2 open and larger than the quilt top. Baste the layers
then press. together using your preferred method.
loU
10 Continue working in this way to piece
the remaining sections on the FPP 14 Quilt as desired. Lou quilted diagonal
lines.
Orth
template. Repeat to piece the remaining
England
templates. Trim each block along the dotted
seam allowance line. Remove paper from all
templates, tearing along the seam lines.
level with the quilt top edges and
square up the quilt.
imstudiolou.wordpress.com
imstudiolou

CONTRAST
STITCHES
Pair dense swirls of
free-motion quilting
with graphic lines
to echo the blocks
SORBET
SHADES
This modern take on the churn dash is perfect
paired with bright solids. Add a crisp white
background white to make the design pop!
by joanna marsh
QUILT
YOU WILL NEED

Q Fabric A: 3¼yds
Q Fabrics B, C, D, E, H, I, L, M:
3
/8yd each
Q Fabrics F, G, J, K: 5/8yd each
Q Binding fabric: 5/8yd
FINISHED SIZE
Q 81in square
NOTES
instructed.
QHST = half-square Triangle.
QWash and press all fabrics well before
cutting.
QSome fabrics will be cut and sewn on the
bias. Starching fabrics prior to cutting may
help to prevent warping. TO REPLICATE JOANNA'S
QQuilted by Joanna Marsh at
kustomkwilter.com
BEAUTIFUL TEXTURED QUILTING,
QFabric supplied by Robert Kaufman QUILT EACH HST INDIVIDUALLY
robertkaufman.com
FABRICS USED CUTTING OUT

Solid fabrics for both the quilt and
cushion are from the Kona Cotton Solids
collection by Robert Kaufman in the
1 From Fabric A (background) cut:
QThirty-three (33) 9½in squares.
QTwelve (12) 9½in x 5in rectangles.
following colours: QSix (6) 10in squares, then cut each square
QFabric A – White. on the diagonal to create twelve triangles.
QFabric B – Creamsicle.
QFabric C – Citrus.
QFabric D – Primrose.
QFabric E – Candy Pink.
2 From Fabric B cut one (1) 9½in x 5in
rectangle. Cut three (3) 10in squares and
then cut each square on the diagonal to
QFabric F – Lemon. create six half-square triangles.
QFabric G – Steel (G) (quilt only).
QFabric H – Petal.
QFabric I – Aloe.
QFabric J – Pool.
3 From Fabric C cut three (3) 10in squares
create six half-square triangles.
QFabric K – Peach.
QFabric L – Candy Green.
QFabric M – Iron (quilt only). TOP TIP
QFabric N – Carnation (cushion only). We always advise pre-washing and
QFabric O – Shale (cushion only). pressing your fabric. For this project we
QElizabeth Hartman Pond Peach Flower Dot also recommend starching the fabrics to
Backing prevent them from warping as you cut
QElizabeth Hartman Pond Shale Waving
and sew on the bias.
Grass binding
Sorbet shades
F
D E
G J H
C I K L
4 From Fabric D cut three (3) 10in squares

5 From Fabric E cut one (1) 9½in x 5 in

rectangle. Cut three (3) 10in squares then
cut each square on the diagonal to create six
half-square triangles.
6 From Fabric F cut three (3) 9½in x 5 in

rectangles. Cut three (3) 10in squares
7 From Fabric G cut three (3) 9½in x 5in

Layout diagram
The background is
a mass of small
create six half-square triangles. overlapping spirals
8 From Fabric H cut one (1) 10in squares

create two half-square triangles.
9 From Fabric I cut four (4) 10in squares

create eight half-square triangles.
10 From Fabric J cut two (2) 9½in x 5 in

11 From Fabric K cut two (2) 9½in x 5in

rectangles. Cut four (4) 10in squares then
cut each square on the diagonal to create
eight half-square triangles.
12 From Fabric L cut two (2) 10in squares

create four half-square triangles.
13 From Fabric M cut two (2) 10in squares

create four half-square triangles.

Making the HSTs
Making rail fence blocks
Fig 1
14 From the binding fabric cut nine (9)

2½in x WOF strips.
block (Fig B). Make twelve (12) of the Rail
Fence blocks. 24 Trim the excess batting and backing
MAKING THE HSTS FINISHING THE QUILT TOP
15 Refer to the Layout Diagram to create

each HST pair, or choose your own
combinations. Sew the HSTs using the
20 Arrange your HSTs and Rail Fence
blocks with the remaining 9½in white
squares, referring to Layout Diagram.
25 Sew the binding strips together
end-to-end using diagonal seams.
Press the seams open and trim away the
following method. dog ears. Fold in half lengthwise, WST, and
16 Place two triangles, cut from the 10in 21 Sew the blocks together in nine-patch
units (Fig 1). Then sew the nine-patch
then press.
squares, RST, aligning diagonal edges.

Sew them together along the diagonal,
being careful not to stretch the bias edge.
units together in rows. Sew these rows
together to complete the quilt top. 26 Sew the binding to the right side of the
Fold the binding over to the back of the quilt
QUILTING AND FINISHING and hand stitch in place to finish.
17 Press the HST unit open, with seams

to one side. Trim each HST unit to
9½in square (Fig A). Make twenty-four (24)
Make them into a quilt sandwich by
placing the backing fabric right side down,
two colour HSTs and twelve (12) the batting on top, then the quilt top
background/colour HSTs. centrally and right side up. The backing and
joAnna
batting are slightly larger than the quilt top.
MAKING THE RAIL FENCE BLOCKS Baste the layers together using your
18 Take one white and one coloured 9½in x

5in rectangles. Place them RST, and sew
preferred method.
Marsh
23
them together along one long edge. Quilt as desired. On the white USA
background, Joanna quilted small kustomkwilter.com
19 Press the unit open, pressing seams to

one side to complete one Rail Fence
overlapping swirls. On the HST units, Joanna
quilted an echo of triangular lines.
kustomkwilts
sorbet shades
CUSHION
YOU WILL NEED

Q Thirteen (13) fat quarters (see
‘Fabrics Used’ section of quilt
instructions for colours)
Q Backing fabric: ½yd
Q Lining fabric: 24in square
FINISHED SIZE
Q 18in square
CUTTING OUT
1 From Fabric A cut:

QTwelve (12) 2½in squares.
QFour (4) 3½in x 6½in rectangles.
QSix (6) 3in squares, then cut each square on
the diagonal to create twelve triangles.
3 From Fabric F cut four (4) 3in squares,
create eight triangles. You will only use
5 From each of Fabrics D, E and K, cut two
(2) 3in squares. Cut each square on the
diagonal to create four half-square triangles.
seven of these half-square triangles.
2 From each of the fabrics B, C, I, J, L and

O, cut four (4) 3in squares, and then cut
each square on the diagonal to create eight 4 From Fabric N cut three (3) 3in squares,
6 From Fabric H cut two (2) 1½in x 2½in
rectangles. Cut three (3) 3in squares, then
cut each square on the diagonal to create six
half-square triangles. create six half-square triangles. half-square triangles. You will only use five of
these triangles.
I
K E
N
7 From Fabric O cut three (3) 1½in x 2½in
rectangles.
C
O F
8 From each of Fabrics B and J cut two (2)
J H
Layout diagram

sorbet shades
9 From each of Fabrics C and E cut one (1)

1½in x 2½in rectangle. TOP TIP 18 Take the two 18½in x 13in rectangles for
the cushion back. On one 18½in edge
of each rectangle, press under ¼in seam
For a unique cushion, randomly combine
10 From the backing fabric cut two (2)

