Love Patchwork Quilting I135 2024 Freemagazines Top

WIN!
EPP PATTERNS* | EASY BLOCKS | MODERN MEDALLION
ISSUE ONE HUNDRED AND THIRTY FIVE 2024
10 TOP TIPS
FOR FUSSY
CUTTING YOUR
FAVE FABRICS
SIMPLE GUIDE
TO SEWING
TRIANGLES
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Frame your f
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FEELING PICKY? SHOW OFF YOUR FABRICS WITH OUR FUSSY CUTTING TEMPLATE SET
It's easy to perfect the art to the right shape with the ten top tips for fussy cutting.
of fussy cutting with our perfect seam allowance. They're sure to boost your
handy templates! These three Included with this issue are confidence. Next up, graduate
shapes will help you frame your versatile diamond, triangle and to Louisa Goult's stunning wall
favourite prints, hassle-free. hexagon templates to help hanging pattern on p39, where
The basic but oh-so brilliant you get started – they work she uses Anna Maria Horner
frame design shows you both together perfectly too! prints in show-stopping ways.
the seam and cutting line, so If you're a little tentative Right, time to gather all your
you can trim paper pieces for towards the technique, head favourite fabricsÉ what print
EPP to size, as well as fabrics over to p30 for the team's will you fussy cut first?!
LovePatchworkandQuilting LoveQuiltingMag LoveQuiltingMag WWW.GATHERED.HOW/LOVEQUILTINGMAG
WWW.GATHERED.HOW/LOVEQUILTINGMAG 3
ISSUE 135
14
22 Patterns
32 14 PASTEL BLAST
Add a burst of bright colour
46 FABRIC FLOCK
Come through with flying
to your home this spring, colours with our pattern
with striking piecing and inspired by retro geese
a fresh, tonal colour palette wall décor
22 GARDEN BLOSSOM 57 CUTE & CUDDLY

Boost your skills with this Create a stu-panda-ously
simple block design, and sweet toy for your little one,
dig into the floral fabrics with coordinating storage
of Ruby Star Society's and bamboo bookmark!
Flowerland Collection
69 TECHNIQUE FOCUS
57
32 BRIGHT & BREEZY Paula Steel shows you how
Practise your piecing skills to sew equilateral triangles,
with our bold and modern with a bonus tote bag
quilt pattern. Mix and project to boost your skills
match vibrant colours
to make your own! 77 BLOCK OF THE MONTH
Start Gracey Larson's brand
39 FUSSY FLORALS new Picnic-themed BOM
Use gorgeous bright and series, starting with this
28
bold prints and master the sweet sun hat and
technique of fussy cutting to sunglasses design!
make a stunning wall hanging
4 WWW.GATHERED.HOW/LOVEQUILTINGMAG
39 20
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77
46
52
69 BOM
ONE
features
3 FUSSY CUT TEMPLATES That's £120 worth of English 75 NEXT MONTH
Feeling picky? Show off your Paper Piecing goodness for Your sneak peek at what
fabrics with our fussy cutting one lucky reader! we’ve got in store for you
template set in the next issue
30 10 TOP TIPS
9 OUT THERE Ready to make your favourite 82 5 WAYS WITH
Each month we pick out fabrics shine? Follow our Inspired by our show-
our favourite new quilty finds. expert advice on fussy cutting stopping cover quilt,
If the team love it, you’ll find we're ditching repeat
it in these pages 52 INSPIRING READS blocks for all-over impact
What's not to like about with medallions
28 COMPETITION! wearing a quilt? Sadia SHOP
We're giving away a bundle
of 15 PDF quilt patterns from
Nowshin spoke to three
makers about their bespoke
WITH US!
the amazing Tales of Cloth. patchwork wares Head to our Etsy store to
discover a huge range of
must-make modern patterns.
TURN TO P83 FOR
INFORMATION AND
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Meet the team
Editor Lorna Slessor
Creative Design Lead Sarah Malone
Production Editor Ingrid Devaux
Senior Technical Editor Sarah Griffiths
Creative Designer Kayla Cato
Digital Editor Katie Dolan
Contributors
Claire Campion • Debbie Von Grabler-Crozier
So long, winter! We’re ready for the sunshine to start making a Donna McLeod • Gracey Larson • Louisa Goult
Lynett Muhaso • Paula Steel • Sadia Nowshin
reappearance, and are cheering it on with sunny blocks and bright Sarah Griffiths • Stacey Turner
colours. Claire Campion’s spring greens and warm corals are a feast for Photography Our Media Photo Studio
unless otherwise stated.
the eyes in our medallion cover quilt, while vibrant flowers bloom in
Louisa Goult’s show-stopping fussy-cut wall hanging (perfect for using Need to get in touch?
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THIS
MONTH
WE’RE
LOVING
In love with moo

Spring is blooming, birds are singing, cows are grazing… Feel the bliss of the new season with
this oh so a-moo-sing Annabelle quilt pattern by Fran Gulick of Cotton and Joy! This traditionally
pieced pattern features a bright pastel palette that reminds us of a meadow filled with wildflowers.
Trust us, these cows will bring you so much happiness! cottonandjoy.com
OUT THERE
Have you visited our website, gathered.how?

Scan the QR code to get taken straight there
– you’ll find FREE projects, tutorials, templates,
pattern corrections and much more!
We're celebrating the new

season the only way we know
how – with fresh floral fabrics!
Transport yourself to the
beautiful British countryside
and fall in love with Liberty
Fabrics’s Garden Party
collection. These fabrics feature
so many flowers and amazingly
bright colours – make your next
quilting project pop with
a blast of blossoms!
@LibertyFabrics
SEW ORGANISED
Dress up your sewing room with four accessories in
y o u r f a v e f a b r i c s ! I n c l u d i n g a s e w i n g m a c h i n e c o v e r,
d e s k t i d y, i r o n i n g b o a r d c o v e r a n d c a b l e t i d y, y o u
can find these patterns by Rebecca Reid on our Etsy
s t o r e . T Q a n d L P Q P a t t e r n S h o p . e t s y. c o m
GOOD READS
INTO SPACE
Create the perfect quilt
for spring evenings by
capturing the essence
of the night sky! This
fabric kit for Suzy Quilts'
Planetarium pattern
feels like gazing at
the stars on a clear
night. It includes Chic k'n egg
fabrics to make a Get ready for Easter with these super cute
throw-sized quilt top, (and free!) chick and egg quilt block patterns!
with colours that will Designed by Foundation Paper Piecing master
remind you of the four Susi Bellingham, these blocks will transform
seasons in accents of your fabric scraps into springtime treasures.
orange, red, green and Find the free digital patterns for these blocks –
blue. thaicharmllc.com and many more – on our website at
gathered.how/lovequiltingmag
OUT THERE
FABRIC CRUSH
I WOOF YOU
Dog lovers, get ready to be
charmed by Sarah Watts’ Dog
Park fabric collection for Ruby
Star Society. This range
features a medley of different
dog breeds on various shades
of blue, pink and earth tones.
Can you spot your beloved pooch
in there somewhere?
rubystarsociety.com
S E W C I A L Q U I LT
E a r l i e r t h i s y e a r, t h e A G F S e w c i a l i t e t e a m r a n a
quiltalong for their stunning sampler pattern. Each
block was inspired by traditional designs with a
renewed look – the result is absolutely stunning! Find
more about the design at liveartgalleryfabrics.com
GONE SHOPPING
SWEET
HEART
Valentine's Day may be long
gone now but there's still time
to declare your love to those
you care about. These adorable
Sweet Notes quilt patterns
by The Weekend Quilter make
the perfect presents to show your
affection to those you cherish
the most. Resembling Love
Hearts, with popping colour of blue,
pink and yellow, these patterns are
sweeter than sugar!
the-weekendquilter.com
OUT THERE
Imagine using only

two charm packs to
make a whole quilt!
In this book, Cheryl
Brickey reveals her
INSTA INSPIRES expert insights with
Money, honey
16 lovely patterns.
With modern INSTA INSPIRES
We're buzzing with excitement to
show you these spring-themed purses!
geometric designs
and bold colours,
ART TOGETHER
The Art of Fiction are creating a patchwork
Celebrate the return of bumblebees you can ”slash project and inviting everyone to contribute
and ladybugs in our parks with these your stash”! a patch themed around ‘women’s creative
cute Penny Patch Purse patterns by Joe, searchpress.com identities’. The final piece will be designed
June and Mae. joejuneandmae.com by Ruth Broadway and displayed at MAKE
Southwest 2025! Take part and send yours.
Read more over at artfiction.exeter.ac.uk
Sewing Re vival
Breaking news! Due to popular demand, The
FLORAL MEADOW Sewing Directory have brought back their local
directory, featuring shops, workshops, retreats
Run through the Flower Fields fabric
and groups all around the UK. In addition, they
collection by Maureen Cracknell for Art also have their online sewing shops that
Gallery Fabrics. With blooming flowers and anyone can check out worldwide. Don't wait,
head over to their website to see all they have
vibrant colours, welcome the spring ambience
to offer! thesewingdirectory.co.uk
into your house! artgalleryfabrics.com
LOG CABIN VIBE
Get ready for the sunny days
with this quilt pattern
and its matching cushion!
Add a burst of bright colour to your
home this spring, with striking piecing and
a fresh, tonal colour palette
BY CLAIRE CAMPION
PASTEL BLAST
YOU WILL NEED

Quilt
■ Fabric A (aqua): one (1)
fat quarter
■ Fabric B (dark pink): 1¾yds
■ Fabric C (light pink): 1¼yds
■ Fabric D (yellow): 1yd
■ Fabric E (white): 1¾yds
■ Batting: 74in square
■ Backing fabric: 4¼yds
■ Binding fabric: ½yd
FINISHED SIZE
■ 66in square
NOTES
■ Seam allowances are ¼in, unless
otherwise noted.
■ Press seams open throughout,
unless otherwise instructed.
■ Press fabrics well before cutting.
■ RST = right sides together.
■ WST = wrong sides together.
■ WOF = width of fabric.
■ HST = Half-square Triangle.
ENJOY MIXING LOG CABIN
AND HST BLOCKS TO CREATE
FABRICS USED
All quilt top fabrics are from the Speckled THIS MEDALLION DESIGN
collection by Ruby Star Society, as follows:
■ Fabric A: Soft Aqua.
■ Fabric B: Sorbet.
■ Fabric C: Melon.
■ Four
■ Four
(4) 6¾in x 1¾in (A2).
(4) 8in x 1¾in (A3). 3 From Fabric C cut:
■ Ten (10) 9in squares (C1).
■ Four (4) 5½in squares (C2).
■ Fabric D: Citron.
■ Plus Fabric E is a Moda Bella Solid
in Super White.
2 From Fabric B cut:
■ Ten (10) 9in squares (B1).
■ Sixteen (16) 5½in squares (B2).
■ Four (4) 8in x 3in (C3).
■ Four (4) 10½in x 3in (C4).
CUTTING OUT
■ Four (4) 10½in x 3in (B3).
■ Four (4) 13in x 3in (B4). 4 From Fabric D cut:
■ Eight(8) 5½in squares (D1).
1 From Fabric A cut:

■ Four(4) 5½in squares (A1).
■ Four (4) 4¼in x 1¾in (B5).
■ Four (4) 5½in x 1¾in (B6).
■ Four (4) 5½in x 1¾in (D2).
■ Four (4) 6¾in x 1¾in (D3).
Fig 1 Fig 2 Fig 3
E1 E1
Fig 4 Fig 5 Fig 6
PASTEL BLAST
MAKING THE HST BLOCKS
9 Arrange four of your large Fabric B/C

HSTs in a four-patch. Sew together in
pairs, then sew the pairs together to make
the centre square (Fig 2).
10 Arrange the remaining Fabric B/C

HSTs in pairs and sew together. Take
care to orient as shown in Fig 3.
11 Arrange four Fabric B/E HSTs with two

E1 units. Sew the HSTs in a four-patch,
then sew the E1 pieces to either side (Fig 4).
Repeat to make eight of these blocks.
12 Arrange four Fabric D/E HSTs with

two each of the Fabric A/E and Fabric
C/E HSTs, referring to Fig 5. Sew together
in rows, then sew the rows together.
Repeat to make four of these units.
13 Sew one of the blocks from step 11

to the bottom of each of the units
from the last step (Fig 6).
MAKING THE LOG CABIN BLOCKS
14 Take one E3 piece and sew a C3 piece

to the left side. Then sew a C4 piece
to the top. Then join the B3 and B4 pieces,
■ Four (4) 13in x 3in (D4).

■ Four (4) 15½in x 3in (D5). D4
5 From Fabric E cut:

■ Sixteen (16) 8in x 4¼in (E1).
■ Thirty two (32) 5½in squares (E2).
B3
■ Four (4) 8in squares (E3).

