L Patch Amp Q - May 2020

WAYS TO LONE STAR “Colour is at the
ORGANISE PATTERN heart of whatever
PROJECTS
scrap s FOR
BEGINNERS
I'm making”
DESIGNER RACHEL HAUSER
ISSUE 86 2020
Make it Learn
with us!
SEW CLASSIC Our star-theme
PINEAPPLE BLOCKS sampler quilt is
out of this
IN SCRAPPY PRINT world…
Join our appliqu

masterclass!
O
PIECING
QUICK-SEW
QUILT TOP
IN BOLD TONAL
COLOURS
Rainbo
Whip up our colourfu
e
Dresden cushion
at home
SPRING 2020 AMAZING
SPRING
FFERS
M £99
OFFER PRICE
£259
The ‘Sewing with Style’ offers SAVE £40
are available from Janome sewing
machine retail outlets nationwide. SEWIST 725S
Promotion starts 1st April until
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to stock availability)
AVON Rona Sewing Machines, Waltham Cross – 01992 640250 SURREY

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Meet the team
Editor Alice Hadley
Art Editor Kit Cheung
Operations Editor Lorna Slessor
Senior Technical Editor Sarah Griffiths
Senior Digital Editor Zoe Williams
Contributors
Amanda Carye • Andy Knowlton • Cristina De Miranda
Julianna Gasiorowska • Karen Lewis • Kate Basti
Lorna Slessor • Monika Henry • Nicole Calver
Rachel Hauser • Sarah Griffiths • Sonia Spence
Tina Prior • Yasmeen K Branton
Photography Immediate Media Photo Studio

unless otherwise stated.
NOTE FROM THE ED
Contact us What extraordinary times we find ourselves in! We’re thinking of all of
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66
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21
16
Pro ects
PINEAPPLE PARTY LOVE LETTERS COLOUR WHIRL
Foundation Paper Piece a repeat Celebrate your scraps with a Give a modern makeover to the
16 block quilt with colour pop piecing
and stylish splashes of stripes
44 contemporary Courthouse Steps
design that really makes a statement.
73 traditional Dresden Plate and spin
a rainbow of print fabrics into a colour-
Fussy cut words for an extra touch! splash cushion
LUCKY STAR
Go back to basics and give a CANDY CRUSH SUNSET SEWING
24 classic Lone Star quilt a modern
makeover with sunny solids and simple 54 Mix low volume prints with
sorbet shades and put your 79 Take inspiration from nature
to whip up a wall hanging that
straight line quilting hexagon Log Cabin tool to good use paints a picture
with this punchy quilt design
STARRY EYED BLOCK OF THE MONTH
Make a modern sampler quilt DAWN TO DUSK Introducing the Blomma block
32 by combining eight beginner
friendly blocks with a combo of white 61 Learn some new skills! Simple
patchwork meets basic bag making
93 of the month! Learn to sew
a series of stylish appliqué blocks
and pretty pastel solids techniques in a cute and curvy cross- by Yasmeen K Branton and kick things
body design off with our Forsta block
CORAL RISING 61
Push your precision piecing skills DAYGLOW
41 by making a mini quilt with a
modern combination of sleek strips 66 Pair a gradient of sunset shades
with smoky grey for a modern, !# &'0 21#
and bold curves minimal quilt with understated style bag and learn
+#4 1# &+'.2#0B
4 WWW.GATHERED.HOW/LOVEQUILTINGMAG
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TODAY
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Features
HELLO HEXIE Rachel Hauser is all about helping others. BLOCK
6 Use your two new templates to give

a modern, geometric twist to the
We talked with her about her relationship
with colour and why she loves to pass
1oá 12
classic Log Cabin block on her knowledge
OUT THERE NEXT MONTH 93

Each month we pick out our favourite Your sneak peek at what we’ve got
9 new quilty finds. Fabrics, sewing
accessories, book releases, patterns and
77 in store for you in the next issue of
Love Patchwork & Quilting magazine
homewares – if the team love it, you’ll find
it featured in these pages TEMPLATES
Find all the templates for this
IN THE KNOW
If your scraps outnumber your
85 issue’s projects right here. If you
prefer, you can also download them
30 ideas for how to use them, fear
not! Recovering scrap hoarder Kate Basti
to print out (full size) at home – get them
online at gathered.how/lovequiltingmag
has some top tips to transform them into
your new favourite quilts THE LAST WORD
Amanda Carye lists her favourite
DESIGNER PROFILE
Blogger, pattern designer,
98 ways to take the 'go, go, go' out of
your sew, sew, sewing. Learn her five ways
50 longarm quilter and book author to slow things down
HEXAGON LOG CABIN TOOL
© ¢ |
( ©&}¨ '£ #
}¨rq
HELLO
HEXIE
Use your two new templates to g ve a modern, geometric twist
to the classic Log Cabin block. Here's how they work:
USING YOUR Press the strip away from

TEMPLATES the centre (Fig 2). Place the
Use the Hexagon Log rounds template on
1 Cabin Centre template to
fussy cut the fabric you
top of the strip, aligning at
the right side of the
would like to feature at the hexagon. The bottom
Fig 1 Fig 2
centre of your block (Fig 1). dashed line will align with
You can use a rotary cutter, the seam. Trim along the
or trace around the right edge (Fig 3). ROUND 1 ROUND 2 ROUND 3 ROUND 4 ROUND 5 ROUND 1 ROUND 2 ROUND 3 ROUND 4 ROUND 5
template and then cut out

with scissors. The template Slide the template
includes a in seam
allowance, so use the
4 across, aligning at the
left edge. The strip should Fig 3 Fig 4
dashed line to see which fit within the marked
parts of the fabric will show “Round 1” section. Trim the
on your final block. left edge (Fig 4). ROUND 1 ROUND 2 ROUND 3 ROUND 4 ROUND 5 ROUND 1 ROUND 2 ROUND 3 ROUND 4 ROUND 5
Trim strips of fabric to Repeat the process in

2 1 in wide. You will sew
the strips around the centre
5 steps 3–4 to add a strip
to the next side of the
hexagon, and use the hexagon, working in a Fig 5
Hexagon Round template to clockwise manner, and
trim the strips as you work. If trimming using the “Round ROUND 1 ROUND 2 ROUND 3 ROUND 4 ROUND 5
you're not confident with 2” segment of the template

your seams, you can cut (Fig 5). Continue to add
slightly wider strips and also strips around the next three
trim across the top of the edges. Then add a strip
template as you add the and trim using the “Round Fig 6
strips in steps 3–6. 3” segment for the final ROUND 3
side of the hexagon (Fig 6). ROUND 2

RO
5
Sew the first strip to one

UN
D
3
RO
UN
ROUND 1
4
4
UN
RO
RO
D
UN
UN
3
3
RO
D
D
UN
side of the centre Continue adding strips as

2
6
RO
hexagon, allowing the strip in steps 3–5, working

RO
UN
D
RO
2
3
D
UN
UN
to extend past the sides of around the hexagon, and

D
RO
RO
D
3
UN
UN
ROUND 2
RO
RO
D
UN
3
the hexagon at each end. referring to Fig 7.

4
ROUND 3
ROUND 4
Fig 7
LovePatchworkandQuilting LoveQuiltingMag LoveQuiltingMag
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Quilted wardrobe
Picture this: you're wrapped up nice and warm in your favourite quilt. Bliss, right?! Now what if someone said you could have that very experience
outside of the house? New York-based design studio Haptic Lab's quilted coats are everything our outerwear dreams are made of, bringing our
favourite quilt blocks and timeless straight line quilting to anyone's wardrobe. Pick from punchy red Flying Geese or soothing blue curves – they
even use their scrap fabrics to make more abstract designs! Check out their range at hapticlab.com
OUT THERE
TAPE LOVE
F" }¢ %
Hands up if you mark the backs of
your squares with a diagonal line
when piecing HSTs… we do too!
It's curvy, it's retro, it's floral and,
Allison Harris of Cluck Cluck Sew
we're told, it comes together in
is changing the game and saving
a jiffy: introducing the Spring
us all time with her diagonal seam Equinox quilt pattern by Taralee
tape. Simply stick on your Quiltery. Available in 48in x 55in,
FLAT FAT STACK machine, lining up the red line
with your needle, and use as a
70in x 81in and a whopping
92in x 106in, it's a great way to
As sustainability becomes a bigger focus for guide to piece perfect HSTs, embrace curves and play around
so many of us, Paintbrush Studio Fabrics are Flying Geese, Corner-square with colour. Mix and match shades
revolutionising their approach to the typical Triangles or any other quilt block to create a fun transparency effect
fat quarter with the Flat Fat Stack. Multiple fat that you'd normally whip out a or go for the colour block look
quarters are printed on one sheet of fabric, pen for. There are also in marks with a punchy palette. It also looks
creating less fabric waste and making shipping to represent your seam allowance! pretty cool in prints! Fabric pulls at
more efficient – that's a win in our eyes! Read Get yours from cluckclucksew.com the ready… Get your PDF pattern
more and get your fabrics at pbsfabrics.com from taraleequiltery.com
P #¥ £ ª ª %
We take our hats off to anyone that can
give an everyday sewing essential a
magical, mythical unicorn makeover.
Deborah Fisher of Fish Museum + Circus
creates one-of-a-kind sidekicks to keep
you company while you sew… we
challenge you to find anything cuter than
her ceramic pincushions! Each item is
totally unique and handmade by Deborah
herself, with batches featuring creatures
like birds and zebras amongst her
lovingly-named 'thingimals'. Fair warning:
these pretties sell out fast, so make sure
to sign up to Deborah's newsletter to be
the first in on the action when they're
fresh out of the kiln. Pssst, she also makes
thread holders, yarn bowls and brush
rests! fishmuseumandcircus.com
GOOD
READS
THE CLASSICS
Nothing speeds up a quilt quite
like precuts. Pam and Nicky Lintott
have combined their expertise
to make a shiny new book with
twelve patterns using the nifty
jelly roll. Skip hours of cutting and
get straight to the fun of sewing!
davidandcharles.com
FELICITY
FABRICS
There's a new fabric brand in
town! Familiarise yourself with
Felicity Fabrics, a sister company
of one of our faves, Cloud9
Q( ©&Æ
Fabrics. Designed specifically
with quilters in mind, Felicity
Fabrics offer scaled down
designer prints in colour-driven Anyone who's watched The Great
stories. Versatile blenders add British Bake-off (or The Great
to the collections' usability, British Baking Show for our
making it easy to pull a striking friends across the pond) will
bundle of fabrics for your next recognise the sunny face of Mel
quilt. The first releases come Giedroyc. Mel's joined forces
from four designers: Feena with her presenter pal Andy to
Brooks, Helena Nilsson, Mandy make her first quilt (recording as
Porta and The Tiny Garden, she goes), paper piecing fabrics
bringing unique styles that donated by friends, famous types
still mix and match in perfect and their loyal listeners each
harmony. Go see for yourself at week. Check out the podcast,
felicityfabrics.com Mel Giedroyd is Quilting, now!
OUT THERE
IN HINDSIGHT
Anna Maria Horner's latest 'Guest of Honor' flower that now
collection, Hindsight, is a joyful floats amongst the 'Summer
look back at her body of work Totem' blossoms and branches.
over the last 15 years, combining Her abstract 'Volumes' stack of
her signature saturated shades books blends with 'True Colours'
with the powerful blooms she prints, proving that more is
does so well. A treasure hunt of always more. Browse the fabrics
favourites, the range merges to see what new combos you can
much-loved prints, like the spot! freespiritfabrics.com
© -§"
£ '
CLAUDIA SORIA: Soothing tones and
adorable illustrations – what could look
cuter in a nursery or little one's bedroom
than Claudia's sweetly stylish prints?
Cushions, quilts, curtains… you name it,
we want them. Browse it all in her
Spoonflower store, kimsa.
CIRCE OROPEZA: Crazy cat quilters, this