18½in x 13in rectangles.
the colours from the triangles, rather than
following the colour layout diagram
twice to conceal the raw edge. Topstitch
carefully in place.
19
CUSHION TUTORIAL STEPS Place the quilted cushion front right side
11 Follow Steps 15–17 of the quilt

instructions on page 48 to piece the
HSTs. Use the triangles cut from your 3in
14 Make four Rail Fence blocks. Join the
remaining squares and HSTs in nine
patch units (Fig 1). Join the nine-patch units
up. Place one backing rectangle right
side down on top of it, lining up the raw
edges and having the hemmed edge run
squares and refer to the Cushion Layout and Rail Fence blocks in rows. Join the rows through the centre of the cushion front.
Diagram for colour placement. Trim each together to complete the cushion top. Place the remaining backing rectangle on
HST to 2½in square. the opposite edge of the cushion front with
12 Arrange your HSTs, 1½in x 2½in

coloured rectangles and remaining
15 Make a quilt sandwich by placing the
24in square lining fabric right side down,
the batting on top, then centre the
the hemmed edges overlapping in the
centre. Pin in place.
background pieces, referring to the Layout

Diagram for placement.
completed cushion top right side up. Baste
the layers together. 20 Sew around the outer edge. Backstitch
where the backing rectangles overlap
for extra strength on these seams. Clip the
13 To make a Rail Fence block. Join a 1½in

x 2½in rectangle to one side of each of
three HSTs (Fig A). Join these units in a
16 Quilt as desired. Joanna quilted straight
vertical lines.
corners and turn the cushion right side out.
column (Fig B), then join the column to a

3½in x 6½in background rectangle (Fig C). 17 Trim excess batting and backing and
square up the cushion front.
Making Rail Fence blocks
Fig 1
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FILE
D E S IG N E R P R O
GIUSEPPE
RIBAUDO
Giuseppe Ribaudo has been wow-ing the quilting community
with his creative designs. Sandi Sawa Hazlewood finds out more
What can you tell us about your

creative journey?
I remember watching my
grandmother transform fabric into
beautiful garments as a child. I was
always fascinated by the process of
sewing. I’d stand beside her at her
industrial Singer and watch her
create, adsorbing her methodical
techniques, watching her
meticulously craft clothing, curtains,
costumes, pillows… I always loved
watching her work but I never knew
how to translate what I had learned
from her into work of my own. I
didn’t have much interest in making
clothing, but I knew I wanted to sew
I BECAME OBSESSED WITH FABRIC. in some way.

When I was in college studying
THE DESIGNS AND THE COLOURS SPOKE theatre, I discovered quilting and
immediately knew I had found my
TO ME IN A LANGUAGE I UNDERSTOOD niche. I became obsessed with fabric
– the designs and the colours spoke
to me in a language I hadn’t heard
before but somehow completely
understood immediately.
I honed my craft slowly, making a
lot of bad stuff before I created
anything good. After a couple years
of experimenting, I bought my first
quilting book, Elizabeth Hartman’s
The Practical Guide to Patchwork.
That was when I downloaded
Instagram and found a network of
makers who encouraged me to keep
sewing. Eventually, Andover Fabrics
noticed me and started sending me
fabric to promote their collections
and make projects for trade shows.
Other companies followed suit.
I bounced around the country for
a bit working as an actor, all the
while sewing between shows. Burnt
out on theatre, I moved back home
DE S IGN E R P R OF I L E
Above: This cool

blue quilt is a fab
example of
Giuseppe's
experiments with
colour gradations
to New York in the hopes of landing in-process photos because that’s being as true to yourself as you can.
a job in the fabric industry. I figured what I enjoy the most – the Work hard and be positive. Good
that if finding employment in fabric progression of a project. I always like things will follow.
didn’t work out, at least I would be in seeing something finished but what
New York City and could get right really intrigues me is how people It seems like your favorite colour is
back to auditioning. work, getting to see a project rainbow! How do you select
Within five months of being back change and grow. colours for your quilts?
in New York, Andover Fabrics I am definitely a fiend for all things
offered me a job in their marketing Do you see a blog in your future? colour-order, there is no doubt about
department. After a year I was A website, sure. I’ll have to get one that. I’ve been experimenting with
promoted from Marketing Associate eventually as I expand my brand. But limiting my palette a bit lately, but I
to Multimedia Manager. a blog, probably not. I get asked that always come back to the spectrum.
It’s been a busy and productive question a lot. It’s actually a point of The more I think about it though,
couple of years! pride for me that I don’t have a blog, it’s not exactly the rainbow I like. I
Your Instagram feed is gorgeous! or even a website for that matter. As think it’s the gradation of colour. It’s
What are you thinking about when I was starting to take my work in this seeing how colours can morph and
you add pictures to your feed? industry more seriously, I was told change depending on how they’re
Thanks so much! When I post time and time again that I needed to paired. How a colour can be yellow
something, I am always trying to give start a blog if I wanted people to next orange but that same yellow
someone a look inside. I am all about work with me. I was confident that can become earthier when it’s next
process. I rarely make anything for that wasn’t the case, that I could to green. I love these weird
the sake of getting it done. If I am make a name for myself just by using transitional shades, the way a colour
going to invest a lot of time into a Instagram. A few years later, I’ve can shift so you see blue, I see teal.
project, I have to want to work on it. got an awesome job at a major fabric It’s my favourite thing about colour
So when I post it tends to be a lot of company in the heart of New York and a big part if why I love to use so
City. So I kind of feel like I won much colour in my sewing.
THE WAY I CHOOSE that one…

I think a lot of people in this line of
I don’t really have a process for
choosing my colours or fabrics for a
COLOUR IS INNATE, work who are trying to make a name
for themselves think a little too hard
project. I just trust my gut. I usually
see a piece of fabric I want to work
SO IT’S HARD TO about how to “make it big.” You can with and just pull a bunch of stuff
ARTICULATE. I SORT put up blog posts all the time, read

articles about how to grow your
that goes with it. I find myself trying
out different values of the rainbow all
OF JUST PULL COLOURS following, do everything the internet
tells you to do to be the next big
the time. Sometimes it’s
bright, sometimes more
UNTIL I SMILE thing… But to me, it’s all about autumnal, at other times

it’s deeply saturated. I think the way I
choose colour is innate, so it’s a hard Beautiful bight
thing to articulate how I choose what blocks from
Giuseppe's
I choose. I sort of just pull colours Moonstone quilt
until I smile. That’s when I know I’ve
got it. If it doesn’t make me happy,
I’m not working with it.
How did you design your English

paper pieced quilt, Moonstone?
For Moonstone, I knew I wanted a
pattern you could fussy cut like crazy.
I wanted a big piece so I could fussy
cut larger prints and smaller ones so
I could do the same with small scale
designs. I started with a giant
octagon, then played with
subdivisions within the block and
added shapes outside it. I played
with quite a few iterations. I knew I
had it when I started to visualise all
the things I could do with the block,
how I could alter the look of it by
rotating the blocks this way and that.
It’s been incredible watching people
work with the pattern and seeing
them discover new things with the
design. It never gets old.
In addition to your visually

attractive designs, you’re always
kind and encouraging. How do you
view your contribution to the
quilting community?
I do try to be as kind and
encouraging as I can be. I think that's
because I’ve never really felt like I
belonged to any particular group.
Growing up, I was constantly
ostracised. I was overweight, gay, a
theatre kid, balding at 16. I wasn't
exactly ‘cool.’ Honestly, I didn't feel
all that welcomed when I started
quilting either. I’d go into a quilt
shop and get treated like I didn’t
belong there or get asked if I was
looking for my girlfriend. the moment that I thought to myself quilting world. To have her say that
Instagram changed that for me. that I had found my people. I had to me, it meant everything. I've
That's where I found a network of posted something questioning my always seen that as a defining
people who cheered me on and told skills and abilities, wondering moment in my sewing career. I felt so
me to keep sewing. I'll never forget whether or not what I was doing was empowered. I hope to encourage
any good. Katy Jones commented and inspire people myself. No one
FOR MOONSTONE, I that she too had struggled with what
I was working on and that I should
should feel they don't belong in this
community. We have to do all we
KNEW I WANTED A keep it up and not get down on can to make everyone feel a part of
PATTERN YOU COULD myself. I'd been a great admirer of

her. Not just her work, but her style,
this awesome craft. Sex, race,
orientation, these divisions do
FUSSY CUT LIKE CRAZY her humour and her influence in the nothing to help us grow this industry.
DE S IGN E R P R OF I L E
From cool blues to

rainbow brights, we
think Giuseppe's
passion for colour is
matched only by his
love of fabrics!
I think it’s so important to be positive this lately, I don’t beat myself up as pursuit of something new.
to people, especially those just much as I used to when I am taking But if I had to choose, I think my
getting their start. Every Alison time for me, but it’s still a challenge. best-case scenario would be owning
Glass, Tula Pink, and Carolyn What would be your dream job? a quilt shop. Since I’ve been a
Friedlander was a beginner before I could be happy doing many things. performer all my life, getting back to
they were a star. my roots of theatre in some capacity
How does living in New York affect