■ Four (4) 4¼in squares (E4). D5 C4
■ Eight (8) 3¼in x WOF (E5). B4
6 From the binding fabric cut:

■ Seven (7) 2½in x WOF.
C3 E3
MAKING THE HST UNITS Fig 7
7 Pair one B1 and C1 square RST. Draw

a diagonal line on the wrong side of
one square. Sew ¼in from either side of
A2
the line and cut along the line. Trim each

HST to 8in square (Fig 1). Repeat to make D2
a total of twenty HSTs.
8 Repeat the process in step 7, pairing

the following squares and trimming
each HST to 4¼in square.
A3
D3
B5
B6
■ A1/E2: eight (8) HSTs. E4
■ B2/E2: thirty two (32) HSTs.
■ C2/E2: eight (8) HSTs.
■ D1/E2: sixteen (16) HSTs. Fig 8
PASTEL BLAST
pieces together along the long edge

using a ½in seam allowance. Press the
seam to one side.
20 Make a quilt sandwich by placing the

backing fabric right side down and
the batting on top, then place the quilt
centrally and right side up.
21 Baste the layers together using your

preferred method and quilt as desired.
22 Sew the binding strips together

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

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 or
machine stitch in place to finish.
followed by the D4 and D5 pieces,

alternating sewing the strips to the top
and side (Fig 7). Repeat to make four of
these large Log Cabin blocks.
15 Repeat the process from step 14,

sewing the B5, B6, D2, D3, A2 and A3
strips to the E4 pieces to make four of
these small Log Cabin blocks (Fig 8).
ASSEMBLING THE QUILT TOP
16 Arrange the HST and Log Cabin

blocks in rows, referring to Fig 9.
Sew the blocks together in rows, then
sew the rows together.
17 Sew the Fabric E 3¼in x WOF strips

together in pairs, along the short
edges. Trim two of the strips to measure
3¼in x 60½in. Trim the other two to
measure 3¼in x 66in.
18 Sew the shorter strips to the sides

of the quilt top, pressing the seams
towards the strips. Then sew the two
longer strips to the top and bottom
to finish the quilt top.
QUILTING AND FINISHING
19 Prepare your quilt back by cutting

the yardage in half along the width.
Remove the selvedges and sew the two Fig 9
PASTEL BLAST
YOU WILL NEED

Cushion
■ Fabric A: one (1) fat eighth
■ Fabric B: ½yd
■ Fabric C: one (1) fat quarter
■ Fabric D: one (1) fat quarter
■ Fabric E: ½yd
■ Batting: 24in x 58in
■ Backing fabric: 5/8yd
FINISHED SIZE
■ 20insquare
CUTTING OUT

■ Four (4) 2½in squares (A1).
■ Four (4) 2½in x 1in (A2).
■ Four (4) 3in x 1in (A3).

■ Ten (10) 4in squares (B1).
■ Sixteen (16) 2½in squares (B2).
FOR A FASTER FINISH, PIECE
■ Four (4) 3½in x 1½in (B3). THIS MINI MEDALLION PATTERN
■ Four (4) 4½in x 1½in (B4).
■ Four (4) 1½in x 1in (B5). TO MAKE A CUTE CUSHION!
■ Four (4) 2in x 1in (B6).
3 From Fabric C cut:

■ Ten (10) 4in squares (C1).
■ Sixteen(16) 3in x 1¾in (E1).
■ Thirty two (32) 2½in squares (E2).
WST. Fold and press in half, enclosing the
raw edges. Sandwich one long edge of a
backing piece inside the binding and
■ Four (4) 2½in squares (C2). ■ Four (4) 2½in squares (E3). topstitch in place. Trim the ends even
■ Four (4) 2½ x 1½in (C3). ■ Four (4) 1½in squares (E4). with the sides of the backing. Repeat
■ Four (4) 3½ x 1½in (C4). with the other backing piece.
4 From Fabric D cut:

■ Eight (8) 2½in squares (D1).
6 From the backing fabric cut:
■ One (1) 20½in x 19½in.
■ One (1) 20½in x 8½in. 11 Place the cushion top right side up.
Place the smaller backing piece on
■ Four (4) 2in x 1in (D2). top, right side down. Align the raw
■ Four (4) 2½in x 1in (D3).
■ Four (4) 4½in x 1½in (D4).
■ Four (4) 5½in x 1½in (D5).
■ Two (2) 2½in x 22in.
edges at the top and sides. Place the
second backing piece on top, also right
side down, aligning the raw edges at
ASSEMBLING THE CUSHION the sides and bottom. Pin or clip all of
8 Follow steps 7–16 of the quilt

instructions to make the cushion top.
the pieces in place.
In steps 7–8 trim the large HSTs to 3in

square and the small HSTs to 1¾in square. 12 Sew around the outer edge of the
cushion, backstitching at the beginning
and end of the seam. Clip the corners, turn
9 Baste the cushion top and both backing

pieces to the batting, all right side up.
Quilt as desired. Trim away excess batting,
right side out and press to finish.
so the cushion top measures 20½in Claire loves playing with

square, and the backing fabric pieces colours and bringing
them to life in modern
measure their original size. quilt designs
madejustsew.com
10 Take one binding strip and press the

long edges in towards the centre,
madejustsew
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WILD BOUQUET
Embrace the season
with colourful flower
and butterfly fabrics!
Boost your skills with this simple block
design, and dig into the floral fabrics of
Ruby Star Society's Flowerland Collection
BY STACEY TURNER
GARDEN BLOSSOM
YOU WILL NEED

Quilt
■ Fabric A (navy): ¾yd
■ Fabric B (blue): 1yd
■ Fabric C (pink): 1¾yds
■ Fabric D (yellow): ¾yd
■ Fabric E (white): 3½yds
■ Binding fabric: ¾yd
■ Backing fabric: 5yds
FINISHED SIZE
■ 72in square
NOTES
■ Seam allowances are ¼in throughout.
■ Press seams open throughout, unless
otherwise instructed.
■ HST = Half-square Triangle.
■ If matching patterns across your backing
fabric, you may require more yardage.
■ Quilted by Cath Brough
GROW YOUR CREATIVITY WITH
(cumbrianlongarmquilting.co.uk). FUSSY CUTS OF YOUR FAVOURITE
■ Fabric supplied by Ruby Star Society
(rubystarsociety.com). FLOWERY PRINTS
FABRICS USED
■ Printsare from the Flowerland collection
by Melody Miller for Ruby Star Society.
■ Fabric E is Sweet Cream from Ruby Star
Society's Speckled collection.
CUTTING OUT
1From Fabric A cut:

■ Sixteen
(16) 6½in squares.

■ Sixty four (64) 4¼in squares.

■ Thirty two (32) 4¼in squares.
■ Sixteen (16) 7½in squares.

■ Sixty
four (64) 3½in squares.

■ Sixteen (16) 7½in squares.
■ One hundred and twenty eight (128)
3½in squares.
■ Ninety six (96) 4¼in squares.
GARDEN BLOSSOM
Fig 1 Fig 2
E
C
D E
C
B
Fig 3 Fig 4 Fig 5
Sew the units together in rows. Sew the

rows together, matching seams between
rows to complete the block. Repeat to
make a total of sixteen blocks.
A
ASSEMBLING THE QUILT TOP
17 Arrange the blocks in four rows of four.

Sew together in rows. Sew the rows
together to complete the quilt top.
Fig 6 QUILTING AND FINISHING
18 Cut the backing fabric in half across

the width. Remove the selvedges

■ Eight (8) 2½in x WOF. 12 Pair each Fabric B/E Flying Geese
with a Fabric C/E Flying Geese. Sew
together along the edge of the large
and sew the two pieces together using
a ½in seam. Press the seam open.
19
MAKING THE FLYING GEESE UNITS triangle to form a diamond shape, to Press the quilt top and backing well.
7 Cut a Fabric E 7½in square across both

diagonals to make four triangles. Cut four
Fabric B 4¼in squares in half diagonally.
make all sixty four units (Fig 3).
MAKING THE HST UNITS

Make a quilt sandwich by placing the
backing fabric right side down, the batting
on top, then place the quilt top centrally
8 Place a Fabric B triangle RST with one

Fabric E triangle, aligning the diagonal
13 Pair one Fabric C and one Fabric E
4¼in square RST. Draw a diagonal line
on the wrong side of one square. Sew a
and right side up. Baste the layers
together using your preferred method.
edges, and sew together. Press open.

Trim away the overhanging edge of the
Fabric B triangle (Fig 1).
¼in from either side of the marked line.
Cut along the line and press open to
make two HSTs (Fig 4).
20 Quilt as desired. Cath quilted a floral
design. Trim off the excess batting
and backing fabric and square up the quilt.
9 Sew a second Fabric B triangle to the

other side of Fabric E, and press open
to make the Flying Geese unit (Fig 2).
14 Repeat step 13 to make a total of sixty
four HSTs. Trim each HST to 3½in
square, aligning the 45-degree line of your
end-to-end using diagonal seams.
Press open. Fold in half lengthways,
Trim to 3½in x 6½in, leaving ¼in above the ruler with the seam. wrong sides together, and press.
point and trimming evenly from each side.
10 Repeat the process in steps 8–9 with

the remaining triangles to make four
15 Take two Fabric E 3½in squares and
one Fabric D 3½in square. Arrange in
a four-patch with one HST. Sew together in
the quilt, creating a neat mitre at each
corner. Fold the binding over to the back
matching Flying Geese units. pairs, then sew the pairs together (Fig 5). of the quilt and hand stitch in place.
Repeat to make sixty four of these.
11 Repeat steps 7–10 to make a total of

sixty four Fabric B/E Flying Geese units. ASSEMBLING THE BLOCKS TOP TIP
Repeat again using Fabric C 7½in squares
and Fabric E 4¼in squares to make sixty
four Fabric C/E Flying Geese units.
16 Take four each of the Flying Geese and
HST units and arrange around a Fabric
A 6½in square, rotating as shown (Fig 6).
Take care to match seams to achieve
the continual pattern across the quilt.
GARDEN BLOSSOM
YOU WILL NEED

Cushion
■ Fabric A: one (1) fat eighth
■ Fabric B: one (1) fat eighth
■ Fabric C: one (1) fat eighth
■ Fabric D: one (1) fat eighth
■ Fabric E: one (1) fat quarter
■ Backing fabric: 5/8yd
■ Binding fabric: ¼yd
■ One (1) 18in zip
FINISHED SIZE
■ 18in square
CUTTING OUT
1From Fabric A cut:

■ One (1) 6½in square.

■ Four (4) 4¼in squares.
NEEDING EXTRA CONFIDENCE?
PRACTISE THIS PATTERN BY
■ Two(2) 4¼in squares.
■ One (1) 7½in square. PIECING A PRETTY CUSHION!

■ Four(4) 3½in squares.

■ Eight (8) 3½in squares.
■ Six (6) 4¼in squares.
6 From the backing fabric cut:

■ One (1) 19in square.
■ One (1) 19in x 3in.
7 From binding fabric cut:

■ Two (2) 2½in x WOF.
MAKING THE CUSHION TOP
8 Follow the process outlined in steps

7–16 of the quilt instructions to make
one quilt block. You will need a total of
four completed Flying Geese units in
steps 7–12 and four completed HST
units in steps 13–15.
9 Place the cushion top right side up on

top of the batting and baste in place.
Quilt as desired. Square up the cushion
top to 18½in square, trimming away any
excess batting around the edge.
GARDEN BLOSSOM
13 At one end, sew along the mark across

the zip teeth. Stop with your needle
down at the edge of the zip tape on the
other side. Lift your presser foot, rotate
the backing. Put the presser foot back
down and sew to the edge of the backing.
Repeat at the other end (Fig 3).
14 Press the larger backing piece away

from the zip. You should have a neat
fold of fabric covering the zip. Press
carefully, and pin in place to hold
temporarily. Topstitch along the top of the
zip tape through all the layers, approx 1in
from the folded edge.
15 Trim the backing piece to 18½in

square, trimming evenly from opposite
sides to centre the backing.
FINISHING THE CUSHION
16 Place the cushion top and back WST,

aligning the raw edges around the
outside. Pin, then baste around the outer
edge using a 1/ in seam allowance.
17 Sew the two binding strips together

along the short edges, using a
diagonal seam. Fold in half lengthwise,
MAKING THE CUSHION BACK taking care not to iron the teeth. Topstitch WST, and press. Use to bind the edges
10 Place your 3in x 19in backing piece

right side up. Place the zip on top,
with the zip teeth against the fabric,
along the folded edge of fabric with a
matching thread, working slowly to ensure
a nice straight line (Fig 1).
of the cushion, as you would a quilt, with
a neat mitre at each corner.
aligning with the top of the backing piece.

Centre the zip, so there is an equal amount
of backing fabric at either end. Pin or
baste the zip into place.
12 Place the unsewn side of the zip RST
with one raw edge of the 19in backing
square. Pin or baste in place, then sew.
Stacey doesn't just quilt: she
does all kinds of crafts, from
baking to soap-making!
craftylilmousestitches.
With the zip and fabric still RST, measure blogspot.com
11 Sew along the top edge of the zip.