one's for you! Mexican illustrator Circe
combines her love of animals with her flair
for design in a uniquely versatile collection
of prints. Furry felines peek out from
tropical leaves, luscious house plants and
nautical scenes! See at circe_oropeza.
OUT THERE
Have you seen our UK subscription offer? Sign up to LP&Q to get a bundle
of Ruby Star Society Darlings fabrics… Turn to p22 for more
TAKE TWO
Fans of Jacquie Gering's first
Walk book rejoice, and say hello
to Walk 2.0! In this much
PIN DROP anticipated follow-up, Jacquie
offers new patterns to help take
PRETTIES your walking foot quilting to a
whole new level. Fine-tune your
There's no such thing as having too many decision-making with examples
basics – you never know when they might of the same quilt top quilted
come in handy! Christopher Thompson with different designs, and learn
(AKA The Tattooed Quilter)'s latest to apply these skills to your own
blender range for Riley Blake Designs, Pin projects. The book is brimming
with even more point-to-point
Drop, is cute as a button, scattering designs, as well as innovative
delicate quilter's pins across a rainbow of repeated shapes and sashiko
solid hues. There's even a handful of inspired patterns. It'll make you
white options, including multicoloured, fall in love with your walking foot
white on white and sparkly rose gold all over again! Read more about
metallic… swoon! Pick and choose from this book, as well as the original
the 30 colours to add to your collection. Walk, at luckyspool.com
rileyblakedesigns.com
R '¡
E$%§ 'ª
FIGO Fabrics have a new
designer on board: check out
the new American Road Trip
collection by Jacqueline Colley!
Inspired by a love of American
culture as we experience it
through the movies, the fabrics
feature fun film strips and
striking road maps that make
you want to pack your bags.
Food is at the forefront, with
fizzy drinks and stripy straws,
ditsy donuts and mouth-
watering snacks, all tied up in
a palette of the prettiest pastel
pinks, greens and yellows.
Browse at figofabrics.com
OUT THERE
MAIL LOVE
What could be better than a blooming
bouquet of Liberty prints at your door
each month? The floral-loving folks
over at Duck Egg Threads have just
launched their Liberty Lovelies
monthly club, where you can get fat
sixteenths, eighths or quarters of
beautiful Tana Lawn dropping through
your letterbox – the bundles are even
at a discounted price when you sign
up for six months! Guarantee your spot
on the list at duckeggthreads.co.uk
GARDEN OF EDEN
In Louise Cunningham's Garden of tones take you away to warmer climates.
Eden, parrots soar, monkeys roam and Dramatic black and punchy blue offer a
luscious, tropical leaves sway in the striking contrast, giving the illustrative
breeze. It's hard to not get a case of range an eye-catching twist. With seven
serious wanderlust when admiring this unique prints to choose from, just think
collection for Cloud9 Fabrics, as the of the opportunities for some fussy
warm peachy pink and toasty mustard cutting fun! cloud9fabrics.com
@modernlymorgan INSTA INSPIRES! @shannonfraserdesigns
#IGQUILTFEST
In case you've been on a social media
hiatus recently, March came and went,
bringing with it the annual #IGQuiltFest
photo challenge. We've loved seeing
everyone's quilts, tips and techniques
and have enjoyed putting faces to names
even more! If you missed out on the fun
this year, pencil next March into your
calendar to make sure you're the first to
post. And for the time being? Browse the
hashtag to catch up on aaaaall of the
posts from the rest of the community.
The UK’s No.1 Show for the Quilting Enthusiast
QUILTS UK, MALVERN – OPEN COMPETITIVE QUILT SHOW
THREE COUNTIES SHOWGROUND, MALVERN, WORCESTERSHIRE WR13 6NW
Saturday 18th July to Tuesday 21st July 2020. 10.00am - 5.00pm (4.30pm Sunday)
Presentation of Awards 2.00pm Sunday
Spectacular Display of Hundreds of Quilts, Trade Stands & Demonstrations
2020 Theme
BORDERS
heme 1st rize: A Janome ewing Machine sponsored by
Sew Creative Sewing Centre Ltd (www.sewcreative.co.uk)
SHOPPING
Shop with all our quality exhibitors offering you the latest
in quilting supplies
Top images from left to right: ‘Hothouse Hybrids’ by Liz Jones, ‘Kaleidoscope’ by Heidi Simkin,
FULL WORKSHOP PROGRAMME Advance Tickets*:
Download a list from our website or telephone us Available until
3rd July 2020
For advance ticket prices for
MEET THE EXPERTS postal & telephone orders quote
code LPQ20
Demonstration of patchwork and quilting techniques Adults: £7.00
Senior Citizens: £6.00
FABULOUS TROPHIES & AWARDS Children 8-16: £2.00
Overall Champion wins a Bernina sewing machine kindly Entrance at the Door:
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sponsored by Frank Nutt Sewing Machines Senior Citizens: £8.00

Children 8-16: £4.00
FACILITIES Tel: 01406 372600 /
Restaurants, indoor picnic area with fabulous views of 01406 372601
*All advance orders incur a
the Malvern Hills, disabled access & free parking 50p postage fee (per order,
not per ticket)
Special Ticket Offer: Order Your Quilts UK Advance Tickets & then
Save 50% on Tickets for Malvern Autumn.
I.E. Adults: £4.00, Seniors: £3.50 (Discount Applies to ‘On the Door’ Prices)
All Enquiries: Grosvenor Shows Ltd, 282 High Road, Whaplode, Spalding, Lincs, PE12 6TG. Office Hours: Mon - Fri, 9am - 5pm
Tel: 01406 372600 / 01406 372601 Fax: 01406 372602 E-mail: grosvenorshows@btconnect.com
www.grosvenorshows.co.uk
MARBELLOUS
Tula Pink’s Cotton Candy
marbled fabric makes an
eye-catching backing!
PINEAPPLE
PARTY
Foundation Paper Piece a repeat block
quilt with colour pop piecing and stylish
splashes of stripes
BY NICOLE CALVER
PINEAPPLE PARTY
YOU WILL NEED

Q Low volume fabrics: 6yds total
Q Coloured fabrics: 6yds total
Q Batting: 66in square
Q Backing fabric: 4yds
Q Binding fabric: yd
Q Sixty four (64) copies of the
Pineapple FPP Quilt template
FINISHED SIZE
Q 60in square
NOTES
Q Seam allowance is in throughout,
unless otherwise noted.
Q Press seams to one side, unless
otherwise instructed.
Q FPP templates include seam allowance
around the outer edge only.
Q For templates, see p85.
Q FPP = Foundation Paper Piecing.
Q RST = right sides together.
Q WOF = width of fabric.
Q For FPP, set your stitch length to 1.5.
CUTTING OUT LAY OUT YOUR BLOCKS ON A

The measurements listed for fabrics include DESIGN WALL OR FLAT SURFACE
generous overage for wiggle room while
paper piecing. FOR AN EVEN MIX OF PRINTS
From the low volume fabrics cut: 10, 11, 12, 14, 16, 18, 19, 20, 22, 24, 26, 27,
1 Q One hundred and seven (107) 2in x WOF
strips. From these strips subcut sixty four
28, 30, 32, 34 and 36 (Fig B). These will be
Block B. As with Block A, the marked
prepare the templates
(64) 2in squares for the block centres. sections will use the coloured fabrics and
the unmarked sections will use the low A
From the coloured prints cut: volume fabrics.
2 Q One hundred and four (104)
2in x WOF strips. PIECING THE BLOCKS
Take one copy of the Block A template
3 From the binding fabric cut:

Q Seven (7) 2 in x WOF strips.
6 and crease along each of the lines
surrounding Section 1 (Fig C). On the
unprinted side of the pattern, centre a low
PREPARE THE TEMPLATES volume 2in square right side up on Section
Take thirty two of the paper templates 1, using the fold lines as guide lines. The
4 and mark Sections 4, 6, 8, 12, 14, 16, 20,
22, 24, 28, 30, 32, 34 and 36 with a coloured
fabric square should extend at least in
beyond each of the lines. Use a small
B
pen (Fig A). These will be Block A. When amount of glue to hold in place (Fig D).
piecing Block A, use coloured fabrics on the
marked sections and low volume fabrics on Place a 2in x WOF strip of fabric on top
the unmarked sections. 7 of the low volume square, RST (Fig E).
Holding the strip of fabric in place, flip the
Take the remaining thirty two paper pattern over and sew along the line between
5 templates and mark Sections 2, 3, 4, 6, 8, Sections 1 and 2 (Fig F). Make sure to sew
PINEAPPLE PARTY
past either end of the line by approx in.

Backstitching is not necessary here.
Trim the strip at the end of the stitch line

8 (Fig G). Fold the paper template along the
stitched line and trim the seam allowance to
in (Fig H). Unfold the template and press
the strip away from the centre (Fig I).
Repeat steps 7–8, stitching the pieces in

9 order. Make sure to pay attention to
which sections require colour strips and
which require low volume strips. When
stitching Sections 34–37, stitch all the way to PIECING THE blocks
the edge of the template,and backstitch at
each end. This will help to secure the edges
of the block when removing the templates. C D
Repeat steps 6–9 to stitch all of the
10 Block A and B FPP templates, paying
careful attention to the where you sew the
coloured segments.
Trim each block along the outer dashed

11 line. Remove the paper template from the
back of each block, carefully tearing along
the seam lines. E F
ASSEMBLING THE QUILT TOP
Arrange your quilt blocks in eight rows
12 of eight blocks, referring to
photography for placement. The top two
rows are made of all Block A, the next two
rows Block B, then two rows of Block A and
two more rows of Block B.
PINEAPPLE PARTY
PIECING THE blocks
G H I
TOP TIP
Nicole prefers to use a seam roller while
stitching the FPP templates. This can
help to make the stitching process go
faster, as you don’t have to keep pausing
to use the iron.
Sew the blocks into rows, pressing seams

13 open. Join the rows, again pressing
seams open, to complete the quilt top.
QUILTING AND FINISHING

Cut the backing fabric in half across the
14 width. Remove the selvedges and sew
the two pieces together using a in seam.
Press the seam open.
Press the quilt top and backing well.

15 Make a quilt sandwich by placing the
backing fabric right side down, the batting
on top, then place the quilt top centrally and
right side up. Baste the layers together using
your preferred method.
Quilt as desired. Nicole quilted

16 horizontal lines across the quilt. Trim off
the excess batting and backing fabric and
square up the quilt.
Sew the binding strips together

17 end-to-end using diagonal seams. Press
the seams open and trim away the dog ears.
Fold in half lengthways, wrong sides
together, and press.
Sew the binding to the right side of the

18 quilt, creating a neat mitre at each
corner. Fold the binding over to the back of
the quilt and hand stitch in place around the
edge to finish.
PINEAPPLE PARTY
YOU WILL NEED

Q Stripe fabric: one (1) fat quarter
Q Coloured prints: four (4)
fat eighths
Q Centre square: 3 in square
Q Backing fabric: one (1) fat quarter
Q One (1) copy of the Pineapple
Mini Quilt FPP template
FINISHED SIZE
Q 15in square
CUTTING OUT
From the striped fabric cut:
1Q Two (2) 3 in x 22in strips. Subcut
into four (4) 3 in x 7in pieces for
Sections 34–37.
Q Five (5) 2 in x 22in strips.
From one of the coloured print cut:

2 Q Four (4) 2 in x 4 in pieces for
Sections 2–5.
USE MONOCHROME STRIPED
From a second coloured print cut FABRICS FOR A STRIKING,
Sections 10–13. GRAPHIC EFFECT!
From the third coloured print cut: ASSEMBLING THE MINI QUILT
Sections 18–21. 9 Press the quilt top and backing well.
Make a quilt sandwich by placing the
From the fourth coloured print cut: on top, then place the quilt top centrally
Sections 26–29.
and right side up. Baste the layers
together using your preferred method.
From the binding fabric cut: Quilt as desired. Nicole quilted a

6 Q Two (2) 2 in x WOF strips. 10 radiating straight line star design using
a contrasting yellow thread. Trim off the
PIECING THE QUILT TOP excess batting and backing fabric and
Follow steps 6–9 of the main square up the quilt.
7 quilt instructions to piece the Mini
Quilt FPP template. Use the pieces listed Sew the binding strips together
in the cutting out for each section, and
the striped fabric 2 in strips for the
the seams open. Fold in half lengthways, Nicole Calver
remaining sections. wrong sides together, and press. Nicole's signature style
combines classic quilting
techniques with modern
Trim the block along the outer Sew the binding to the right side of the
8 dashed line. Remove the paper
template from the back, tearing along
prints and colour palettes
snipssnippets.ca
snipssnippets
the seam lines. the quilt and hand stitch in place to finish.
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HOT ‘N’ COLD
Arrange your shades
from warm to cool when
piecing the strips
LUCKY
STAR
Go back to basics and give a classic Lone
Star quilt a modern makeover with sunny
solids and simple quilting
BY KAREN LEWIS
LUCKY STAR
YOU WILL NEED

Q Fabric A (light blue) 1/8yd
Q Fabric B (turquoise) yd
Q Fabric C (mid blue) yd
Q Fabric D (navy) 3/8yd
Q Fabric E (dark purple) yd
3
Q Fabric F (light purple) /8yd
Q Fabric G (red) yd
Q Fabric H (orange) yd
Q Fabric I (yellow) 1/8yd
Q Background fabric: 2yds
FINISHED SIZE
Q 62in square
NOTES
Q Seam allowances are in unless
otherwise noted.
Q Press seams open throughout, unless
Q HST = Half-square Triangle.
NO Y SEAMS! STRIP PIECING
FABRICS USED MAKES THE CONSTRUCTION OF
All fabrics are Kona Cotton Solids by
Robert Kaufman. THIS QUILT QUICK AND EASY
CUTTING OUT PIECING THE QUILT TOP
From each of Fabrics A and I cut: Take one strip from each of Fabrics A–E
1Q One (1) 3in x WOF strip. 7 and arrange as shown in Fig 1. Sew all of
the strips together, offsetting each strip
From each of Fabrics B and H cut: 2 in from the left edge. Press the seams
2 Q Two (2) 3in x WOF strips. open as you go.
From each of Fabrics C and G cut: Use your quilting ruler to cut the strip
3 Q Three (3) 3in x WOF strips. 8 edge at 45-degrees, trimming the offset
edges. Make marks 4 in apart along the
From each of Fabrics D and F cut: bottom edge of the strip. Continue cutting
4 Q Four (4) 3in x WOF strips. at 45-degrees at each of the marks to make
eight strips (Fig 2). These will be your
From each of Fabric E cut: Group 1 strips. Set aside.
5 Q Five (5) 3in x WOF strips.
Repeat step 8 to make Group 2–5 strips,
6 From the background fabric cut:

Q Four (4) 15in squares. Subcut in half
9 using the following fabrics:
Q For Group 2 use Fabrics B–F.
diagonally to make eight (8) HSTs. Q For Group 3 use Fabrics C–G.
Q Four (4) 20in squares. Subcut in half Q For Group 4 use Fabrics D–H.
diagonally to make eight (8) HSTs. Q For Group 5 use Fabrics E–I.
LUCKY STAR
Take one strip from each of Groups

10 1–5 and arrange into the star point
formation (Fig 3). Begin joining the strips,
taking care to match the seams between
each strip. You may find it helpful to mark
the in seam allowance along each seam
line on the wrong side, then pin together
(Fig 4). Carefully sew, then press open.
Continue joining the strips until all five

11 strips are joined, completing one star
point (Fig 5). Repeat to make eight
Fig 1
identical star points.
Take one star point and join a 15in

12 triangle to the Group 1 strip, as shown.
Then join a 20in triangle to the opposite
side (Fig 6). Don’t worry about lining up
the edges perfectly, but make sure there is
at least a in of background fabric beyond
the Fabric A point.
Repeat step 12, switching the sides the

13 triangles are sewn to the star point, to
make a mirror image piece. Trim the sides
Fig 2
of the background triangles in line with the

sides of the star points. Then sew the two
points together, carefully matching all the
seam points (Fig 7).
Repeat steps 12–13 to make four

14 quarters of the quilt. Sew the quarters
together in pairs, then sew the pairs
together to complete the quilt top. Make
sure you keep matching the seams across
the points for each seam. Fig 3
LUCKY STAR
Fig 4 Fig 5
Fig 6

Press the quilt top and backing well.

on top, then place the quilt top centrally
and right side up. Baste the layers together
using your preferred method.
Quilt as desired. Karen quilted around

17 the star shape with 50wt Aurifil thread
and highlighted around each colour with
coordinating 12wt Aurifil cotton and lana
wool. Trim off the excess batting and Fig 7
backing fabric and square up the quilt
to 62 in square. Make sure to leave at
least in of background fabric outside Sew the binding to the right side
each point. 19 of the quilt, creating a neat mitre at
each corner. Fold the binding over to
Karen Lewis
Karen spends her days
screen printing beautiful
fabric and stitching up
Sew the binding strips together the back of the quilt and secure in place
18 end-to-end with diagonal seams. Press
the seams open. Fold in half lengthways,
temporarily with pins or binding clips.
Hand stitch in place using a coordinating
striking, modern quilts
karenlewistextiles.com
karenlewistextiles
wrong sides together, and press. thread to finish.
Cathedral (LB 188) - 80”x88” - FQ Friendly
Modern Herringbone (LB 187) - 63”x73” - HB Friendly
It's springtime in the countryside; the meadows are dotted

�� ϐ��ǡ �� ǡ ��
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and green—��
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Yardage, Coated Fabrics, Precuts, and Patterns

Available in April!
modafabrics.com
© 2020 moda fabrics • all rights reserved
IN THE KNOW
Scraphappy
If your scraps outnumber your ideas for how to use them,
fear not! Recovering scrap hoarder Kate Basti has some top
tips to transform them into your new favourite quilts
Let’s talk scraps. Love them or on the back for not wasting money did I see these leftover bits of fabric
hate them, there’s no way around by tossing them in the trash instead as a burden and something I was
them. They multiply, seemingly and then promptly ignore them. keeping out of an obligation not to
overnight, with every project cut Over time they would pile up and be wasteful, but as something
into, and sometimes they just I couldn’t ignore them, so I’d bundle practical, beautiful and, more
plain stress me out. How small is some pretty scraps together and importantly, inspiring.
too small? Will I actually use this host a giveaway on Instagram. Many By tossing my scraps into one big,
someday? Should I just throw it out? quilters seem to love receiving heaping, neglected pile all those
But isn’t that a waste? other quilters’ scraps and I just years, I wasn’t allowing the fabric
I’ve been quilting for six years wanted rid of them, so it seemed I had to inspire me. No wonder I
now, and it took me the better part like a win-win. Out of sight, out of didn’t feel compelled to create with
of five of those years to finally get mind and on somebody else’s desk. them! It was a big jumbled mess.
a grasp of how to work with scraps.
My old method of dealing with
them was a bit of an “out of sight,
´ YVaaYR \cR_ N fRN_ NT\ À áV[NYYf áRYa N adV[TR \á
out of mind” approach. I’d toss
them in a storage bin, pat myself
V[`]V_NaV\[ ;\ Y\[TR_ QVQ À `RR aUR`R YRáa\cR_ áNO_VP` N`
N Ob_QR[ Oba N` `\ZRaUV[T ORNbaVábY N[Q V[`]V_V[T
A little over a year ago, after years Who has the time to dig through
of seeing so many beautiful scrappy a mound of mismatched fabric bits
projects made by talented quilters in search of just the right colour or
and friends on Instagram, I finally print to complement their project?
felt a twinge of inspiration and At that point, it’s easier to simply
decided I should perhaps revisit my pull a larger cut from one’s stash.
approach to scraps. I bought two Over the last year or so, I’ve
small, inexpensive filing cabinets at discovered a few easy ways that
IKEA and began filing my scraps by help me to feel inspired by my
colour. The change in perspective scraps, and today I’d like to share
was almost immediate. No longer them with you.
1 Organisation is key
You need to be able to easily
see what scraps you have to work
with. Whatever this method looks
like for you is completely fine. You
could sort by colour, designer,
substrate, etc. Personally, I sort the
majority by colour and have two
separate drawer organisers for
storing scraps by favourite
Kate organises
most of her scrap designers and by holidays. While I
fabrics by colour use small filing cabinets to organise
so that she can find
what she wants
my scraps, I’ve seen other folks
quickly and easily! organise them in large glass jars or
IN THE KNOW
Try sewing your

scraps together
improv-style until
the block is large
enough to trim
into a square
in a variety of small, colour-coded little bundles sitting right in front create a quilt, mini quilt, table
storage containers. You could even of me, ready for use. runner or pillow. The lack of rules
use your scraps to make storage and precision needed to make
baskets… the world is your oyster!
3 Get scrappy!
Still not sure how to use those
these blocks is wonderfully relaxing,
and the resulting blocks are truly
2 Shop your stash

I get most inspired by pretty
bundles of fabric, so on occasion,
scraps you now have sorted? Ditch
the stress of finding the “perfect
pattern,” and just dive in! English
beautiful. Plus, you’ll burn through
your scrap stash in no time!
Take it from this former scrap-
I’ll pull some scraps together, iron Paper Piecing is a great way to use challenged quilter, it’s worth the
them neatly and tie them into a up smaller scraps. Simple hexagons time and energy to organise your
bundle with colourful baker’s twine. are quick and easy to make, and scrap heap and turn it into a curated
I’ll then set the scrap bundles on they’re perfect for a variety of collection that works for you. Who
a shelf where I’ll regularly see them projects. One of my favourite ways knows, maybe you’ll find some
as a reminder to “shop my stash”. to use scraps these days is to simply inspiration mixed among the scraps.
And believe it or not, this silly little stitch them together improv-style
idea actually works for me. I’m less until I have a large enough shape to
tempted to shop for new fabrics trim them into a square quilt block. quiltwithkate.com
when I have a bunch of beautiful Make as many blocks as you wish to katebasti
FEELING FRESH
Tie the springy palette
together with a bright
white background fabric
STARRY
EYED
Make a modern sampler quilt by combining
eight beginner-friendly blocks with pretty
pastel solids
BY ANDY KNOWLTON
STARRY EYED
YOU WILL NEED

Q Dark green solid: 3/8yd
Q Light green solid: yd
3
Q Dark yellow solid: / yd 8
Q Light yellow solid: 3/8yd

Q Dark pink solid: yd
Q Light pink solid: 3/8yd
Q Dark blue solid: yd
Q Light blue solid: yd
Q Dark teal solid: 3/8yd
Q Light teal solid: yd
Q White fabric: 4yds
Q Batting: 68in x 90in piece
Q Binding fabric: 5/8yd
FINISHED SIZE
Q 59in x 81in
NOTES
Q Seam allowances are in, unless
otherwise noted.
otherwise noted.
Q WST = wrong sides together.
FABRICS USED
Solid fabrics are Cabbage, Honeydew,
Sunflower, Maize, Melon, Dusty Peach,
Periwinkle, Cloud, Candy Green and Ice
EASY-PIECE SQUARES AND
Frappe from the Kona Cotton Solids HALF-SQUARE TRIANGLES MAKE
collection by Robert Kaufman.
THIS A STRAIGHTFORWARD SEW
CUTTING OUT Q One (1) 3in x WOF strip. Subcut to
From the dark green fabric cut: give two (2) 3in squares and eight (8)
1 Q One (1) 6 in x WOF strip. Subcut to
give four (4) 2in x 6 in rectangles, two
2in squares.
(2) 5 in squares, one (1) 4 in square From the dark yellow fabric cut:
and four (4) 4in squares.
Q One (1) 2 in x WOF strip. Subcut to
give two (2) 5 in squares, one (1)
give eight (8) 2 in squares and eight (8) 4 in square, four (4) 2 in x 4 in
2in squares. rectangles, one (1) 3 in square and
three (3) 3in squares.
From the light green fabric cut: Q One (1) 3 in x WOF strip. Subcut to give
2 Q One (1) 5in x WOF strip. Subcut to
give two (2) 5in squares, one (1) 4 in
four (4) 3 in x 6 in rectangles and three
(3) 3 in squares.
square, four (4) 2 in x 4 in Q One (1) 3in x WOF strip. Subcut to
rectangles, two (2) 4in squares and give one (1) 3in square and twelve (12)
one (1) 3 in square. 2 in squares.
STARRY EYED
From the light teal fabric cut:

give one (1) 6 in square, one (1)
4 in square, one (1) 3 in square
and four (4) 3in squares.
From the light yellow fabric cut: From the dark blue fabric cut: Q One (1) 2 in x WOF strip. Subcut to
give one (1) 6 in square, two (2) 5in
give one (1) 4 in square, four (4) 4in
give six (6) 2 in squares and eight (8)
2in squares.
squares, two (2) 4 in squares and squares and four (4) 3in squares.
four (4) 2 in x 4 in rectangles. Q One (1) 2 in x WOF strip. Subcut to give From the white fabric cut:
Q One (1) 3in x WOF strip. Subcut to
give six (6) 3in squares and six (6)
eight (8) 2 in squares.
Q One (1) 3 in x WOF strip. Subcut to
11 Q Three (3) 2in x WOF strips. Subcut to
give sixty (60) 2in squares.
2 in squares. give eight (8) 3 in squares and four (4) Q Nine (9) 2 in x WOF strips. Subcut to
2in x 3 in rectangles. give sixty eight (68) 2 in squares and
From the dark pink fabric cut: Q Two (2) 2in x WOF strips. Subcut to thirty six (36) 2 in x 4 in rectangles.
give four (4) 3 in x 6 in rectangles,
give twelve (12) 2in squares and four (4)
2in x 6 in rectangles.
Q Three (3) 3in x WOF strips. Subcut to
give thirty four (34) 3in squares.
four (4) 2in x 6 in rectangles, two (2) Q Eight (8) 3 in x WOF strips. Subcut to
5 in squares and two (2) 2in squares. From the light blue fabric cut: give fifty six (56) 3 in squares, twelve
Q Two (2) 3 in x WOF strips. Subcut to
give twelve (12) 3 in squares, four (4)
8 Q One (1) 4in x WOF strip. Subcut to
give two (2) 4in squares, two (2) 3 in
(12) 3 in x 6 in rectangles and twenty
four (24) 2in x 3 in rectangles.
2in x 3 in rectangles, four (4) 3in squares and two (2) 3in squares. Q Two (2) 5in x WOF strips. Subcut to
squares and six (6) 2in squares. Q One (1) 2in x WOF strip. Subcut to give give six (6) 5in squares and twelve (12)
Q One (1) 2 in x WOF strip. Subcut to give sixteen (16) 2in squares. 4in squares.
four (4) 2 in x 4 in rectangles, four (4) Q One (1) 2 in x WOF strips. Subcut to Q One (1) 5 in x WOF strip. Subcut to give
2 in squares and four (4) 2in squares. give four (4) 2 in x 4 in rectangles and six (6) 5 in squares.
two (2) 2 in squares. Q One (1) 12 in x WOF strip. Subcut
From the light pink fabric cut: to give sixteen (16) 2 in x 12 in
give one (1) 6 in square, two (2) 5in 9 From the dark teal fabric cut:
rectangles.
squares, two (2) 4 in squares and give four (4) 3 in x 6 in rectangles, give four (4) 2 in x 12 in rectangles.
two (2) 3 in squares. four (4) 2in x 3 in rectangles and Q Six (6) 2 in x WOF strips for the
Q One (1) 2 in x WOF strip. Subcut to twelve (12) 3 in squares. vertical sashing.
give six (6) 2 in squares and twelve (12) Q One (1) 4 in x WOF strip. Subcut to give Q Seven (7) 3in x WOF strips for borders.
2in squares. four (4) 2 in x 4 in rectangles, four (4)
Q One (1) 3in x WOF strip. Subcut into four (4) 3in squares, four (4) 2 in squares and From the binding fabric cut:
3in squares and four (4) 2in squares. four (4) 2in squares. 12 Q Eight (8) 2 in x WOF strips.
STARRY EYED
Fig 1 Fig 2
Fig 3
Fig 4 Fig 5 Fig 6
PIECING BLOCK A
Take one 5 in dark green square and
13 one 5 in white square. Mark a
diagonal line on the wrong side of the
white square. Place the two squares RST.
Stitch in on either side of the marked
line, then cut apart on the line (Fig 1).
Open the units and press seams