IF I HAD TO CHOOSE, I would be incredible. In a perfect
world, I would own a quilt shop in a
your creative process? THINK MY BEST-CASE quiet town and be able to teleport
SCENARIO WOULD BE
The city doesn’t really inspire me in from my sleepy shop at closing time
terms of what I create, more so HOW to New York City to perform on
I create. Living here definitely keeps
me on my toes. The energy is
OWNING A QUILT SHOP Broadway. It’s a dream job, right? I
can use science fiction to get
frenetic. It never lets up. Sometimes IN A QUIET TOWN everything I want since it’s a dream.
it's an incredible motivator. New York
City changes around you every day. I That said, no matter what I do in life,
want to keep up. I want to try new
things. My modus operandi is pretty
I think I will always be wishing I was
doing something else. No matter
sandI sawA haZlewooD
much work, work, work, so being in a where I am, I wonder what is Sandi is a quilter, blogger and
city that is never still really keeps me happening somewhere else. No creator of brilliant podcast Crafty
striving to work harder. matter what I am doing, I’m always Planner. Every episode, she uses
her incredible interviewing skills
At other times, though, it's imagining doing something
to get to know some of the
exhausting. Because the city is so different. It’s just my nature. I’m
biggest names in the quilting
frenzied, I often have a hard time never all the way content. But I think
world and find out more about
slowing down. I don’t always make that sort of wandering mindfulness is
what drives them
time for myself. Often times when I what keeps things interesting. It’s
am out having a great time, I find what makes you always want to try craftyplanner.com
myself feeling guilty that I am not something different. That to me is craftyplanner
working. I’ve been doing better with incredibly exciting, always being in

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58 WWW.LOVEPATCHWORKMAG.COM
CHROMA
COLOUR
Pair your favourite rainbow prints
with a neutral background fabric
to create these zip-up pouches
By amanda castor
LARGE POUCH
YOU WILL NEED

Q Rainbow prints: eight (8)
2½in squares
Q Background fabric: one (1)
fat quarter
Q Lining fabric: one (1) fat eighth
Q Fusible fleece: ½yd
Q Zip: 11in
Q One copy each of pouch front
FPP templates A–D
FINISHED SIZE
Q 10½in x 6in x 3in
NOTES
unless otherwise noted. ARRANGE YOUR TRIANGLES WITH
QPress seams to the side, unless otherwise
instructed.
CARE TO CREATE THIS STRIKING
QShorten your stitch length to 1.5 for GRADUATED RAINBOW EFFECT
foundation paper piecing.
QWOF = width of fabric. FABRICS USED CUTTING OUT
QFPP = foundation paper piece
QTemplates include seam allowance around
QPrint and lining fabrics are Chroma by
Alison Glass for Andover Fabrics.
QBackground fabric is from Art Gallery
1 From the lining fabric cut two (2)
the outer edges only.

QFor templates, see p90.
Denim Studio.
QOne (1) 8½ x 11in rectangle.
QOne (1) 4in x 11in rectangle.
Choose your zip
colour with care to QOne (1) 1½in x 11in rectangle.
enhance the design! QTwo (2) 1in x 2½in rectangles.
3 Also from the background fabric, cut

pieces for each section of the FPP
templates, using the template as a guide.
Make sure the pieces will be at least ¼in
larger than the section that they will cover,
all the way around.
4 From the fusible fleece cut two (2)

FPP THE FRONT PANEL
5 Take template A and one rainbow print

2½in square for Section 1. Place the fabric
right side up on the unprinted side of the
template against Section 1. Ensure that the
fabric covers the whole section, plus at least
¼in all round. Pin in place.
6 Place the Section 2 fabric piece right side

down on top of the Section 1 fabric
Chroma colour
Assembling the pouch
a b
c d
piece, making sure that when folded back
along the seam line, Section 2 will be
covered by the fabric plus at least ¼in all
round. Pin in place.
7 Turn the template over to the printed side

and stitch along the marked line between
Sections 1 and 2, backstitching at the
beginning and end of the seam. Fold the
template away from the seam and trim to
¼in. Fold the template back, turn the work e f
to the fabric side, flip section 2 open. Press.
8 Continue working in this way to piece the

remaining sections on the FPP template.
Trim along the dotted seam allowance line.
Remove paper, tearing along the seam lines.
9 Repeat steps 5–8 to piece Templates B,

C and D, using the rainbow prints for the
triangles and background pieces.
10 Referring to the photo for placement,

join the Template A and B pieces, with
carefully lining up the raw edges. Pin or clip
into place (Fig A). 18 Unzip the zip halfway. Open out the
fabric layers and align the lining fabrics
RST on one side of the zip and the outer
the triangles pointing to the centre. Join
Template C and D pieces to each side, also
ensuring the triangles point to the centre.
14 Sew in place using a 1¼in seam,
backstitching at each end and going
slowly over the zip teeth. Trim the seam to
panels RST. Pin in place (Fig D). Carefully
match the centre seams and push the zip
seam allowance toward the lining side.
¼in and press open (Fig B).
11 Sew a 1½in x 11in background strip to

the top of the pieced unit and a 4in x 11in
background strip to the bottom. Press 15 Layer the front panel (right side up) and
zip (right side down) so that the edge of
19 Sew around the outer edges, leaving a
3in gap in the bottom of the lining,
backstitching at each end (Fig E).
seams open to complete the front panel. the zip aligns with the top of the front panel.
ASSEMBLING THE POUCH

Layer an 8½in x 11in lining rectangle (right
side down) and pin or clip in place. (Fig C) 20 Pinch together the side and bottom
seam in one corner of the lining. Mark a
12 Following the manufacturer’s

instructions, attach one 8½in x 11in
fusible fleece to the reverse of the front 16 Sew together, using a zipper foot. Press
the lining and front panel away from the
line 1½in from the point and sew along the
line (Fig F). Trim the seam allowance to ¼in.
Repeat in the remaining three corners.
panel. Attach the remaining piece to the zip. Topstitch in place.
reverse of the 8½in x 11in background piece.
17 Repeat steps 15-16 to sew the other side 21 Turn the pouch right side out through
the gap in the lining. Sew the lining gap
13 Place one 1in x 2½in rectangle right side

down on top of each end of the zip,
of the zip, using the remaining 8½in x
11in background and lining pieces.
closed, topstitching 1/8in from the folded
edge. Push the lining into the bag to finish.