Press the fabric away from the zip,
and mark 3in from each end of the backing
fabric, along the zip edge (Fig 2).
craftylilmouse
3in 3in
per foot
U se a z i p m a c h i n e
on your t i tching
to avoid s et h
t he te
Fig 1 Fig 2 Fig 3
ENTER TODAY
FOR YOUR
CHANCE TO WIN
A BUNDLE OF 15
We’re giving away a bundle of 15 PDF TALES OF CLOTH
quilt patterns from the amazing Tales of
Cloth, worth £120, to one lucky Love PDF PATTERNS
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Paper Piecing? So does Jodi from years of happy hand piecing.
SCAN HERE!
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just how much she loves this answer one easy peasy question! QR code to enter
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we’ve got a bundle of 15 of her PDF To enter, head over to pattern bundle
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CLOSING DATE IS 8 APRIL 2024. THIS GIVEAWAY IS OPEN TO UK RESIDENTS, OVER THE AGE OF 18 ONLY. IT IS HOSTED BY
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everywhere.
10 TOP TIPS
10 TO P TI P S :
Ready to make your

favourite prints
shine? Follow our
expert advice!
In most walks of life, if someone
described you as ‘fussy’, they’d probably
mean it as a negative. In quilting,
however, it pays to be pernickety. Fussy
cutting is the art of cherry picking prints
so that they’re perfectly framed in your
patchwork. You may want to showcase a
particular motif, or create show-stopping
kaleidoscopic effects – whatever your
aesthetic, we’ve got some top tips to
ensure your pickiness pays off.
1 Choose once, cut twice!

Narrowing down your array of precious
prints can often be overwhelming, so
2 Size matters
Look at your chosen print and ask
yourself, is the element large or small
streamline the process by fussy cutting enough to fit within your chosen shape? a geometric shape, flower, character
one single motif. The good news is that Do you want to frame the whole shape, or object. As your confidence grows
you don’t need tons of intricate prints or just use a small element? Does the with the technique, you can always
to make a big impact, especially with shape match the motif? Long, narrow add in more prints.
English Paper Piecing! As it turns out, motifs like leaves or feathers work well
we’ve got a great tutorial for beginners
on using one repeated motif in various
ways on our website, Gathered.how.
in diamonds, while a full flower flourishes
in shapes like hexagons. 5 Make your mark
When fussy cutting, your marker is
your best friend. Don’t be tempted to
Just search ‘fussy cutting’!
3 Use your time wisely
Getting your fussy cutting right can
often be time consuming, so wait until
wing it – when using complicated prints
for multiple designs, mark out your pieces
before you whip out the snips. This will
you have a chunk of time when you can ensure that you don’t cut across an area
concentrate on planning your projects. you might want to use later, and that you
Once you can take your time, you can have enough of each motif.
make sure that each and every piece
is cut perfectly.
6 Start small
We’re all tempted to bite off more
4 Celebrate solids
You may be fixated on the prints you’ll
be showing off in your project, but may we
than we can chew now and again, but you’ll
thank yourself for starting small. A fun
fussy-cut project like a quilt label, a single
remind you of the solids in your stash too? block or even a mini quilt will help to take
Using one or two prints and two to four the stress out of making things perfect,
solids may make it easier to get started on or trying to coordinate lots of motifs across
your project, and they look great framing a large project. Plus, it’s sure to help grow
10 TOP TIPS
Above left: For a full tutorial

on how to make this pattern,
check out our expert guide
in issue 96. Available as a digi
edition on Zinio, Pocketmags,
Readly and the LP&Q app.
Below right: If you're looking to

boost your fussy cutting skills,
head over to p45 of this issue
to use the different templates
provided with the mag!
your skills and confidence, and really your pet or loved ones, you can always
cement whether you want to take make quick sketches). This will help you
the technique further. to keep everything in order later on,
especially if you’ll be taking your project
7 Grow your tool kit

How’s your sewing desk doing for
on the go at any point.
space? A few bits of kit will make the fussy

cutting process even easier… A rotating
cutting mat helps you avoid awkward
9 Make it modern
You may have to turn a blind eye to tip
6 for this one, but many quilters are using
arm positions, or accidentally shifting or modern fabrics with beloved traditional
stretching your fabric edges. Meanwhile, English Paper Piecing designs, like the
a mini rotary cutter (we recommend 18mm) La Passacaglia and Patchwork of the
lets you cut around thin templates, and Crosses patterns. Many are not for
gives greater accuracy – avoiding cutting the faint of heart, but will well and truly focused heavily on EPP in our tips
too far into adjacent fabric areas and immerse you in the beauty of fussy cutting! – which, by the way, you can use your
eliminating fabric waste. Funnily enough, we’ve done a deep-dive bonus templates from the issue for –
into La Passacaglia on Gathered.how too. you can fussy cut your fabrics for any
8 Document the process

Sure, you’ll need a little free storage
on your phone for this one, but take 10 Expand your horizons
Last but certainly not least, don’t
project. A fussy cut centre square in a Log
Cabin, appliqué hexies and diamonds, or
surprise fussy cuts across a nine-patch quilt
photos of your work as you go. (If, like us, forget that fussy cutting isn’t just for are just a few examples for showcasing
your phone is already full of photos of English Paper Piecing. While we may have your favourite prints. Just have fun with it!
Visit our website
to find the pattern
for a coordinating
cushion design!
www.gathered.how/
lovequiltingmag
BRIGHT & BREEZY
Practise your piecing skills with this bold

and modern quilt pattern. Mix and match
vibrant colours to make your own!
BY LYNETT MUHASO
BRIGHT & BREEZY
YOU WILL NEED

■ Fabric A (background): 15/8yds
■ Fabric B: 3/8yd
■ Fabric C: 4½in square
■ Fabric D: 1/ yd
■ Fabric F: 1/ yd
■ Fabric G: ¼yd
■ Fabric H: 4½in square
■ Fabric I: one (1) fat sixteenth
■ Fabric J: 1/ yd
■ Fabric K: 4½in square
■ Fabric L: 1/ yd
■ Fabric M: 1/ yd
■ Fabric N: one (1) fat sixteenth
■ Fabric O: 1/ yd
■ Fabric P: 4½in square
■ Fabric Q: 4½in square
■ Fabric R: one (1) fat sixteenth
■ Fabric S: 4½in square
■ Backing fabric: 3yds
FINISHED SIZE
■ 42in x 54in
NOTES
■ Seam allowances are ¼in, USE BOLD SOLID FABRICS
unless otherwise noted.
■ Press seams open throughout.
FOR A DAZZLING EFFECT!
■ HST = Half-square Triangle. ■ Fabric N: Azalea. ■ One (1) 3½in x 21½in.
■ WOF = width of fabric. ■ Fabric O: Ultra Marine. ■ One (1) 3½in x 27½in.
■ Find the coordinating cushion on ■ Fabric P: Glacier. ■ Two (2) 3½in x 36½in.
gathered.how/lovequiltingmag. ■ Fabric Q: Sangria. ■ Four (4) 6½in x 9½in.
■ Fabric R: Sky. ■ Two (2) 6½in x 12½in.
FABRICS USED ■ Fabric S: School Bus. ■ One (1) 6½in x 15½in.
Quilt top fabrics are all Kona Cotton ■ Binding fabric: ½yd ■ One (1) 6½in x 18½in.
Solids by Robert Kaufman, as follows: ■ Backing fabric: 3yds ■ One (1) 6½in x 36½in.
■ Fabric A: Pearl Pink. ■ Batting: 50in x 62in
■ Fabric B: Brt Pink.
■ Fabric C: Grellow.
■ Fabric D: Blue Grass.
The backing fabric is Sage by
Elizabeth Hartman from the Paintbox
collection for Robert Kaufman.
■ Seven (7) 4½in squares.
■ Four (4) 3½in squares.
■ Fabric E: Emerald (cushion only). ■ Four (4) 3½in x 6½in.
■ Fabric F: Wasabi. CUTTING OUT ■ One (1) 3½in x 12½in.
■ Fabric G: Pomegranate.
■ Fabric H: Pickle.
■ Fabric I: Blue Bell.
■ Twelve(12) 4½in squares.
■ Four (4) 3½in squares. 3 From Fabric D cut:
■ Fabric J: Periwinkle. ■ Two (2) 3½in x 6½in. ■ One (1) 3½in x 9½in.
■ Fabric K: Blue Jay. ■ Four (4) 3½in x 9½in.
■ Fabric L: Torch.
■ Fabric M: Canary.
■ One (1) 3½in x 12½in.
■ Two (2) 3½in x 15½in. 4 From Fabric F cut:
BRIGHT & BREEZY
B
O
Fig 1 Fig 2
B N
B G B
B
D G
I G
B
D Q
B Fig 6
D
Fig 5
B
L
B
Fig 3 Fig 4
■ One (1) 3½in x 6½in.

■ One (1) 3½in x 9½in.
5 From Fabric G cut:

■ Two (2) 4½in squares.
■ One (1) 3½in x 15½in.
■ One (1) 3½in x 18½in.
6 From Fabric J cut:

■ One (1) 3½in x 15½in.
7 From Fabric L cut:

■ Three(3) 4½in squares.
■ One (1) 3½in x 12½in.
10 From each of Fabrics C, H, K, P,
Q and S cut:
wrong side of one square, then sew ¼in
from either side of the line. Cut along
the line and press the two HST units open
(Fig 1). Trim each HST to 3½in square.
8 From Fabric M cut:

■ Two(2) 4½in squares.
■ One (1) 3½in x 15½in.
11 From each of Fabrics I, N and R cut:
14 Repeat step 13 to make the following
HSTs. Note, that as the HSTs are made
9 From Fabric O cut:

■ Six
(6) 2½in x WOF.
in pairs, you will have some left over after
you finish your quilt.
■ Four (4) Fabric A/O.
■ Two (2) 3½in squares. MAKING THE HST UNITS ■ Three (3) Fabric A/N.
■ One (1) 3½in x 6½in.
■ One (1) 3½in x 9½in. 13 Place a Fabric A and B 4½in square
RST. Draw a diagonal line on the
■ Three (3) Fabric B/D.
■ One (1) Fabric A/S.
BRIGHT & BREEZY
B
O
B
O
B
F B F O
H
C
D
F C O
D
O D O
Fig 7 Fig 8 G G
I I
Fig 9
Fig 10
together to complete section 1. together in three columns. Then join

R R R D
L L L J J Press well after sewing each seam. the three columns together (Fig 7).
K J K
21
ASSEMBLING SECTION 2 Sew a Fabric F 3½in square to the
Fig 11
16 Join two Fabric B 3½in squares
with Fabric A 3½in x 36½in and
3½in x 6½in pieces (Fig 3).
top of a Fabric A 3½in x 9½in. Join
this to the right of the unit from step 20.
Then sew a Fabric A 3½in x 12½in piece
P N B
O N to the left (Fig 8).
17
D Arrange a Fabric A 3½in square, Fabric
J
Fig 12
L 3½in x 12½in and two Fabric B 3½in
x 6½in strips, with the HSTs shown in Fig 4.
Sew together. Then join to strip from step
22 Sew three Fabric B/O HSTs to the top
of a Fabric O 3½in x 9½in piece. Then
sew a Fabric A 6½in x 18½in piece to the
16 to complete section 2. left. Join a Fabric A 3½in square with two
■ One (1) Fabric A/L. Fabric G/I HSTs, and sew this to the
■ Three (3) Fabric B/O. ASSEMBLING SECTION 3 bottom of the pieced unit (Fig 9).
■ Three (3) Fabric G/I.
■ Two (2) Fabric A/H.
■ Two (2) Fabric C/D.
18 Arrange the shown HSTs with a Fabric G
3½in x 15½in strip. Sew together in
one column. Then sew a Fabric A 3½in 23 Arrange the pieced units, referring to
Fig 10. Sew the centre units together
■ One (1) Fabric A/Q. x 21½in strip to the right (Fig 5). first, then add the longer units at each end
■ One (1) Fabric A/P. to complete section 3 of the quilt top.
■ Two (2) Fabric D/J.
■ One (1) Fabric A/J. 19 Sew a Fabric A 3½in square to the top
of a Fabric A/B HST. Then sew a ASSEMBLING SECTION 4
■ Three (3) Fabric L/R.
■ Two (2) Fabric A/K.
■ Three (3) Fabric B/M.
Fabric A 6½in x 9½in piece to either side.
Sew a Fabric G/I HST to the left of a
Fabric G 3½in x 18½in strip, then join to
24 Arrange the shown HSTs with
Fabric J and Fabric A 3½in x 15½in
pieces and a Fabric A 3½in x 9½in piece.
the bottom of the other section (Fig 6). Sew together in rows, then sew the rows
ASSEMBLING SECTION 1 together (Fig 11).
15 Join a Fabric A/O HST to the bottom

of a Fabric A 3½in square. Arrange
with a Fabric B 3½in x 6½in and Fabric
20 Sew Fabric F and D 3½in x 9½in
strips to a Fabric A 6½in x 9½in
piece. Arrange with the shown HSTs, 25 Arrange Fabric B and Fabric O
3½in x 6½in pieces with a Fabric A
A 6½in x 12½in, 6½in x 15½in and 6½in a Fabric F 3½in x 6½in strip and a 3½in x 9½in strip, a Fabric A 3½in x 27½in
x 9½in, as shown in Fig 2. Sew the units Fabric B 3½in square. Sew the units strip and the shown HSTs. Sew the units
BRIGHT & BREEZY
O B
Fig 13
M B B B B
M M M
Fig 14
together in rows, then sew the rows

together (Fig 12).
26 Join the units from steps 24–25,

then sew a Fabric A 6½in x 12½in
piece to the right. Sew a Fabric O and
Fabric B 3½in square with Fabric A
3½in x 6½in, 3½in x 9½in and 3½in x 15½in
pieces. Sew to the top of the pieced unit
to finish section 4 of the quilt top (Fig 13).
ASSEMBLING SECTION 5
27 Arrange a Fabric B 3½in x 12½in piece

with a Fabric M 3½in x 15½in piece
and three Fabric B/M HSTs. Sew in a row.
Sew a Fabric A 6½in x 36½in piece to the
top and a Fabric A 3½in x 36½in piece to
the bottom to complete section 5 (Fig 14).
FINISHING THE QUILT TOP