14 towards the dark side. Leave the units
untrimmed. Repeat to make four HST units.
Mark a diagonal line on the wrong side

15 of one HST unit. Place this RST on top
of a second HST with the dark triangles on
opposite sides and the seams nested.
Stitch in on either side of the marked
line, then cut apart on the line (Fig 2).
Open the units and press seams to

16 one side. Trim the hourglass units to
4 in square. Make four identical
hourglass units.
Repeat step 13, using light green and

17 white 5in squares to make four HST
units. Trim each HST to 4 in square.
Arrange the four hourglass units, four

18 HST units and one 4 in light green
square as shown in Fig 3. Join the units
into rows and then join the rows to
complete one Block A. The block should
measure 12 in square.
STARRY EYED
Fig 7 Fig 8
Fig 9 Fig 10
unit. Make four identical small Flying Repeat step 26 with the remaining
Geese units (Fig 4). 27 3 in white squares on the remaining
corners of the light pink square to make
To make the small inner star block, one square-in-a-square unit (Fig 7).
22 arrange four small Flying Geese units,
four 2in dark squares and one 3 in light Make four large Flying Geese units
square as shown. Join the units into rows
and then join rows to complete one small
28 using white 3 in squares and dark
pink 3 in x 6 in rectangles, as you did
inner star block (Fig 5). in steps 20–21.
Repeat steps 20–21, using two dark Arrange four large Flying Geese units,
23 teal 3 in squares and a white 3 in
x 6 in rectangle, to make a large Flying
29 the square-in-a-square unit and four
3 in dark pink squares as shown (Fig 8).
Geese unit. Make four identical large Join the units into rows and then join the
Flying Geese units. rows together to complete one Block C,
which should measure 12 in square.
Arrange four large Flying Geese units,
24 the small inner star block, and four
3 in white squares as shown (Fig 6). Join 30 Repeat steps 26–29 to make one Block
C each from the yellow and teal fabrics.
the units into rows and then join the rows
to complete one Block B. The block should PIEICNG BLOCK D
Repeat steps 13–18 to make one Block measure 12 in square. Make four small Flying Geese units
19 A each from yellow and pink fabrics.
Repeat steps 20–24 to make one
31 using light blue 2in squares and white
2in x 3 in rectangles, as in steps 20–21.
PIECING BLOCK B
Take two 2in light teal squares and
25 Block B each from both the pink and
blue fabrics.
Arrange the Flying Geese units with four
white 2in squares and one light blue 3 in
20 mark a diagonal line from corner to
corner on the wrong side of each. Place one PIECING BLOCK C
square (Fig 9). Join to make the small inner
star block, as in step 22.
square RST on one end of a 2in x 3 in dark Take four 3 in white squares and
teal rectangle. Stitch on the marked line. 26 mark a diagonal line from corner to
corner on the wrong side of each. Place 32 Take two white 2in squares and mark
a diagonal line from corner to corner
Trim in from the stitching. Flip the one 3 in white square RST on one corner on the wrong side. Place at either end of
21 corner open and press. Repeat with
the other light teal square at the opposite
of the 6 in light pink square. Stitch on the
marked line. Trim in beyond the
a dark blue 2in x 6 in rectangle. Stitch on
the marked lines, trim and press open
end to complete one small Flying Geese stitching, flip the corner open and press. (Fig 10). Make four identical units.
STARRY EYED
Fig 11 Fig 12
Fig 13 Fig 14
Fig 15
Make a total of four small Flying Arrange one HST with one white 2 in
33 Geese units using dark blue 2in
squares and white 2in x 3 in rectangles,
39 square and one white 2 in x 4 in
strip. Sew the square to the top of the HST
as outlined in steps 20–21. and then sew the rectangle to one side to
make one corner unit (Fig 14). Make four
Sew a 2in white square to either end of identical corner units.
34 each Flying Geese unit. Join each of
these units to the top of a unit from Arrange the Flying Geese and corner
step 32 (Fig 11). 40 units and one 4 in dark square as
shown in Fig 15. Join the units into three
Arrange four of the units from step 34 rows and then join rows together to
35 with the small inner star block and
four white 3 in squares (Fig 12). Join the
complete one Block E. The block should
measure 12 in square.
units into rows and then join rows together
to complete one Block D. The block Repeat the process in steps 37–40 to
should measure 12 in square. 41 make one Block E each from the
yellow and blue fabrics.
36 Block D each from both the green
and pink fabrics.
PIECING BLOCK F
Make four large Flying Geese units,
PIECING BLOCK E
42 using white 2 in squares and dark teal
2 in x 4 in rectangles, as in steps 20–21.
Make a total of four large Flying Sew a white 2 in x 4 in rectangle to the
37 Geese units, using the dark green
2 in squares and white 2 in x 4 in
top of each Flying Geese unit (Fig 16).
rectangles, as outlined in steps 20–21. Using light teal and white 3in squares,
Then sew a light green 2 in x 4 in
rectangle to the bottom of each Flying
43 make a total of eight HST units, as in
step 13. Press the seams towards the teal
Geese unit (Fig 13). fabric and trim each unit to 2 in square.
Using white and light green 3in Arrange two HST units, one 2 in
38 squares, make a total of four HST
units, as in step 13. Press the seams
44 dark teal square and one 2 in light
teal square as a four-patch, as shown in
towards the darker fabric and trim each Fig 17. Join the units into two rows and
HST to 2 in square. then join the two rows together to make
STARRY EYED
Fig 16 Fig 17
Fig 18
Fig 19
one corner unit. Make a total of four PIECING BLOCK G to make one Block G. The block should
identical corner units. Make eight dark blue and white HSTs measure 12 in square.
Arrange four corner units, four Flying

47 using the 4in squares, as in step 13.
Repeat with light blue and white 4in Repeat steps 47–48 to make one
45 Geese units and one 4 in light teal
square as shown. Join the units into rows
squares to make four HSTs. Press seams
towards the darker fabric and trim each
49 more Block G from the green fabrics.
and then join rows together to make one unit to 3 in square. PIECING BLOCK H
12 in square Block F (Fig 18). Make eight HSTs using dark teal
Repeat steps 42–45 to make one 48 Arrange the eight dark HST units,
four light HST units and four 3 in
50 and white 3in squares, as outlined
in step 13. Press the seams towards the
46 Block F each from the yellow and
pink fabrics.
white squares as shown (Fig 19). Join the
units into rows and then join rows together
darker fabric and trim each HST unit to
2 in square.
STARRY EYED
Fig 20
Arrange the HST units, two 2 in light

51 teal squares and eight 2 in white
squares as shown in Fig 20. Join the units
into rows and then join rows together to
make one Block H. The block should
measure 6 in x 12 in.

52 Block H each from the yellow, pink
and blue fabrics.

Arrange the blocks into four columns
53 of six, following the Layout Diagram.
Join a 2 in x 12 in white sashing strip
between each block.
Sew the six 2 in x WOF white

54 vertical sashing strips together end
to end to make one long strip. Cut into
Layout Diagram
three 2 in x 76 in strips. Join the

columns together with a 2 in x 76 in Press the quilt top and backing well. half lengthways, wrong sides together,
white sashing strip in between each one. 57 Make a quilt sandwich by placing the
and press.
Sew the seven 3in x WOF white border on top, then place the quilt top centrally Sew the binding to the right side of
55 strips together end-to-end to make one
long strip. Subcut into two 3in x 76 in strips
60 the quilt, creating a neat mitre at each
and two 3in x 59 in strips. Sew the two the quilt and hand stitch in place around
3in x 76 in strips to each side of the quilt Quilt as desired. Andy quilted an the edge to finish.
top. Then sew the two 3in x 59 in strips to
the top and bottom of the quilt top.
58 all-over connected circles design.
Trim off the excess batting and backing Andy Knowlton
fabric and square up the quilt. Quilter, pattern designer and
QUILTING AND FINISHING keen sailor Andy loves to
combine her creative side
Cut the backing fabric in half across Sew the binding strips together
56 the width. Remove the selvedges and
sew the two pieces together using a in
59 end-to-end using diagonal seams.
Press the seams open and trim away the
and her computer-savvy side
abrightcorner.com
abrightcorner
seam. Press the seam open. dog ears. Fold the joined binding strip in
CORAL
RISING
Push your precision piecing skills
by making a mini quilt with a modern
combo of strips and curves
BY LORNA SLESSOR
CORAL RISING
YOU WILL NEED

Q Coral fabric: one (1) fat quarter
Q Six (6) coloured fabrics:
1
/8yd each
Q Background fabric (includes
binding) yd
Q Backing fabric: 25in square
Q One (1) copy each of Templates
1 and 2
FINISHED SIZE
Q 19 in square
NOTES
otherwise noted.
Q Templates include seam allowances,
where necessary.
HAND QUILT YOUR MINI WITH
Q WOF = width of fabric. COORDINATING THREADS FOR
Q Fabrics supplied by Robert Kafuman
A NICE, TEXTURED FINISH
(robertkaufman.com)
Q Batting supplied by Hantex FABRICS USED Q Two (2) 1 in x 20 strips.
(hantexonline.co.uk) Q Solid fabrics are all Kona Cotton Solids Q Three (3) 2 in x WOF strips for
Q Lorna used a Legacy 100% Cotton by Robert Kaufman in Nectarine, Curry, the binding.
Batting. For batting stockists see White, Nautical, Deep Blue, Pool, Peach
hantexonline.co.uk/lpq-wadding and Lake. PIECING THE MINI QUILT TOP
Q Backing fabric is from the Modern Take the background and colour
Classics collection by Violet Craft for
Robert Kaufman.
5 20in x 1 in strips and sew together
along the long edges, alternating between
background and colour. Cut into two 9 in
CUTTING OUT wide pieces and add a background 1 in x
From the coral fabric cut: 9 in strip to opposite ends of each (Fig A).
1 Q Three (3) pieces using Template 1.
Q Five (5) 8in x 1 in strips. Use Template 2 to cut two pieces from
From each of five (5) of the coloured

6 the strip set. Carefully align the
template as shown in Fig 1, to make the
2 fabrics cut:
Q One (1) 20in x 1 in strip.
two pieces shown in Fig B.
Q One (1) 8in x 1 in strip. Take the coral and colour 8in x 1 in
From the remaining coloured fabric cut:

7 strips and sew together along the long
edges, alternating between coral and
3 Q One (1) 20in x 1 in strip. colour. Be sure to sew the colour strips in
the same order as your strips in step 5.
From the background fabric cut: Subcut using Template 1, referring to Fig C
4 Q Two (2) pieces using Template 2.
Q Five (5) 1 in x 20in strips.
for placement.
Q Two (2) 9 in x 1 in strips. Take one background Template 2 and

Q Two (2) 1 in x 18in strips. 8 one coral Template 1 and fold in half to
CORAL RISING
piecing the mini quilt top
Fig 1
B
mark the centre of each curve. Place Repeat steps 10–11 to sew the
Template 2 on top of Template 1, carefully
matching the creases and ends, and pin in
12 remaining coral Template 1 and
striped Template 2 piece. Note, you will
place. Ease along the curve and pin not need to match the seams between the
together between these points (Fig D). two pieces, but using the basting stitch
will ensure the stripes run straight across
With Template 2 on top, sew the pieces the block once sewn.
9 together along the curved edge. Work
slowly to avoid stretching, removing each Arrange the four pieces, referring to
of the pins as you go. Press the seam open
and trim the unit to 9 in square. Repeat
13 the photography for placement. Sew
together in pairs, matching seams, then
steps 8–9 to make a second identical unit. sew the pairs together. Trim to 18in C
square, centring the circle.
To make the striped units, first take
10 your pieced Template 1 and matching
Template 2 piece. Arrange in place as in 14 Join the 1 in x 18in borders to the
sides and then the 1 in x 20in borders
step 8. Make sure to match the seams for to the top and bottom to complete the
each strip, so you will get a straight line mini quilt top.
across the block when sewn.
Increase your stitch length to its Press the quilt top and backing well.
11 maximum and baste in place. Check 15 Make a quilt sandwich by placing the
the stripes are straight and make any backing fabric right side down, the batting D
adjustments. Sew in place with a regular on top, then place the quilt top centrally
machine stitch as in step 9. and right side up. Baste the layers
Quilt as desired. Lorna hand quilted

16 horizontal lines with coordinating
thread. Trim off the excess batting and
backing fabric and square up the quilt.

the seams open. Fold in half lengthways, Lorna Slessor
wrong sides together, and press. Lorna splits her time
DGVYGGP UGN UJ UGYKPI
and working as Operations
Editor for LP&Q!
clothandcrescent.com
clothandcrescent
the quilt and hand stitch in place to finish.
DAISY CHAIN
Select one of your
favourite prints for the
centre of each block
LOVE
LETTERS
Celebrate your scraps with this
contemporary Courthouse Steps design
that really makes a statement
BY JULIANNA GASIOROWSKA
LOVE LETTERS
YOU WILL NEED

Q Centre fabric: one (1) fat quarter
(may need more if fussy cutting)
Q Purple scraps: yd total
Q Gold scraps: 1yd total
Q Blue scraps: yd total
Q Teal scraps: 3/8yd total
Q Red scraps: 3/8yd total
Q Pink scraps: 3/8yd total
Q Coral scraps: yd total
Q Border fabric: yd total
Q Backing fabric: 4 yds
Q Batting: 68in x 86in
Q Word or letter fabric scraps
for accent (optional)
FINISHED SIZE
Q 60in x 78in
NOTES
Q Seam allowances are in throughout,
unless otherwise noted.
Q Press seams to one side throughout,
unless otherwise instructed.
Q Quilted by Margaret Lehmann
(silesianquilt.com).
CUTTING OUT
Arrange your fabrics into the light,
ADD EXTRA INTEREST TO YOUR
1 medium and dark groups for each colour.
You will cut one set of strips for each block,
COURTHOUSE STEPS BLOCKS BY
as follows. FUSSY CUTTING TEXT PRINTS
Q Purple: two blocks.
Q Gold: three blocks. Q Two (2) 2in x 6 in.
Q Blue: two blocks. Q Two (2) 2in x 9 in.
Q Teal: one block. Q Two (2) 2in x 12 in.
Q Red: one block. Q Two (2) 2in x 15 in.
Q Pink: one block. Q Two (2) 2in x 18 in.
Q Coral: two blocks.
From your dark groups, cut the following
2 From your light groups, cut the following

for each block:
4 for each block:
Q One (1) 2in x 3 in.
Q One (1) 2in x 3 in. Q One (1) 2in x 6 in.
Q One (1) 2in x 15 in.
From your centre fabric cut:
3 From each of your medium groups, cut

the following for each block:
5 Q Twelve (12) 3 in squares.
LOVE LETTERS
Fig 3
Fig 1 Fig 2 Fig 4
From your border fabric cut:

6 Q Seven (7) 3 in x WOF strips. Sew into
one long length and subcut into two (2)
3 in x 54 in strips and two (2) 3 in x
78 in strips.
From your binding fabric cut:

7 Q Seven (7) 2 in x WOF strips.
Fussy cut words (or cut and piece letters

8 to form words) that you would like to
appear in your blocks. Add a in seam
allowance to the piece around all sides. The
word strips should measure 2in high for
horizontal strips and 2in wide for vertical
strips, including the seam allowances.
PREPARING THE BLOCK STRIPS

Gather one set of strips and one centre
9 square and arrange in the block layout as
shown (Fig 1). If you would like to use some
of your word strips, place these on top of the
strips as you would like them to appear on
the block (Fig 2). If you are not using words,
skip to step 13 to construct the blocks.
Take one strip where a word will be

10 used. With the word in the area you
would like it to appear, mark the coloured
strip in the approx centre of the word.
Remove the word and then cut the strip
at the mark (Fig 3).
Sew the coloured strips to either side of

11 the word segment, using a in seam.
Trim the strip to the original size. Make sure
you trim evenly from each end, so the word
appears in the area you intended (Fig 4).
Return the completed strip into position.

12 Repeat steps 10–11 with each strip that
LOVE LETTERS
Fig 5 Fig 6
Fig 7
will feature a word segment, until all strips

for this block are complete.
SEWING THE BLOCKS

Sew the dark coloured 2in x 3 in strip
13 to the top of the centre square, and
the light coloured 2in x 3 in strip to the
bottom (Fig 5). Press the seams away
from the centre.
Sew both medium 2in x 6 in strips to

14 either side of the block and press the
seams away from the centre (Fig 6). This 3 in x 54 in border strips to the top and the excess batting and backing fabric and
completes Round 1 of strips. bottom. Then join the 3 in x 78 in border square up the quilt.
strips either side to complete the quilt top.
Repeat steps 13–14, adding the strips in Sew the binding strips together
15 size order, and referring to Fig 1, until
five rounds are complete (Fig 7).
Press the seams open and trim the dog
Repeat steps 9–15 to sew all twelve

ears. Fold in half lengthways, wrong sides
16 blocks. For blocks with no word
segments, you may want to chain piece to
save time. For those with word segments,
you may find it easier to proceed one block 20 Press the quilt top and backing well.
Make a quilt sandwich by placing the
at a time to avoid losing pieces. backing fabric right side down, the batting the quilt and hand stitch in place to finish.
ASSEMBLING THE QUILT and right side up. Baste the layers Julianna
Arrange the blocks in four rows of three together using your preferred method.
17 blocks, referring to the photography, or
arranging as desired. Quilt as desired. Margaret Lehmann
Gasiorowska
Fabric lover Julianna usually
sneaks in her sewing time
Sew the blocks together in rows, then

21 (silesianquilting.com) quilted a bold,
curved flower design in the centre of each
while her family are sleeping!
jednoiglec.blogspot.com
18 sew the rows together. Join the quilt block, using a white thread. Trim off
sewingunderrainbow
DESIGNER PROFILE
E SIG NER PROFILE

D
Rachel Hauser
Blogger, pattern designer, longarm quilter and book author Rachel
Hauser is all about helping others. We talked about her relationship
with colour and why she loves to pass on her knowledge
Tell us about your creative something new with my latest hobby. that truly moves us. Colour is always
background and how you first got It was a little window of opportunity at the heart of whatever I’m making.
interested in quilting. with few risks and many upsides, so I work with it intuitively, using what
My childhood was filled with ballet. I decided to step through. feels right or makes me smile. I do
I loved it for its beautiful forms, music Although my mom is a creative consider technical details like value or
and imagination. I also loved that it person, I didn’t learn sewing or temperature when making specific
combined that beauty with a quilting at home. My family didn’t fabric choices, but that is all after the
demanding precision. own any quilts and I never thought fact. My initial colour inspiration for
After high school I studied fashion much about them. That changed any project is always more emotional
in San Francisco and eventually when I fell in love with Anna Maria than theoretical.
opened my own designer maternity Horner’s fabric collection, Good
boutique. I enjoyed most aspects of Folks. The fabrics were enchanting! How did you go about creating
having my own business, but I bought a fat quarter set of the your book, The Quilter’s Field
choosing the colours and shapes of collection to make some small Guide to Color?
Rachel loves the clothes was the very best part. projects for my home. Soon I was When readers of my blog, Stitched in
making all kinds
of quilts to learn When this business floundered after making my first quilt just so I could Color, first asked me to teach about
new techniques the 2008 recession, I decided to start see all of that loveliness in one place! colour, I dismissed it as an impossible
task. I believe colour is quite
Colour is a big part of what you do. subjective and personal, so how
Can you explain your relationship could I teach it to someone else?
with colour and how you tend to A creative friend of mine encouraged
approach it? me to try to put my process into
If quilting were a dance, patchwork words anyway, and not to shy away
would be the steps and colour would from stating what seemed to me to
be the music. One is not more be obvious. The result was an online
important than another – both are class, Color Intensive, that was very
essential to a satisfying process. well received. When I realised that
However, it’s the music and the colour the content would be even better as
a book you could hold in your hands,
I pitched that idea to Lucky Spool.
My Editor Susanne Woods had some
great ideas for how to transform it for
the printed page.
The book includes a 150-swatch

colour card and exercises for the
reader. As colour comes so
naturally to you, was it a challenge
to come up with these exercises?
I can’t say that it was! I really like
organising content into themes and
Above right:
Rachel and thinking from my reader’s point of communities. I tend to be shy about
her book, The view. Once I started putting pen to meeting people or talking about my
Quilter's Field
Guide to Color paper the main themes of my colour business in person. Since quilting is
Right and below: course came together quickly and the less popular in Europe in comparison
Rachel transforms exercises emerged organically to to the US, I have to make more of an
her client's quilts
with her longarm encourage readers to interact with effort to go out and meet people
quilting skills the material. face to face to build up my longarm
quilting clientele.
What do you enjoy about passing
your knowledge on to others? Did you bring your entire fabric
You know what? It makes people stash with you?
happy! I learned how to sew through Oh yes! Although I don’t have a really
online tutorials and sewing has huge fabric stash. My scrap collection
brought me so much joy. I was takes up as much volume in my
hesitant to post my own tutorials at sewing studio as my yardage. Still,
first, but even my early meagre efforts I did some extra shopping before
ColourisalwaysattheheartoáwhatÀ'm making-Àworkwith
it intuitively, using what áeels right or makes me smile.
My inspiration is more emotional than theoretical
were kindly appreciated. When I moved, stocking up on basics.
I share my knowledge with others, It’s true that fabric is much more
I sense it is truly appreciated. I can expensive here than in the states!
see that people use what I share,
which encourages me to continue. You offer longarm quilting services
It’s a win-win for everyone. to EU customers. What would you
say is your favourite thing about
You recently moved from the US to longarm quilting?
The Netherlands. How has this I'd say my favourite thing is the
affected your way of working? transformation! Don’t get me wrong,
Since moving to The Netherlands my customer’s quilts are beautiful
I am making more of an effort to when they arrive. Still, there’s
connect with local quilting something wonderful about watching
DESIGNER PROFILE
a sloping wall. The longarm just fits business. I wanted a reason to buy
(we house hunted with a measuring and sew quilts that was bigger than
tape!), but I have to shimmy around it me and my family and friends. Charity
to get to my threads and design wall. quilting gives a beautiful purpose to
Customer quilts hang on a bar a beautiful craft.
installed over the stairwell!
What are your favourite types
You founded do. Good Stitches, an of quilts to sew?
online quilting bee to make quilts All kinds! Scrap quilts, simple quilts,
for charities, back in 2020. Why is challenging piecing, appliqué, curves,
this so important to you? improv, EPP. Whatever I can discover
My earliest association with quilting next. Some of my favourite quilts tell
was of the charity quilting bees that a story. They capture a moment of joy
used to meet in homes and churches. or pain or expectation. They bottle
them gain texture and dimension with Women would often gather around that feeling with colour or shape or
quilting. I love, love, love taking a one project, hand quilting and clearly distilled memories of time
finished quilt off the machine. I’ve chatting, at least in the books I read! spent processing emotions, cloth in
always been a sucker for a finish. After making a few quilts for my hand. My Brave quilt (above) is one of
home, I wanted to reimagine that those. I made it during the time that
Describe your quilting studio. experience for the virtual age. we decided to become expats.
Compact! I work in the attic of our do. Good Stitches filled a hole at that
Dutch townhouse. It has great light time, as there weren’t any other You blog regularly – do you feel
from a four metre wall of dormer online quilting bees or drives for that blogs are still an imporrant
windows. My sewing table is right up charity, at least ones that I was part of the quilt community?
against the windows so that I can hearing about on social media. Yes, I really do! From the writer’s
Above: Rachel bask in the light when I sew. The rest It was important to me not to make, perspective, blogging creates
loves watching quilt
tops transform when
of my gear is tucked into every nook make, make and just consume. When a process archive that is more than
she starts adding and cranny of the attic, down to the I started do. Good Stitches I was not a series of pretty pictures. Blogging
quilty texture fabric shelf wedged at the bottom of yet doing Stitched in Color as a lets you fill in the gaps with tough
DESIGNER PROFILE
Left: Anna Maria

Horner fabrics
like these are
Ü >Ì wÀÃÌ Ã« Ài`
Rachel to try her
hand at quilting
together make a good team. Have you passed your creativity

The blog is a great place to post and love of fabric and sewing onto
a quiltalong schedule and other your little ones?
creative events like my scrap sewing My older kids are now teenagers, and
challenges. Instagram is ideal for each has a creative hobby. It’s the
participants to share photos as they colour part that I’m not too sure
sew along. It’s an easy way to follow about… part of expressing teenage
and join something, where identity is finding something to reject
connections to others can be made about your parents, right? So neither
Blogging lets you áill in the gaps with wrong turns and
the 'aha!' moments that make it all worth it. À'm so glad
to have this in-depth record oá my creative liáR
quickly through hashtags. I still feel of my teens particularly love colour!
that blogging is the best platform for My youngest, Elora, is three years old,
Above: Rachel moments and wrong turns and the posting tutorials. It’s sad to see many and her favourite colours are pink and
has a knack for ‘aha!’ moments that make it all worth blogs go offline and those tutorials purple. She thinks all of my fabrics are
combining prints
in modern blocks
it. I’m so glad to have this in-depth get lost. When quilters support lovely, especially the ones with
like this one record of my creative life. bloggers by buying patterns, strawberries on them. I might just
But more than that, blogs serve the shopping with blog sponsor shops or make a quilter out of her yet!
community in an invaluable way. Blog joining in with events, they help keep
content tends to be more instruction- the wealth of ‘free’ content alive.
oriented. It’s a great place to unpack Those types of resources are
big ideas or organise an event. especially important for bringing stitchedincolor.com
Instagram and blogging used new people into the hobby. stitchedincolor
SUGAR RUSH
Basic prints work
perfectly for a strip
design like this one!
CANDY CRUSH
Mix low volumes with sorbet shades and
put your hexagon Log Cabin tool to good
use with this punchy design
BY SONIA SPENCE
CANDY CRUSH
YOU WILL NEED

Q Hexagon centre fabrics to fussy
cut: forty five (45) 5in squares
Q White stripe fabric: yd
Q Twenty (20) low volume fabrics:
one (1) fat eighth each
Q Six (6) contrast fabrics: one (1)
fat eighth each
Q Hexagon Log Cabin templates
provided with the issue
FINISHED SIZE
Q 57in x 54in
NOTES
otherwise noted.
where necessary.
Q Sonia used the hexagon templates
USE THE SHAPES OF THE
provided with the issue. To download HEXAGONS TO GIVE THE
a copy of the templates, visit
gathered.how/lovequiltingmag CORNERS A UNIQUE FINISH
Q Fabric supplied by Ruby Star Society
(rubystarsociety.com) From each of the low volume and
FABRICS USED
2 contrast fabric fat eighths cut:
Q Five (5) 1 in x 22in strips. Note, if you
All prints are by Ruby Star Society, have trouble sewing exact in seams,
as follows: you may wish to cut 1 in wide strips.
Q Charm pack is from the Clementine When trimming in the following steps,
collection by Melody Miller. simply trim across the top of the tool as
Q White stripe fabric is from the Zip! well, to achieve the correct size.
collection by Rashida Coleman-Hale.
Q Low volume fabrics are from the From the white stripe fabric cut:
Brushed, Alma, Add It Up, Grid, Spark,
Zip! and Speckled collections.
3 Q Two (2) 3 in x WOF strips. Align the
30-degree line on a quilting ruler with
Q Contrast fabrics are from the Spark and a long straight edge and cut. Move
Speckled collections. the ruler to cut from the opposite side
at a 30-degree angle, forming a
CUTTING OUT triangle. Repeat across the rest of the
From the hexagon centre fabrics cut: strip. Subcut each strip into five (5)
1Q Thirty nine (39) hexagons, using the
Hexagon Log Cabin Centre template.
triangles for a total of ten (10) pieces.
Save the remaining fabrics to make the From the binding fabric cut:
half hexagon templates in step 6. 4 Q Seven (7) 2 in x WOF strips.
CANDY CRUSH
Fig 1
TOP TIP
Be sure to test your seam allowance Fig 2
before you begin to make sure you are
sewing an exact in seam. Alternatively,
you can cut your strips slightly wider and
trim to size after attaching them.
MAKING THE LOG CABIN HEXAGONS

Referring to the instructions on p6–7,
5 sew the strips around the hexagon
centres. Make a total of thirty nine full
hexagon blocks.
Take one of the remaining centre

6 hexagon 5in squares of fabric. Trace
around all sides of the hexagon template.
Using a quilting ruler, place the in mark
across two points of the hexagon and trim.
Cut the remaining three sides of the
marked hexagon to complete one half
hexagon centre (Fig 1).
Add strips to the half hexagon centre, as

7 you did with the hexagon centres, but
only working along the three short sides.
Refer to Fig 2 for placement. Trim the
bottom edges of the strips even with the
long edge of the half hexagon.
Repeat steps 6–7 to make a total of six

8 half hexagon blocks.

Mark the seam allowance on the wrong
9 side of each block at the corners,
measuring in parallel to each edge at the
corners and marking a small dot where
they intersect (Fig 3).
Arrange the pieced hexagon blocks

10 and the white stripe triangles in
diagonal rows as shown, ensuring prints
are evenly distributed (Fig 4).
CANDY CRUSH
Fig 3
Sew the blocks together in rows as

11 follows. Place the first two hexagons to
be joined RST. Sew together between the
marked dots only, backstitching at each
end. Continue joining the rest of the Fig 4
hexagons. Join the half hexagons and
triangles to the ends in the same way.
Press seams open. Notice that between end of the seam. Press the seams open straight. Note, the corners will follow the
two sewn hexagons, the marked dots are down the entire length. edge of the hexagons.
now at the seam join.
Join the rows together in pairs. Then Sew the binding strips together
12 Once the rows are complete, begin

sewing them together. Place the first
15 sew the pairs together until the quilt
top is complete.
two rows to be joined RST along the first ears. Fold in half lengthways, wrong sides
sides to be sewn. Sew the seam, stopping QUILTING AND FINISHING together, and press.
with the needle down, on top of the dot. Make a quilt sandwich by placing the
Lift the presser foot and rotate the

16 backing fabric right side down. Lay the
batting on top, and then the quilt top right 20 Sew the binding to the front of the
quilt, folding a neat mitre in each
13 fabric pieces to align the next seam.
Match the dot to the seam at the end of
side up. Baste all three layers together
using your preferred method.
corner. Fold the binding to the back of the
quilt. Stitch in place using your preferred
the seam you are about to sew, as before. method to finish.
Make sure you push any extra fabric out of Quilt as desired. Sonia quilted wavy
the way, so it’s not twisted underneath the
next seam. Lower your presser foot and
17 horizontal lines across the hexagons
with pink thread, as well as echo quilting
Sonia Spence
Sonia started sewing in 2011
sew to the next dot. within the inset triangles. and has never looked back,
mastering ‘tricky’ techniques
such as curves and Y-seams!
Keep working your way across the row, Trim the excess quilt top, batting and
14 sewing one seam at a time. When you
get to the last seam, sew all the way to the
18 backing level to leave a in seam
allowance, ensuring that the edges are
v>LÀ V> `y ÜiÀÃ°V °Õ
v>LÀ V> `y ÜiÀÃ
by MARISOL ORTEGA
Sangria, is inspired by Marisol’s love for berries.

Oregon summers spent in lush green fields,
scavenging for the aromatically sweet treasures
that burst on your tongue. Their alluring
sweetness keeps you looking for more to bring
back home and add to your favorite summer
cocktail. This jewel tone berry collection is an ode
to Oregon and all the sweet summer blossoms.
Visit FIGOFabrics.com to view the

entire collection and use the
Product Finder tool to locate a
quilt shop that carries this line.
Southwest Sunshine | 64” x 80”

Pattern includes crib, throw,
twin, queen + king sizes
by Emily Dennis of Quilty Love
Pattern available at quiltylove.com
FIGOFabrics.com
@FIGOFabrics
of
ome
h
new
e
Th
NEW
, s of free
patterns
Step-by-step
tutorials
Video guides
Explore fresh project ideas for all your favourite

crafts with the brand new website for makers
everywhere. Discover easy-to-follow patterns
and tutorials for crochet, knitting, sewing,
quilting, papercraft and stitching, and learn new
skills from experts you can trust.
DAWN
TO DUSK
Learn some new skills! Simple
patchwork meets basic bagmaking in
this cute and curvy cross-body design
BY ANNA ALICIA
DAWN TO DUSK
YOU WILL NEED

Q Blue fabric: 5in square
Q Pink fabric: 5in square
Q Navy fabric: 5in square
Q Grey fabric: 5in x 10in
Q Terracotta canvas: yd
Q Navy canvas: one (1) fat quarter
Q Heavy weight fusible interfacing:
8 in square
Q 13in zip
Q Two (2) gold 7/8in D-rings
Q Two (2) gold 7/8in lobster clasps
Q One (1) copy of the Circle
Template
FINISHED SIZE
Q 7 in diameter x 2in (not
including strap)
NOTES
otherwise noted.
USE THICK CANVAS TO SEW THE
Q Press seams open throughout, unless MAIN BODY OF YOUR BAG TO
Q Press all fabrics well before cutting.
MAKE IT STURDY AND DURABLE
Q RST = right sides together. MAKE THE FRONT PANEL the piecing. Sew around the
Q Fabric supplied by Robert Kaufman Sew together one blue, pink and navy edges with a zigzag stitch (Fig B).
(robertkaufman.com) 5 strip along the long edges, using a in
seam. Press seams open. Repeat to make MAKING THE BAG OUTER
a second matching square. Sew together Take one of your 3in x 13in
FABRICS USED
Fabrics are Kona Cotton Solids in Dresden
Blue, Ice Peach, Storm and Shadow, plus
with the two grey squares in a four-patch
arrangement (Fig A).
7 terracotta canvas strips and press
in half lengthwise, WST. Repeat with
Big Sur Canvas in Canyon Brown and a second strip. With your zip facing
Navy, all by Robert Kaufman. Fuse the interfacing to the wrong side upwards, pin the folded strips along
CUTTING OUT
6 of your pieced four-patch, following the
manufacturer’s instructions. Use the
each side of the zip. Each fold
should be approx 1/8in from the
From each of the blue, pink and circle template to trim the square, centring zip teeth (Fig C).
1 navy fabrics cut:
Q Two (2) 2 in x 4 in strips.
make the front panel
From the grey fabric cut:
2 Q Two (2) 4 in squares.
A B
From the terracotta canvas cut:
3 Q Three (3) 3in x 13in strips.
Q One (1) circle using the template.
Q Two (2) 3in squares.
Q One (1) 3in x WOF strip.
From the navy canvas cut:

4 Q One (1) 3in x 13in strip.
Q Two (2) circles using the template.
DAWN TO DUSK
making the bag outer
Topstitch the strips in place, with your

8 stitching approx 1/16in from the fold.
Trim the zip panel to 3in wide, making sure
TOP TIP
Take time when sewing the circular zip
to carefully centre the zip.
panel in place, to make sure it is even.
You may want to baste in place first, and
Press one 3in square of terracotta
9 canvas in half. Unfold, and fold the raw then sew in place when you’re happy.
edges in to meet the crease. Refold in half, F
enclosing the raw edges and press.
Topstitch along both long edges. Repeat Place the remaining folded edge of
with the second square. These pieces will
form the loops for your D-rings.
12 the strip over the zip at the other end
to form a loop, again overlapping the zip
panel by in. Topstitch the edge in place
Thread a D-ring through one of your as before (Fig E).
10 loops and fold in half, matching raw
edges. Place at one end of the zip panel, Place the loop RST with the front
on the right side, aligning raw edges.
Baste in place. Repeat to place the second
13 panel. Align the zip ends evenly with
the centre seam at each side. Pin in place
D-ring at the other end of the zip panel. around the outer edge, making sure the G
strip sits evenly around the circle (Fig F).
Take the remaining 3in x 13in terracotta Stitch in place, making sure you’re using
11 strip and press under in at each short
end (Fig D). Place this strip at one end of
a in seam.
your zip panel, with both pieces right side Open your zipper at least halfway for
up, overlapping the zip panel by in.
Topstitch in place, approx 1/16in from the
14 turning. Pin and stitch the remaining
edge of the zip panel to the terracotta
folded edge, and again approx 3/8in from canvas circle, as before (Fig G). Trim the
the folded edge. seams to in.
DAWN TO DUSK
Assembling the bag
H I J
ASSEMBLING THE BAG Place the outer bag inside your lining, ADDING THE STRAP
15 Press under in at each short end of

the navy 3in x 13in strip. Place RST with
17 WST. Arrange so that the folded edges
of the lining base strip are an even 19 Take the terracotta 3in x WOF strip
and press in half lengthwise. Unfold,
one navy circle and pin around the edge distance from the ends of the zip at each then fold the long edges in to meet the
(Fig H). Note, it will only cover approx half side. Tuck the raw edges of the lining crease. Refold and press, enclosing the
of the circle. Stitch in place, using a in under around all edges and securely pin raw edges. Neatly topstitch along both
seam allowance, backstitching at each end. in place (Fig I). long edges.
Repeat to sew the remaining navy circle to
the other side to complete the lining. Sew the lining in place by hand. Use a Slide one lobster clasps onto the
Turn the lining right side out. Press the

18 small slip stitch and a coordinating
thread, being careful to sew only through
20 strip. Press under in at one short
edge of the strap and baste in place. Press
16 seams toward the circles. Finger press
in under along the remaining raw edges
the inner layers of the bag so the stitches
will not show on the front (Fig J). Turn the
the same end under by 1in, and slide the
lobster clasp down, so it sits in the fold.
of each circle. bag right side out. Baste, then topstitch the folded edge in
place. Sew back and forth a few times to
secure (Fig K).
Repeat step 20 at the other end of

21 your strap. Clip to the sides of your
bag to finish.
adding the strap
Anna Alicia
Anna is a freelance craft
writer, specialising in sewing
VWVQTKCNU s URGEK ECNN[ DCIU
smarturl.it/
AnnaAliciaBags
aalicialondon
AD_LPQ_086_65.pgs 26.03.2020 15:14
COLOUR POP
Make your piecing shine
with a light and subtle
background fabric
DAYGLOW
Pair a gradient of sunset shades with
smoky grey for a modern, minimal quilt
with understated style
BY MONIKA HENRY
DAYGLOW
YOU WILL NEED

Q Fabrics A–M: thirteen (13)
fat quarters
Q Background fabric: 3 yds
FINISHED SIZE
Q 64in square
NOTES
otherwise noted.
Q Press seams open throughout,
unless otherwise instructed.
Q Press all fabrics well before cutting.
Q This pattern assumes width of fabric
is at least 42in.
Q Monika planned her A–M fabrics to
create an ombré of colour.
ECHO THE ANGULAR PIECING
Q Pattern is designed for solid fabrics or WITH SIMPLE YET STRIKING
non-directional prints.
LINES OF QUILTING
FABRICS USED
All fabrics are Kona Cotton Solids by From the background fabric cut:
Robert Kaufman, as follows:
Q Fabric A: Meringue.
3 Q Six (6) 9in x WOF strips. Subcut into
twenty three (23) 9in squares.
Q Fabric B: Banana. Q Six (6) 4 in x WOF strips. Subcut into
Q Fabric C: Corn Yellow. forty six (46) 4 in squares.
Q Fabric D: Daffodil. Q Two (2) 8 in x WOF strips. Subcut into
Q Fabric E: School Bus. two (2) 8 in x 24 in pieces and two (2)
Q Fabric F: Mango. 8 in x 16 in pieces.
Q Fabric G: Nectarine. Q One (1) 16 in x WOF strip. Subcut into
Q Fabric H: Salmon. two (2) 16 in squares.
Q Fabric I: Creamsicle.
Q Fabric J: Peach. From the binding fabric cut:
Q Fabric K: Primrose.
Q Fabric L: Bubblegum.
4 Q Seven (7) 2 in x WOF strips.
Q Fabric M: Melon. PIECING THE CHEVRONS

Q Background fabric: Silver. Draw a diagonal line on the wrong side
CUTTING OUT
5 of each 9in square of background fabric.
Place one background square on top of
From each of Fabrics A, D and E cut: one of the coloured 9in squares, right
1Q One (1) 9in square. sides together. Sew on either side of the
drawn line, in away from the line. Cut
From each of Fabrics B, C, F, G, H, I, J, along the drawn line to make two HST
2 K, L and M cut:
Q Two (2) 9in squares.
units, pressing the seams towards the
background fabric (Fig 1). Trim each HST
unit to measure 8 in square.
DAYGLOW
Fig 1
Fig 2
Fig 3
G
Repeat step 7 with all of the remaining
TOP TIP 8 HST units and 4 in squares of
background fabric.
Before trimming away the corners on
the half chevron units, sew a second
Arrange two matching HSTs as shown
seam in away from the first one,
towards the corner, and then cut
9 in Fig 3 and sew together, carefully
matching seams to make the chevron
between the two seams to create shape. Press seams open. Repeat with M M
instant HST units from your scraps. Set the remaining HSTs to complete all the
these aside to use in a cushion or mini chevron pairs. You should have one
quilt, or to add interest to the back. chevron in each of Fabrics A, D and E
and two of each remaining fabric.
Fig 4
Repeat step 5 with the remaining 9in PIEICNG THE QUILT
6 squares of background and coloured
fabric, to make a total of forty six HST units. 10 Place two chevrons in Fabric H, two
chevrons in Fabric G, one 16 in
square of background fabric and two I I J
Draw a diagonal line on the wrong side chevrons in Fabric M as shown (Fig 4). Sew
7 of each 4 in square of background
fabric. Place one square on the coloured
the Fabric M chevrons together. Then sew
all the units into one column.
corner of an HST unit, RST, with the
diagonal line running in the same direction Sew two chevrons in Fabric I and one
as the HST unit. Sew along the drawn line,
trim in away from the seam and press
11 chevron in Fabric J together in a row.
Sew one 8 in x 24 in strip to the bottom.
towards the background fabric again Then sew another 8 in x 24 in strip to
(Fig 2). This is one half of a chevron unit. the side (Fig 5). Fig 5
DAYGLOW
Arrange Fabric D, E and F chevrons

12 in a row and sew together. Sew an
8 in x 16 in strip to one side of a
Fabric J chevron. Sew the Fabric L and
Fabric K chevrons in pairs, then sew the C
pairs together, turning as shown. Sew F F E D
these units into one column (Fig 6).
C
Arrange the Fabric C, B and A
13 chevrons in a column and sew together
with a 8 in x 16 in strip at the top and a B
16 in square at the bottom (Fig 7).
Arrange the sections from steps 10–13

14 as shown in Fig 8. Sew the centre two
sections together first, then sew the columns
J
B
to either side, pressing seams open.

A
Cut the backing fabric in half across
15 the width. Remove the selvedges and
sew the two pieces together using a in
L L K
seam. Press the seam open.
Press the quilt top and backing well. K

backing fabric right side down, the batting Fig 6 Fig 7
Quilt as desired. Monika quilted a

17 simple straight line design by following
the lines of the chevrons with in-the-ditch
quilting, and then extending those lines
out into the negative space for extra
interest. Trim off the excess batting and
backing fabric and square up the quilt.

ears. Fold in half lengthways, wrong sides
Sew the binding to the right side

19 of the quilt, creating a neat mitre at
each corner. Fold the binding over to the
back of the quilt and hand stitch in place
around the edge to finish.
Monika Henry
Monika loves to make and
design fun, bright and quick
quilts that are both modern
and beginner friendly
pennyspoolquilts.com
pennyspoolquilts
Fig 8
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COLOUR
WHIRL
Give a modern makeover to the
Dresden Plate and spin a rainbow of
prints into a colour-splash cushion
BY SARAH GRIFFITHS
COLOUR WHIRL
YOU WILL NEED

Q Rainbow prints: fourteen (14)
fat eighths
Q Centre circle fabric: 3in square
Q Background fabric: 24in square
Q Cushion back fabric: yd total
Q Lining fabric: 26in square
Q 20in zip
Q One (1) copy each of the Small,
Medium and Large Dresden
Blade templates
Q One (1) copy of the Centre
Circle template
FINISHED SIZE
Q 22in square
NOTES
otherwise noted.
Q Press fabrics well before cutting.
USE THE TEMPLATE TO FUSSY CUT
Q Dresden Blade templates include seam A TEENY PRINT FOR THE CENTRE
allowances, where necessary.
Q The Centre Circle template does not OF YOUR DRESDEN CUSHION
include seam allowance.
CUTTING OUT
From each of the rainbow prints, use the
1templates to cut:
Q One (1) Small, Medium and Large
Dresden blade.
Use the template to mark a circle on the

2 wrong side of the centre circle fabric.
Cut out, adding an approx in seam
allowance all the way around the edges.
From the backing fabric cut:

3 Q One (1) 10in x 24in piece.
Q One (1) 14in x 24in piece.
Q Two (2) 2in squares for zip ends.
MAKE THE DRESDEN CIRCLES

Take one Dresden blade and fold in
4 half along the length, RST. Sew along
the top straight edge, backstitching at
each end. Trim away the inner corner,
being careful not to clip into your seam
line (Fig 1).
COLOUR WHIRL
Fig 1
Fig 2
Arrange the large blades in a circle, in

7 your desired rainbow order. Begin
sewing the blades together in pairs,
starting from the top pointed end, sewing
down the blades. Press the seams open
(Fig 3). Join the blades into larger
segments, until you’ve sewn the entire
circle together (Fig 4).
Repeat step 7 with the medium then

8 small blades. For the small circle, leave
approx in unstitched along the centre of
Fig 3
the circle to avoid bulky seams.
ASSEMBLE THE CUSHION FRONT

Place the lining square right side down,
9 then layer the batting, then the
background square right side up on top.
Baste in place. Quilt as desired. Sarah
quilted a 2in cross hatch pattern across
the background.
Finger press the seam open, then turn Use a ruler and Hera marker to mark
5 the blade right side out. Finger press to
form the point of the blade, then press
10 the centre of the background fabric
with vertical and horizontal lines. Using
with an iron (Fig 2). these marks as a guide, layer the large,
then medium and small Dresden circles on
Repeat steps 4–5 with all small, medium top (Fig 5). Pin in place carefully at each
6 and large blades. point so the seams line up. Fig 4
COLOUR WHIRL
Mark and then quilt a circle on the large

11 Dresden circle, approx in below the
inner seams, removing pins as you come
to them. Repeat with the medium and
then small circle.
Place the Centre Circle template on

12 the wrong side of your fabric, and press
the seam allowance around the circle.
A dot of basting glue can help keep the
template in place as you press. Remove
the paper and press from the front.
Place the prepared circle in the centre

13 of your cushion and slip stitch in place
around the edge, being sure the seam
allowance remains turned under.
Trim the cushion to 22 in square,

14 carefully centring the Dresden circles.
COMPLETE THE CUSHION

Centre the zip RST along one long edge
15 of one backing piece, RST. Sew in place.
Press the fabric away from the zip. Topstitch
in place. Repeat with the second backing
piece on the other side of the zip.
Trim the cushion backing to 22 in

16 square, making sure to leave an even
amount at each end of the zip.
Take one zip end square and press

17 under in along each side. Then press
under in along the top edge. You will
now have a piece measuring approx
1 in x 1 in, with one raw edge. Repeat
with the other zip end square.
Place a zip end piece at one end of the

18 zip and topstitch in place. Trim the raw
edge even with the side of the cushion back
piece. Repeat at the other end of the zip.
Unzip your zipper at least halfway.

19 Place the cushion front and back RST.
Sew all the way around the outer edge.
Zigzag stitch within the seam allowance to
finish the edges. Clip the corners and turn
right side out to finish.
Sarah Griffiths
LP&Q Senior Technical
Editor Sarah spends her
downtime daydreaming
about more quilts than she
could ever actually sew
spindleandshears
Fig 5
NEXT
ISSUE
Issue 87 on sale
13 May 2020
MAKE IT...
Layer Cake Bear Paws by Lou Orth
Jelly Roll diamonds by Susan Standen
Patchwork mending by Sarah Griffiths
Sausage dog softies by Lucy Ward
Felt face cushions by Jane Foster
PLUS Marking tool* and
machine quilting guide!
* Print copies only. Gift subject to change.

SUNSET
SEWING
Take inspiration from nature to whip up
a wall hanging that paints a picture
BY CRISTINA DE MIRANDA
SUNSET SEWING
YOU WILL NEED

Q Fabric A (yellow print) yd
Q Fabric B (bright pink) yd
Q Fabric C (white) / yd
Q Fabric D (light pink) / yd
Q Fabric E (navy) / yd
Q Fabric F (grey) one (1) fat eighth
Q Sleeve fabric: yd (optional)
Q Binding fabric: / yd
Q One (1) copy each of Templates
A and B
Q One (1) copy of the Star quilting
motif (optional)
FINISHED SIZE
Q 30in x 40in
NOTES
otherwise noted.
where necessary.
Q For templates see p85.
CHANGE THE EFFECT FROM
Q RST = right sides together. DAWN TO DUSK BY CAREFULLY
Q WST = wrong sides together. CURATING YOUR COLOUR PALETTE
Q Wash and press all fabrics well
before cutting. From Fabric B cut:
Q Fabric supplied by FIGO Fabrics
(figofabrics.com)
2 Q Three (3) 1 in x 32in strips.
From Fabric C cut:

FABRICS USED
Q Solid fabrics are from the Color Works
3 Q Three (3) 1in x 32in strips.
collection by Northcott Fabrics in From Fabric D cut:

Jam ‘n Jelly, Bubblegum, Oyster and
Liberty Blue.
4 Q One (1) 1 in x 30 in strip.
Q Yellow print fabric is from the From Fabric E cut:

Promenade collection by Danielle Kroll
for FIGO Fabrics.
5 Q One (1) 11 in x 30 in strip.
Q Grey fabric is Cobwebs in Grey by Libs From Fabric F cut:

Elliott for Andover Fabrics. 6 Q One (1) 7in x 22in strip. Fold the strip
in half, WST. Place Template B on top
CUTTING OUT of the folded strip and cut around the
From Fabric A cut: outer edge. The top piece will be B1,
1 Q One (1) 20 in x WOF strip. Subcut one
(1) 30 in x 20 in piece.
and the bottom piece will be B2.
Q One (1) 3in x WOF strip. Subcut one (1) From the binding fabric cut:
32in x 3in strip. 7 Q Four (4) 2 in x WOF strips.
SUNSET SEWING
From the sleeve fabric cut:

8 Q One (1) 8in x 28in strip.
PIECING THE MINI QUILT

Sew the Fabric D strip to the top of the
9 Fabric E strip, along the long edges. This
completes the bottom section of the quilt.
Join the Fabric A, B and C 32in strips

10 together, referring to Fig 1. Once
assembled it should measure 7 in x 32in.
Subcut into one 7 in x 19in length for R1
and one 7 in x 12in length for R2.
Take section R1 and place Template A at

11 the right edge, with the printed side up
and long edge along the top. Trim along the
curved section of the template and discard
this piece. Repeat, placing the template
printed side down at the left of R2 (Fig 2).
Place the B1 and B2 pieces RST with

12 the R1 and R2 strips as shown in Fig 3
and pin in place. Make sure the long edge
of the B pieces is oriented correctly.
Cristina prefers to sew in place with only
this first pin, moving the pieces together
as she sews for more visibility and control.
Try this method, or distribute the curves
and pin in place before sewing.
Place R1 and R2 RST, carefully aligning

13 the seam and sew together. Sew this
pieced section with the bottom section
from step 9, joining the the Fabric D strip
to the bottom flat edge of the semicircle.
Join the remaining Fabric A piece to

14 the top to complete the quilt top.

Press the mini quilt and backing well.
backing right side facing down, the
Fig 1
R1 R2
Fig 2
SUNSET SEWING
LONG EDGE LONG EDGE
B1 B2
R1 R2
Fig 3
Sew the binding to the right side of

18 the quilt, creating a neat mitre at each
corner. Fold the binding over to the back
of the quilt and secure in place temporarily
with pins or binding clips. Hand stitch in
place using a coordinating thread.
ADD THE HANGING SLEEVE

Take your 8in x 28in sleeve fabric and
19 press under in at both short ends.
Press under in again, enclosing the raw
edges. Topstitch in place.
Fold the strip in half lengthwise, RST

20 and press. Sew along the long edge
using a 5/8in seam allowance and press the
seam open. Turn the tube right side out
through the open ends.
Bring the seam to meet the crease at

21 the top of the tube, and press. This will
make the seam run across the centre of
the tube, instead of being at the top or
bottom. Centre the tube on the back of
the quilt, approx 1in below the top edge.
Pin in place.
Neatly hand stitch the tube in place

22 to complete the hanging sleeve.
Make sure to only catch the backing fabric
of the quilt, so your stitches don’t show on
the front of the quilt.
batting on top, then place wall hanging. Trim off the excess batting Cristina
the quilt top centrally and right side up. and backing fabric and square up the quilt. De Miranda
Baste the layers together using your Cristina is a pattern designer,
quilter and instructor based
preferred method. Sew the binding strips together
Quilt as desired. Cristina used the Star

Press seams open and trim the dog ears.
in Toronto, Canada
shipsandviolins.com
16 quilting motif template to quilt her Fold in half lengthwise, WST, and press.
shipsandviolins
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TEMPLATES
All the templates you’ll
need from issue 86…
28
34 36
30 20 32
22 24
12
14 16
6 4 8
26 18 10
2 1 3 11 19 27
9 5 7
17 15
25 13 23
33 21 31
37 35
29
PINEAPPLE PARTY
Pineapple FPP Quilt
ENLARGE 200%
28 36
34
30 20 32
22 24
12
PINEAPPLE PARTY
14 16 Pineapple FPP Mini Quilt
6 4 8 ENLARGE 400%
26 18 10
2 1 3 11 19 27
9 5 7
17 15
13
25 23
33 21 31
37 35
29
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.
CORAL RISING
Template 2
ENLARGE 200%
CORAL RISING
Template 1
ENLARGE 200%
DAWN TO DUSK
Circle
ENLARGE 200%
SUNSET SEWING
Star Quilting Motif
ACTUAL SIZE
SUNSET SEWING
Template A
ACTUAL SIZE
LONG EDGE
SUNSET SEWING
LONG EDGE
Template B
ACTUAL SIZE
COLOUR WHIRL
Large Dresden Blade
ACTUAL SIZE
COLOUR WHIRL
Central Circle
ACTUAL SIZE
COLOUR WHIRL
Small Dresden Blade
ACTUAL SIZE
COLOUR WHIRL
Medium Dresden Blade
ACTUAL SIZE
BLOMMA
Första Block Template
ENLARGE 200%
OM
pl ES R
im IT U
y FR
S UR YO
t
he
VO LL
FA A
oc
Cr
Amazing
50
crochet blankets
WITH stitch guides & tutorials!
Don’t miss this fabulous magazine packed
with a big and beautiful selection of the
best blankets, throws and afghans from
Simply Crochet magazine. Get started with
easy granny squares and motifs, or get to
grips with fibonacci spirals and more.
All this for

just £9.99: perfect
n 50 gorgeous blankets to hook
n Stunning photography
n Granny squares & motifs
for
n Designer features home décor
n Essential how-to guides
& gifts!
This stunning collection is on sale Tues 7 April 2020.
Pre-order your copy today with FREE UK delivery!
Contents and pricing subject to change
PRE ORDER YOUR COPY TODAY!

CALL 03330 162 138, quote ‘Ultimate Crochet Blanket Collection Print 1’
ONLINE www.buysubscriptions.com/blanket
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NOTES you cut all background squares

Q Seam allowance are in, unless now, then disregard this step in all
otherwise noted. blocks going forward.
Q Press fabrics well before cutting.
Q Templates do not include To cut all background squares,
White fabric
: 1 yds seam allowance. 2 cut the following pieces:
: 1 yds Q For templates, see p85. Q White fabric:
Peach fabric
p u rple fa b ric: 1 yds eight (8) 13in squares.
Mid FABRICS USED Q Peach fabric: three (3)
fabric: yd
Dark purple All fabrics are Kona Cotton Solids 13in squares.
1 yds
Navy fabric: by Robert Kaufman in Snow, Q Medium purple fabric:
bric: 1 yds
Dark blue fa Dusty Peach, Lupine, Hibiscus, five (5) 13in squares.
igh t b lue fa bric: 2yds Nautical, Cadet, Dresden Blue, Q Dark blue fabric:
L
fabric: yd Seafoam and Sage. seven (7) 13in squares.
Light green
bric: 1yd Q Light blue fabric:
Mid green fa PREPARATION TO MAKE THE
c: 5 yds seven (7) 13in squares.
Backing fabri WHOLE QUILT
x 82in
Batting: 70in If you are making the whole CUTTING OUT BLOCK 1
Binding fabri
c: / yd 1 quilt, it is best to cut the
background squares for each 3 From the white fabric cut:
Q One (1) 13in square for
block out first, to ensure you leave the background.
enough large pieces from your
yardage. You may choose to cut Cut out each of the template
out the background squares each
month as you go, but you may
4 pieces and trace around them
on the fabric using a chalk marker,
require more yardage. Note, if on the right side of the fabric.
BLOCK
1oá 12
A
¢JQ H ÕdQéZ G
D5ÛV5á
¢JQ H}´| ÕdQéZ} D5ÛV5á|
g a blind
Appliqué usin eedle C
ur n
Refer to the Block 1 Layout
stitch. Pull yo
e fold of
up through th
Diagram for the colours of each
piece. Make sure to leave space
ap p liq u é p iece, then
the
between pieces to add a seam background
down in the H
allowance around each one.
c , dir ec tly a cross from
fabri
e up. Slide
Cut out each piece, adding a where it cam
5 scant in seam allowance all the ne e d le th rough the
fabric and
the way around each piece. background
the fold.
CUTTING OUT BLOCK 2 back up into
From the light blue fabric cut: D
6 Q One (1) 13in square for
the background.
place (Fig C). Continue
Repeat steps 4–5, referring to unpicking the basting and I
7 the Block 2 Layout Diagram. then stitching along the
sides and bottom, leaving
PIECING THE BLOCK the top edge open.
Mark the centre of the
8 background square using a Hera
marker, in both the vertical and 10 Mark 1 in from the
top of the block.
horizontal direction (Fig A). Yasmeen Starting with the largest E
chose to use basting stitches to go flower head piece, finger
over the marked lines, making press the top edge under
them easier to see as she worked. and pin into place using
the centre marked line of
J
Mark 1 in from the bottom of the block as your guide
9 the block and place the flower
stem in the centre. Baste into
(Fig D). Stitch in place.
place using a contrasting thread Repeat the process in

on top of the marked lines (Fig B).
Once complete, unpick a small
11 step 10 to add the
remaining two sections
section of your basting stitch and of the flower head. Sew in
turn under the seam allowance. place one at a time and layer
Use matching thread to stitch in on top of each other (Fig E).
BLOCK
1oá 12
Qâ eã\W 65 HA æP]â : Ú47æD9 B=àRY

4WßDOÛ K N=ç ]Œ REÙ8=ç
èP} <OèV= ZCÙ|5äRK T RSàDUéŒ dQéV çB5ä<
Y `EèB èDOí 7àDOØ
èBWÙ4; ZQ L5ß<}è YèD[ B=ç Eâ MÕZ9Ü
B= X[ Z9ÜDOÛ|5àLQ DOÛ
çZ} N_ XEÖJ=
(Figs G–H). Pay careful attention
to gluing the point of the leaf,
to keep the seam allowance
underneath the leaf (Fig I). Press,
carefully remove the paper and
press again. =_R]N_R NYY \á
your appliqué
Finger press your seam 14 Repeat the process in
steps 12–13 with each set `UN]R` ORá\_R
allowances under. This of leaves. `RdV[T á\_ N
will help especially smooth process
when you appliqué the Mark in from each side of
curved edges 15 the flower stem to use as a
guide for placing your leaves.
Start with the bottom set of
Press under the seam leaves and work your way up
12 allowance along the straight
edge of a top leaf section. Pin
towards the flower head,
measuring 2in apart from the
in place on top of the bottom centre of each leaf. Pin and stitch
section of the leaf. Neatly stitch into place (Fig J).
along the edge using matching Yasmeen
K Branton
thread (Fig F). Be sure to remove any Yasmee
Trace a top and bottom

16 remaining marks and
basting stitches from your block.
n is a hand a
designer wh
skills she deve
ppliqué
o transfers th
e
loped studyi
13 template together onto
card. Centre on the back of the
Lightly starch and press the
block. Carefully centre the
hand embro
Royal Schoo
to modern se
idery at the
l of Needlew
ng
ork
Slow stitchin wing pattern
stitched leaf and glue baste the appliqué flower and trim to and she cou g acts as her s.
ldn't go a da daily medita
y without it! tio n,
seam around the template 12 in square to finish.
sandandstars
.co.uk
sand.and.sta
rs
á<=è QéV çRQâXQæ

Purple Stitches is an independent fabric shop based in Basingstoke, North Hampshire, UK. Both their online and bricks and mortar store are packed full of quirky and modern quilting cotton
as well as dressmaking fabrics. They also run luxurious weekend sewing retreats in Swindon. The Basingstoke shop hosts a variety of sewing and craft
workshops, including Yasmeen's needle turn appliqué classes. To celebrate the launch of Yasmeen's new Block of the Month with Love Patchwork & Quilting,
Purple Stitches has put together a bundle of Kona Cotton Solids just for this quilt. Find kits in Yasmeen's beautiful colour palette as well as an alternative
rainbow colourway! Head to purple-stitches.com to find out more.
THE LAST WORD
Slow it down
Amanda Carye ists her favourite ways to take
the 'go, go, go' out of your sew, sew, sewing
I live in New York City (the city that infamously never sleeps) and I often find
myself caught up in the go, go, go mentality. Even when it comes to quilting,
I have to remind myself to slow… it… down. As someone who hand-sewed
everything (both quilting and piecing) up until just a couple of years ago, my
recent purchase of a sewing machine has been a blessing and a curse. On the
plus side, I get to tackle lots of different projects. On the downside, I often feel
overwhelmed by how many things I want to make. So, in the spirit of creating time
to savour the process, here are five ways I like to help myself to slow it down:
1 HAND QUILT
Not quite ready to say goodbye to a favourite quilt just yet? Add some
big-stitch hand quilting to an already-quilted project. Take some extra time and
add some nice textured stitches to give it a little extra pizzazz.
2 TRY TEMPLATES
Sew a quilt that uses paper templates. While I love the efficiency of my
favourite dynamic duo, aka my rotary cutter and quilting ruler, sometimes I like
to indulge in the old school practice of meticulously tracing templates and
painstakingly cutting them out. Whether it’s curves or funky trapezoids, any
pattern with paper templates will pump the breaks a little.
3 FOCUS ON THE QUILTING

Make a whole cloth quilt. Whether you stencil a pattern to follow on solid
yardage, or stitch along the outlines of a big floral print, whole cloth quilts are
a joy to make: you can still go go go, just at a meditative pace.
4 TIME FOR APPLIQUÉ

Tackle a hand appliqué project. From cutting out the templates and thread
basting, to the actual act of needle turn appliqué itself, nothing else forces you
to slow down every single step of the process quite like appliqué!
5 DO IT FOR THE PROCESS

Start a hand quilting sampler. As part of my own personal 2020 resolution to
#doitfortheprocess, I’ve started a hand quilting sampler. First, I machine quilted
a 4in grid on a 28in square quilt sandwich, creating little windows that I’ve been
slowly filling up. Each window has a different theme: big stitch, little stitch, I’ve
even got a couple of machine-plus-hand-quilting mixes in there. Bonus: it’s just
the right size for me to try out some crazy ideas without feeling overwhelmed.
Extra bonus: it’s travel friendly!
broadclothstudio.com
broadclothstudio

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WAYS TO LONE STAR “Colour is at the

ORGANISE PATTERN heart of whatever

Join our appliqu

AVON Rona Sewing Machines, Waltham Cross – 01992 640250 SURREY

ZRUOG·V OHDGLQJ PDQXIDFWXUHU VLQFH

Photography Immediate Media Photo Studio

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

Immediate Media Company Limited is

6 Use your two new templates to give

OUT THERE NEXT MONTH 93

USING YOUR Press the strip away from

template and then cut out

Trim strips of fabric to Repeat the process in

you're not confident with 2” segment of the template

side of the hexagon (Fig 6). ROUND 2

Sew the first strip to one

side of the centre Continue adding strips as

hexagon, allowing the strip in steps 3–5, working

to extend past the sides of around the hexagon, and

the hexagon at each end. referring to Fig 7.

LovePatchworkandQuilting LoveQuiltingMag LoveQuiltingMag

Dashwood: Belle Epoch

prou d to stoc k al l thes e le ad in g br an ds !

e s in st o ck ! � Our readers spend over 6 hours patch working

CIRCE OROPEZA: Crazy cat quilters, this

@modernlymorgan INSTA INSPIRES! @shannonfraserdesigns

sponsored by Frank Nutt Sewing Machines Senior Citizens: £8.00

YOU WILL NEED

CUTTING OUT LAY OUT YOUR BLOCKS ON A

3 From the binding fabric cut:

past either end of the line by approx in.

Trim the strip at the end of the stitch line

Repeat steps 7–8, stitching the pieces in

Trim each block along the outer dashed

PIECING THE blocks

Sew the blocks into rows, pressing seams

QUILTING AND FINISHING

Press the quilt top and backing well.

Quilt as desired. Nicole quilted

Sew the binding strips together

Sew the binding to the right side of the

YOU WILL NEED

From one of the coloured print cut:

From the binding fabric cut: Quilt as desired. Nicole quilted a

& ¡&}¤ )¡|

1 The latest issue is

3 All issues download

YOU WILL NEED

6 From the background fabric cut:

Take one strip from each of Groups

Continue joining the strips until all five

identical star points.

Take one star point and join a 15in

Repeat step 12, switching the sides the

of the background triangles in line with the

Repeat steps 12–13 to make four

QUILTING AND FINISHING

Press the quilt top and backing well.

Quilt as desired. Karen quilted around