SMALL POUCH
YOU WILL NEED

Q Rainbow prints: sixteen (16)
1½x1in rectangles
Q Background fabric: one (1)
fat eighth
Q Lining fabric: one (1) fat eighth
Q Fusible fleece: ¼ yard
Q Zip: 8½in
FINISHED SIZE
Q 8in x 5in x 2in
A PATCHWORK STRIP OF
CUTTING OUT
COLOURFUL PRINTS POPS ON A
DARK NEUTRAL BACKGROUND
2 3
From the background fabric cut: From your rainbow scraps cut sixteen (16) FPP SMALL POUCH FRONT PANEL
QOne (1) 6½in x 8½in rectangle
QOne (1) 2in x 8½in rectangle
1in x 1½in rectangles.
5 Sew the sixteen (16) 1in x 1½in rectangles
together into a row along the long edges
QOne (1) 4in x 8½in rectangle
QTwo (2) 1in x 2½in rectangles 4
From the fusible fleece cut two (2)
to create a 1½in x 8½in strip.
Have fun choosing

vibrant scraps from
your fabric stash
6 Sew the 2in x 8½in background fabric
rectangle to the top of your pieced
rainbow row and sew the 4in x 8½in
rectangle to the bottom.
7 Follow steps 12–21 of the large pouch

instructions to piece the small pouch.
When boxing the corners in step 20, mark
your line 1in from the corner.
TOP TIP
As you near the zip pull, lift the zipper
foot, slide the zip pull to a sewn area,
return foot to position and finish the seam
amAnda
caStor
USA
materialgirlquilts.com
materialgirlquilts
DelicatE
A handpicked collection of fabrics wash
delivered to your door lavender
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grapefruit
unscented
jasmine
the spa treatment for your fine washables
Dotty Dolly
PATCHWORK & QUILTING
13 Fore Street, Wellington,
Somerset TA21 8AA
Everything you need for

your fabric projects
www.misformake.co.uk Tel: 01823 660879

www.dottydollyquilting.co.uk
PROFESSIONAL LONGARM
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Helping you to get that quilt finished
Longarm Quilting 2p per square inch Our readers spend over 6 hours patch working
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Contact us now to avoid disappointment. regularly buy from independent shops or online
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To find out how we can help to market your company,

PLEASE GIVE TIFFANY JACKSON
A CALL ON 01173 008 203
[email protected]
MIX & MATCH
The beauty of this pattern
is that you can mix and
match block sizes to create
a quilt unique to you
BLUEBIRD
Build your own log cabin quilt using a
mix of different sized blocks pieced in
irresistible Cotton+Steel fabrics
by angie wilson
QUILT
YOU WILL NEED

Q Fabric A: 1yd
Q Fabric B: 1½yds
Q Fabric C: 3yds
Q Fabric D: 3yds
Q Backing fabric: 4¾yds
FINISHED SIZE
Q 80in square
NOTES
QPress seams open or to the side, as
preferred.
QQuilting by Raylee Bielenberg of Sunflower
Quilting (www.sunflowerstitcheries.com).
QFor templates see page 90. WHIP UP A SINGLE SUPER-SIZE
FABRICS USED
BLOCK AND TURN IT INTO A QUICK
The fabrics are all from the S.S Bluebird SEW CUSHION TO MATCH!
collection by Cotton+Steel.
CUTTING OUT
1 From Fabric A cut eight (8) 3½in squares

and fourteen (14) 6½in squares.
2 From Fabric B cut:

QEight (8) 2½in x 3½in strips
QFourteen (14) 4½in x 6½in strips
3 From Fabric C cut:

4 From Fabric D cut:

5 From the binding fabric cut nine (9)

2½in x WOF strips.
Bluebird
Fig 1
Fig 2
Raylee's free-motion
design complements the
linear blocks perfectly
MAKING THE LARGE BLOCKS ASSEMBLING THE QUILT TOP
6 Sew a 4½in x 6½in Fabric B strip to the

top of a 6½in square, and press open.
Then add a matching 4½in x 10½in Fabric B
12 Join four of the small blocks in a
four-patch. Repeat to make a second
four-patch block.
to the right of the block (Fig 1). Fig 3
7 Continue adding the Fabric C and D strips 13 Arrange the blocks, referring to the
photo, or in your own arrangement. Sew
in order to the top and right of the block
as shown to complete one large block (Fig 2).
the blocks together in rows, then sew the
rows together to complete the quilt top. 18 Press the seams open and trim away the
dog ears. Sew the binding strips
together end-to-end using diagonal seams.
8 Repeat steps 6–7 to make seven (7) large QUILTING AND FINISHING Fold in half lengthwise, WST, and then press.
blocks.
14 Cut your backing fabric in half along the
width. Rejoin the two pieces using a ½in
9 Repeat steps 6–7, but add the strips to

the top and left of the 6½in squares.
seam and press open. quilt, folding a mitre at each corner. Fold
Make seven (7) large reverse blocks (Fig 3).
MAKING THE SMALL BLOCKS

10 Repeat step 6 using a 3½in square,

2½in x 3½in Fabric B strip and 2½in x
on top, then the quilt top centrally and right
side up. Baste the layers together using your
5½in Fabric B strip. Then repeat step 7,
continuing with the corresponding strips, to
preferred method.
anGie
make one small block. Now make four (4)
small blocks. 16 Quilt as desired. Raylee of Sunflower
Quilting (www.sunflowerstitcheries.com)
WilsoN
used baptist fan free-motion quilting.
Australia
11 Repeat step 10, but add the strips to the

top and left of the 3½in square, to make
four (4) reverse small blocks. 17 Trim the excess batting and backing and
gnomeangel.com
gnomeangel

SOLID IMPACT
Choose a lovely
textured linen-look
fabric to give your
quilt added texture!
COLOUR
STUDY
Whip up some luscious green FG
units to create a contrast-colour quilt
using precious prints from your stash
By karen lewis
QUILT
YOU WILL NEED

Q Print fabrics: twenty-eight (28)
11in squares
Q Background fabric: 4yds
Q Backing fabric: 70in x 90in
Q Batting: 70in x 90in
FINISHED SIZE
Q 60in x 80in
NOTES
QSeam allowances are ¼in thoroughly,
instructed.
QHST = half-square Triangle.
FABRICS USED
A variety of green and yellow fabrics from
Karen’s stash along with Essex Yarn Dyed
linen in Graphite, provided by Robert
Kaufman Fabrics (robertkaufman.com).
CUTTING OUT
1 From each of the print fabrics cut

one (1) 10½in x 5½in rectangle and two (2)
5½in squares.
2
Connect flying MAKING THE BLOCK
geese units in From the background fabric cut
contrast shades the following:
QForty-six (46) 10½in x 5½in rectangles.
QEleven (11) 10½in squares.
4 Mark a diagonal line on the reverse of all
your 5½in squares.
QFifty-six (56) 5½in squares.

5 Place a background fabric square, RST at
one end of a print 10½in x 5½in
3 From the binding fabric cut eight (8)

2½in x WOF strips.
rectangle. Sew along the diagonal, and trim
¼in from the sewn line. Press the corner
open (Fig 1).
Fig 1
Fig 2
Fig 3
Colour study
6 Repeat Step 5 on the other end of the

print rectangle to make one flying geese
unit (Fig 2). Repeat to make twenty-eight (28)
print fabric flying geese units using
background squares.
7 Repeat steps 4–6 to make twenty-eight

(28) background flying geese units using
background fabric 10½in x 5½in rectangles
and matching print fabric 5½in squares. Layout diagram
8 Join matching background and print

flying geese units along the long edges
to form a print chevron (Fig 3). Repeat with
ALTERNATE THE DIRECTION OF
all twenty-eight sets of flying geese. YOUR UNITS IN EACH ROW TO
ASSEMBLING THE QUILT GIVE A SENSE OF MOVEMENT
9 Arrange the chevron blocks and
remaining background pieces as shown
(Layout Diagram). Sew each column backing fabric, the batting and the quilt top.
together, pressing seams toward the Pin or spray baste together.
background fabric.
10 Sew the columns together, pressing 12 Quilt as desired. Karen quilted in
horizontal lines and diagonal lines to kareN
seams open, to finish the quilt top. echo the chevron pattern.
lewiS
13
QUILTING AND FINISHING Trim excess batting and backing and England
11 Cut your backing fabric in half and sew

together along the long edges using a
½in seam. Make a quilt sandwich of the
square up the quilt. Join the binding
strips into one long length and press in half.
Bind the quilt, carefully mitring each corner.
karenlewistextiles.com
karenlewistextiles