Fig 15
28 Arrange the completed quilt sections,

referring to the Fig 15. Carefully sew
sections 3, 4 and 5 together. Then add
section 2 to the left side. Finally, sew
section 1 to the top to finish.
33 Sew the binding to the right side
of the quilt, creating a neat mitre
at each corner. Fold the binding over
QUILTING AND FINISHING to the back of the quilt and hand stitch

the width. Remove the selvedges and
sew the two pieces together using a ½in
31 Quilt as desired. Lynett quilted a curve
design. Trim off the excess batting and
backing fabric and square up the quilt.
in place around the edge to finish.
seam. Press the seam open. Lynett loves turning bright
32 Sew the binding strips together fabrics into modern makes
30 Press the quilt top and backing well. end-to-end using diagonal seams. Press lynsavenue.com
Make a quilt sandwich by placing the the seams open. Fold in half lengthways, lynsavenue
backing fabric right side down, the batting wrong sides together, and press.
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Use gorgeous bright and bold prints and
master the wonderful technique of fussy
cutting to make this stunning wall hanging
BY LOUISA GOULT
FUSSY FLORALS
YOU WILL NEED

■ Print fabrics: approx thirteen (13)
fat quarters (see Notes)
■ Solid fabrics: four (4) fat quarters
■ Background fabric: 32in square
■ Backing fabric: 1yd
■ Binding fabric: 3/8yd
■ Fussy Cut Hexagon, Diamond
and Triangle templates that
came with this issue
■ One hundred and thirty
nine (139) copies of the
Hexagon EPP template
■ One hundred and twenty
six (126) copies of the
Diamond EPP template
■ One hundred and thirty
two (132) copies of the
Triangle EPP template
FINISHED SIZE
■ 30in square
NOTES
■ Depending on which motifs you decide
to fussy cut from your fabrics, you may
MAKE YOUR FAVOURITE FABRICS
need more yardage. Read through the SHINE WITH METICULOUS
pattern and Louisa’s cutting tips to get
the most from your prints. ENGLISH PAPER PIECING
■ Seam allowances are ¼in throughout.
■ Press seams open throughout, unless FABRICS USED PREPARATION
otherwise instructed.
■ EPP = English Paper Piecing.
■ WOF = width of fabric
■ Print fabrics are from Anna Maria
Horner’s Brave collection.
■ Solids and background fabric are
2 This design is made up of four different
blocks: one Block A, six Block B, twelve
Block C and twelve Block D. Refer to the
■ RST = right sides together. Spectrum Solids from Makower. Block Layout diagrams and photography
■ Buy pre-cut packs of paper templates as you prepare your EPP pieces. This will
from Sewmotion (sewmotion.com). CUTTING OUT help you to decide on the placement of
■ See our column on p30 for more top
tips on fussy cutting. 1 From the binding fabric cut:
■ Four (4) 2½in x WOF.
your fussy cut fabrics and solid fabrics
throughout the quilt.
Block A x 1 Block B x 6 Block C x 12 Block D x 12
Block Layout Diagrams
FUSSY FLORALS
PREPARATION PREPARING THE EPP PIECES
A C D
B E F
3 Before doing any cutting, take a good

look at your fabrics, and see if you have
enough of the identical motifs you wish to
TOP TIP
Using solid fabrics in the diamonds and
8 Continue around the edge of the
EPP piece to baste each side in place,
working one edge at a time, until all sides
use, and that there is enough space for triangles on the outside of the blocks are basted (Fig F).
cutting with seam allowances included. will help calm the loudness of bold
Louisa likes to place the EPP papers onto
the right side of her fabric to check the
placement of motifs and that there are
prints used in the hexagons. It also
creates a breathing space between
units in the finished piece.
9 Repeat steps 6–8 to baste each of the
required EPP pieces. Keep your shapes
organised in block groups to help you
the number she requires (Fig A). keep track of which fabrics you are using
for each piece.
4 For some blocks, you can choose

to make different groupings so you
won’t need as many identical motifs. For
■ Block D: two (2) each of hexagons and
triangles, one (1) diamond for each of
twelve blocks. TOP TIP
example, Louisa made the C blocks in four If you’re using a pencil and scissors for
different designs, making three of each PREPARING THE EPP PIECES your fussy cut pieces, you may want
design (Fig B).
6 Place a fussy cut template on your fabric
in the desired position (Fig C). Then use
to trace all your pieces onto the fabric
before cutting. This way you avoid
5 Have a play around with your template

placement on your fabrics, and make
notes of which motifs you will use, and
a small rotary cutter to trim around the
template, or trace around the template
and cut out using scissors (Fig D). Louisa
cutting across an area you want to use
for other pieces. You can choose to
trace on either side of the fabric.
how many of each you need before you prefers to use a rotary cutter, as this avoids
begin cutting. As a guide you will need: wasting nearby fabric.
■ Block A: seven (7) hexagons and PIECING BLOCK A
six (6) diamonds.
■ Block B: six (6) each of diamonds,
hexagons and triangles for each
7 Place a matching EPP template on the
wrong side of the fabric shape, securing
with a dab of washable basting glue or a
10 Lay out the pieces for Block A, making
sure your fussy cuts are positioned as
you want them to appear (Fig G). Sew the
of six blocks. pin. Run a thin line of glue along one shapes together, using a flat back stitch,
■ Block C: six (6) each of diamonds, edge, just in from the edge of the paper. as described in the following steps. If you
hexagons and triangles for each Fold the fabric over, pushing against the prefer, you can also join the pieces using
of twelve blocks. paper’s edge for a tight fold (Fig E). a traditional whip stitch method.
FUSSY FLORALS
piecing block A
G H
I J
K L TOP TIP
If you are using fabrics in multiple
colours, you can use a monofilament
thread, or try to colour match with one
of the fabrics you are piecing.
11 Place the centre hexagon together

with an adjacent hexagon, both wrong
side up. Knot a length of thread and
bring it up into the seam allowance.
M N Backstitch within the seam allowance to
secure. Insert your needle into the point
of the adjacent hexagon, and connect
with a couple of stitches (Fig H). Knot off
and break the thread.
12 Repeat the process in step 11 to join

the hexagons at the opposite point,
but leave the thread attached (Fig I).
Sew a flat back stitch across the seam,
picking up only a few threads from each
O P seam allowance close to the edge (Fig J).
When you reach the end of the seam, knot
into the tacking stitch at the corner and
break the thread.
13 Line up the next adjacent hexagon,

checking its direction. Join the point
to the centre of the previous unit (Fig K).
Then stitch both seams from the outer
edge toward the centre (Fig L). Continue
FUSSY FLORALS
piecing blocks b-d
Q R
21
PIECING THE PANEL Spray the panel with a gentle fabric
19 Arrange the pieced Blocks A, B and C

in rows, referring to Fig 1. Join the
blocks in rows, connecting points and
starch and give it a good hot dry press
from the front, particularly around the
edges. Turn the unit over to the back, and
using a flat back stitch, as before. gently peel back the seam allowances to
remove the papers. Press again, making
20 Join the rows together. Again,

connect the centre points between
rows first. Then sew the seams in between,
sure the seams at the outer edges are
neatly turned under.
joining all the hexagons using the same

process (Fig M).
working from the centre outwards. Finally,
attach the D blocks around the outer
edge, joining the centre points before
22 Fold the background fabric in half
lengthwise, and finger press to mark
the centre. Open out and repeat, folding
sewing the seams (Fig 2). in the other direction. Place your pieced
14 To attach the outer diamonds, first

connect one end point, then connect
the centre and sew the seam outwards
towards the attached point (Figs N–O).
Then sew the remaining seam from the
point toward the centre (Fig P). This
completes Block A.
PIECING BLOCKS B–D
15 To sew the six Block B, begin by

sewing the centre diamonds into two
halves (Fig Q). Then join the two halves at
the centre, before sewing each side from
the outer points to the centre.
16 Once the centres are sewn, add the

hexagons, followed by the outer
triangles. Join each piece at the centres,
before sewing from the outside towards
the centre for each seam.
17 To sew the twelve Block C, join the

centre triangles in halves, as you did
for Block B. Then join the hexagons,
followed by the outer diamonds.
18 To sew the twelve Block D, join the

hexagons in pairs. Then add the
triangles to the sides. Finish by sewing
the diamond to the centre (Fig R).
FUSSY FLORALS
panel on top, using the centre marks to

align the panel. Pin in place from the
centre outwards.
23 Stitch the panel in place, using a slip

stitch around the outer edge. Take
care that any dog ears are turned to the
inside as you stitch. Alternatively, you
could machine stitch in place, close to
the outer edge. Press the panel well.
FINISHING THE WALL HANGING
24 Make a quilt sandwich by placing the

backing fabric right side down, the
batting on top, then place the pressed
wall hanging centrally and right side up.
Baste the layers together using your
preferred method.
25 Quilt as desired. Louisa followed

the diagonal lines of the blocks to
machine quilt straight lines in both
directions. Trim off the excess batting
and backing fabric and square up the
wall hanging to measure 30in square.

the wall hanging, creating a neat mitre
at each corner. Fold the binding over to
Fabric addict Louisa spends
her days designing quilts
and turning them into
Press the seams open and trim away the the back and secure in place with binding pre-cut kits and patterns
dog ears. Fold in half lengthways, wrong clips. Hand or machine stitch into place sewmotion.com
sides together, and press. around the edge to finish. sewmotion
Fig 1 Fig 2
FUSSY FLORALS
FUSSY FLORALS
Hexagon templates DOWNLOAD AND PRINT
ACTUAL SIZE FULL-SIZE TEMPLATES
WWW.GATHERED.HOW/
LOVEQUILTINGMAG
FUSSY FLORALS
Diamond templates
ACTUAL SIZE
SCAN
HERE!
Scan the QR
code below
to download
and print full-size
templates
FUSSY FLORALS
Triangle templates
ACTUAL SIZE
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.
FLY HIGH
Or stay in your nest
to make this
colourful pattern!
Come through with flying
colours with this pattern inspired
by retro geese wall décor!
BY DEBBIE VON GRABLER-CROZIER
FABRIC FLOCK
YOU WILL NEED

■ Fabric A (cream): 3in x 6in
■ Fabric B (dark teal): one (1)
fat quarter
■ Fabric C (coral): one (1)
fat eighth
■ Fabric D (yellow): ½yd
■ Fabric E (apricot): one (1)
fat quarter
■ Fabric F (dark green): one (1)
fat eighth
■ Fabric G (sky blue): 2½yds
■ Backing fabric: 3¼yds
FINISHED SIZE
■ 50in x 51in approx
NOTES
■ Seam allowances are ¼in, unless
otherwise noted.
■ Press seams open throughout,
unless otherwise instructed.
MAKE THIS MODERN PATTERN
■ RST = right sides together. USING SIMPLE TRADITIONAL
■ Refer to the Block Layout Diagram PIECING -NO TEMPLATES NEEDED!
as you piece the units to ensure the
correct construction.
■ Fabrics supplied by Art Gallery
Fabrics (artgalleryfabrics.com).
FABRICS USED
Solid fabrics are from the Pure
Elements collection from Art Gallery
■ Five
(5) 3in squares.
■ Three (3) 5in squares.
Fabrics, as follows: ■ Two (2) 6in squares.
■ Fabric A: Crème de la Crème. ■ Three (3) 4½in squares.
■ Fabric B: Peacock. ■ Three (3) 1¾in x 4½in.
■ Fabric C: Coral Reef.
■ Fabric D: Dried Carrot.
■ Fabric E: Apricot Crepe.
■ Fabric F: Emerald.
■ Six (6) 3in squares.
■ Three (3) 2½in x 4½in.
■ Fabric G: Fresh Water. ■ Three (3) 1¾in x 2½in.
Backing and binding fabric are Fleuron Six
from the Season of the Tribute collection
by Sharon Holland for Art Gallery Fabrics. 6 From Fabric F cut:
■ Three (3) 2½in squares.
CUTTING OUT
1From Fabric A cut:

■ Two (2) 3in squares. 7 From Fabric G cut:
■ Sixteen (16) 3in squares.
■ Six (6) 5in squares.

■ Nine (9) 4½in squares.
■ Two (2) 6in squares.
■ Nine (9) 4½in squares.
■ Three (3) 2½in squares.