A DV E RT I S E M E N T
YOU WILL NEED
Q Selection of Christmas Fabrics – Me
STOCKING
to You Christmas Fat Quarter
Assortment – two (2) fat eighths per
stocking). Item number is 405378
£21.99 club members pay £19.79
BUNTING
Q Create and Craft Christmas Red
Ribbons 6 x 3m item number 372715
£19.99. Club members pay £17.99
Q Assorted buttons of your choice
Q Simply cut out the size of template
Sew up a row of festive stockings you wish your stockings to be.
strung on red ribbons for a Sarah used her own cut out
templates that measure 8in x 10in.
Christmas decoration that can The Stocking Lining is two (2)
also hold tempting treats! inches longer than the Stocking
outer template
by Sarah Payne,
Regular Create and Craft TV guest
Visit createandcraft.com/LPQ and search for the item

number to find all these products
A DV E RT I S E M E N T
CUTTING OUT
Making the stockings
1 Draw two templates for these stockings,
each within 8in x 10in in size. The Stocking
Lining is two (2) inches longer than the
Stocking Outer template. Place the front and a D
back fabrics right sides together and draw
around the Stocking Outer template. Cut
out the stocking along your drawn line (this
includes a seam allowance). Repeat with the
Stocking Lining fabrics and template. You
will need two (2) pieces of fabric with each
template for your stocking (Fig A).
MAKING ONE STOCKING
2 Keeping the fabrics right sides together, B E

sew around the sides of the two stockings
with a ¼inch seam allowance – but leave the
top of the stockings open and leave a gap in
the Stocking Lining for turning through.
3 Take a sharp pair of scissors and carefully

snip the fabric outside of the sewn line
(Fig C). Take care not to snip through your
stitching or your stocking may fall apart!
C F
4 Turn the Outer the right way out. Tuck
the Stocking Outer inside the Stocking
Lining and line up the top edges and seams.
Pin and stitch around the top with a ¼ inch
seam allowance. Turn through the gap in the
Stocking Lining and press flat (Fig D). Stitch
the hole in the lining closed.
HAVE FUN WITH A SEASONAL TOP TIP

PATTERN THAT'S PERFECT FOR If the lining material is directional, cut out
upside down so that once the stocking is
BEGINNERS, AND REALLY SPEEDY! sewn together the design will be the
correct way up (Fig B).
5 Now carefully tuck the Stocking Lining

inside the Stocking Outer. As the
Stocking Lining is longer, this will therefore
7 If you are going to hang your stockings
individually, you will need a 5in strip of
Create and Craft Christmas Red Ribbon
will create a neat overlap at the top of the folded in half to make a loop. If you wish to
stocking, which has the bonus of looking make bunting, you will only need to add a
really attractive (Fig E). single 3in strip of ribbon. To complete your
bunting, stitch the other end of the Create
saraH paYne
6 Stitch a scrap of Create and Craft
Christmas Red Ribbon onto the top of
the stocking and sew a button on to hide
and Craft Christmas Red Ribbon at 5in
intervals on your main piece of Create and
Craft Christmas Red Ribbon. Then fill with
Regular Create
and Craft T V
guest
any stitches (Fig F). treats, hang over the fireplace, and enjoy!
WATCH SHOP ORDER FOLLOW

Sky 674, Freeview 23, createandcraft.com/LPQ call 0330 041 5685
Virgin 748 and Freesat 813

POPPING
PALETTES
Grouping similar
shades together
gives this quilt its
elegant finish!
KISS CROSS
Combine colourful mini squares, graphic
black and a crisp white background for
a bold and contemporary quilt
by nicole calver
QUILT
YOU WILL NEED

Q Assorted print fabric scraps
(see cutting out)
Q Background fabric: 4¾yds
Q Black fabric: ¾yds
Q Backing fabric: 4½yds
FINISHED SIZE
Q 66in square
NOTES
FABRICS USED
QPrint fabric scraps are from Nicole's stash.
QModern Background by Zen Chic
for Moda, kindly provided by our friends
at Moda Fabrics. GET CREATIVE WITH COLOUR
CUTTING OUT PLACEMENT TO MAKE YOURSELF A
BRIGHT AND BOLD QUILT DESIGN
1 From your assorted scraps cut four
hundred and sixty-eight (468)
1¼in squares. This is a great opportunity to

get creative with your colour choices.
2 From your background fabric cut:

QFive (5) 12½in x WOF strips. Subcut into
eighty-five (85) 2in x 12½in strips.
QTwelve (12) 2in x WOF strips. Subcut these
into three hundred and ninety (390)
1¼in x 2in strips.
forty-eight (48) 25/8in x 9½in pieces.
QSix (6) 5in x WOF strips. Subcut into
forty-eight (48) 5in squares. Cut each
square once on the diagonal to make
ninety-six triangles.
QEight (8) 2in x WOF strips for sashing.
3 From your black fabric cut three (3)

7½in x WOF strips. Subcut these into
ninety-six (96) 1in x 7½in pieces.
These wee little fabric

squares are truly the
ultimate scrap buster!
4 From your binding fabric cut eight (8)
2¼in x WOF strips.
kiss cross
Piecing the blocks
a b
c d
MAKING BLOCK B
9 Centre two black 1in x 7½in strips along

the long edges of a single 25/8in x 9½in
background strip. Sew in place (Fig E).
e f Press this section open.
10 Centre one background triangle on a

black strip and sew in place (Fig F).
Press open. Repeat to add a triangle to the
other side (Fig G). Be careful not to stretch
the bias edge of the triangle as you sew.
11 Mark the centre line of the background

rectangle at the outer edges of the
block. Using these marks, align the points of
g h your ruler and trim the block to 6½in square
(Fig H and Fig I on page 44) to complete
one quarter block. Make four quarter blocks.
12 Sew the quarter blocks in pairs (Fig J on

page 44). Press open and sew the pairs
together as shown (Fig K) to complete one
Block B. Make twelve (12) of Block B.
ASSEMBLING THE QUILT TOP
13
MAKING BLOCK A Arrange your blocks in five rows of five,
5 Sew a 1¼in scrap fabric square to the end

of a 1¼in x 2in background strip, along 7 Next, carefully sew a 2in x 12½in
background strip to the top of five of
referring to the photo for placement.
the short end (Fig A). Repeat to make thirty

(30) of these units.
these rows (Fig C).
14 Sew each row together, adding a
2in x 12½in background piece between
6 Sew five (5) of the units together, adding 8 Sew the five rows with background
strips from the previous step together
each block. Press seams toward the sashing.
a 1¼in scrap fabric square to the end to

complete one row (Fig B). Make six (6) of
these fabric rows.
with the remaining row to complete one
Block A (Fig D). Repeat steps 5–8 to make
thirteen (13) of Block A.
15 Sew the eight 2in x WOF sashing strips
together in pairs along the short edges.
Trim each pair to 2in x 66½in.

Making Block B
16 Sew your rows together, inserting a

sashing strip between each row, as
shown in final quilt.
17 Split your backing fabric into two 2¼yd

pieces, sew together down the long
edges using a ½in seam allowance.
Draw the whole design
together with long
straight line quilting

Make a quilt sandwich by placing the QUILTING USING RAINBOW
on top, then the quilt top centrally and right THREAD COLOURS ADDS SOME
side up. The backing and batting are slightly EXTRA INTEREST TO YOUR QUILT
larger than the quilt top. Baste the layers
together using your preferred method. 21 Sew the binding strips together
19 Quilt as desired. Nicole quilted straight

lines on the diagonal.