■ Six (6) 2½in squares.
■ Nine (9) 4½in x 8½in.
■ Three (3) 2½in x 4½in. ■ Six (6) 1½in x 2½in.
FABRIC FLOCK
D
E
G
G E
D
Fig 1 Fig 2 Fig 3
G D E G
G D
F
D A B
G
Fig 4 Fig 5 Fig 6 Fig 7
C C C C
D E
G G
D
G G D
Fig 8 Fig 9 Fig 10 Fig 11 Fig 12
■ Three
■ Nine
(3) 5½in x 8½in.
(9) 4½in x 9¾in.
■ Three (3) 4½in x 7¾in.
11 Repeat steps 9–10, using 3in squares
and trimming the HSTs to 2½in to
make the following:
15 Arrange one Fabric D/G and one
Fabric A/G 2½in HST with a Fabric F
and Fabric G 2½in square, referring to
■ Three (3) 2½in x 7¾in. ■ Four (4) Fabric A/G. Fig 5. Sew together in four-patch by
■ One (1) 20½in x 25¾in. ■ Six (6) Fabric C/G. sewing the units in pairs, then sew the
■ One (1) 4½in x 25¾in. ■ Ten (10) Fabric D/G. pairs together to make the goose head.
■ Four (4) 1¼in x WOF. Sew the strips into ■ Twelve (12) Fabric E/G.
one long length along the short edges
and subcut into two (2) 1¼in x 51in and
one (1) 1¼in x 50in. 12 Repeat steps 9–10, using 5in
squares and trimming the HSTs to
16 Arrange the goose head with two
Fabric F/G 4½in HSTs and one Fabric G
4½in square. Sew together in a four-patch,
4½in square to make the following: to add the neck to the head (Fig 6).

■ Six
(6) 2½in x WOF.
■ Six (6) Fabric D/G.
■ Six (6) Fabric F/G.
17 Sew a Fabric E and G 2½in x 4½in
strip together along the long edges.
MAKING THE HST UNITS PIECING THE GEESE BLOCKS Arrange this unit with three Fabric B, one
9 Take one Fabric D and one Fabric G 6in

square and place RST. Mark a diagonal
line on the wrong side of one of the
13 Arrange two Fabric E/G and one
Fabric D/G 2½in HSTs in a column
with two Fabric G 1½in x 2½in strips.
Fabric D and one Fabric G 4½in square, as
shown in Fig 7. Sew the units in rows, then
sew the rows together to make the body.
squares. Sew ¼in from either side of the Rotate the HSTs as shown in Fig 3. Sew
drawn line (Fig 1). together in one column. Then sew a Fabric
G 5½in x 8½in strip to the right side. 18 Sew a Fabric D/G 4½in HST to the
bottom of a Fabric G 4½in square (Fig 8).
10 Cut along the line and press open to

make two HST units. Trim each HST to
measure 5½in square, making sure that 14 Sew a Fabric G 3½in x 5½in strip to the
top of a Fabric D/G 5½in HST. Then
Sew this to the right of the body to add
the tail. Sew the head and neck to the other
side to complete the centre of the block.
the 45-degree mark of your ruler aligns sew three Fabric G 4½in x 8½in pieces to
with the seam (Fig 2). Repeat the process
again to make a total of four Fabric D/G
5½in HSTs.
the left (Fig 4). Sew this to the left of the
pieced column from step 13. This
completes the upper wing.
19 Sew a Fabric C/G 2½in HST to the
left of a Fabric C 2½in square. Then
sew a Fabric G 4½in x 7¾in piece to
FABRIC FLOCK
the bottom (Fig 9). Sew a Fabric C 2½in one column. Join a Fabric C/G 2½in HST
x 4½in strip to the top of a Fabric D 1¾in to the top of a Fabric G 2½in x 7¾in strip.
x 4½in strip. Then add a Fabric D/G 4½in Join these two columns together (Fig 12).
HST, followed by a Fabric G 2½in x 4½in
strip to the bottom (Fig 10).
21 Sew together all three units from steps
19–20 to form the bottom wing. Join
20 Arrange two Fabric E/G and one

Fabric D/G 2½in HSTs with a Fabric E
1¾in x 2½in strip and a Fabric C 2½in
two Fabric G 4½in x 9¾in pieces to the left
and one to the right to complete the
bottom section of the block.
square, referring to Fig 11. Sew together in
22 Arrange the three completed block

sections, referring to the Block Layout
Diagram. Sew the units together to
complete the Goose Block.
23 Repeat steps 13–22 to make three

Geese Blocks. Note, you will have a
few spare HSTs left over, which you can
save for another project. 25 Sew the Fabric G 1¼in x 51in strips
to either side of the quilt top. Sew
the 1¼in x 50in strip to the bottom to
FINISHING THE QUILT TOP finish the quilt top.
24 Arrange the three blocks, referring to

the Layout Diagram, with a Fabric G QUILTING AND FINISHING
20½in x 25¾in and 4½in x 25¾in piece.
Sew the units together in rows, then sew
the rows together.
the width. Remove the selvedges and
sew the two pieces together using a ½in
Block Layout Diagram seam. Press the seam open.
27 Press the quilt top and backing well.

Make a quilt sandwich by placing the
backing fabric right side down, the batting
28 Quilt as desired. Debbie quilted wavy

lines. Trim off the excess batting and
backing fabric and square up the quilt.

Press the seams open. Fold the joined
binding strip in half lengthways, wrong
sides together, and press.
30 Sew the binding to the right side

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.
Author and designer

Debbie's two loves are craft
and quantum physics!
thefolkartfactory.com
craftyvamp
Quilt Layout Diagram
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INSPIRING READS
THE REIGN
OF QUILTED
Image: Quilted dungarees by Rebecca Wright, founder of Psychic Outlaw
STYLE
about their bespoke patchwork wares
INSPIRING READS
Right: Rebecca loves the uniqueness

of thrifting fabrics for her quilt coats.
Photo by Roy Muyinza (@royjohnii)
Above: Taiga There is a simple pleasure in This sentiment was also what led
likes to challenge snuggling up on a cosy sofa with Emily Fischer, founder of quilted
herself and play
a soft, warm quilt wrapped around fashion brand Haptic Lab, to make
with colour
transitions, like you on a blistering winter’s day, her first coat. Before founding the
her Sunset Strip with a hot chocolate in hand. But brand, she worked as an architect,
Gradient coat despite all of the most experimental and her first projects in the craft
and out-there fashion trends that were quilted maps. Working in
Above middle:
What's not to have passed through the modern a studio based in an unheated
love about being world, there’s yet to be a wave warehouse would make frosty
colourful AND where wearing your blanket outside winters a real struggle – so, as a
cosy? Here Taiga
of the house – no matter how workaround, she started using map of producing waste. Taiga operates
is wearing her
wonderful long comfortable it may be – is quilts that didn’t pass quality control on an ethos of “using the whole
Whitney Coat considered cool. to make coats to stay warm. “It was animal” – the majority of her coats
a natural progression. Why drape a are made with scrappy patchwork
Right: Rebecca
That is, until quilt over your body when you can using the offcuts from her quilts,
likes to keep old
fabrics' history, the quilt coat. wear one all the time?” which keeps her practice low-waste
matching vibrant “Quilts are for the home,” says Taiga and sustainable. Bits of leftover
patches of Bentley, founder of quilting brand Cotton is king – batting become the sleeves or
past materials
House of Taiga. “The bed, the and repurposing collars, or swathes of fabric that
together
couch, the crib, the shelf – that’s Despite the variations in style, are too small to be used as the
where the quilt lives.” The quilt coat, pattern and technique, all quilters backing for a quilt can become the
meanwhile, “grants us the freedom agree unanimously on one thing: lining of a coat instead. With a
to bring a blanket out of our house there’s nothing better than cotton preference for only featuring each
and into the world while still wanting when it comes to making quilted fabric once in a coat, her self-
to appear sane.” Taiga reckons there coats. Another similarity across the confessed hoarding of different
is no better way to honour the effort makers is a prioritisation of reusing fabric sources comes in handy.
that goes into designing and making offcuts or upcycling old materials Rebecca Wright, founder of
quilts than this current-favourite – both as a way to promote and quilted clothing brand Psychic
transitional staple. “Quilted fashion practice sustainability, but also Outlaw, also likes to make use
is bedding that you can take with to emphasise the varied and of every last bit of fabric: even
you to the office, and what better patchwork nature of quilted coats. the leftovers produced by making
use for all the incredible hard work Emily shares that she has the coat itself are given new life.
that goes into making a quilt in the a “very limited palette of in-stock “Whatever remains after a jacket
first place, than to put it on your cottons held by [her] collaborators is cut from the quilt is what we will
body and stride out confidently into in India,” which she will rarely use for all of our accessories,” she
the morning traffic jam!” deviate from to reduce the chance explains. That includes matching
INSPIRING READS
pet jackets for a furry friend, fanny

packs, caps, travel pouches and
Christmas stockings – the customer
who purchased the coat gets first
refusal of the matching accessories,
before they are sold as ready-made
items for anyone else interested.
For Rebecca, the motivation for
repurposing fabrics found in thrift
stores not only restricts the impact
on the environment, but also is a
candid one of cost. “I first began
using quilts and textiles I was finding
at thrift stores to make clothing from
because it was more affordable than
buying new fabric from the store
to experiment with,” she says.
It was from that experience that the
brand spun out – and now, she says,
“all of the textiles I am using are
vintage quilts, tapestries and
tablecloths that already have their
own patterns and colours.”
Not only does thrift shopping
reduce the pressure of trying a
new style or playing around with
"my designs actually became more special and interesting
the fabrics, it also enhances the
character of the result. Rebecca
because of the found textiles i was using"
notes, “my designs actually became
Top left: Taiga
more special and interesting In some cases, though, the quilt is Taiga says; unlike adult-sized coats
always mixes
because of the found textiles I was too old and fragile to be repurposed where there are up to 24 rows of print fabric
using”. The uniqueness of each into a coat that will do the job. fabric available to subtly shift from scraps in her
piece is the main star quality: “using one colour to the next, the smaller quilt coats
what is available instead of buying Creating colour size of a child-sized coat may only
Above left:
new not only helps the environment The quilt coat’s signature provide 8 rows, and pose a more Taiga's Purple
but it also creates one-of-a-kind characteristic is the hodge-podge difficult task when creating a Gradient coat.
items, which I think is more of colours and patterns that, though seamless transition of colours. She likes to
select fabrics
interesting to put into circulation”. often very individualistic and vibrant Replicating a gradient on a smaller
in colours and
The collection of found fabrics alone, somehow work together into scale is a challenge Taiga savours, patterns that she
can lead to some interesting a cohesive piece of clothing. And though, and is a skill she actively finds elegant
combinations — her favourite coat when it comes to colours, Taiga is works on – whether that’s through
Above middle:
right now, for example, is one made always looking beyond the obvious. practising with the mobile game
Emily's quilted
from an old burlap feed sack and “The classic primaries of a rainbow I Love Hue, trying colour blindness coats started
a cross-stitched tablecloth, lined are just the beginning, and anyone tests, or playing board games like when she was
with some soft quilt pieces to add who stops there is missing out” she Hues and Clues. Patterns are also working in a
cold, unheated
the quilt coat’s prized cosiness. asserts. She prefers tertiary colours a vital consideration, says Taiga –
warehouse
There are limitations to this choice instead, and particularly enjoys in each coat, she strives to not only
in repurposed fabric, however – working out subtle gradients to include a range of colours, but also
especially when making something meld into a smooth transition. of patterns, striking a “balance
like a coat, which is designed to be These gradients can be sourced between large and small patterns,
worn regularly. Quilts can arrive in from her Instagram followers, or abstract and I Spy patterns so
need of major repairs, in which case or even inspired by ceramics, that there are places of visual rest
the team will “do [their] best to paintings or interior design. and visual entertainment.” That
patch and mend any areas of the One challenge of championing a combination doesn’t have to be
quilt to best match the original good gradient is making that colour garish, though: “I will always try to
creation and make sure that the strategy work with children’s coats select fabrics in colours and patterns
pieces we are using are wearable along with adults. The transitions that I think are elegant and beautiful.
and able to be worn as a garment”. have to be “absolutely precise,” Even fabric with squirrels on it can
INSPIRING READS
“create a completely different

effect”. Using the software
AutoCAD, she’ll typically size the BEYOND THE
quilt blocks to create the geometric
effect she’s trying to create. Then
she uses her large AutoCAD file
QUILT COAT
with dozens of quilt blocks saved
to reflect and rotate blocks to Keen to keep wearing your quilts
create new patterns, dropping in through the warmer months? Fear
new blocks that inspire her as and not! There are tons of ideas for
when she finds them. patchwork clothes out there that
Taiga shares that one particularly extend beyond the humble cosy coat.
challenging project came about Bianca of Thanks I Made Them
when a client commissioned a coat (@thanksimadethem) is always
based on the seven chakras. After wowing us with her quilt coats,
Above: Rebecca uses the
scraps of her quilt coats to research into the history and accessories, dresses and more
make matching accessories nuances of this spiritual topic, she (pictured below). Follow her for more
found that “the challenge was to find info on her zoom and in-person
fabric in not just the right tones but lectures on integrating patchwork and
be beautiful depending on how it’s with mature patterns as well,” to do quilting into garment making.
been designed.” justice to the source of inspiration. Deedee of W.B Thamm's sustainable
It was a practice in choosing exactly fashion line also includes upcycled
Quilting with history the right colours: “I spent weeks pieces from pre-loved quilts, like the
Due to the nature of using thrifted collecting fabrics where the reds gorgeous house block shirt below!
fabrics, Rebecca has less flexibility weren’t candy red but a deep blood
around the colour palette or prints red, the glowing golden yolk yellow
of her quilt coats. Luckily, the source not pale butter pat yellow, and on Left: Check out
wb-thamm.com for
material she repurposes are already and on. I wanted them to glow.”
creative upcycling.
brimming with life: “All quilts are so Colour was only one half of the Bottom left: Find our
unique with a wide variety of colours equation. “I wanted fabrics that upcycled jeans
and designs chosen by the original felt alive, with flowers and birds in issue 123!
maker,” she says, and so “always and fruit, things that imply growth,
make amazing pieces of wearable renewal, transcendence,” says Taiga.
art”. She adds that rather than try It was a project that she agonised
and make the quilts look brand new, over for weeks, knowing that the
she also leans in to the illustrious chakras “had profound meaning
past of the found fabrics, which adds to this person and I was trusted
another dimension of interest. with creating this piece for them.”
“I think these catch people’s The work, thankfully, paid off:
attention the most because they “In the end, I thought the finished
are so noticeably an old quilt with product was quite chic!”
so many vibrant patches of historical Each quilt coat is imbued with the
materials all together.” rich history of its fabrics. These three
Emily also leans into the historical makers honour that fact, respecting
element of the fabrics used to create the source material of the garments
her quilt coats. Her primary they make and taking the time to
inspiration comes from traditional plan and create coats that will give
quilt blocks, and the “modern op-art new life to the quilts that came
sensibility inherent in late 19th before them. This fashion staple is
century American quilt blocks.” With certainly here to stay on the high
a sensitivity to shying away from street shops, but we quilters know
sources that have a specific cultural how to do it best!
provenance, like the improvisational
quilt techniques developed by Top and bottom right:
African American quilters, she does Follow Bianca for her
try to bring out the story of the enviable style and endless
sadianowshin.journoportfolio.com knowledge on quilt clothes!
designs she uses and explains how
rotating or reflecting a block can sadianowshin
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.
Create this stu-panda-ously sweet toy
for your little one, with coordinating
storage and bamboo bookmark!
BY SARAH GRIFFITHS
CUTE & CUDDLY
YOU WILL NEED

Panda toy
■ White fleece fabric: ½yd
■ White solid fabric: one (1)
fat eighth
■ Pink solid fabric: one (1)
fat quarter
■ Print fabric: one (1) fat quarter
■ Fusible web: 4in x 8in
■ One (1) copy each of the Panda
Head, Arm, Leg and
Ear templates
■ Four (4) copies of the FPP
Triangle template
■ Black and pink stranded
embroidery thread
FINISHED SIZE
■ 20in x 27in approx
NOTES
■ Seam allowances are ¼in unless
otherwise noted.
■ FPP = Foundation Paper Piecing.
PLAY WITH DIFFERENT FABRIC
■ Reduce stitch length to 1.5 for FPP. COMBOS TO MAKE YOUR PANDA
■ FPP templates include seam allowances
around the outer edges only. All other REALISTIC OR UNIQUE!
templates include seam allowances.
■ When the pattern requires you to ‘cut
two’ of a template piece, fold your
fabric in half and cut two at once.
■ Eight
■ One
(8) 3in x 5in.
(1) 4½in square. 4 From the white solid fabric cut:
■ Eight (8) 4½in squares.
This will allow the two pieces to be cut

as mirror images of each other, for
paired sewing later.
3 From the pink solid fabric cut:
■ Four (4) Arm template pieces.
■ Four (4) Leg template pieces.
5 From the batting cut:
■ Two (2) 14in squares (body).
■ Two (2) 12in x 14in (head).
■ Two (2) Ear template pieces. Save the remaining batting for making
FABRICS USED the arms, legs and ears.
■ Solid fabrics are Art Gallery
Fabrics Pure Solids.
■ Print fabric is Solstice White Garden Preparing the arms, legs and ears
from the Floral Lawn collection by Sally
Kelly for Windham Fabrics.
■ Fleece is Robert Kaufman’s Solid A B
Flannel in Snow.
CUTTING OUT
1 From the white fleece fabric cut:

■ Two
(2) Head template pieces.
2 From the print fabric cut:

■ Two (2) Ear template pieces.
CUTE & CUDDLY
to the template and photography for

placement. Remove the paper from the making the head
wrong side, then fuse to the head
following the manufacturer’s instructions.
C
12 Stitch around each eye patch. Sarah
used two strands of coordinating
embroidery thread to blanket stitch
around each patch. You can also use
a simple machine straight stitch.
13 Baste the head right side up in the

centre of the corresponding batting.
Embroider the eyes and nose in place,
referring to the template for placement.
Sarah used two strands of embroidery
thread and backstitches and satin stitch. making the panda body
PREPARING THE ARMS, LEGS TOP TIP D
AND EARS You can use a sewing machine stitch
6 Place one print and one solid ear piece

RST, and place on top of two layers
of batting, both slightly larger than the
to outline the eyes, nose and mouth
shapes if you prefer not to hand
embroider the panda face details.
ear pieces. Sew carefully around the
curved edge, leaving the flat edge open
for turning (Fig A).
14 Place the prepared ears RST with the
head, aligning the raw edges (Fig C).
7 Trim away any excess batting from

around the ear. Make several notches
in the seam allowance around the curves
Baste in place. Place the second head
piece RST on top, aligning raw edges all
the way around. Finish the head following
E
to ensure a smooth seam (Fig B). Turn the the process in steps 6–7.
ear right side out and press. Baste along
the open edge to secure the layers.
15 Press the ears away from the head.
Topstitch just below each ear, approx
8 Fold the base of each ear, matching

the two marks from the template, to
form a pleat. Baste to secure.
1/ in from the edge.
MAKING THE PANDA BODY
9 Repeat the process in steps 6–8 to 16 Take one copy of the Triangle FPP
template. Place a 4½in white square
make a total of two ears, two arms and so the wrong side is against the unprinted F
two legs using the corresponding pieces. side of the template, covering the whole
Note, the arms and legs are both made of Section 1, plus at least ¼in all the way
of solid fabric only, and are not pleated. around. Secure in place with a dot of
washable glue.
MAKING THE HEAD
10 Trace both eye patches from the

head template onto the paper side
of the fusible web, leaving a little space
17 Fold the template back along the
printed line between Sections 1 and 2.
With the paper side up, trim the fabric to
between each. Cut out each one roughly. ¼in beyond the fold (Fig D). Unfold the
Apply to the wrong side of the 4in x 8in template. Place the 3in x 5in print piece
pink fabric piece, following the RST with the trimmed edge, so that once along the line between Sections 1 and 2.
manufacturer’s instructions. sewn and pressed open it will cover all of Press the fabric open (Fig F).
Section 2, plus ¼in seam allowance (Fig E).
11 Cut out each eye patch along your

drawn line. Take one head piece and
Pin in place.
19 Repeat steps 17–18 to add another
print fabric piece for Section 3 (Figs
place right side up on your ironing surface.
Arrange the eye patches on top, referring 18 Turn to the paper side. Reduce the
stitch length on your machine. Sew
G–H). Trim along the outer dashed line
on the template (Fig I). Remove the paper
CUTE & CUDDLY
from the back, tearing along the seam

lines. Repeat steps 16–19 to piece all four making the panda body
FPP Triangle templates.
20 Arrange the triangle blocks with one

print and four white 4½in blocks,
referring to Fig J. Sew together in rows,
G H
then sew the rows together, matching

seams between rows. This completes
the panda body.
FINISHING THE PANDA
21 Baste the body on top of the

corresponding batting, and quilt as
desired. Sarah quilted an eight point star.
Trim to 12½in square. Repeat with the I J
fleece 12½in backing square and a second
piece of batting.
22 With the body right side up, place the

prepared panda arms and feet on top,
RST. Align the raw edges of each arm or
foot with the raw edges of the body (Fig K).
Baste each one in place.
23 Place the head RST with the body,

aligning the raw edges at the top
and centring the head. Baste in place.
ears and the top of the head are tucked
away from the sides and bottom so they 24 Sew all the way around the outer
edge of the panda, leaving an approx
Place the quilted backing piece on top, won’t be caught in the seam. Pin or clip 4in gap at the bottom left edge, and
right side down. Take care that the panda’s around the outer edge. pivoting with the needle down at the
corners. Backstitch at the beginning and
end of the seam to secure.
25 Press around the outer sewn edge.

Clip the corners and turn right side
out through the gap. Press the raw edges
of the turning gap to the inside. Press the
head, arms and legs away from the body.
Use a ladder stitch and a matching thread
to close the gap in the side of the body.
Now your panda is ready to cuddle.
finishing the panda
CUTE & CUDDLY
YOU WILL NEED

Storage hoop
■ White solid fabric: one (1)
fat quarter
■ Green solid fabric: one (1)
fat eighth
■ Pink solid fabric: one (1)
fat quarter
■ Print fabric: one (1) fat eighth
■ Fusible interfacing: 9in x 18in
■ 14in quilting hoop
■ One (1) copy of the Half
Hexagon template
FINISHED SIZE
■ 14in diameter
7
CUTTING OUT Sew the white 9in x 18in piece to one the outer edges of the hoop. Pin the pocket
1 From each of the green solid

and print fabrics cut:
long edge of the braid. Press away
from the braid, position WST, press and
in place, then baste around the edge.
■ Four (4) half hexagons,

using the template.
topstitch close to the edges. Baste the
layers together along the lower edge to
finish the pocket strip.
10 Separate the hoop, and place your
fabric on top of the inner hoop.
Press the outer hoop down over the top,
2 From the white solid cut:

■ Four(4) half hexagons, FINISHING THE HOOP
adjusting the fabric as necessary, before
securing the hoop.
using the template.
■ One (1) 9in x 18in. 8 Baste the 18in pink square onto the
batting. Quilt as desired, to form the
background for the upper part of the 11 Trim the fabric and batting, leaving
approx 1in around the edge of the
3 From the pink solid cut:

■ One (1) 18in square.
hoop. Sarah quilted a half hexagon
pattern to echo the braid design.
hoop. Using a strong thread and large
stitches, hand baste around the outer
edge, through all the layers, approx ½in
MAKING THE POCKET from the hoop. Draw up the thread to
TOP TIP
4 Place the short edge of one half
hexagon against the longest edge of
a second, RST. Sew along the short edge
Layer up your pocket and background,
and place the hoop on top, before
gather the fabric at the back of the hoop
and knot off securely to finish.
and press the seam to one side. You will marking your quilt design on your
have a unit forming a “V” shape with one fabric. This ensures your design will fit
short edge and one long edge along the in the hoop the way you envision.
bottom (Fig 1).
t hree
Using gives a
5 Take another half hexagon and place
the longest edge RST with the longer
edge of the joined unit from step 4. Sew
9 Place the finished pocket on top of the
background, both right side up. Place
your hoop on top to ensure you’re happy
fabrics ed look
b r ai d
carefully along the edge and press to one with the placement and adjust as necessary.
side (Fig 2). You will need at least 2in of fabric around
6 Continue adding half hexagons to the

unit as in step 5, until you’ve added all
the pieces to form a braid (Fig 3). Apply
the fusible interfacing to the wrong side
of the braided strip, following the
manufacturer's instructions.
Fig 1 Fig 2 Fig 3
CUTE & CUDDLY
YOU WILL NEED

Pencil pocket bookmark
■ Green solid fabric: one (1)
fat eighth
■ Print fabric: one (1) fat eighth
■ Background fabric: one (1)
fat quarter
■ Fusible interfacing: 3¾in x 7½in
■ Three (3) copies each of the Leaf
and Reverse Leaf FPP Templates
FINISHED SIZE
■ 3¼in x 7in
CUTTING OUT
1 From each of the print and green

solid fabrics cut:
■ One (1) 1¼in x 3in.
■ One (1) 1¼in x 1¾in.
■ Three (3) 1¾in x 1½in.
2 From the background fabric cut:

■ Twelve (12) 1½in x 2in.
■ Five (5) 2in x 1¾in.
■ One (1) ¾in x 1¾in.
■ One (1) 1¾in square.
■ One (1) 3¾in x 8in.
■ One (1) 3¾in x 4in.
MAKE A MATCHING BAMBOO
■ One (1) 3¾in x 12in. BOOKMARK TO COMPLEMENT
YOUR PANDA TOY!
3 From the fusible interfacing cut:
■ One (1) 3¾in x 8in.
■ One (1) 3¾in x 2in. print fabric 1¾in x 1½in pieces for Section 3¾in x 12in piece, applying the remaining
■ One (1) 3¾in x 6in. 1 and the 1½in x 2in background pieces interfacing. These will make the backing
for Sections 2 and 3. pieces for your bookmark.
MAKING THE BAMBOO
4 Piece each of the Leaf and Reverse Leaf