Fold the binding over to the back of the quilt
square up the quilt. and hand stitch in place to finish.
Finishing Block B
J K
kiss cross
CUSHION A
YOU WILL NEED

Q Assorted print fabric scraps
(see cutting out)
Q Backing fabric: ¾yd
FINISHED SIZE
Q 24in square
CUTTING OUT
1 From the assorted scraps cut thirty-six (36)

2in squares.
2 From the background fabric cut five (5)

3½in x WOF strips. Subcut each strip into
one (1) 3½in x 24½in piece and five (5)
2in x 3½in strips.
MAKING THE CUSHION
3 Follow steps 5–8 of the quilt instructions

on page 77 to make one Block A. In steps
5–6 use the 2in scrap squares and the 4 Baste the cushion top centrally on one
square of batting. Quilt as desired.
2in x 3½in background strips. Then use the Nicole straight line quilted with an
3½in x 24½in background pieces in step 7. intersecting grid pattern.
5 Trim your backing fabric to 24½in x WOF.

Then cut in half along the width, leaving
the selvedges intact to form two pieces
roughly 24½in x 22in. Leave the selvedges in
place as an alternative to a hemmed edge.
6 Lay your backing pieces right side up,

with the selvedges overlapping by about
5in. Centre the quilted cushion on top, right
side down. Pin in place. Sew around edges.
7 Trim away excess backing fabric, press

and turn right side out.

CUSHION B
YOU WILL NEED

Q Black fabric: ¼yd
Q Backing fabric: ¾yd
FINISHED SIZE
Q 24in square
CUTTING OUT

QTwo (2) 4¾in x WOF strips. Subcut into
four (4) 4¾in x 18in pieces.
QOne (1) 8½in x WOF strip. Subcut into
four (4) 8½in squares. Cut each square in
half on the diagonal to form eight
triangles.
2 From your black fabric cut four (4) 1½in x

WOF strips. Subcut into eight (8) 1½in x
14½in pieces.
X MARKS THE SPOT WITH NARROW

STRIPS OF ZEN CHIC'S BOLD
CURSIVE SCRIPT FABRIC FOR MODA
MAKING THE CUSHION
3 Follow steps 9–12 of the quilt instructions

on page 77 to make one Block B. In step
11, trim each quarter block to 12½in square.
4 Follow steps 4–7 of the Cushion A

instructions to complete Cushion B,
quilting as desired. Nicole straight line
quilted in the X, echo quilting in the rest.
niCole
caLver
Canada
snipssnippets.ca
snipssnippets
NEXT
ISSUE
Issue 55 on sale
6 December 2017
MAKE IT...
> Super-scrappy stars quilt
> Modern batik (yes, really!) blocks
> Cute rainbow hexagons cushion
> Striking colour fade diamonds
PLUS Modern Zodiac block booklet
featuring 12 bright, bold designs!
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line them up, using the 45-degree line.
Watch Sewing Quarter every day from 8am–12pm on Freeview 78 or online at sewingquarter.com
Terms and Conditions: Voucher code redeemable at sewingquarter.com only. Valid on orders over £10, excluding postage costs, and on precut fabric only. Code cannot be used on auction/tv
promoted product on the day it is aired. One use per customer. Offer expires 15 November 2017. Full terms and conditions on the Sewing Quarter website.
ANYTHING GOES
Piece yourself a sweet sewing set, using lots of fussy-cut
squares and tone-on-tone scraps from your stash
By Tori smith
PINCUSHION
YOU WILL NEED

Q Fabric scraps
ZMedium weight fusible
interfacing: 4½in square
Q Ribbon: 2½in length
Q Stuffing
FINISHED SIZE
Q 4½in square
NOTES
instructed.
QFabric used were supplied by Sew Hot
(sewhot.co.uk).
Show off your

favourite fabrics
with fussy cuts. WE’VE GONE FOR MONOCHROME
SHADES BUT YOU CAN CHOOSE
ANY COLOUR SCHEME YOU FANCY
FABRICS USED PIECING THE PINCUSHION

Various from stash and Sew Hot, including:
QCountry Ducks (Aqua), Country Girls by
Tasha Noel for Riley Blake Designs (back of
2 Sew your 1½in squares into three rows of
three. Press the seams for the middle row
the opposite way to the seams for the top
needle-book). and bottom row.
QAdventure in Springs Hello Bear Collection
by Bonnie Christine for Art Gallery Fabrics
(needle-book binding and tab).
QSteel by Essex Yarn Dyed for Robert
3 Sew the three rows together and press.
The nesting seams should mean your
patchwork square is nice and flat (Fig A).
Kaufman (backing fabric for pouch).
QGingham Pink, Sew Cherry 2 by Lori Holt
for Riley Blake (lining fabric for pouch).
QChain Link (Aqua), Grafic by Latifah Saafir
4 Sew the 1¼in x 3½in rectangles to either
side of your nine-patch. Then sew the
1¼in x 5in rectangles to the top and bottom.
Studios for Me+You (lining fabric for Press all seams away from the centre.
needle-book).
CUTTING OUT 5 Baste your nine-patch to the batting

square and quilt as desired. Trim away
1 From your fabric scraps cut:

QNine (9) 1½in squares
the excess batting.
QTwo (2) 1¼in x 3½in

QTwo (2) 1¼in x 5in 6 Fold the ribbon in half and line up the
raw edges with the right-hand edge of
Anything goes
Save 20%
Code: lpq20
Buy the kit!

See this project demonstrated live on air
30 November 2017
Q Live on Freeview 78 8am–12noon or
Q Online at www.sewingquarter.couk
Q Or you can catch up with the show on
www.youtube.com/sewingquarter
Kits available to buy online from
31 November 2017.
* Content subject to change. Fabric may differ.

For full Terms and Conditions visit page 82.
TOP TIP Piecing the pincushion

Use washi tape to mark a 1½in square on
your ruler to make fussy-cutting easier.
a b
the quilted square, approximately 1in down
from the top. Baste in place about 1/8in from
the edge (Fig B).
7 Following the manufacturer’s instructions,

fuse the interfacing to the reverse of the
backing fabric square.
8 Place the patchwork square and the

backing square RST and stitch all the way
around leaving a 2in gap on the bottom
c d
edge unstitched (Fig C).
9 Turn the pincushion right side out

through the gap. Fill with the stuffing,
making sure that you stuff the corners well.
Hand stitch the remaining opening closed to
finish (Fig D).

Anything goes
NEEDLE-BOOK
YOU WILL NEED

Q Assorted fabric scraps for
patchwork
Q Backing fabric: 3½in x 4½in
Q Lining fabric: 5½in x 8in
Q Batting: 6in x 8½in
Q Felt: 6¼in x 3½in
Q Snap or Velcro for fastening
FINISHED SIZE
Q 3¾in x 4½in
CUTTING OUT
1 From your fabric scraps cut:

QTwelve (12) - 1½in squares
QOne (1) – 1¼in x 4½in rectangle of fabric
for spine
QOne (1) – 2in x 30in strip for binding
QOne (1) – 2in x 3 in rectangle for tab
IF YOU’RE USING A PRINT FABRIC,
PIECING THE NEEDLE-BOOK
CUT YOUR SQUARES WITH CARE TO
2 Piece the 1½in squares together in four
rows of three, pressing seams to one side.
Sew the rows together, nesting the seams.
MAKE THE MOST OF THE MOTIFS!
Piecing the needle-book 3 Sew the 1½in x 4½in rectangle to the left
edge of the nine-patch and press the
seam away from the patchwork. This
rectangle will form the spine of the
e f needle-book.
4 Sew the 3½in x 4½in rectangle on to the

spine piece and press the seam towards
the centre (Fig E).
5 Make a quilt sandwich with the lining,

batting and patchwork panel. Quilt as
desired and trim away any excess batting
(Fig F). Bind the edges as you would a quilt.
g h
6 To make the tab, fold the 2in x 3in
rectangle in half lengthwise RST and
stitch along the long edge, leaving a 1in gap
in the middle unstitched (Fig G).
7 Press the seam open and centred in the

middle. Stitch across each of the short
ends (Fig H).
8 Turn through the gap and poke out the
corners. Hand stitch the opening closed. 10 Position the tab in the middle of the left
hand edge of the exterior (with the
needle-book opened out flat) and hand
FINAL ASSEMBLY stitch in place (Fig K).
Tori
9 Centre the felt rectangle on top of the
lining and pin in place. Flip the piece
over and stitch a line down the centre of the 11 Apply the snap or Velcro in place, with
one half on the end of the tab and one
Smith
British
spine piece. This secures the felt in place half on the front of the needle-book to finish.
and also creates a break in the spine where cloudtori
the needle-book will fold (Fig I and Fig J).
Final assembly
i j k

Anything goes
POUCH
YOU WILL NEED

Q Assorted fabric scraps (see
‘Cutting Out’)
Q Exterior fabric: ¼yd
Q Lining fabric: ¼yd
Q Batting: two (2) 9in squares
Q Zip: at least 8in long
Q Something round to draw
around, e.g. plate or bowl
FINISHED SIZE
Q 8in square
CUTTING OUT
1 From your fabric scraps cute forty-eight

(48) 1½in squares and two (2) 2in squares.
2 From the exterior fabric cut two (2)

2¼in x 8½in rectangles and two (2)
3¾in x 8½in rectangles.
TRIM YOUR BATTING NEATLY TO
8½in squares.
KEEP THE CORNERS OF YOUR
MAKING THE POUCH
POUCH FROM BUNCHING UP!
4 Sew twenty-four (24) of the 1½in squares
into three rows of eight. Press the seams
for the middle row the opposite way to the 10 Draw quarter circles on the bottom
corners of both exterior panels and
stitch through all three layers as shown
(Fig P). Open out and press (Fig Q).
seams for the bottom rows. both lining panels and then cut around each
5 Sew the three rows together and press.

of them (Fig M).
15 Repeat steps J and K for the other side
of the zip.
The nesting seams should mean your
patchwork square is nice and flat. 11 Fold one of the 2in squares in half WST
and press, then open out. Press the sides
in to meet the centre line. Fold and press 16 Press the panels away from the zip.
Topstitch the top edge of the exterior
6 Sew the 2¼in x 8½in background fabric

rectangle to the top edge of your
along the centre line again to enclose the
raw edges. Repeat to make the second tab.
panels, about 1/8in from the zip (Fig R).
patchwork piece and press the seam

towards the background fabric.
12 Trim your zip to 8in. Slip one of the tabs
over the end of the zip and top stitch in
17 Open the zip about half way. Lay the
two lining pieces RST and the two
exterior pieces RST and pin or clip in place.
7 Sew the 3¾in x 8½in exterior fabric

rectangle to the bottom edge of the
patchwork piece and press the seam
place. Repeat with the other tab on the
other end of the zip (Fig N).
Stitch all the way around the edge, leaving a
2in gap on the bottom edge of the lining
pieces unstitched (Fig S).
towards the background fabric (Fig L).
13 Place the zip face up along the top edge
of one of the lining pieces. Your zip
18 Turn the pouch right side out through
8 Repeat steps 1 to 4 to make the second

exterior panel.
should be ¼in shorter than the lining piece
on each end. Stitch in place using a seam
allowance of slightly less than ¼in (Fig O).
the gap in the lining. Hand stitch the
lining closed, then push your lining down
into the pouch to finish.
9 Baste each exterior panel to a square of

batting. Quilt as desired and trim away
the excess batting. 14 Lay the top edge of one of the exterior
panels face down on top of the zip and
We love this pink t
and grey c ombo, bues
ch oose th e sh ad
you love most!
Making the pouch
l m n o
p q r s

TEMPLATES
All the templates you’ll
need from issue 54…
CHROMA COLOUR C10
Template A
A3 A2 C2 C5 C8
ENLARGE 200%
A1 C1 C4 C7
C3 C6 C9
C11
CHROMA COLOUR
Template C
ENLARGE 200%
B1
CHROMA COLOUR B3 B2
Template B
B4
ENLARGE 200%
D10
CHROMA COLOUR
Template D D8 D5 D2
ENLARGE 200% D7 D4 D1
D9 D6 D3
D11
5
6
3
WHIRLIGIG DOWNLOAD
FPP Template YOUR TEMPLATES
Visit our blog:
1 ENLARGE 200% lovepatchwork
2 4 andquilting.com
now!
Thank you for making this project from Love Patchwork & Quilting. The copyright for these templates belongs to the designer of the project. They work hard to create projects for
you to enjoy, so please don’t re-sell or distribute their work without permission. Please do not make any part of the templates or instructions available to others through your website
or a third party website, or copy it multiple times without our permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.
SHOAL GOALS
Pupil
ENLARGE 200%
SHOAL GOALS
Eye
ENLARGE 200%
SHOAL GOALS
Scale
ENLARGE 200%
SHOAL GOALS
Lining
ENLARGE 200%
SHOAL GOALS
Tail
ENLARGE 200%
BLOCK OF THE MONTH

Bag Handle
ENLARGE 200%
4
7 8
10 5 6 11
2 3

2
1
9
8
4 6
3 5
BLOCK OF THE MONTH

Bag Body 1
ENLARGE 200%
11
17 7 8 18
5
5 6
4
2 3
10
13 15
122 14
16
BLOCK OF THE MONTH

Bag Body 2
ENLARGE 200%
7
4
14
13 1
2
3
6
5
9 11
8 10
12
BLOCK OF THE MONTH

Bag Body 3
ENLARGE 200%
1
8
7
4 5
2 3
BLOCK OF THE MONTH

Bag Body 4
ENLARGE 200%

BACK ISSUES
MisSed an IssUe?
isSue fOrty-Five isSue fOrty-siX isSue fOrty-Seven isSue fOrty-Eight
isSue fOrty-Nine isSue fIfty isSue fIfty-onE isSue fIfty-twO
2 WAYS TO ORDER
Print back issues only
Q Visit the website: buysubscriptions.com*

Q Call us on: 03330 162 145*
*The website and phone number shown are for UK orders.
To order from overseas, call +44 (0)1604 973 754.
isSue fIfty-Three
coMpletE youR colLectiOn! orDer aNy isSues yOu’Re miSsing from just £6.99
Prices include postage & packing
THE
FARMERS
MARKET
ROW BY ROW SEWALONG #3
BY SUSI BELLINGHAM
B M
o
ROW THREE
ROW THREE
Paper piece a selection of the sweetest
shopping bags you ever did see!
Q Templates include seam allowance around
the outer edges only.
Q For templates, see p90.
Q Refer to Susi’s FPP tutorial on p94–95 of
LP&Q issue 52, or find it online
www.lovepatchandquilting.com/tutorials
Q Fabric supplied by Fat Quarter Shop.
FABRICS USED
Q Print fabrics are from collections by
Heather Ross for Windham Fabrics.
Q Background fabric is Sprinkle in Jelly
Bracelet from the Basics collection by
Cotton+Steel.
CUTTING OUT
1 Using the template as a guide, cut the

fabric pieces for each section of the FPP
template, making sure the pieces will be at
least ¼in larger than the section they will
cover, all the way around.
PIECING THE ROW
2 Repeat steps 1–7 of our FPP tutorial to

piece each of the six (6) Bag Handle FPP
templates. Sew the fabrics in place in
numerical order.
YOU WILL NEED

Q Bag handle fabric: six (6) 8in squares
Q Bag body fabric: six (6) 13in squares
Q Fabric scraps for heart, mushroom, and
border details
Q Six (6) copies of the Bag Handle
FPP template
Q Six (6) copies of a selection of Bag Body
FPP templates
FINISHED SIZE
Each block: 12in square
Row: 12in x 72in
NOTES
Q Seam allowances are ¼in, unless otherwise
noted.
Q Press seams to the side.
Q Shorten your stitch length to 1.5 for
Foundation Paper Piecing (FPP).
Q RST = right sides together.
Q WOF = width of fabric.
Q WST = wrong sides together.
Q There are four options for the Bag Body
FPP templates.
B M
o
TOP TIP
Q Make an extra copy of each template
and use to mark your fabric choices for
each section.
Q Trace the template onto freezer paper,
cut apart and use the pieces as cutting
templates. But don’t forget to add
seam allowances!
Q Always press your block before adding
the next piece to make the final block
crisp.
Q Find an in-depth FPP tutorial online at
lovepatchworkandquilting.com/
tutorials
5 Return your stitch length to its normal

length for piecing. Sew the pinned
sections together, and then press the
seam open.
6 Trim around the outer dashed line of the

paper templates.
7 Remove the templates to complete each

of the six blocks.
8 Arrange the six blocks into a row,

alternating them as shown and arranging
your prints as desired (Fig 1).
Plac e your mushro

stem with care to
om 9 Join the blocks together to complete
Row Three of your Farmers Market quilt,
pressing seams open.
make th e most of
th e
print fabric
Susi
BelliNgham
Germany
3 Repeat steps 1–7 of our FPP tutorial to
piece each of your six (6) chosen Bag
Body FPP templates, sewing the fabrics in
4 Pair each completed Bag Body with a
Bag Handle. Pin together carefully
matching the outer edges of the handles
tinytoffeedesigns.blogspot.de
lillaluise
place in numerical order. with the outer edges of the bag body.
Fig 1

GNOME ANGEL
ALL YOU
CAN SEW
Quilting is like an all-you-can eat buffet with
fabrics and techniques for every appetite. Angie
Wilson walks us through some of the choices of offer
Do you want to know one of the reasons smarter, which is why I have a healthy
why I adore being a quilter? Because collection of tools and notions. Just when I
quilting is like being at an all-you-can-eat think there couldn’t be any more tools or
buffet. When it comes to quilting, I feel like notions invented some clever clogs goes
I’m Homer Simpson in the episode where and releases something that saves me time,
he sues the all-you-can-eat Seafood saves my back and ratchets my accuracy up
Restaurant and his lawyer asks, “Does a level or two.
this look like a man who has had If tools and notions are like the
all he could eat?” salad and vegetables of a
Do I look like a quilter buffet, and techniques
who has done all there the pasta bar, then fabrics
is? Heck no! I’ve been are most definitely the
quilting and sewing dessert bar. The glorious
now for six years and I never-ending bolts and
still don’t feel like I’ve bolts of fabric never fail to
tried everything there is get my mouth watering.
to do when it comes to Just when I think I’ve seen
this craft and art form. all the fabrics out there,
When it comes to my someone releases
quilting journey I’m a sampler, something new that I just have to
just like I am at a buffet. I like have. I am constantly telling
“The glorious never-
to try a little bit of everything ending bolts and bolts
myself “No more. I’ll just sew
until I find just the right, of fabric never fail to get from my stash.” And I really
perfectly delicious thing to my mouth watering” mean it too. But then I walk into
indulge in. There are so many a fabric store and it’s all bets off.
patterns and combinations of techniques Seriously, it’s like I need an intervention.
out there that I have yet to sample. Sure, (No! I don’t need one. Please, don’t send
I’ve dabbled in a little bit of everything, but anyone to intervene! I’ll be good I promise.
there’s always something even tastier *runs off to fondle her fabric*)
waiting for me to give it a try. Like my times at buffets I can sometimes
It’s what keeps things fresh and exciting. overindulge a little on the quilting side of
There’s an ever-lasting cycle of new fabrics, things – there are times when my sewjo
new books, new tools and notions being decides it needs to go to put on some
laid out in front of me. A cornucopia of comfy pants and lie down for a bit and not
delectable options for me to lose myself in. look at another thing quilting related for a
It’s pure gluttony of the best kind – there while. But that feeling never lasts long, it’s
are no calories to worry about! just like the siren call of the pint of
I love learning new things. Sure, it can be chocolate ice-cream in the freezer – I’ll be
frustrating at first but it’s the sense of back to try some more any day now. When
accomplishment that comes from mastering it comes to quilting, I just can’t help myself.
something that’s really addictive. I also love
finding something new to help me work gnomeangel gnomeangel.com
Patchwork & Quilting Shows
Calendar 2018
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Bringing Quilting to Quilters
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Space
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Includes an extra large wide table,
232 stitches as well as our ICAPs
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across varying fabric thicknesses,
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allowing the fabric to be turned
while the needle is down
brothersewing.co.uk

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NIN THoE.

ISSUE FIFTY FOUR

www.janome.co.uk The world’s leading sewing machine manufacturer

Meet our contributors!

Immediate Media Company Bristol Limited (company number 05715415) is registered in

16 Harvest scraps in shades of red from

29 You won’t need to fish for BLUEBIRD

41 Put a spin on FPP colour block

9 Each month we pick out our fave

34 Our brand new columnist Suzy

DESIGNER PROFILE GNOME ANGEL

52 For Giuseppe Ribaudo a career

Find us on www.facebook.com/lovepatchworkandquilting WWW.LOVEPATCHWORKANDQUILTING.COM 5

£12.95 £26.95 £8.95 £13.95

£24.95 £19.95 £5.95 £24.95

SEE OUR FULL PRODUCT RANGE AT www.SewingQuarter.com

ORDER YOUR COPY TODAY!

Find us on www.facebook.com/lovepatchworkandquilting WWW.LOVEPATCHWORKANDQUILTING.COM 11

YOU WILL NEED

2 From each of the nine remaining fat

3 From the background fabric cut:

Fig 1 Fig 2 Fig 3

shown (Fig 7). Sew the blocks together in

QUILTING AND FINISHING

15 Cut the backing fabric in half, and sew

as shown. Sew into a block and press seams

MAKE THE SNOWBALL BLOCKS

9 Draw a diagonal on the reverse of four

10 Trim ¼in from each sewn corner. Press

(Fig 4). Make nine (9) snowball blocks.

11 Repeat steps 9–10, placing a 4½in red

Appl y masking tape

Fig 5 Fig 6 Fig 7

Find us on www.facebook.com/lovepatchworkandquilting WWW.LOVEPATCHWORKANDQUILTING.COM 19

YOU WILL NEED

1 From each of the red and white fat

2 From the backing fabric cut two (2)

MAKING THE HSTS

3 Draw a diagonal line on the reverse of

4 Sew ¼in from either side of the drawn

FINISHING THE CUSHION

6 Arrange the HSTs in six rows of six,

to complete the cushion top.

9 Lay the cushion right side up and then

Save Time and HasSle With

1 The latest issue is

3 All issues download

YOU WILL NEED

2 From Fabric B cut:

3 From the binding fabric cut five (5)

MAKING THE STRIPE BLOCKS

4 Chain piece each 1½in x 4½in Fabric A

larger than the quilt top. Baste the layers

A SINGLE PRINT WITH A SOLID

BACKGROUND REALLY MAKES 12 Quilt as desired. Jenny quilted a series

a few stitches, before continuing to the next