FPP templates, following steps 16–19 of
the Panda instructions. Use the green and
5 Arrange the pieced leaves with the
print, green and background pieces,
referring to Fig 1. Sew together in
8 With your completed bamboo right side
up, place the smaller backing piece on
top, aligning the raw edges at the sides
columns, then sew the columns together and top. Place the larger piece on top,
to complete the front. Apply the 3¾in x aligning raw edges at the bottom and
7½in fusible interfacing to the wrong side, sides. Pin in place.
following the manufacturer’s instructions.
6 Place the completed bamboo front

WST with the 3¾in x 8in piece. Baste
9 Sew around the outer edges, using a
¼in seam allowance. Press, turn right
side out and press again to finish.
around the outer edges.
FINISHING THE BOOKMARK LP&Q Senior Technical
7 Take the 3¾in x 4in piece and fold in Editor Sarah spends her
downtime daydreaming
half, WST, matching the two short ends about more quilts than she
and press. Open out, and apply the 3¾in could ever actually sew!
x 2in piece of interfacing to one half, spindleandshears
Fig 1 on the wrong side. Repeat with the
CUTE & CUDDLY
D PRINT
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CUTE & CUDDLY LOVEQUILT
Panda Ear
ENLARGE 200%
CUTE & CUDDLY

Panda Arm CUTE & CUDDLY
ENLARGE 200% Panda Leg
ENLARGE 200%
CUTE & CUDDLY

Panda Head
ENLARGE 200%
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3
2
1 CUTE & CUDDLY

Leaf FPP
ACTUAL SIZE
1
2
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ACTUAL SIZE
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Reverse Leaf FPP
3
ACTUAL SIZE
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Half Hexagon
ACTUAL SIZE
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WHY WE QUILT
WHY WE QUILT
DONNA MCLEOD
From full-time mum to quilt designer, Donna of
Top centre: Donna
XOXSEW shares how she balances the two
now gets to mix
motherhood with
her passion and “Mama, what’s for snack?” I pause but it also gives me a sense of
career – quilting my fabric cutting, check the time purpose. Outside of it, I’m faced
(3:00pm), and suggest the oranges with responsibilities and tasks that
Above: Donna
incorporates a sitting on the kitchen counter. require careful attention, time and
playful edge to her There’s profound joy in fulfilling effort. With quilting, it’s all about
designs and brand
my children’s needs, but there were whatever I want out of it. There
Below: The moments – back when both my kids aren’t any strict rules to patchwork
friendly face behind were under eight years of age – when piecing, so it’s liberating to shrug
XOXSEW and her
striking Balboa I felt like I was nothing but a 24/7 food mistakes and get lost in the art form.
Island design dispenser. Before quilting, this feeling The outcome is a usable work of art,
reared its ugly head almost everyday. no matter how imperfect it’s
I was a stay-at-home parent, and didn’t stitched together. For me, there’s no
recognize it at that time, but I was better feeling than making
struggling from a loss of identity, something from my own hands and
motivation, and purpose. The seeing pieces of fabric come
thing is, I enjoyed working in together to create a tangible item
general. It gave me measurable that my loved ones can cuddle with.
goals and it satisfied my career- “Mama, what’s for dinner?!”
oriented aspirations. However, Ahh, speaking of loved ones. I look
due to employer-based at the time. It’s barely 4 o’clock. I tell
healthcare coverage in the US, it them to give me 30 minutes, and then
was difficult to go back to the I resume pressing my fabrics to remove
workforce without wrecking our the wrinkles. These days, I no longer feel
family’s health insurance. So, for a stuck or feel like a food dispenser on
long time, I felt stuck. That is, standby (or have the desire to work for
until I came across a sewing class a boss). I have something else I can focus
on how to sew a zippered pillow on that gives me a sense of purpose,
cushion at a local fabric shop. My even when dinner time rolls around.
mom’s sewing machine had been And that feels wonderful. Above middle:
We love the cosy
sitting in the garage for years,
colours and hand
and I thought it was a great way quilting of Donna's
to finally put it to good use. Page Turner pillow
Since then, I try to quilt
xoxsew.com
whenever I can. Quilting is
innately a practice of self-care, xoxsew
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TECHNIQUE FOCUS
BEGINNER’S GUIDE TO
BY PAULA STEEL
Each month, our expert Paula Steel

will show you how to make a project
using a new and exciting technique!
TECHNIQUE FOCUS
BEGINNER’S GUIDE TO:

EQUILATERAL TRIANGLES
An equilateral triangle is a triangle which has three sides of equal length. This is a common
shape used in patchwork and super easy to piece, so once you get the hang of it you
won’t look back! There are lots of templates available to aid with the cutting – these are
commonly referred to as 60-degree triangle rulers. In case you don’t own a 60-degree
ruler yet, we’ve provided a template you can download and print out on p74!
HOW TO SEW
CUTTING TRIANGLES
WITH A TEMPLATE
Triangles are simple to cut using an
acrylic template with markings. The
benefit of an acrylic template is that
you can cut multiple sizes. Paula is
using a Creative Grids 60-degree
ruler, but there are many different
ones you can choose from.
When sewing a strip of triangles
that finishes with a straight edge,
there are two options. You can
either trim away the excess triangle
to create a straight edge at the
beginning and end. Or, you can
cut half-triangles to sew at the start
and end. To cut a mix of half and
full triangles, follow steps 1–3. If
you just require full triangles from
your strip, skip step 2 (you will need
to cut on both sides of your ruler
for the first triangle).
1 Cut a strip of fabric the same size

as the unfinished height of your
triangles. For this example, Paula
cut 4½in tall strips of fabric. Fold
the strip in half, bringing the short
edges together with the fabric
wrong sides together. Trim the
2 Line up your triangle ruler with
the edge of the strip so that the
mark ¼in to the left of the centre is
you will have two mirrored pieces,
which can be used for the ends of
pieced rows (Fig B).
short edges, so they are straight, lined up with the edge of the fabric
removing any fabric selvedge
in the process.
and then cut along the diagonal line
(Fig A). Because your strip is folded, 3 Rotate the ruler so that the
diagonal edge is aligned with
A B C
TECHNIQUE FOCUS
D E F
G H I
the previous cut. Cut along the

other side, for a pair of full triangles J K
(Fig C). Continue working your way
down the strip, turning the ruler
between cuts to align the diagonal
edge, until you have your required
number of triangles.
SEWING TRIANGLES INTO STRIPS

Triangles are nice and easy to sew
together. Plus, using a template
gives you a nice flat edge at the top the flat corner of the half-triangle is you can have lots of fun rotating
point, which helps to line them up. slightly larger than ¼in, so make sure them, joining smaller triangles
to align the flat corner of the triangle into a larger triangle and creating
4 Lay out the triangles into a row,

in the order you require. Place
the first two triangles RST, with the
with the angled edge and base of
the half-triangle to line up (Fig E).
rectangular blocks. Here are a few
ideas you can use:
SEWING ROWS TOGETHER

second triangle on top. The pointed
corner of the first triangle should be
peeking out approx ¼in beyond the 7 When sewing rows together,
place RST and then pin through
9 Using four 2½in cut triangles we
can build a 4½in triangle. Simply
sew together the bottom row of
flat corner of second triangle. Pin in the point where the diagonal seams three triangles and then centre the
place at the side you will sew (Fig D). meet on the top and the point of the top triangle across the top (Fig H).
triangle on the second row (Fig F). Now we can sew a 4½in triangle to
5 Sew along the pinned edge with

a ¼in seam. You should notice
8 Hold this centre pin tight and
either side and it will match up.
that the stitched line intersects

where the flat edge and the point
meet. Press the two triangles open.
then add two pins to create a
stable hold (Fig G). Paula likes to
place these pins on the diagonal to
10 You can sew two half-triangles
together to create a full triangle
by sewing along the straight edge
Continue adding triangles to the help hold the point in place. You (Fig I). You can then piece these into
strip in the same way, rotating the can take out the centre pin once a row in any rotation, to give extra
flat corners from top to bottom. the other two pins are in place. movement to your piecing (Fig J).
ADDING END PIECES MIXING AND MATCHING

6 End pieces are added in the same
way as full triangles. However,
60-degree triangles are an equal
length on each side. This means
11 Create rectangular blocks by
sewing a half-triangle to either
side of a full triangle (Fig K).
TECHNIQUE FOCUS
PROJECT:
TRIANGLE BEACH BAG
YOU WILL NEED

■ Navy accent fabric: ¾yd
■ Light blue lining fabric: ¾yd
■ Triangle fabrics: approx
eighteen (18) fat eighths
■ Interfacing: 3in x 24in
■ Beads and pompom
embellishments (optional)
■ Split keyring (optional)
■ 60-degree triangle ruler or one
(1) copy each of the Triangle
and Half Triangle templates
FINISHED SIZE
■ Approx16in x 22in
■ Mid blue: fourteen (14) triangles

CUTTING OUT and four (4) half-triangles (two (2)
TOP TIP
1From the light blue lining fabric cut:
■ Two (2) 23½in x 18in.
of each orientation).
■ Dark blue: fourteen (14) triangles
and four (4) half-triangles (two (2)
2
Paula used five white fabrics, four From the navy accent fabric cut: of each orientation).
light blue fabrics, five mid blue
■ Two(2) 24in x 6in.
6
fabrics and four dark blue fabrics.
■ Two (2) 3in x 23½in. Using Fig A as a guide, lay out
This gave a really good choice of
■ One (1) 4in square. half of your full triangles and
fabrics for the layout. You could
half-triangles into four rows. Using
use just four of each fabric, for
a total of sixteen fabrics, but you
will need a fat quarter for at least 3 From the triangle fabrics cut:
■ Eighteen (18) 5½in x 22in.
the Technique Focus as a guide, sew
the triangles together into rows
(Fig B). Join the rows together to
two of the fabrics.
4 From the interfacing cut:

■ Two (2) 1½in x 24in.
create the front panel. Repeat to
make the back panel.
NOTES PREPARING THE QUILT FRONT

■ Seam allowances are ¼in,
unless otherwise stated. 5 Using the Technique Focus tutorial
as a guide and using either the 5½in
7 Baste each panel to a piece of
batting, approx 25in x 23in. Quilt
as desired. Paula echoed the seams
■ Press seams open, unless mark on your triangle ruler or the in variegated thread (Fig C). Trim
otherwise instructed. Triangle template, cut from your strips: each panel to 23½in x 20½in.
■ RST = right sides together. ■ White: fourteen (14) triangles
and four (4) half-triangles (two (2) PREPARE THE LINING AND STRAPS
FABRICS USED
All of the fabrics are from a fat
quarter bundle of the Water
of each orientation).
■ Light blue: fourteen (14) triangles
and four (4) half-triangles (two (2)
8 Sew a navy 3in x 23½in strip to
the top of the 18in x 23½in light
blue piece (Fig D). Repeat to make
collection by Ruby Star Society. of each orientation). a second lining piece.
A B C
TECHNIQUE FOCUS
D E F
G H I
K Topstitch along both long edges. each end (Fig I). Repeat the same
Fold in half and loop through the process with the other corner.
keyring. Baste the raw edges.
FINISHING THE BAG 18 Repeat steps 14–17 with the

lining pieces, leaving a 6in turning
13 Place the front panel right side

up, with the long edges at the
gap at the centre bottom.
top and bottom. Mark 4½in from the

left and right edges along the top.
Place a strap so the outer edge lines
19 Turn the bag outer right side
out, and place down inside the
lining. The outer and lining should
9 Take one navy 24in x 6in piece

and fold in half lengthways, wrong
sides together. Open out and fold
up with your marks at each end. Place
the keychain next to a strap, leaving
a space. Baste in place (Fig G).
be RST, with seams matched at each
side. The straps should be down
between the two layers. Pin or clip
the edges into the centre fold around the top edge.
line. Open out, and fuse a piece
of interfacing between the centre
and one outer fold, following the
14 Repeat the process in step 13
to add the second strap to the
back panel. Place RST with the front 20 Stitch around the top of the bag,
backstitching at each end of the
manufacturer’s instructions (Fig E). panel, and carefully sew along the seam (Fig J). You may also want to
sides and bottom. backstitch a few times over the ends
10 Refold the edges to the centre,

and refold in half, so the raw
15 Measure and mark a 3in square
of each strap for extra strength.
edges are enclosed. Press well.

Topstitch along both long edges
(Fig F). Repeat the process in steps
in both bottom corners, aligning
the 3in marks of your quilter's ruler
with the sewn seams (Fig H). Cut
21 Turn the bag right side out
through the gap, and push the
lining down inside. Push out the
9–10 to make a second strap. out both squares. corners and press around the top
edge. Top stitch around the top of
11 Thread beads and pompoms onto

a length of embroidery thread,
and secure to your split ring.
16 Working one corner at a time,
bring the side edge together
with the bottom, aligning the seams.
the bag and close the gap in the
lining by hand or machine to finish.
Finger press the seams open and pin
12 Fold the 4in square of navy

fabric in half, WST. Open out
or clip the edges together. Paula loves fabric, cats and rainbow colour
palettes. Her 'inner nerd' secretly enjoys
17
and press the edges in the meet Sew across the corner using a the maths behind designing quilts!
paulasteelquilts.com paulasteel.quilts
the centre crease, then refold in half. ¼in seam and backstitching at
TECHNIQUE FOCUS
D PRINT
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MAKE IT...
Jelly Roll quilt by Lynne Goldsworthy
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Layer Cake patterns by Wendy Chow
Spring table set by Kate Webber
Mono bag duo by Felie Hempfling
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PICNIC
B OM ON E
SUNHAT BLOCK
Get set for brighter days with the first block in our new feel-good series!
BY GRACEY LARSON
BOM
ONE
YOU WILL NEED

Sunhat quilt block
■ Light blue (Bleached
Denim): 3/8yd
■ Orange (Mac 'N Cheese):
one (1) fat eighth
■ Black (Licorice): 31/2in x 7in
■ Light peach (Ice Peach): 1/2yd
■ Beige (Sand): one (1) fat eighth
■ Green (Green Smoothie): 1/8yd
■ Yellow-green (Pear): one (1)
fat eighth
FINISHED SIZE
■ Sunhat Block: 24in square
(241/2in unfinished)
■ Quilt: 78in x 86in
To make the whole quilt

You will need Confetti Cottons
by Riley Blake as follows:
■ Bleached Denim (light blue)
(background): 53/4yds MAKE THE ENTIRE QUILT USING
■ Silver (light grey): 1/2yd
■ Grey (mid grey): 1/8yd
SIMPLE STRIPS AND CORNER
■ Peony (coral-pink): 3/8yd SQUARE TRIANGLE UNITS!
■ White (white): 5/8yd
■ Piglet Pink (mid pink): 1/2yd
NOTES
■ Petal Pink (light pink): 3/8yd
■ Seam allowances are 1/4in throughout,
■ Dandelions (yellow): 1/8yd
unless otherwise noted.
■ Violet (mid purple): 1/4yd
■ Press seams open throughout.
■ Purple (dark purple): 1/8yd
■ Lilac (light purple): 1/8yd ■ Borders for the final quilt will be pieced.
■ Mustard (dark yellow): 1/8yd If you want to cut continuous borders,

■ Green Smoothie (mid green): 21/2yds you will need to cut two 51/2in x 581/2in
■ Pear (yellow-green): 1/4yd pieces from the Green Smoothie fabric
■ Licorice (black): 1/8yd and two 21/2in x 681/2in pieces from the
■ Cinnamon (brown): 1/4yd Denim fabric before you begin piecing.
■ You may require more yardage of
Plus Cotton Supreme Solids these two fabrics.
by RJR Fabrics as follows:
■ Beach House Coral (bright coral): 5/8yd CUTTING OUT
Plus Kona Cotton Solids by Robert

Kaufman as follows:
1From the light blue fabric cut:
■ Three (3) 31/2in squares (A).
■ One (1) 11/2in x 41/2in (B).
■ Mac N’ Cheese (orange): 3/8yd Quilt Layout Diagram
■ One (1) 21/2in x 41/2in (C).
■ Ice Peach (light peach): 1yd
■ One (1) 11/2in x 181/2in (D).
■ Limelight (lime green): 1/4yd
■ Three (3) 71/2in squares (E).
■ Sand (beige): 5/8yd
■ Two (2) 11/2in x 201/2in (F). ■ One (1) 11/2in x 21/2in (J).
■ One (1) 11/2in x 221/2in (G). ■ Nine (9) 11/2in squares (K).
Plus:
■ Three (3) 11/2in x 31/2in (L).
■ Binding fabric: 5/8yd
■ Backing fabric (42in width): 71/4yds
2 From the orange fabric cut:
■ Two (2) 41/2in squares (H).
■ Two (2) 11/2in x 41/2in (I). 3 From the black fabric cut:
■ Two (2) 31/2in squares (M).
BOM
ONE
B F
A A
I I P
N P
H O H E
I
C Q Q Q KK Q
KK U
H
J M L K L M L
A
R Q KK C
Q Q Q KK Q
V
W CC W
Fig 1
EE
EE
A
AA
Z
D S G B
DD DD
A
T
BB BB BB BB
FF GG GG GG GG FF
PP HH
XX
II
PP
II Fig 2 D S
Y
E E
R J
F
Q
Layout Diagram
Fig 3
Fig 4
4 From the light peach fabric cut:

■ One (1) 21/2in x 41/2in (N).
■ One (1) 11/2in x 41/2in (O).
I
O H
P
■ Six (6) 21/2in squares (P). Fig 5

■ Nine (9) 11/2in squares (Q).
■ One (1) 21/2in x 31/2in (R). K K
Q Q Q Q
■ One (1) 31/2in x 181/2in (S). M L L L K
N P
■ One (1) 31/2in x 171/2in (T). K K Q Q Q Q
■ One (1) 31/2in x 51/2in (U). Fig 6 Fig 7 Fig 8
■ One (1) 11/2in x 101/2in (V).
■ Two (2) 31/2in squares (W).
■ Two (2) 41/2in squares (X).
■ One (1) 31/2in x 101/2in (Y).
U
■ One (1) 61/2in x 221/2in (Z). BB
FF GG
5 From the beige fabric cut: Fig 9

BB
FF GG
■ One
(1) 61/2in x 81/2in (AA).
■ Four (4) 21/2in squares (BB). Fig 10
BB BB
GG GG
6 From the green fabric cut:

■ One (1) 11/2in x 101/2in (CC).
■ Two (2) 11/2in x 91/2in (DD).
Fig 11
■ Two (2) 41/2in squares (EE).

■ Two (2) 11/2in squares (FF).
11 Add a Q CST to the bottom left of J.
Then add R to the left (Fig 3). Sew D to
CORNER-SQUARE
TRIANGLES (CST)
7 From the yellow-green fabric cut:
■ Four (4) 21/2in squares (GG).
■ One (1) 11/2in x 81/2in (HH).
the left of S, then join this to the bottom
of the previous unit. Add an A CST to the
top left of the combined units. Join the
To make a CST, place a square in the
corner of a fabric piece, RST. Draw
■ Two (2) 31/2in x 51/2in (II). sunglass arm unit to the top to make the a diagonal line on the wrong side of
side of the hat (Fig 4). the small square, making sure it goes
PIECING THE SUNHAT BLOCK across the corner of the larger piece.
8 Join I to the top of C. Place H on top,

aligning the top edge. Mark and sew
a line from the top left to bottom right.
12 Join I to the top of O. Add an H
CST to the top right, trimming the
edge of the triangle after you press the
Sew along the diagonal line. Trim the
seam allowance to 1/4in, outside the
sewn line. Press the corner piece open
Trim 1/4in from the line and press open. unit open. Then add a P CST to the top to complete. If necessary, trim the
right (Fig 5). Join N to the left and P to edges of the corner piece even with
9 Trim the bottom edge of the corner the right to make the second sunglass the larger piece.
even with the rest of the unit (Fig 1). arm unit (Fig 6).
10 Join B to the top of the unit, then add

an A CST to the top right corner (Fig 2).
This forms the sunglass arm unit.
13 Add a K CST to all four corners of M,
to make a sunglass eye (Fig 7). Repeat
to make a second unit.
BOM
ONE
CC W W
EE EE
14 Add a Q CST to the top right and
DD
AA
bottom right corner of two L units.
DD
Add a Q CST to the top left and bottom
right of another L unit. Then sew Q to HH HH P P
the top and bottom of K, to form the
Fig 12 Fig 13
sunglass units (Fig 8).
15 Arrange the sunglass units and two x ii ii x
eye units in a row as shown in Fig 9.

Sew the units together, then sew the
Fig 14
sunglass arm unit to the top. Join U to V
the right side to complete the sunglasses.
16
P P
Add an FF CST to the bottom left
of BB, then join a GG CST to the Fig 15
bottom right corner. Repeat adding
the CSTs to opposite corners to make
a mirrored unit (Fig 10).
Y
17 Add a GG CST to the bottom left of

one BB, and a GG CST to the bottom
right of a second BB. Arrange with the
Fig 16
Z
units from the last step in one row and
sew together to form the bow unit (Fig 11). T
18 Join AA to the top of the bow unit

and HH to the bottom. Join DD to
either side, then join CC to the top to
form the hat centre (Fig 12). Add EE CSTs
to the top corners of the hat centre. Then Fig 17
add W CSTs to the top corners and P
CSTs to the bottom corners (Fig 13).
A F
19 Add an X CST to the top left of one

II piece and add an X CST to the
top right of a second II piece. Trim the
corners even with the II unit (Fig 14).
Add P CSTs to the opposite corners of
G
each unit. Then sew the units together
to form the bottom bow (Fig 15).
20 Add the bottom bow to the bottom

of the hat centre. Then join V to the
top and Y to the bottom (Fig 16).
F
21 Join T to the left of the hat centre, Fig 18 Fig 19

then join the sunglasses to the top.
Join Z to the right (Fig 17). Join G to the
right edge, then join F to the top and
bottom. Add an A CST to the top left
corner (Fig 18). SCAN HERE!
Master of all things cute Scan the QR
22 Join the side of the hat to the hat Gracey creates sweet blocks code here to see
using traditional methods our previous EPP
centre to complete the block (Fig 19).
burlapblossompattern.
Press the block well, and trim to 24½in etsy.com
Block of the
square, if necessary, to finish. burlapandblossompatterns Month series!
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5 WAYS WITH:
1 Quilts al fresco
Picnic season is nearly here! During the
last rainy days of the season, sew the
Inspired by our show-stopping cover quilt, we're patterns of the Grove and Floyd quilt duo
ditching repeat blocks for all-over impact… by Taylor Krz of Toad and Sew, so that on
the next sunny days you can sit in a park
enjoying the fresh air. toadandsew.com
2 2 Star struck
Join in with Tara Faughnan's Roam
Block of the Month to make this beautiful
pattern, reminding us of the night sky.
Every month video tutorials are released,
with each round using different methods
to build skills for beginners and experts
alike. tarafaughnan.com
3 Be-leaf in yourself
1 Let the leaves and flowers of this spring-
themed quilt swirl into your home! Find
3 this pattern by Satomi Hoar in issue 124
of Love Patchwork & Quilting via Zinio,
Pocketmags, Readly and the LP&Q app.
4 Golden hour
Make your own Gold Medal with Brigit
Gail's shining quilt pattern. Challenge
yourself and get comfortable using a
variety of different techniques – including
curves! Find it at brigitgail.com
5 Sunset mindset
Shoot for the stars with this beautiful
sunset-inspired quilt pattern! If you missed
Wendy Chows' Settings Suns Block of the
5 Month series, you can find the complete
quilt pattern in our Etsy store at
TQandLPQShop.etsy.com
TOP TIPS
■ A large medallion pattern can be
overwhelming, so approach the
piecing round by round to break
into manageable sessions.
■ Start with something simple – you can

make an impact with easy piecing!
■ Find a FREE medallion pattern over

at www.gathered.how to practise
4 your sewing skills.
SHOP WITH US!
Explore Today's Quilter and Love Patchwork & Quilting's Etsy store where you’ll
find easy-to-follow quilt and homeware patterns for every ability. Prices start from
just £6 for an instant PDF download complete with instructions and templates.
Keep an eye out for new patterns, too!
TQANDLPQPATTERNSHOP.ETSY.COM
VISIT OUR STORE TODAY!

SCAN HERE!
And browse all
of the patterns
on offer in our
Etsy shop!

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EPP PATTERNS* | EASY BLOCKS | MODERN MEDALLION

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Imagine using only

YOU WILL NEED

1 From Fabric A cut:

Fig 1 Fig 2 Fig 3

Fig 4 Fig 5 Fig 6

MAKING THE HST BLOCKS

9 Arrange four of your large Fabric B/C

10 Arrange the remaining Fabric B/C

11 Arrange four Fabric B/E HSTs with two

12 Arrange four Fabric D/E HSTs with

13 Sew one of the blocks from step 11

MAKING THE LOG CABIN BLOCKS

14 Take one E3 piece and sew a C3 piece

■ Four (4) 13in x 3in (D4).

5 From Fabric E cut:

■ Four (4) 8in squares (E3).

6 From the binding fabric cut:

MAKING THE HST UNITS Fig 7

7 Pair one B1 and C1 square RST. Draw

the line and cut along the line. Trim each

8 Repeat the process in step 7, pairing

pieces together along the long edge

20 Make a quilt sandwich by placing the

21 Baste the layers together using your

22 Sew the binding strips together

23 Sew the binding to the right side of

followed by the D4 and D5 pieces,

15 Repeat the process from step 14,

ASSEMBLING THE QUILT TOP

16 Arrange the HST and Log Cabin

17 Sew the Fabric E 3¼in x WOF strips

18 Sew the shorter strips to the sides

QUILTING AND FINISHING

19 Prepare your quilt back by cutting

YOU WILL NEED

1 From Fabric A cut:

2 From Fabric B cut: