POPULAR

CHRISTMAS

25
FESTIVE
MAKES
4.99
December 2017
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Offers valid from 1st Oct to 31st Dec 2017 brothersewing.co.uk

C
hristmas does strange things
to us or to me at least. From
over-planning the menu to
deciding the house needs painting
in time for the big day, our strive
for seasonal perfection apparently
knows no bounds. However, in
reality, our guests tend to be friends
and family who care as little for the
shade of grey I have chosen for the
porch as they do for the interesting
twist I have applied to the roast parsnips! All they really want
is to share the day with people they love, indulge in too much
food and wine, and exchange some well-chosen gifts!
Considering all the above, and knowing the therapeutic
qualities sewing brings, we have brought you an array of smaller
makes, from decorations to gifts and accessories to help keep
the stress at bay.
As a child, one of the Christmas traditions in our house was to
make a new decoration for the tree. From attempting a reindeer
without a pattern aged 7 (not my most successful project), to
simple stars, my mum and I tried them all! Perfect projects for
little hands include the Gingerbread Garland (page 15), Dainty
Tree Decorations (page 28) and the super simple Stocking
Advent Calendar (page 84) to name but a few. For more of a
challenge, try the irresistible Home for Christmas decorative
banner (page 30) and for gorgeous gift ideas how about the
Pretty Pouches (page 36) or the Take Note Books (page 18), all
wrapped up in the Furoshika Wraps (page 60).
So never mind stash-busting, think stress-busting as you
embark on the makes in this issue and in a nutshell, by the time
Christmas is here youll have it all sewn up (sorry, I couldnt
resist)!

Merry Christmas,
Emma
Follow us on Facebook and Instagram,
and for more patchwork inspiration visit
popularpatchwork.com

DECEMBER 2017 3
 10
80

Contents
DECEMBER 2017 30

Projects
15 GINGERBREAD GARLAND
A decoration thats good enough to eat

18 TAKE NOTE
Gorgeous covered notebooks

22 THE NIGHT BEFORE CHRISTMAS

Patchwork clock

26 DAINTY DECORATIONS
Cute makes for the tree

30 HOME FOR CHRISTMAS

Decorative Christmas scene

36 PRETTY POUCHES
The perfect make-up bag

52 NORDIC STOCKING
Full of Scandi-chic

56 PATCHWORK BLANKET BORDER

Pretty up a blanket for Christmas

60 ALL THAT GLIMMERS

Stylish wraps for your gifts

74 HYGGELIG HOT WATER BOTTLE

Keep warm and toasty this winter
74 56
77 BOTTOMS UP
Turn a bottle into a gift!

80 QUICK CONES
Simple advent calendar the little ones
will love!

82 NO SEW WREATH
Seasonal scrap project

84 STOCKING ADVENT
CALENDAR
Let the countdown begin!

4 DECEMBER 2017
 REGULAR

36

12

Features
44 Q&A
Designer Patricia Belyea describes her
quilting journey from East to West!

68 WEDDING QUILTS
Diana Woolf looks back to the days when
60 18 the dress wasnt all the bride worried about!

96 PATCHWORK OF MY LIFE
Designer Sara Cook shares her
sewing inspiration

Regulars
3 EDITORS WELCOME
A festive look at the December issue

6 NEWS & REVIEWS

All thats new and crafty in the world
82 of Patchwork

10 SWATCH THIS SPACE

15 A round-up of the latest fabrics

12 TAKE ME HOME
Top picks for crafty stocking fillers

39 STUARTS SURGERY
How to store your quilts

40 SHOW & TELL

What have you been up to?

42 BOOKSHELF
Crafty books for Christmas
44
52 72 SUBS OFFER
Never miss another issue

87 COMING NEXT MONTH

A sneaky peek at the January issue

88 HANDY HINTS FOR SUCCESS

Top tips for patchwork

98 GIVEAWAYS
Fabulous prizes up for grabs!

DECEMBER 2017 5
Jazz Age-inspired Christmas at the
American Museum
Wiggle on over to the American Museum between 23 November
and 17 December for a taste of 1920s glitz and glamour. These little
flapper dolls, made by volunteers of the museum will form part of a
decadent Christmas display. Each of the period rooms will be dressed
to tell a different Christmas story and therell be plenty of quilts on
display. Visit on the weekend of 25 to 26 November and youll also
catch the Christmas Craft Fair featuring lots of talented makers.

Thursday 23 November to Sunday 17 December, 10.30am to 5pm.

Standard Admission: Adults 12, Over 60s & Students 10.50,
Children (5-18 years) 6.50. JO AVERYS DEBUT
American Museum in Britain, Claverton Manor, Bath, BA2 7BD
americanmuseum.org
COLLECTION FOR
AURIFIL THREADS
Sherbet Dip is
a collection of
12 large spools
of 50wt threads
in well-known
quilter, Jo Averys,
signature colour
palette. Presented
in a stylish box,
the threads work
equally well for machine and hand-sewing and promise flat
seams and a fine finish. Each spool contains 1300m of thread
and some are variegated, as Jo tends to use these in her
free-motion quilting. Popular Patchwork readers will get
a 10% discount online by quoting dipsherbert10.
mybearpaw.co.uk

NEWS & REVIEWS

Keeping you in the loop with the latest news from the craft world

CHRISTMAS AT
BLACKTHORPE BARN
Blackthorpe Barn is a beautiful medieval thatched barn in the heart
of Suffolk that runs workshops and events throughout the year.
At Christmas, it turns into a magical wonderland with craft fairs
every weekend, Christmas trees on sale and Santas grotto for the
littlens. If youre struggling to get into the festive spirit, youll find it
here for sure!

Weekend fairs British Crafts at Blackthorpe Barn run from

Saturday 11 November to Sunday 17 December, 10am to 5pm.
Adults 3, OAPs 2, Children/Students free, Season tickets 7.
Blackthorpe Barn, Rougham Estate, Bury St Edmunds, IP30 9HZ
blackthorpebarn.com

6 DECEMBER 2017

ARTIST IN FOCUS
Visitors to the Harrogate show will be able to get up close
and personal with some world-class artists and groups with
works on display in the Textile Galleries. Here, we have a sneak
preview of the delicate and intricate work of US artist, Hillary
Waters Fayle, hillarywfayle.com
Tell us how you come to be exhibiting at The Knitting
& Stitching show in the UK?
The Knitting & Stitching Show has been on my radar for a few
years now Im a little more in-tune with whats happening in
the UK since I studied embroidery there briefly during college.
Im really thrilled to be exhibiting at the show this year I
havent been back to the UK since my studies, which were such
a life-changing experience for me, so Im really looking forward
to coming back.
The work youll have on display here combines stitching
with natural materials such as leaves and feathers? Can you
describe the challenges of this technique?
Each material has its own unique challenges, and leaves are
no exception. They are delicate, and to work with them you
only have a small window of time. I love using them though,
and the difficulties only make the successes more enjoyable.
I get asked all the time how long this art will last, and its a
difficult question to answer. I dont know how long anything
will be around on this planet, myself included. There is
something beautiful to me in knowing that what I make will
most likely outlast me, but it too, like all organic matter, will
REGULAR
HILLARY WATERS FAYLE AT THE KNITTING
& STITCHING SHOW, HARROGATE
one day return to the dust. That is natural, and there is a
balance in that that I enjoy.
Has sewing always been a big part of your life?
I remember making things when I was little: clothes for
my dolls, pincushions, tiny embroideries for my mother, etc.
I didnt realise that this was more than just a hobby until I
understood the magnitude of textiles and textile art when
I was older, and I chose to study fiber and textile design while
earning both my undergraduate and graduate degrees. It has
absolutely been a lifelong passion, and although I work in
many different ways now, this knowledge and these skills are
present in everything I do.
Hillary Waters Fayles work features in the Textile Galleries at
The Knitting & Stitching Show Harrogate from Thursday 23 to
Sunday 26 November 2017 at Harrogate International Centre,
Kings Road, Harrogate, HG1 5LA.
Visitors will get another chance to see the winning quilts from
this years FOQ, treat themselves to a workshop with their
favourite makers, and grab a bargain from one of the hundreds
of suppliers of fabrics and other sewing essentials.
Popular Patchwork readers can quote POPP17 to get a 2.50
discount on adult advance tickets (normally 14.50) and a 1
discount on concession tickets (normally 13).
theknittingandstitchingshow.com/harrogate
DECEMBER 2017 7
 REGULAR

COURSE PICKS
Our pick of courses happening around the UK

Quilt as you go
This is a technique class where
youll make three or four small
quilt sandwiches and then be
shown how to put them
DATES together (as a sample that
FOR you will keep). The idea is that
YOUR when you come to make a quilt
of your own using this method you can look back at the
DIARY sample, as well as a copy of the instructions and remember
Fans of Oakshotts shot fabrics should pencil in Saturday 9 to how to do it. Photo shows quilt by Gillian Banks.
Sunday 10 December to visit their pre-Christmas pop-up shop at Its aimed at the intermediate sewer who has already tried
their Gloucester warehouse. Not only can you get a sneak preview of quilting before and wants to try a different way of putting
their new collections, youll also be able to admire the work of some a quilt together. The technique allows the casual quilter
leading designers. Fabric remnants and seconds will also be on sale to assemble quilts that are larger in size than a lap quilt.
for the early birds amongst you. Youll even be able to make a double or king-sized quilt on
Oakshott Fabrics, 19 Bamel Way, Gloucester Business Park, a home sewing machine, without the need for a long arm
Brockworth, Gloucester, GL3 4BH quilting machine.
Saturday 9 December, 10am to 4pm to Sunday 10 December,
10am to 1pm Thursday 14 December, 10am to 12.30pm, 18,
oakshottfabrics.com Raggy Robin, Unit 14, Vane Tempest Hall, Maynards
Row, Gilesgate, Durham, Co Durham, DH1 1QF
raggyrobin.co.uk

Introduction to machine quilting

In this full-day technique class, tutor Meg Leach
will take you through the basics of quilting and will
Two also explain all about needles, threads and modern waddings.
shows Bring your own sewing machine to class and Meg will teach
you how to quilt by creating quilt sandwich samples on a
for the domestic machine. Its aimed at complete beginners and for
price of those looking to add some new skills to their repertoire.

one! Friday 8 December, 10.30am to 4.30pm, 42, New

Get your skates Threads, Studios 12 & 14, Fairground Craft & Design
on to catch this Centre, Weyhill, Andover, Hampshire, SP11 0QN
years Stitching, new-threads.com
Sewing &
Hobbycrafts
show at Excel and bag yourself free entry into the Simply Christmas
Le Moyne Star Quilt
show offering all kinds of gift ideas from jewellery to fine cheeses. A course to help you master those tricky Y-seams using
Therell be live music and festive fare to get you in the mood whilst modern techniques in a traditional eight-pointed star design
you grab those last-minute craft supplies. Coming very soon so dont (which featured in Modas Collection for a Cause Quilt Hope).
delay! Techniques being taught will include set in seams and how to
Simply Christmas and Stitching, Sewing & Hobbycrafts deal with multiple point seams. Instructions will be available
ExCel, London, Royal Victoria Dock, 1 Western Gateway, for the full-sized quilt, but its ultimate size is entirely up to
London, E16 1XL you in a full day session aimed at more advanced sewers.
Thursday 16 to Saturday 18 November, 10am to 4.30pm Refreshments provided throughout the day.
(5pm Saturday)
Adults: 10 advance / 12 at the show Wednesday 13 December, 10am to 3.30pm, 30,
Seniors: 9 advance / 11 at the show Patchwork Cabin, 30 Church Road, Great Bookham,
Accompanied under 16s go free Surrey, KT23 3PW
stitchandhobby.co.uk patchworkcabin.co.uk

8 DECEMBER 2017
 French Fancies
French Cottage is an oh-so-pretty range based on
charming Toile de Jouy and filigree designs in
colours reminiscent of fields of lavender under
blue Provencal skies. Combining traditional
motifs with modern colours, this will be a
versatile addition to your fabric stash, ready
for New Year projects.
gtermann@stockistenquiries.co.uk

SWATCH THIS SPACE

Weve gone for a pick and mix assortment of fabrics this month with designs that will
take you from Christmas straight through to the summer. Squeeze in a last-minute
project or two with the pretty but eccentric Comfort and Joy range from Hawthorne
Threads, or keep it more traditional with a nostalgic range from Ellies Quilt Place,
Modern Traditions. You can download the free Modern Traditions quilt pattern at
hantex.co.uk/eqp. The French Cottage range from Gtermann feels like the perfect
colour palette for those looking ahead to spring projects, mixing stripes, filigree and
Toile de Jouy designs whilst the much-anticipated Liberty range, The English Garden,
takes us right into the mellow summer months. Take your pick!

Seasonal Choice
If you still havent found the
perfect festive fabric for those
last-minute makes, why not try
the Comfort and Joy collection
from Hawthorne Threads. Its a
quirky range based on large-scale
poinsettias with armchairs and
parakeets thrown in for good
measure (why not?). Sounds a
bit mad but the overall feel is
rather sophisticated.
hawthornethreads.com

10 DECEMBER 2017
 REGULAR

Modern Love
The Modern Traditions collection by Ellies Quilt Place is a new launch from the
Hantex stable. EQP owner Ellen Remijsne hails from Belgium and has a passion
for antique quilts. The floral designs in small print have a timeless quality that
will make them suitable for a wide range of quilting projects.
hantex.co.uk/eqp

1
fat quarter
bundle to
give away
See page 98

Dainty &
Delicate
The English Garden from
Liberty Fabrics has been
created specifically for
quilters and has a Lasenby Cotton
base. Subtle designs include tiny buds
and sun-bleached wild flowers and
some of them have been redrawn
from the Liberty archives.
Heart-meltingly beautiful!
eqsuk.com

DECEMBER 2017 11
 TAKE ME HOME
With only weeks to go before the big day, check out our top picks for the cutest
stocking fillers in town

White Rabbit Snow Globe, 12.50, printerandtailor.com Just because.

12 DECEMBER 2017
 shopping TAKE ME HOME

Tilda Planner 2018, 12.99 Create a Pincushion Set from Clover, 7

sewandso.co.uk clover@stockistenquiries.co.uk
Take daily inspiration from Tildas A great little kit to use up a favourite
Kitten Embroidery Hoop by DMC, 13.50 stunning designs scrap of fabric
craftycritters.co.uk
Frame your favourite fabric and hang.
Miaow!

Folklore Emery Boards, 3

wildandwolf.com
Makery Macaron A treat for hard-working hands Large Safety
Tape Measure, 6.95 each Pin, 5.75
themakery.co.uk papermash.co.uk
Measure up in spearmint, pistachio Tape storage with attitude!
or strawberry

5 bottles to
give away
See page 98

Queens of England Notebooks

(set of three), 12.50 Flatter Smoothing Spray by Soak, 12
theshopfloorproject.com simplysolids.co.uk Singer Sewing Machine Necklace, 7.99
Featuring beautiful paper-cut Starch-free spray that relaxes funkypinks.co.uk
collages by designer Amanda White wrinkles and freshens fabrics A personalised gift for jewellery lovers

DECEMBER 2017 13
 GINGERBREAD
GARLAND
Nothing says Christmas quite like Gingerbread!
by Judith Hollies

See
pattern
sheet for
template

DECEMBER 2017 15
 DECORATION

SKILL LEVEL
MATERIALS
Twelve 13 x 15cm (5 x 6in)
rectangles of brown felt
m (yd) heavy-weight sew-in
interfacing
152.5cm (60in) twine
Twelve small red buttons
Red, black and brown stranded
embroidery floss
1m (1yd) white ric rac, 6mm (in) wide

FINISHED SIZE
Each figure approx. 12.5 x 14.5cm
(5 x 5in)

Cutting instructions Using six strands of black embroidery

FIG 1: Cutting the interfacing inside the
drawn line
1 Using the template on the Pattern
Sheet trace twelve gingerbread men
onto the felt and cut out following the
line.
2 Trace six gingerbread men onto the
interfacing and cut out in inside the
drawn line. Fig 1
Making the garland
1 Pin a piece of interfacing to the back
six gingerbread men, making sure it is
centred. Fig 2
2 Embellish the six pinned gingerbread
men in the following way:
floss, sew two French Knots for the
eyes. Fig 3
Using three strands of red embroidery
floss, sew a smiling mouth using a
backstitch. Fig 4
Stitch two red buttons onto the
tummy. Fig 5
Machine or hand sew the ric rac cuffs
onto the arms and legs. Fig 6
3 Take the remaining six felt gingerbread
men and lay them in a row. Place the
twine on top so that it runs through the
arms with 1in gaps between each figure.
There should be an equal amount of
twine free at each end. Fig 7

FIG 2: Placing interfacing onto the back of

the felt
FIG 4: Sewing back stitch for the mouth FIG 6: Stitching ric rac cuffs

FIG 3: Making French Knots for the eyes FIG 5: Adding buttons to the tummy FIG 7: Measuring the between the figures

16 DECEMBER 2017
 TUTOR
FEATURE

Name:
Angela Daymond
Signature Technique:
4 Using just a couple of stitches, hand 7 Using three strands of brown
sew the twine at each hand, in in from embroidery floss hand sew a small Kantha running stitch and
the edge. Fig 8 blanket stitch around each figure, natural dyeing
using the machine stitches as a guide.
Top Tips:
5 Pin the gingerbread man backs and Fig 11
fronts together, right sides out. The twine The consistency of your
should be in-between the layers. Fig 9 stitch is more important
WHERE TO BUY than the size
6 Machine stitch around each ginger-
Similar materials are available from quilt
bread man, approximately in in from
fabric shops or see our advertisers for Enjoy the uniqueness
the edge. Fig 10 mail order services. and unpredictability of
natural dyeing

HB pencils can be used

to transfer a pattern and
then washed out easily

Most Viewed Classes

Eco-dyeing from
your kitchen
5:31

FIG 8: Sewing the twine to each hand FIG 10: Stitching around each figure
Kantha Stitching
17:33

Big Stitch
Quilting
19:02

To find out more about

Britains premier online
classes for quilting, knitting
and textile arts, visit:

FIG 9: Pinning the backs and fronts together FIG 11: Blanket stitching around a figure

DECEMBER 2017 17
 See
pattern
sheet for
templates

18 DECEMBER 2017

TAKE NOTEStitch a handy gift for family and friends
These notebook covers are embellished with appliqud motifs and buttons and could be personalised with a design to
suit the recipient. The really good thing about these covers is once the notebook has been used the cover slips off and
SKILL LEVEL
MATERIALS
To make one notebook:
One fat quarter of grey fabric
One fat quarter of contrasting fabric
for the lining
25cm (10in) medium weight fusible
interfacing
Fabric scraps for the applique
25cm (10in) square paper-backed
fusible web
Thread to match fabrics to be
appliqued
Embroidery thread
Small buttons
15.2 x 21.6cm (6 x 8in) notebook
FINISHED SIZE
Approx. 15.9 cm x 22.2cm (6 x 8 in)
PREPARATION
All measurements include in seam
allowances, unless otherwise stated.
Press the fabrics before starting.
FIG 1: Fusing the interfacing to the wrong
side of the large grey rectangle
by Janet Goddard
can be used on the next one.
JANET
Cutting instructions
1 From the grey fabric cut:
One 13 x 9in rectangle
Two 7 x 9 in rectangles
2 From the fabric for the lining fabric cut
one 13 x 9in rectangle.
3 From the fusible interfacing cut one
13 x 9in rectangle.
Sewing instructions
1 Iron the fusible interfacing to the
wrong side of the 9 x 13in grey fabric
rectangle. Fig 1
2 Using the templates on the Pattern
Sheet trace your applique design onto
the paper side of the fusible webbing.
There is a choice of two designs, hearts
or a birdhouse, or you could draw your
own.
3 Cut the fusible web approximately
in beyond the line. Following the
FIG 2: The motifs fused in place
GIFT
manufacturers instructions fuse onto
the wrong side of the fabric scraps.
When cool use scissors to cut along
the line then peel away the paper from
behind each shape.
4 Take the 9 x 13in grey rectangle
and fold it in half to create a front and
back notebook cover. Place it with the
front facing you and put your applique
shapes on top, avoiding 1in from the
outer edges and positioning the lower
shapes approximately 2in up from the
bottom. Fuse them in position. Fig 2
5 Stitch around each shape using a tight
zigzag stitch on your sewing machine and
matching thread. Fig 3
6 Using the embroidery thread, hand
stitch around the outline of the shapes
and add any buttons as desired. Fig 4
7 To make the inner flaps fold each of the
7 x 9in grey rectangles in half
vertically so that the right side of the
fabric is facing outwards and press.
FIG 3: Fusing the interfacing to the wrong
side of the grey rectangle
DECEMBER 2017 19
 GIFT

8 Place the appliqued notebook cover

on a surface, right side up, and place an
inner flap on each end so that the raw
edges line up and the folded edge faces
the centre. Fig 5

9 Lay the lining fabric rectangle on top of

the cover, with the right side facing down,
to make a fabric sandwich. Pin the layers
together around the outer edge. Fig 6

10 Stitch around all four sides, leaving

3in unsewn along the bottom to create a
turning gap. When you have finished
sewing trim the excess fabric at the
corners and turn through the gap so the
right side is facing out. Ease out the
corners and sides then press. Close the
gap using hand stitching.

11 Give the notebook cover a final press

and insert the notebook. Fig 7

HANDY HINT
The instructions here can be adjusted to make a cover to fit a different sized
notebook. To do this, use a tape measure to measure the width of the book
including the front, moving around the spine and then the back. Add 1in to
this measurement. Measure the height of the notebook and add 1in to this
measurement. This gives you the measurements for cutting the front cover,
lining and interfacing. To calculate the measurements for the flaps use the
same height measurement as the front cover and use the same width as for
the notebooks above.

FIG 4: Adding embroidery stitches and

buttons to the appliqu design FIG 6: Placing the lining on top of the
fabric

Detail of embroidery and buttons added to

birdhouse version

FIG 5: Positioning the end flaps on top of
the cover
FIG 7: Preparing to hand stitch the gap
WHERE TO BUY
Janet used fabrics from her scrap bag.
Similar fabrics are available from quilt
fabric shops or see our advertisers for mail
order services. The fusible interfacing and
web are from John Lewis
johnlewis.com and the notebook is
from The Works theworks.co.uk.

20 DECEMBER 2017
 See
pattern
sheet for
template

22 DECEMBER 2017

THE NIGHT BEFORE
CHRISTMAS
SKILL LEVEL
MATERIALS
Two 15 x 54cm (5 x 21in) strips of
non-directional fabric
One fat quarter of backing fabric
25cm (10in) embroidery hoop
Clock mechanism with a spindle at
least 15mm in length.
30.5cm (12in) square of pelmet
interfacing
30.5cm (12in) square of thin wadding
9 x 15cm (3 x 5) piece of card or
template plastic
Spray glue for basting (such as 505
spray)
FINISHED SIZE
Approx. 25cm (10in) diameter
PREPARATION
Use 1in seam allowance
throughout.
This clock is surprisingly easy to
make, and is a real conversation
starter when visitors walk into my
living room. You dont need many
supplies, and if youd rather,
you could use scraps for the
plates. It is important to buy the
correct clock movements as if it is
too short then it will be impossible
to secure the mechanism in place.
Also, you can buy two different
types, ticking or sweep. This choice
will depend on whether you like the
sound of the tick or not.
ROSEMARY
Sew up a unique timepiece
by Rosemary Rosenfeld
Making the clock
1 Trace the template from the Pattern
Sheet onto card or template plastic.
Draw around the template onto the
wrong side of each piece of fabric twelve
times, alternating the direction of the
wedge, and cut out each shape follow-
ing the line.
2 Fold a wedge in half lengthways,
wrong sides together, and stitch along
the top. Reverse your stitching at the
start and finish. Fig 1
FIG 1: Stitching FIG 2: Trimming
across the top of the seam allowance
a fabric wedge at the fold
FIG 3: A pressed wedge, shown front and
back
HOME ACCESSORY
3 Use scissors to trim the excess seam
allowance at the fold, about in away
from the stitched line. Fig 2
4 Turn the top of the wedge so it is facing
the right way out. Press, making sure the
point is centred and the seam allowance
inside is open. Fig 3
5 Repeat Steps 2 to 4 to make a total of
twelve wedges.
6 Arrange the wedges in a circle, alter-
nating the fabric. Sew them together
in pairs, matching the top edge, and
press the seams open. Then sew them
together into two sets of six and press
the seams open. Fig 4
7 Sew the two halves together, again
matching the top edges, but leave a small
gap in the middle (about in) to enable you
to push the spindle through later on. Fig 5
FIG 4: Two halves sewn together
FIG 5: The plate sewn
DECEMBER 2017 23
 HOME ACCESSORY

8 Using the inside of the inner circle of

your embroidery hoop, draw a circle
on the pelmet interfacing and cut out
following the line,

9 Place the thin wadding in the

embroidery hoop. Make sure it is taut,
then using the edge of the hoop as a
guide, use scissors to cut it as close to
the edge as you can.

10 Remove the wadding from the frame.

Fold it into quarters and carefully cut off
the point to create a hole for the spindle.
Fig 6

11 Place the pelmet interfacing centrally

on the top of the wadding. Turn it over
then, using the hole in the middle of
the wadding, cut a matching hole in the
middle of the pelmet interfacing. Spray
baste the two together.

12 Using the template on the pattern

sheet cut a circle from the backing fabric.
Following the same method as Step 10
make a small hole in the centre.

FIG 6: Cutting a hole cut in the centre of
the wadding
FIG 7: The Dresden Plate tacked to the
backing fabric
13 Spray baste the backing to the
wadding/stiffening, matching the centre
circles.
14 Spray baste (or tack) the Dresden
Plate to the middle of the backing fabric,
lining up the holes in the centre. Then
machine stitch around the edge of the
plate. Fig 7
15 Place the Dresden Plate in the frame,
making sure that one of the points lines
up exactly with the screw. This will
enable you to hang up the clock if you
wish and marks 12 oclock. When you
are happy with the position, tighten
the screw slightly and pull the fabric as
tight as possible, as evenly as possible,
before tightening the screw as much as
possible.
16 To neaten the back, turn under a
small hem around the edge of the fabric
and sew a running stitch all the way
around using a strong thread. Then to
help it gather in, pull the thread tight
and tie off the ends.
17 Attach the clock mechanism to the
centre of the plate. You may need a pair
of pliers to tighten the nut as it needs to
be fixed as tight as you can make it. So
that it hangs evenly, try and make sure
the battery unit is at the bottom.
18 Carefully attach the hands. Rosemary
advises only putting pressure in the
centre as they can easily bend out of
shape.
WHERE TO BUY
Rosemary used fabric from her stash,
similar fabrics are available from quilt
fabric shops or see our advertisers for
mail order services. For the clock
mechanism try your local craft shop or
look on ebay.co.uk.

24 DECEMBER 2017
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 See
pattern
sheet for
templates

26 DECEMBER 2017

DAINTY
DECORATIONS
These versatile decorations are ideal to hang from your tree or to tie onto a gift with ribbon
by Jemima Schlee
SKILL LEVEL
MATERIALS
For the star:
Two 12.5cm (5in) squares of fabric
Five tiny in silver bells
Metallic thread
Hollowfibre stuffing
For the stocking:
7 x 12cm (1 x 4in) light fabric
8 x 10cm (3 x 4in) dark fabric
11cm (4in) ricrac
1cm (in) wide ribbon
For the heart:
10 x 17.5cm (4 x 7in) fabric
Eighteen little shirt buttons
Metallic thread
Hollowfibre stuffing
FINISHED SIZE
Star 11cm (4in) square
Stocking 11 x 7cm (4 x 2in)
Heart 7.5 x 7cm (3 x 2in)
PREPARATION
Use in seam allowance throughout.
Before starting, transfer the three
templates from the Pattern Sheet
onto card. The easiest way to do this
is the trace them onto paper, glue
this onto card (such as a cereal pack-
et) then cut out following the line.
FIG 1: The stars pinned together
DECORATION
These decorations are really quick to make. Use up odd scraps from your
fabric and haberdashery stashes, or make them in colours to complement
your other decorations. I like to hang them on the mantelpiece of a window
so they can spin gently in the smallest of breezes.
JEMIMA
Making the star taking great care not to cut the stitches
themselves. Fig 2
1 Using your template cut two stars.
4 Gently turn your work right side out
2 Place your two stars right sides togeth- through the turning gap, Fig 3. To help
er and align their edges. Pin carefully, get the points nice and sharp Jemima
remembering to mark the turning gap as eases out the fabric using a pin. Fig 4
indicated on the template. Fig 1
5 Insert the hollowfibre stuffing though
3 Starting at one side of the turning the turning gap. To create an even shape
gap, reverse stitching for strength, sew do this slowly, using a small amount of
around your star, finishing at the far side stuffing at a time. Tweezers can help to
of the gap. Reverse stitch again as you get an even finish. Fig 5
finish and leave the gap open. Use sharp
little scissors to snip off the tips and into
the vs between each of the stars points,
FIG 4: Easing out the points
FIG 2: Clipping the seam allowance
FIG 3: Turning the star right side out
DECEMBER 2017 27
 GIFT

6 Fold in the raw edges and close your

turning gap by hand with an overstitch.
Fig 6
7 Sew a little bell on to each tip of your
star. Fig 7
8 Make a loop with your metallic thread
and stitch it between two of the points.
Fig 8
Making the stocking
1 Using your templates cut a main stock-
ing from the dark fabric and a top from
the lighter fabric.
2 Lay your ricrac just above one raw edge
of the stocking top and on the right side
of your light piece of fabric, so that its
centre lies in from the long raw edge
and it over-hangs slightly at either end.
Machine stitch along the centre of the
rickrac. Fig 9

3 Lay your dark fabric down on a surface,

right side up. Place your light fabric on
top of it, right side down, aligning the top
ricrac edge with the straight edge of the
dark fabric. Pin in place and stitch along

FIG 5: Filling the star with hollowfibre

this seam, following exactly the stitch line

FIG 9: Sewing ricrac to the stocking top
FIG 6: Closing the turning gap
FIG 10: Sewing the top and bottom
together
from Step 2. Fig 10
4 Fold your work in half, right sides
facing, align the edges and pin in place.
Fold your little piece of ribbon in half and
tuck it in between the two layers of fabric
at the top straight edge, snug against the
fold. Position it with the loop down inside
the stocking and the two raw ends just
poking out above the edge of the fabric.
Stitch a seam all the way around, remem-
bering to reverse stitch at either side of
the turning gap and to leave the gap itself
open. Reverse stitch over the ribbon ends
for extra strength. Fig 11

5 Turn your work out gently through the

turning gap. Fig 12

FIG 7: Stitching a bell onto each point

FIG 11: Stocking and ribbon pinned and

FIG 8: Sewing on a hanging loop ribbon FIG 12: Turning the stocking right side out

28 DECEMBER 2017
6 Give your work a press, tweaking the
seams beforehand between your fingers
to make them nice and sharp. Fold the
raw edges in at the turning gap and close
it by hand by overstitching.
Making the heart
1 Using your template cut two hearts.
2 Place your two pieces of fabric right sides
together and align all their edges. Pin
carefully, remembering to mark the turning
gap as indicated on the template. Fig 13
3 Starting at one side of the turning gap
and reverse stitching for strength, sew a
seam around your heart, finishing at the
far side of the gap. Reverse stitch again
as you finish and leave the gap open. Use
sharp little scissors to snip off the bottom
tip and into the top v, taking great care
not to cut the stitches themselves. Fig 14
4 Gently turn your work right side out
through the turning gap. Fig 15
FIG 13: The hearts pinned together
FIG 14: Clipping the seam allowance
5 Insert the hollowfibre stuffing though WHERE TO BUY
the turning gap. You want to create a Jemima used fabrics from Makowers
plump shape, but do not overstuff as you Spectrum, Linea and Spot ranges
will not be able to sew on the buttons in makower.co.uk and wide velvet ribbon
Step 7. Fig 16 from Berisfords
berisfords@stockistenquiries.co.uk.
The narrow ribbon and buttons are from
6 Fold in the raw edges and close your
turning gap by hand with an overstitch.
Brighton Sewing Centre
brightonsewingcentre.co.uk and the
Fig 17 bells were bought from Amazon
amazon.co.uk.
7 Using your thread doubled, stitch pairs
of buttons together, one on either side
and sandwiching the heart. Position
them following the marks indicated on
the template. Fig 18
8 Make a loop with your metallic thread in
the top v to hang your heart from. Fig 19
FIG 18: Sewing buttons onto the heart
FIG 15: Turning the heart right side out
FIG 19: Sewing on a hanging loop
FIG 16: Filling the heart with hollowfibre
stuffing
FIG 17: Closing the turning gap
DECEMBER 2017 29
30 DECEMBER 2017

HOME FOR CHRISTMAS Make your own little village scene
by Jemima Schlee
SKILL LEVEL Cutting instructions
As you cut your fabric place it into three piles labelled, chapel, barn and house. This
MATERIALS
will help you find the correct piece of fabric when you make the blocks.
Fabric from a bolt of fabric, 42in wide:
20cm (yd) cream
20cm (yd) light grey snowflake 1 From the yellow spot fabric cut:
50cm (yd) backing fabric Six 1in squares (house)
20cm (yd) red check fabric for binding Two 1 x 2in rectangles (chapel)
From scrap fabric: 2 From the light green spot fabric cut:
5 x 5in yellow spot Two 2 x 4in rectangles (house)
8 x 5in light green spot One 1 x 2in rectangle (house)
9 x 5in light blue One 1in square (house)
8 x 5in light teal
16 x 3in dark green 3 From the light blue fabric cut:
16 x 4in dark blue
Two 2 x 4in rectangles (house)
15 x 3in dark teal
One 1 x 2in rectangle (house)
21 x 3in red
9 x 2in pink One 1in square (house)
9 x 3in dark grey
3in square of beige snowflake 4 From the light teal fabric cut:
13 x 3in taupe check Two 2 x 4in rectangles (house)
9in square of brown One 1 x 2in rectangle (house)
One 1in square (house)
38 x 106.75cm (15 x 42in) cotton
wadding 5 From the dark green fabric cut:
FINISHED SIZE Two 4 x 2in rectangles (house)
Approx. 24.5 x 103cm (13 x 40in) One 1 x 1in rectangle (house)
One 1 x 2in rectangle (house)
PREPARATION Two 1 x 1in rectangles (house)
All measurements include in seam
allowances unless otherwise stated.
6 From the dark blue fabric cut:
Two 4 x 2in rectangles (house)
I had the choice of a wonderful One 1 x 1in rectangle (house)
range of colours and you could Two 1 x 1in rectangles (house)
One 1 x 2in rectangle (house)
make all your houses the same,
One 2 x 3in rectangle (barn)
or use different fabrics from your
stash to add further variety and 7 From the dark teal fabric cut:
texture. If you enjoy making it then Two 4 x 2in rectangles (house)
sew up more houses and turn it into One 1 x 1in rectangle (house)
Two 1 x 1in rectangles (house)
a runner for your table.
One 1 x 2in rectangle (house)
JEMIMA
8 From the red fabric cut:
Two 1 x 4in rectangles (barn)
Two 2 x 1in rectangles (one for barn,
one for chapel)
One 2in square (barn)
Two 3in squares (barn)
DECORATION
9 From the pink fabric cut:
One 4in square (barn)
Two 3in squares (barn)
10 From the cream fabric cut:
Two 4 x 2in rectangles (chapel)
One 1 x 2in rectangle (chapel)
Two 3in squares (chapel)
Two 1in x 1in rectangles (chapel)
Two 1 x 2in rectangles (chapel)
One 40 x 2in rectangle for the
bottom
11 From the dark grey fabric cut:
Two 2in squares (chapel)
One 2in square (chapel)
One 2in square (chapel)
12 From the grey snowflake fabric cut:
Three 5 x 1in rectangles (house)
Three 2 x 1in rectangles (house)
Three 8 x 2in rectangles (house)
Eight 3in squares (four for house, two
chapel, two barn)
One 8 x 3in rectangle (barn)
One 4 x 3in rectangle (chapel)
One 2 x 3in rectangle (chapel)
One 2in square (chapel)
One 1in square (chapel)
One 40 x 2in rectangle for the top
13 From the beige snowflake fabric cut:
Four 3in square (house)
14 From the taupe check fabric cut:
Two 1 x 4in rectangles (chapel)
Two 1 x 2in rectangle (chapel)
One 1 x 2in rectangle (chapel)
15 From the brown fabric cut:
Four 3in squares (house)
Three 2in squares (house)
DECEMBER 2017 31
 DECORATION
Making half-square
triangles
Each roof is made from half-square
triangles. The method below will
leave you with a couple of extra units
however you could incorporate these
into your quilt label.
1 Take two squares of fabric, one
in each of the colours stated in the
instructions for the block. Place them
right sides together. Align and pin
their four raw edges and draw a
diagonal line from opposite corners.
2 Stitch a scant in to either side of
your diagonal line. Remove the pins
and cut along the line to give you two
units of work.
3 Press your seams to one side.
Following the size stated in the
instructions, trim your two units
square.
Making the chapel
This block is made in three parts, the
bell tower, the roof, then the main
building.
The bell tower
1 Take a 2in dark grey and grey snow-
flake square. Following the instructions
in the box above make two half-square
triangles. Trim them down to 1in
square.
2 Sew a 1 x 1in cream rectangle to the
top and bottom of a 1in grey snowflake
The chapel block
32 DECEMBER 2017
square. Press, then sew a 1 x 2in
rectangle to each side. Press. The unit
should measure 2in square. Fig 1
3 Sew the two 1in half-square triangles
from Step 1 together. Press, then sew to
the top of the unit from Step 2. It should
now measure 2 x 3in.
4 Sew a 4 x 3in grey snowflake
rectangle to the left of the unit, then sew
a 2 x 3in grey snowflake rectangle to
the right. It should now measure 8 x
3in. Fig 2
The roof
1 Pair together the following 3in squares:
Dark grey and grey snowflake
Dark grey and cream
Cream and grey snowflake
FIG 1: The centre of the bell tower
FIG 2: Sewing the sky to the sides of the bell tower
FIG 3: The chapel roof sewn together
Following the instructions in the box left
make six half-square triangles. Put one
from each pair to one side and trim the
remainder down to 2in square.
2 Following Fig 3 lay out the half-square
triangles and the dark grey 2in square
and sew them together in a row. It
should now measure 8 x 2in.
The building
1 Take the 1 x 2in rectangle of taupe
check fabric and sew a 1 x 2in yellow
rectangle to either side, followed by a
1 x 2in rectangle of taupe check
fabric to either side. Press, then sew
a 1 x 4in rectangle of taupe check
fabric to the top and bottom of the unit.
Fig 4
2 To make the door unit sew a 1 x 2in
cream rectangle to the top of the red 1
x 2in rectangle. Press, then sew a 2 x
4in cream rectangle to each side.
3 Sew together the units from Steps 1
and 2. It should now measure 8 x 4in.
Fig 5
Assembling the chapel block
1 Lay out the bell tower, roof and
building. Sew the rows together, pinning
seam intersections to ensure they
match. The finished block should
measure 8 x 9in.

Making the barn
This block is made in two parts, the roof
and sky, and the building.
The roof and sky
1 Pair together the following 3in squares:
Red and grey snowflake
Pink and red snowflake
Pink and grey snowflake
Following the instructions in the box on
page 32, make six half-square triangles.
Put one from each pair to one side and
trim the remainder down to 2in square.
FIG 4: Sewing a taupe strip to the top of
the window unit
FIG 5: The building sewn together
2 Take the three half-square triangles
from Step 1 and a 2in red square and,
using the image of the finished block for
guidance, sew them into a row.
3 Sew an 8 x 3in rectangle of grey
snowflake fabric to the top of the row.
Press, the finished unit should measure
8 x 5in.
The building
1 Stitch the 2 x 1in red strip to the
top of the 2 x 3in dark blue rectan-
gle. Press, then sew a 1 x 4in red
rectangle to each side. Fig 6
FIG 6: Sewing strips to either side of the
door
FIG 7: Completing the building
DECORATION
The barn block
2 Take the 4in pink square and sew to
the left-hand side of the unit from Step
2. Fig 7
Assembling the barn block
1 Lay out the roof and building. Sew
the rows together, pinning seam
intersections to ensure they match.
The finished block should measure
8 x 9in.
Making the houses
There are three houses. They are each
made in the same way but each one is a
different colour. This block is made in two
parts, the roof and sky, and the building.
A house block
The roof and sky the blue house
1 Pair together the following 3in squares:
Grey snowflake and beige snowflake
Beige snowflake and brown
Brown and grey snowflake
Following the instructions in the box on
page 32, make six half-square triangles.
Trim them down to 2in square and
put one from each pair to one side.
DECEMBER 2017 33
 DECORATION
2 Take the three half-square triangles
from Step 1 and a brown 2in square
and, using the image of the finished block
for guidance, sew them into a row. The
finished unit should measure 8 x 2in.
3 Sew a 5 x 1in grey snowflake strip
to the left of the 1in light blue square.
Then sew a 2 x 1in grey snowflake
strip to the right-hand side.
4 Take an 8 x 2in rectangle of grey
snowflake fabric and sew to the top of
the unit from Step 3. Then take the unit
from Step 2 and sew this to the bottom.
The finished unit should measure
8 x 5in.
The building the blue house
1 Take the 1 x 1in rectangle of dark
blue fabric and sew a 1in yellow
square to each side, followed by a
1 x 1in rectangle of dark blue fabric
to either side. Press, then sew a 4 x 2in
rectangle of blue fabric to the top and
bottom of the unit. Fig 8
2 Sew a 1 x 2in dark blue rectangle
to the bottom of a 1 x 2in light blue
rectangle. Press, then sew a 2 x 4
rectangle to each side. Fig 9
FIG 8: Sewing a blue strip to the top of the
window unit
FIG 9: Sewing the door unit
34 DECEMBER 2017
3 Sew the window unit from Fig 1 to
the right of the door unit from Step 2. It
should now measure 8 x 4in. Fig 10
Assembling the house block
1 Lay out the roof and building. Sew the
rows together, pinning seam intersections
to ensure they match. The finished block
should measure 8 x 9in
Making the green and
teal houses
These are made in the same way as
above, but substitute the fabrics
accordingly. You will have enough half-
square triangles left over from the blue
house to make a roof unit, but will have
to make another set for the third house.
Finishing the wall
hanging
1 Press the blocks and trim any tails and
uneven edges they should all measure
8 x 9in. Join them together in a row
in whichever order you like.
2 Sew the 40 x 2in of grey snowflake
fabric to the top of the panel, and a
40 x 2in strip of cream fabric to the
bottom.
3 Lay your backing fabric right side down
in front of you. Place the wadding neatly
on top and smooth. Place your pieced
unit on top and tack the layers together.
4 Quilt as desired. For a quick finish
simply stitch around the building and
roof contours, maybe adding a vertical
and horizontal line across each window
pane. When you have finished quilting
trim the excess wadding and backing
level with the top.
5 From your binding cut 1in x width of
fabric strips. Join them with in seams,
pressed open, continue joining them
until you have a strip about 115in long.
6 Starting a third of the way down on
one side, machine sew the binding to
the front of the quilt, right sides facing
and the raw edges aligned. Stitch a
scant in from the raw edge, mitreing
the corners as you go. Then turn your
work over, tuck in the long raw edge
and use a slip stitch to sew the binding
down.
HANDY HINT
If you are planning to use this
along a mantel shelf or as a wall
hanging, stitch small curtain rings
just below the top edge at the back
for hanging.
WHERE TO BUY
Jemima used fabrics from Makowers
Spectrum, Linea, Spot and Scandi 4
Basics ranges makower.co.uk.
 The Future of Sewing is now at

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 I just love a little pouch and always carry one in my
handbag to keep everything neat and tidy. These little
pouches can be stitched together quickly
and make lovely gifts.
JANET

36 DECEMBER 2017

PRETTY POUCHES These handy pouches are ideal for everyday use
SKILL LEVEL
MATERIALS
For the pouch with the patchwork
squares
One fat eighth of grey fabric
Mustard and cream fabric scraps
(enough to cut twenty-four 2in
squares)
Two 25cm (10in) squares of fusible
wadding
One fat quarter of mustard spot
fabric for lining
22cm (9in) zip
10cm (4in) piece of ribbon
Grey thread
For the pouch with the stripes
One fat eighth of grey fabric
Selection of mustard, cream and
grey fabric scraps
Two 25cm (10in) squares of fusible
wadding
One fat quarter of mustard spot
fabric for lining
22cm (9in) zip
10cm (4in) piece of ribbon
Beige thread
FINISHED SIZE
Approx. 21.6 x 17.8cm (8 x 7in)
PREPARATION
All measurements include in seam
FIG 1: Sewing the squares into rows
by Janet Goddard
To make the squares
pouch
1 From the grey fabric cut four 9 x 3in
strips.
2 From the scraps cut twenty-four 2in
squares.
3 From the mustard spot cut two 9 x
8in rectangles.
4 From the fusible wadding cut two 9 x
8in rectangles
5 Take the thirty-six 2in squares and
stitch these together into four rows of
nine squares. Press the seams in each
row in opposite directions.
6 Stitch the rows together to make two
FIG 2: Sewing a strip to either side of the
squares
FIG 3: Wadding fused to the wrong side of
the panels
GIFT
sets of two rows of patchwork squares.
Trim in off the end of each row. Press
seams downwards. Fig 1
7 Stitch a grey 9 x 3in strip to the top and
bottom of each set of patchwork squares.
Press seams towards the grey strips. Fig 2
8 Iron the fusible wadding to the wrong
side of both outer pouch sections. Fig 3
9 Machine quilt each of the outer pouch
sections. Janet stitched vertical lines
in away from each seam line from the
top to bottom. Fig 4
10 To attach the zip, place the first outer
pouch section right side up and place
the zip face down on front of it, matching
the top edge. Place the lining on top,
right side down, and stitch along the top
edge to secure the lining, zip and outer
pouch. Fig 5
FIG 4: Quilting the panels
FIG 5: Attaching the zip
DECEMBER 2017 37
 GIFT

11 Repeat Step 10 to attach the zip to the

second pouch section, then open out
each panel and press. Stitch in each
side of the zip. Fig 6

12 Open the zip half way and place the

two outer pouch sections right side
facing and also the lining panels right
side facing each other. Pin and stitch all
the way around the edge, leaving a 3in
gap in the bottom of the lining. Fig 7

13 To shape the base match the centre

fold of the base with the side seam.
Measure in 1in along the seam line and
stitch across. Cut off the excess fabric.
Repeat on the other corner and also the
lining corners. Fig 8

14 Turn the pouch through the gap in

the lining and stitch the gap closed.
Tie the ribbon to the zip pull.

To make the stripe

pouch
1 From the mustard spot cut two 9 x 3in
strips.
4 From the grey fabric cut: 6 From the fusible wadding cut two
2 From the fabric scrap one cut two Two 9 x 1in strips 9in x 8in rectangles
9 x 2in strips Two 9 x 3in strips
7 Stitch the strips together in the
3 From the fabric scrap two cut two 5 From the mustard spot cut two following order: 3in mustard strip, 2in
9 x 2in strips. 9in x 8in rectangles. fabric one strip, 1in grey strip, 2in fabric
two strip and 3in grey strip. Press all
seams downwards and repeat with the
second set of strips. Fig 9

8 To complete the pouch follow Steps 7

to 13 above.

FIG 6: Pouch sections laid flat
HANDY HINT
When stitching the outer sections
and lining panels together it really
does make a difference if the teeth
FIG 8: Marking a box corner of the zip point toward the lining
fabric. This makes the part of the
pouch where the zip meets the side
seam much neater. Janet has made
her pouches with shaped bases but
if you wanted to be able to slip the
pouch into a handbag skip Step 13.

WHERE TO BUY
Janet used fabrics from her scrap bag,
The fusible wadding is from Lady Sew
FIG 7: Pinning the outer and lining FIG 9: Strips sewn together and Sew ladysewandsew.co.uk.

38 DECEMBER 2017
 REGULAR

Stuarts
tuarts Surgery
Each month Stuart Hillard answers your quilty questions!
Whilst at the Festival of Quilts in Birmingham this year I was asked the same
question by a great many visitors... What do you do with all your quilts and how
do you store them? Here are my top tips for caring for and enjoying your quilts.

1 Use them! Chances are you made that quilt to be loved,

used, and enjoyed, and for the majority of quilts that is their
purpose and destiny. Most of my quilts find their way onto beds,
armchairs, sofas or even in the garden... they are laid on, under,
wrapped around, and worn. Inevitably my quilts get grubby and
worn. Im OK with that, its the life I intended for them.
7 Check your stored quilts regularly (every six months or so)
to check for damage and to refold them. Dont let heavy
creases build up or they will be very hard to remove.
8 Keep your quilts clean but dont wash them unnecessarily.
Washing a clean quilt will damage it, leaving a dirty quilt will
also damage it. Find a good middle ground.

2 When my quilts arent being used, the safest place for

them is on an unused bed opened out and layered up
with a final covering of a clean white sheet or utility quilt.
Keeping a quilt flat and free from dust and the effects of
sunlight is key to longevity.
9 If you have something really precious, and historically
significant, consider donating it to The Quilters Guild of the
British Isles who can preserve your work for future generations
to enjoy.

3 Protect your quilts from light artificial light as well as

sunlight can really fade and damage fibres and the effects
are irreversible. Keep quilts protected by keeping out of direct
light and rotate them every six months.
10 Above all, enjoy the fruits of your (or someone elses)
labour... give your quilts an outing and find joy in the
beauty youve created. Nothing lasts forever, but with a little
care you can make your quilted beauties last for generations.

4 Protect your quilts from moisture; dampness, leaks,

extremes of temperature and lack of decent air-flow can all
cause a quilt to become moist, and this can lead to mildew.
Until next month, happy quilting!

Although its tempting to store unused quilts in attics or garages,
the extremes of temperature and associated dampness are
best avoided!
Keep in touch
Stu x
Have a wonderful month sewing and write to me at
stuarthillard@me.com with your questions for Stuarts Surgery.
You can also follow me on Instagram @stuarthillardsews and
catch me on Create and Craft TV for more top tips, projects and

5 Protect from creepy crawlies insects, mice, even the

neighbourhood cat can all wreak havoc with a quilt, so make
sure your precious heirlooms arent vulnerable to attack. Often
inspiration.

this is simply about keeping them in a safe, dry place inside

(although this is just the sort of place my cats make a beeline for!).

6 If you need to store your quilts and

cannot keep them out on a bed,
then roll or fold loosely with sheets of
crumpled acid-free tissue in between
the layers. An outer covering of clean
white cotton (a pillowcase works well)
adds another layer of dust and light
protection. Finally, store your treasures
in a dark cupboard but, and this is
crucial, not on bare wood. The oils
from untreated wood can seep into a
quilt over time and the damage can
be impossible to reverse. Add an open
jam jar filled with silica gel (a desiccant
available on the internet) to the
cupboard to absorb any moisture.

DECEMBER 2017 39
 SHOW & TELL
Please send your emails and good quality photos to editorial.pp@mytimemedia.com or write
to Show & Tell, Popular Patchwork, My Time Media Ltd, Suite 25, Eden House, Enterprise Way,
Edenbridge, Kent, TN8 6HF. You will need to include an image showing the entire quilt
photographed on a flat surface.

Star Letter Self starter

In May I cut up some old jeans and made several bags, of
which this is one example. Although I have masses of
new fabric, there is something really satisfying about
making something new out of old clothes due to be
thrown away worn denim is so much softer than
any new fabric. The handle is made from plaited
seams cut from jeans, and orange cotton hand-sewn
on the inside, for stability.
Trying out some newly learned quilting skills,
I also made this gilet for myself last month. Jelly
roll fabrics made the base with some diamond stars
appliqud over the top. The garment is lined in
orange cotton. I am self-taught from books and the
internet I find Pinterest incredibly useful for ideas.
Sue Goode, South Brent, Devon

We agree with you Sue that there are many useful sources of inspiration out there
for people who prefer to teach themselves the techniques of patchwork and quilting.
Congratulations on your recent creations, we hope youre finding plenty within our
own pages to keep your imagination flowing!

Jazz up your pumps

Im new to the whole quilting game and only became, ahem, obsessed with
it after starting work at a quilting shop but Ive always sewn. I love anything
crafty that uses fabric and Im a bit of a hoarder although I prefer the term
collector! I collect charm packs, sewing patterns, sewing and quilting
magazines (yourselves included, of course), Im OBSESSED with collecting fat
quarters, but most recently Ive started stashing all my selvedges theyre just
so pretty with their own unique little designs they were always the first bit to
go in the bin before, but now I deliberately buy the fat quarter with the printed
selvedge on just so I can add to my stash. The long-term intention is that I will
one day make a quilt from them. But theyve been calling to me recently, so I
just had to use some just a smattering so as not to make too large a dent in
the collection! This is what I did with them... selvedge shoes! I carefully glued
just the right combination of colours and prints onto plain white canvas pumps
using a high-performance craft PVA glue (which allows me to wash them). Im so
pleased with the results and even more pleased that I started hoarding, I mean
collecting, the selvedges in the first place!
Happy sewing everyone! And save those selvedges!
Amber, Hythe, Kent

We just had to feature your wonderful selvedge shoes Amber as they are so
cheerful! The idea of making a quilt from selvedge pieces has certainly got us
interested. Let us know how you get on.

40 DECEMBER 2017
 REGULAR

Labour of love
I attach a photo of a quilt made for my granddaughter,
Drew. This quilt was a block of the month, purchased from
Puddleducks; the quilt has been two years in the making.
I started doing patchwork and quilting when I retired seven
years ago and belong to a group of like-minded ladies who
meet up every Monday.
Marion Welchman , Dinas Powys, Glamorgan

Drew must be so happy with her quilt and well done for
completing this charming BOM project for her. We can see from
the close-ups how much care has gone into creating each block.

Magic squares
The attached photo is of a quilt I finished fairly recently. The
quilt was made with a charm pack of Japanese fabrics and plain
black 100% cotton fabric made into magic squares. There are
120 buttons sewn onto the quilt and wavy lined quilting done
with a walking foot. I hope you think its good enough to be in
Popular Patchwork.
Marion Bicknell, Southwater, West Sussex

The Japanese fabrics and solid black cotton is certainly a stylish

combination Marion. Thank you for sharing your quilt with us!

Show us your project and win!

Each month we give away quilting goodies for every
letter and photograph published on our Show & Tell
pages. This month the prize is a fat quarter bundle of
beautiful Tilda Cottage fabrics made up of five pieces
measuring 50cm x 55cm (RRP 19). The range combines
large flower prints with small patterns that could come
from an old shirt, with an emphasis on red tones. The
mood is warm and toasty just in time for Christmas!
groves@stockistenquiries.co.uk

DECEMBER 2017 41
East-Meets-West Quilts Explore Improv with Japanese-Inspired Designs
Patricia Belyea
Abrams Books, 19.99. ISBN 978-1-41972659-0
In East-Meets-West Quilts, Patricia Belyea is on a quest to bring her passion for 3 copies to
giveaway
See page 98
Japanese fabrics to the fore. Shes a quilt maker who likes to break the rules,
inspired by the Hachi Quilt Manifesto of five simple principles. Spoiler alert: if you
dont already know of these principles, the last says simply break any rule you
like. Already, Im hooked! The fourteen projects contained in this elegantly styled
book combine Patricias love for Japanese yukata cottons and hand stitching with
detailed instructions on how to assemble fabrics in an original and quirky way,
allowing your own instincts to kick in. Youll learn how motifs and colours have a
particular significance in Japanese design. Gold is known as son of the sun and
plays a role in politics and religion in
Japan. The Gilded Garden project starts
off with an explanation of how youll
often be directed towards fancy cottons
with fabrics overprinted in metallic gold
whenever you visit quilt shops in Japan.
Learning a little about the culture and
traditions of another country as you work
turns out to be quite a treat. This combined
with Patricias own taste for improv quilting
will take you on quite an exciting journey.
She describes her style as a place where Americana broken-rail blocks meet extraordinary
Japanese fabrics. Im happy to take a road-trip with Patricia, no passport required!

BOOKSHELF
Deputy Editor Julie
Sheridan shares her
favourite December reads

Welcome Home
Kaffe Fassett
Fox Chapel Publishing, 17.99. ISBN 978-1-94716300-3
This is a new edition of a book with photos taken from Kaffes textile-arts exhibition
at the Minneapolis Institute of Art alongside plenty of sumptuous shots of his
home and studio. As well as lots of tips and techniques there are nine projects,
including a completely new project for a full-size snowball quilt. If, like me, you
love having a nose around other peoples homes, itll be enough to gawp at the
extravagant prints and colours that festoon every room in Kaffes Edwardian
house. This mans talents know no bounds and there are mosaics, tiles, collages
and textiles in every nook and cranny. Should you fancy injecting a bit of KF flair
into your own home there are chapters dedicated to Setting the Stage, Softening
the Scene, and Creating the Mood, including
hints on how to display your collections and how
to update your room scheme to accommodate
a new creation. This is a book to inspire you to
think about using your home as a backdrop for
your own creativity. Its very focused on interiors
so if this isnt your bag, Kaffe has authored many
other books that are more project-based. Having
said that, there are four interesting quilt projects
that develop the themes contained in the chapters
before and are well-laid-out and explained.
Bottom line if your main passion is pattern
and colour in all its glory, this is one for you!

42 DECEMBER 2017
 REGULAR

Fussy Cutters Club A Bootcamp for Mastering Fabric Play

Angie Wilson
Stash Books, 23.99. ISBN 978-1-61745446-2
Angie Wilson defines fussy cutting as, When you find a
particular design, picture or print in your fabric and then
cut around it so it fits into a patch or block on your quilt or
sewing project. Sounds simple, doesnt it? Why is it then that
whenever I consider fussy cutting I think of a multitude of ways
in which it can go wrong? Designs off-centre, despite all my best
attempts, and secondary designs turning into a swirling mass of
psychedelia! Angie promises you can get started with nothing
more than a rotary cutter and a ruler but Im not convinced.
However, Angie and her book shout
you can do it and give a hundred
tips to help me on my way. She talks
of looking at your fabrics in terms of
size of print, repeats and considering
your seam allowances before you get
cracking, she speaks of fab tools such as
hinged mirrors that are particularly good for
working out those pesky secondary designs, then
she talks about templates, even ones that you can make yourself out of cereal packets! Projects
are zippy and stylish. There are pincushions, mini quilts, tablemats and runners, and a stylish tote
bag and loads of tips and techniques along the way. Angie sees fussy cutting as a way of expressing
herself through the perfect choice of images and words and delights in cutting fabric with intent.
That sounds fierce and now, even for me, a little more doable.

Stitchpeople A 20-project guide to modern embroidery techniques

Jo Dixey
Search Press, 12.99. ISBN 978-1-78221562-2
Jo Dixey trained as an embroiderer at the Royal School of Needlework
and has been passing on her skills through workshops over the past
20 years. She is also much admired as an avant-garde textile artist and
her wall-hangings in particular are simply breathtaking in their detail. In
this book, she combines her love of embroidery with her interest in people,
noticing not only how they look but also how they interact and how these
things are constantly evolving. The projects are usefully categorised into
beginner, intermediate and advanced so, even if youve never had a go at
embroidery before, you can jump right in. I particularly like how youre
encouraged to decorate clothing you already have such as jazzing up a
skirt with an outline design of bodies doing cartwheels and splits using
simple back-stitch. Many of the projects incorporate appliqu giving you
a chance to use up your scraps using the templates included. Quilting
features in one of the intermediate projects in the form of A Moment of
Calm cushion, which uses a single shade
of fabric and thread to create the outline
of a crouched figure in relief. The effect
is simple and beautiful. A multitude of
techniques are covered as you progress
through the projects and the stitching
moves on from simple outlines to
intricate compositions. Jo paints with
thread, her use of different stitches
creating shadow and texture gives her
portraits a 3D quality. If youd like to give
an extra dimension to your own work,
this book is certainly worth a look.

DECEMBER 2017 43
 Photos by Kate Baldwin

Q&A Patricia Belyea

A trip to Kyoto was the beginning of an exciting new chapter for Patricia Belyea, whose love of
Japanese textiles and passion for quilt-making is combined in her exciting new book
East-Meets-West Quilts. Here, we find out how her journey unfolded.

44 DECEMBER 2017

Above: Patricia Belyea
Right: Japanese fabrics feature classic geometrics
and luscious patterns
Left: Metallic gold overprinting and gold threads used in
the hand-stitching shimmer in the Gilded Garden quilt
It seems that turning 50 sparked a change
of direction in your life. Can you tell us
more about this?
Exactly. A mini trip to Kyoto when I turned 50
created a sea change in my life. I had always
wanted to go to Japan and the looming
half-century milestone pushed me into action.
I often get asked why I felt so compelled to go to
Japan. I dont have an impressive answer: I just always
wanted to go. Perhaps the pile of National Geographics in
our family home beguiled me as a child with photos of pagodas.
At the time of my first visit, I was super busy as the leader of
a creative agency. So my husband, Michael, and I only went
for five days; and one of those was a travel day! It was more
like a long weekend in Kyoto.
At the end of our trip, Michael and I said, Lets do that again.
Besides returning many times, weve hosted eight Japanese
homestay students, and founded a home-based business that
imports vintage Japanese textiles.
You took up quilting for the first time at 53.
Was this prompted by your visits to Japan
or for other reasons?
It all began when I decided to make a baby quilt for one
of my employees. I had no idea what I was doing. So I
visited Maurine Noble, the gal who founded the quilt
guild at our church. A beloved teacher and the author
of three quilting books, Maurine was uber-generous
to me. Although there was a 20-year age difference
between us, Maurine and I became fast friends. We
loved getting together and talking about all things
quilting. Maurine encouraged me to make quilts any
way I wanted to keep trying new ideas. Im sure that
if I hadnt met Maurine, I wouldnt be a quilter today.
REGULAR
How did your practice evolve? Did you experiment with
lots of techniques before settling into your own style?
From the get-go, I embraced the fact I was a beginner. This
approach emboldened me to try anything without worrying
about perfection. I purposely made my early quilts as quickly
as possible, calling them quilt sketches. By not trying to make
masterpieces, I made speedy compositions that taught me new
skills and honed my quilting style.
Are you more of an improvisational maker or someone
who prefers the structure and planning of paper piecing?
Improvisational, absolutely! When I start on a quilt, I dont
want to know what the final design will look like. Working
without a pattern is like heading out on an adventure. I feel
more alive and more aware, open to inspiration. Instead of
looking at a map before I take my next step, I look around to
see where I want to go.
Youve said that every quilt is a gift to the world. Can
you tell us what you mean?
For the maker, theres the pleasure of getting fully involved in a
creative endeavor. For the receiver, theres usually great joy.
When I make quilts for others, I like to incorporate clothing that
holds meaning so they become personal treasures. I call these
Spirit Quilts. I made one such quilt for a family who lost their
college-aged son in a violent crime. When I visited the family
DECEMBER 2017 45
 REGULAR
The Autumn Breeze quilt features bold blocks of glorious colour
home, I found the young mans bedroom had been frozen
in time for seven years. I left with 50 pounds of dress shirts,
t-shirts, jeans, and shorts. After I deconstructed the clothing,
I crafted the materials into an unpretentious quilt. Upon
receiving the quilt, the mother wrote:
The tragedy of his loss is so enormous that any small thing
that keeps him close is a comfort.
I made a Spirit Quilt for a man turning 60. His wife brought
me the clothing of 18 family members (three generations)
to be used as the quilt fabric. When delivered, the patriarch
declared: Its a legacy quilt, filled with so many precious
memories.
When did you know that you were ready to
embrace quilting as a full-time career?
Never in my wildest dreams did I envision becoming a pro
quilter. For five years, while working full-time, I couldnt stop
myself from quilting late into the nights after dinner. Some
mornings, I got up at 4am to squeeze in a few more hours of
quilting before I went back into the office. It became obvious
46 DECEMBER 2017
that all I wanted to do was cut apart fabric and sew it together
in new ways. So at the age of 58, I left the firm I had founded
25 years earlier to embark on a new career.
Most of my peers thought I was retiring. At my going-away party,
I stated: Im not walking off into the sunset, Im walking into the
sunrise. Its a whole new day for me!
Can you tell us more about vintage Japanese yukata
fabrics and their suitability for quilting?
I import Japanese yukata cottons that are 20 to 60 years old. Most of
the yukata cottons I acquire were hand-dyed in artisan workshops.
Each bolt measuring 11 to 12 yards in length and 14in to 15in in
width makes one yukata, an unlined cotton kimono.
Patterns on yukata cottons can be incredibly bold. The
traditional chusen dyeing process pouring dyes through
hand-cut washi paper screens contributes to the simplified
designs and oversized motifs.
The primary difference between yukata cottons and
contemporary printed quilting cottons is the vibrancy of
the colours due to the brilliant dyes. I use these high-quality
cottons in my own quilts as well as selling the fabric to other
adventuresome quilters.

Quilting goes hand-in-hand with community. Wed love
to hear more about your own quilting community.
Im a member of some keen quilting groups Plymouth
Piecemakers at my church, Contemporary QuiltArt Association,
Studio Art Quilt Associates (SAQA), and Seattle Modern Quilt
Guild. Quilting is a solo practice so its great to gather with
others who share the same passion.
Ive discovered that I enjoy creating events that bring quilters
together. From 2012 to 2015, I organised a spring fundraiser for
our local quilt museum. While the event made money for the
museum, I got to meet quilters from all around Washington state.
In 2016 I co-chaired a regional symposium about the future of
art quilting. Speakers from New York and California led the
sold-out West Coast event. Participants commented that, as
much as they appreciated what the speakers had to say, they
really liked getting to know other quilters with similar interests.
On a smaller scale, I put together workshops and retreats. These
intimate, week-long experiences create micro-communities that
tend to stay connected long past our time together.
Were interested to hear about your new book,
East-Meets-West Quilts. How did it come about?
The improv quilt projects in East-Meets-West Quilts are based
on the Hachi Quilt Manifesto found in the front of the book. Hachi
means eight in Japanese and all the quilts use an 8in block size.
The Manifesto has five simple rules with the fifth rule stating: Break
any rule that you want. With so few parameters, I was really able to
stretch in new directions while playing within those boundaries.
The catalyst for the book came from a quilt I made for a friend in
2013. The quilt, created with 8in blocks, was entirely improvised.
A month later, I was asked to teach a class in Berkeley, California.
My friends quilt was so fun to make that I decided to use my
new improv concept for the class. Yet when I made a class
sample using the exact same approach, I got a very different
but still delightful result. As I continued to make quilts using the
REGULAR
Far left: Angled
cuts in the Yin
Yang quilt make
it look more
complicated
than it really is
Left: Beautiful
threads ready
to be used for
lap quilting
Manifesto, the idea of an improv quilt book emerged.
Over a three-year period I made 21 Hachi Quilts. My book
features seventeen of them. These quilts are made with
Japanese or Japanese-inspired cottons, and finished with
hand stitching and end cap facings. Using global fabrics really
adds an out-of-the-ordinary quality to the improv quilts.
Whats the single best quilting tip youve ever learnt?
This comes from my years as the Strategic Director at a design
firm: There is an opportunity with every step of a quilt project
to make choices, to discern. This level of engagement leads to a
stronger connection between the quilter and the quilt so the final
outcome truly does express the style and the intent of the maker.
Whats in store for you and Okan Arts in 2018?
Ill be travelling to Japan three times! In January, Ill report on the
Tokyo Quilt Festival. In March, Michael and I will be day-tripping
around Kyoto. Then in October, Ill be taking ten quilters to Brian
Whiteheads silk farmhouse in Fujino for a Japanese Textile
Workshop. There well be shibori dyeing using natural indigo
as well as trying out stencil dyeing.
Im really excited about the newest series of quilts Im working on.
I start by stitching 12in squares of yukata cotton into a 60in x 60in
piece of fabric. Once I have a big-grid background, I insert curved
design elements. The final touch is big stitching with cotton floss.
In 2018, Ill be squeezing in as much studio time as possible so I
can make more of these intriguing quilts.
patricia@okanarts.com
To find out more about
Patricias book
East-Meets-West Quilts:
Explore Improv with
Japanese-Inspired
Designs, see our review in
this months bookshelf
on page 42. We also have
three copies to give away
so turn to our Giveaways
on page 98 for details.
DECEMBER 2017 47
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 See
pattern
sheet for
templates

52 DECEMBER 2017

NORDIC STOCKING
Who doesnt love the anticipation of stockings waiting for Christmas!
by Debbie von Grabler-Crozier
SKILL LEVEL
MATERIALS
m (yd) red wool blend felt
m (yd) red and white fabric for lining
Fat eighth white wool blend felt
Black perle 8 thread
Red cotton aran yarn
Red, black and white DK acrylic yarn
15cm (6in) black and white ribbon
10 x 5cm (4 x 2in) rectangle of black
leather
One medium brass chicago screw
Three red buttons
Air-vanishing fabric pen
Hole punch suitable for leather
Clover medium pom pom maker
Hot glue gun
Glue stick
FINISHED SIZE
Approx. 50 x 32cm (20 x 12in)
PREPARATION
All measurements include in seam
allowances, unless otherwise stated.
FIG 1: Drawing the felt hearts
GIFT
Red wool felt gives this stocking a real Scandi feel and the tassel on the
back is inspired by the Sami tassels made by the nomadic people of the
same name from Scandinavias frozen north. They are easy to make and
really bring and extra something to your home at Christmas.
DEBBIE
Making the stocking onto the centre of each heart shape. Do
1 Following the instructions in the boxes not cut them out. Fig 1
over the page, make two pom poms and
one tassel. 4 Using the black perle 8 thread, embroider
the motifs using a back stitch for the
2 Trace the stocking template from the main snowflake and a lazy daisy stitch
Pattern Sheet onto paper. Then cut two for the ends of the snowflake arms,
mirrored pieces from the red felt and Fig 2. Stitch a button to the middle of
two from the lining fabric. The easiest each snowflake.
way to do this is to fold the fabric in
half, pin the template to the front and 5 Cut out each heart, carefully following
cut both at the same time. the line, and use the glue stick to adhere
them to the front of one of the felt stocking
3 Trace the heart template from the panels. The stocking can point to the left
pattern sheet onto a piece of card. Draw or the right depending on your preference.
around it three times onto the white Using white thread, sew around the hearts
felt, then transfer the snowflake design to applique them to the stocking front.
FIG 2: Embroidering the snowflake
DECEMBER 2017 53
 GIFT

6 Take the other felt stocking panel

and place on top of the appliqued one,
wrong sides together. Pin and tuck the
end of the tassel cord and the pom
poms into the side seam about in
down from the top. Play with the lengths
of the embellishments to create a look
you are happy with.

7 Using red thread, machine sew around

the outside of the stocking, leaving the
top open. If needed, when you finish
trim the seam allowance at the top to
neaten it.

8 Pin the two lining pieces right sides

together and stitch around the edge,
leaving the top open.

Making a tassel
It is surprisingly easy to make your own tassel. If you knit or crochet they are ideal
for using up oddments of yarn.

1 Take a piece of cardboard about 3 3 Tie around the waist about in

wide x 4in long and wind the red down from the top. Fig 3
cotton yarn around it lengthways,
FIG 3: Creating a hem at the top of the about thirty times. When you have
lining finished tie the top. Fig 1

FIG 3: Tying the top of the tassel

FIG 4: Holes punched in each end of the 4 Take a piece of black and white
hanging loop ribbon and hot glue it around the
middle. Fig 4
FIG 1: Tying the top of the tassel

2 Cut the bottom of the yarn to remove

the tassel from the card. Fig 2

FIG 4: Tying the top of the tassel

5 Add a long cord at the top, then it is

ready to attach. Debbie recommends
plaiting leftover yarn to create the
FIG 2: Cutting the tassel from the card cord.
FIG 5: The hanging loop fixed in place

54 DECEMBER 2017
 GIFT

Making a pom pom

Pom poms are easy to make and
addictive! Debbie prefers to use
acrylic yarn as it is softer than cotton
and fluffs up into a full pom pom.

1 Take the medium pom pom maker

and, following the manufacturers
instructions, mix together the black
and white yarn to make a pom pom.

2 When you have finished making the

pom pom leave a long length of wool
so you can attach it to the stocking.
If needed, give it a little trim to keep it
in shape.

3 Repeat to make a red pom pom.

FIG 5: The finished pom poms Fig 1

9 Turn the top of the lining over by a

scant in and press. Fig 3

10 Place the lining into the stock-

ing and push it down into the toe.
The top of the lining should sit just
below the top of the stocking. Pin,
then use coordinating threads to
sew around the top of the stocking
to secure it in place. The lining will
hide the ends of the tassel and
pompom cords.

11 Trim the leather strip to 5 x in

and punch a hole in both ends. Fig 4

12 Punch a hole in the back of the

stocking, approximately in down
from the top on the back, and in in
from the edge.

13 Line up the holes in the stocking

with the ones in the leather hanging
tab, then fix the chicago screw in
place. Fig 5

WHERE TO BUY
Debbie used felt from Hantex
hantex.co.uk/mystockist and the
ribbon is by Berisfords
Berisfords@stockistenquiries.co.uk.
For more information on the
pompom maker contact
clover@stockistenquiries.co.uk.

DECEMBER 2017 55
 This can be a great way to personalise a plain
blanket, but also to give an old one a new lease of
life this is a beautiful soft, white cotton blanket,
but a wool blanket works just as well,
JEMIMA

56 DECEMBER 2017
 GIFT

PATCHWORK
BLANKET BORDER
Add a personal touch to a shop-bought blanket
by Jemima Schlee

SKILL LEVEL Cutting instructions 2 Stitch a scant in to either side of your

MATERIALS
m (yd) white fabric
Assorted brightly coloured fabric,
enough to cut fifty-six 12.7 (5in)
squares
Single blanket measuring 66 x 90in
1 From the white fabric cut twenty-eight
5in squares.
2 From the assorted brightly coloured
fabric cut fifty-six 5in squares.
diagonal line. Remove the pins and cut
along the line to give you two units of
work. Fig 2
3 Press your seams to one side. Trim
your two units to 4in square.

FINISHED SIZE 4 Repeat Steps 1 to 3, making sure that

Approx. 168 x 130cm (66 x 90in)
PREPARATION
Use in seam allowance throughout
Wash and press fabrics before starting
Sewing instructions
1 Take two 5in squares of fabric and place
them right sides together. Align and pin
their four raw edges and draw a diagonal
line from opposite corners. Fig 1
when you stitch the white fabric you
always pair it with a bright fabric square.
5 Take two of your squares and pin
them right sides together, ensuring their

FIG 1: Diagonal line drawn on the wrong

side of a square

FIG 2: Cutting the unit in half

DECEMBER 2017 57
 GIFT

diagonal seams are running at opposite

directions to each other. Stitch a seam
along one edge and press this to one
side.

6 Continue sewing the half-square triangles

into a long strip, joining them in any
order you wish. Jemima planned her
layout in advance and created a repeat
where two white squares were stitched
together at regular intervals. Fig 3

7 Lay one side of the blanket on a flat

surface. Place the patchwork strip on
top, right side down with its top raw
edge 1in away from the edge of the
blanket. Starting a third of the way
down the side pin the strip in place
then stitch in away from the edge
of the binding strip. Mitre the corner,
then repeat to sew the binding on each
edge. Fig 4
8 To finish the binding fold your finishing
edge over the raw starting edge, tucking
it under to encase both raw edges. Trim
the excess fabric at the end so there is
only an overlap of 1in, then stitch over
the join.
9 Fold your binding up towards the
blanket edge, using a hot iron to give it
a crisp press check the content of the
blanket on its label to ascertain the heat
you should have your iron set at. Take a
bit of time to make your mitre corners
neat at this point. Turn your work over
and, tucking the long raw edges under
pin your folded edge to meet your stitch
line. Hem all the way around by hand,
neatening the mitred corners as you go.
Fig 5
10 Once the binding is sewn make a few
little slipstitches on the angled fold at
each corner to keep them in place. Fig 6
WHERE TO BUY
Jemima used plain, textured and spotty
fabrics from Makowers Spectrum, Linea
and Spot ranges makower.co.uk. This
project is also suitable for scraps or you
could use squares from a charm pack.
The blanket is from The White Company
thewhitecompany.co.uk.

FIG 3: Sewing two white units together

FIG 5: Sewing the binding to the back

FIG 4: Sewing the binding to the front FIG 6: Finishing a corner

58 DECEMBER 2017
Threads and Patches 15 Watling Street (High St),
Fenny Stratford, Bletchley,
www.threadsandpatches.co.uk Milton Keynes, Bucks MK2 2BU.
e: threadsandpatches@gmail.com Tel: 01908 649687

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 There are many different ways of tying cloths around presents, and
you will find some excellent demonstrations on Youtube. I also like
to use ribbon to tie my gifts, especially when they are small as it can
be difficult to securely tie a smaller pieced cloth. It is important
these cloths are reused, so if you are not giving them to a fellow
quilter you might like to add a label saying please reuse me. If you
enjoy making them you can adapt different patchwork designs,
although I advise pressing seams open as it helps the cloths to
stay flat. The more seams you have the bulkier the cloth becomes
and so it is harder it is to tie.
ELIZABETH

60 DECEMBER 2017
 GIFT

ALL THAT GLIMMERS Go eco-friendly this Christmas with these stylish wrapping cloths
by Elizabeth Betts

One 6in square

SKILL LEVEL
MATERIALS
Six fat eighths (or a selection of scraps)
One 10.2cm (4in) square of aqua
fabric
90cm (1yd) lightweight fabric (such
as lawn) for the backing
Ribbon for tying (optional)
FINISHED SIZE
Large approx. 56cm (22in) square
Medium approx. 38cm (15in) square
Small approx. 20.25cm (8in) square
PREPARATION
All measurements include in seam
allowance. Press all seams open.
Cutting instructions
Below is the order Elizabeth cut her
fabrics, however, if you are using scraps
she advises cutting the larger pieces
first, then working through the pieces to
cut the smallest ones last. This way you
can get as much out of your scraps as
possible. To help with fabric placement,
lay them on a surface as you cut them to
see how the design is looking.
1 From the light gold fabric cut:
One 3in square
Two 1 x 2in rectangles
Two 2 x 3in rectangles
One 9in square
Two 3 x 4in rectangle
2 From the dark gold fabric cut:
One 1 x 2in rectangle
One 2in square
One 9in square
Two 3 x 4in rectangle
3 From the turquoise fabric cut:
One 3in square
Three 1 x 2in rectangles
One 6in square
Three 2 x 3in rectangles
Two 3 x 4in rectangle
One 4 in square
4 From the silver fabric cut:
One 3in square
Two 1 x 2in rectangles
Three 2 x 3in rectangles
One 9in square
5 From the off-white fabric cut:
One 3in square
One 1 x 2in rectangle
One 6in square
Two 2 x 3in rectangles
Four 3 x 4in rectangles

6 From the pink fabric cut:

Three 1 x 2in rectangles
One 6in square
Two 3 x 4in rectangles
Two 2 x 3in rectangles
One 9in square

7 From the aqua fabric cut:

One 3in square

8 When you have finished cutting the

pieces place them in three piles in the
following order:

For the large cloth:

Four 9in squares
Twelve 3 x 4in rectangles
One 4in square

For the medium cloth:

Four 6in squares
Twelve 2 x 3in rectangles
One 3in square

DECEMBER 2017 61
 GIFT

For the small cloth:

Four 3in squares
Twelve 1 x 2in rectangles
One 2in square

9 From the backing fabric cut:

One 22in square
One 15in square
One 8in square

Making the medium

cloth
1 Following Fig 1 lay out the pieces on a
surface, right side up.

2 Take the three rectangles that go

between the top two squares and sew
them together. Repeat with the three
rectangles between the bottom squares.
Fig 2
3 Sew a large square to the end of strip
of sewn rectangles. Fig 3
4 Sew the middle row of rectangles
together, stitching the square in the
middle. Fig 4
5 Sew the three rows together, press and
remove any stray threads. Fig 5
6 Lay the pieced square on top of the
15in square of backing fabric. Pin all
the way around, making sure the pieced
square is flat. Sew around the edge,
leaving a 3in gap in the middle of one
side for turning through.
7 Trim the excess fabric at the corners
and turn through the gap. Press well,
then hand stitch the opening closed.
8 Topstitch around the cloth,
approximately in in from the sides.
Making the small cloth
Follow instructions above, but use the
8in square of backing fabric and leave
a turning gap approximately 2in wide.

Making the large

cloth
Follow instructions above, but use the
22in square of backing fabric and leave
a turning gap approximately 5in wide.

WHERE TO BUY
Elizabeth used fabrics from the Cloud 9
FIG 1: The pieces laid out ready to sew Shimmer Solids collection
FIG 3: The two outer rows sewn together hantex.co.uk/cloud9.

FIG 2: Sewing the rectangles together in

two sets of three FIG 4: The middle row sewn together FIG 5: A finished front

62 DECEMBER 2017
Block of the Month
HUNTERS SQUARE
A block known as Hunters Star, made from half-square triangles and squares. The corner
chevrons, or arrow flights, form an eye-catching central eight-pointed star.
by Jemima Schlee

History
Originating from the first nation Sioux tribes in the Rocky Mountains, the Hunters Star pattern was originally made with
diamond piecing, but I have constructed this version by machine with half-square triangle and squares. The design depicts the
morning star, Venus, the guiding star of the Lakota Sioux, symbolising immortality and marking the direction from which spirits
travel to Earth. Star quilts were used in everyday life, in religious ceremonies and festivals, and in trading.

DECEMBER 2017 63
 BLOCK OF THE MONTH
This beautiful block can be confusing to piece, so it is important to have a clear choice of dark and light fabrics to not
only facilitate in the making, but to emphasise the impact of the Hunters Star in a finished quilt.
MATERIALS
11 x 23in (28 x 60cm) of light fabric
11 x 23in (28 x 60cm) of dark fabric
FINISHED SIZE
16in (40.5cm) square
Making the half-
square triangles
1 To make eight 2in half-square
triangles in one go, take a light and
dark 5in square and place their
right sides together. Align their edges
and pin before drawing two diagonal
lines joining opposite corners. Now
draw a vertical and a horizontal line,
dividing the fabric into four equal
squares. Fig 1
2 Stitch in seams to either side of the
two diagonal lines. Use sharp scissors
to cut along the vertical and horizontal
lines, then the diagonal ones. Fig 2
FIG 1
FIG 2
64 DECEMBER 2017
JEMIMA
Before starting
Wash and press all fabrics, and read through all the instructions.
All measurements include in seam allowance.
Cutting instructions
1 From the light fabric and the dark fabric, cut four 4in squares and four 5in squares.
3 Press all your seams to one side and
trim tails to leave you with eight 2in
square units. Fig 3
4 Repeat Steps 1 to 3 to make
another three sets of eight half-square
triangles.
Assembling the block
1 First, make your top left corner unit.
Take four of your half-square triangles
and lay them out in a two-by-two
arrangement, as shown in Fig 4. Sew
them into two rows, press seams in
alternate directions, then sew the rows
together.
FIG 3
FIG 4
2 Take another four units and, following
the layout in Fig 5 sew them together in
the same way as Step 1.
3 Take your two units from Step 1 and
2, a 4in light and dark square and,
following the layout in Fig 6 sew them
together, first into two rows, then the
rows together. This completes your top
left corner unit.
4 Repeat Steps 1 and 2 above to make
another three units, using Fig 7 for
guidance.
FIG 5
FIG 6
 BLOCK OF THE MONTH

The fun doesnt end here

Each month we will introducing you to a dierent block, with
easy to follow instructions.
This is the sixth of nine 16in square blocks for you to make, with
the final design appearing in our March 2018 issue. As you make
the nine blocks, we would like you to come up with your own quilt
design. You can add more blocks or borders, experiment with
colourways and fabrics, and make the finished quilt as large or as
small as you like. Anything that takes your fancy! The only rule is
that it must include all nine of the blocks from the magazine.
There are great prizes to be won, including a fabulous sewing
machine, courtesy of Bernina, for the winning design. Full details
of how to enter will be given in the March 2018 issue, so watch
this space and dont forget to keep us posted on your progress.

The previous blocks are:

July Old Tippecanoe/Crossed Canoes
August Pinwheel Cross
September Dutchmans Puzzle
October Spools
FIG 7 November Windblown Square

5 Following Fig 7 lay out your units. Sew them together. If you have missed an issue find previous blocks at
popularpatchwork.com

WIN: Bernina 350PE

Sewing Machine
When it comes to sewing machines,
Bernina are recognised worldwide
for producing cutting-edge
machines, leading the way in
design and technology. Boasting a
wide range of innovative functions
and features, including the ultra
hi-contrast LED lighting and 202
stitch patterns, the Bernina 350PE
is the perfect machine for all
dedicated sewers. With too many
features to mention here, check
out the full details at bernina.com

RRP
895

If you enjoyed making this block, why not make a Hunter's Square quilt? The design
above is made from sixteen identical blocks.

Fabrics used in this series are from the Linea range, makoweruk.com

DECEMBER 2017 65
Part 4
TALL
TRIANGLE
UNITS

66 DECEMBER 2017
 MYSTERY QUILT

MYSTERY QUILTPart 4
Join us on a quilting adventure!
by Stuart Hillard, with additional work from Joan Drake

T
his month we are making tall triangle units. Each one is 4in square (4in square when sewn in the finished quilt). You
will need to make a total of sixty units this month. For my Alison Glass version I used assorted pink and orange prints
for the coloured sections (the same oranges and pinks as I used for the rail fence units) and charcoal linen texture for
the background. For my scrappy version I used assorted medium and dark blue prints for the larger central triangle and
assorted cream/beige and tan prints for the slender triangles on either side.

Foundation piecing Preparation

These units are made using the foundation paper piecing
method so familiarise yourself with the technique before you
begin. If you are new to foundation piecing this is an excellent
way to start as you repeat the same block and so can improve
your skills. For further information on foundation piecing visit
popularpatchwork.com/news/article/foundation-
piecing/29. For foundation piecing I like to pre-cut patches
approximately in bigger on all sides then trim them down
once each one is sewn.
Photocopy, or trace, the template off the Pattern Sheet sixty
times. Note, we have printed two identical templates next to
each other as they fit on a sheet of A4. Roughly cut out each one
in larger than the outer line. This enables you to sew each unit
accurately and right to the edge, then cut it down to size. They
are printed at the correct size, 4in square finished with a in
seam allowance all around the outer edges, so if you photocopy
them make sure they end up at these measurements.

Instructions for the Scrappy Version

This is made in the same way as the Sun Prints Version, but
use a medium/dark blue print for patch A1, and two assorted
cream/beige fabrics for patches A2 and A3.

Instructions for Sun Prints Version

1 Foundation piece a unit following the numerical order written For parts 1,2 and 3 along with the fabric
on the template. Use a pink or orange print for patch A1, and requirements, please visit our website
two charcoal linen texture for patches A2 and A3. www.popularpatchwork.com

2 Repeat until you have sixty units. WHERE TO BUY

For more information on the Sun Prints range
3 When you have finished trim each unit to 4in square, designed by Alison Glass visit
following the outer line on the template. makoweruk.com/section/sun-prints-by-alison-glass-2017

DECEMBER 2017 67
 The Wedding Quilt, Ralph Hedley The Beamish Museum
Wedding Quilts
Diana Woolf takes a fascinating look at the history of quilt making and the designs traditionally
associated with weddings.

W
hat could be more suitable for a Christmas
wedding than a quilt decorated with
heart-shaped wreaths of holly? These are the
motifs that the creator of a charming piece in
the American Museum in Britain has used to decorate her quilt,
possibly made to celebrate her own Christmas wedding. The
quilt is thoroughly seasonal and is made up of nine blocks each
worked with an appliqu pattern of holly wreaths with a pair
of holly leaves in each corner. The leaves were all made out of
green cotton, which has sadly now faded to a beige colour, and
beside each one is a bright red berry. These jewel-like points of
colour have all been individually stuffed so they sit above the
white cotton background for extra visual impact. The brilliant red
berries juxtaposed with green holly leaves must have made an
eye-catching contrast when the quilt was first made. More festive
colour was added by the maker along the border in the form of a
red cotton swag pattern and a red cotton binding, which neatly
frames the whole design. The piece has been quilted all over with
flower patterns, a running feather vine border and, appropriately
for a wedding quilt, hearts in each corner. All in all, its a lovely
combination of seasonal detail and the heart-shaped designs
traditionally associated with weddings. Christmas Brides Quilt American Museum in Britain

68 DECEMBER 2017
 FEATURE

The quilt, known as the Christmas

Brides Quilt, dates from the late 19th
century and is an excellent example
of an American wedding quilt. These
quilts were commonly made in the 19th
and early 20th century by girls once
they were engaged to celebrate their
wedding. Sheila Betterton, in the preface
of Classic Quilts from the American
Museum, explains how American girls
were traditionally expected to make up
to 12 quilt tops for their hope chest.
This was a piece of furniture similar to a
blanket box and was used by unmarried
girls to store items of clothing and
household linen which they would use
in their married life. Its also known as
a dowry chest or glory box, while in
Britain it was more prosaically known
as a bottom drawer. The quilt tops were
made by girls from a young age as a
practical lesson in sewing; their first
attempts were probably simple one-
patch designs, but as the girls became
better needlewomen the designs
became gradually more complex. A
final top, the thirteenth, would be made
when the girl was engaged and was
meant to show the full extent of her
technical skill. It would be taken to her
new home and treasured as a family Log Cabin Quilt American Museum in Britain
heirloom, only to be used for special
occasions.
Interestingly these quilt tops were not actually backed and
quilted by the makers. The tops were made by the girls working
on their own at home, perhaps with a helping hand from other
family members, but the quilting was often done communally
during a quilting bee. This was a sewing get-together where
local women and relatives would congregate at a particular
house, set up a series of quilting frames and sew the quilt tops
and bases together. For lonely pioneer women living in isolated
communities these were great social events, a chance to catch
up with news and see friends, and were often finished off by a
party in the evening (to which the men were invited). A quilting
bee was clearly a practical, and enjoyable, way of completing all
sorts of quilts, but they seem to have had an extra significance
for wedding quilts as, according to Sheila Betterton, superstition
held that a girl who quilted her own quilt would die unmarried.
This may have been linked to the fact that the wedding quilt
was the thirteenth quilt a girl was supposed to make and the
number 13 was considered unlucky.
Hearts were a popular motif on American wedding quilts,
indeed, according to tradition including a heart motif on anything
other than a wedding quilt was considered to be tempting fate
and would doom the unfortunate maker to a life of eternal
spinsterhood. However, wedding quilts didnt have to feature
hearts and could be made to a whole range of different designs,
with the maker choosing the pattern which was their personal Rose of Sharon Quilt American Museum in Britain

DECEMBER 2017 69
 FEATURE
Wedding Quilt, Weardale c.1815-30 The Beamish Museum
Double Wedding Ring Quilt American Museum in Britain
favourite. For example, Ellen Bryant, from Londonderry, Vermont
chose a Log Cabin design for her wedding quilt which she started
in 1863 (in the American Museum collection). Its made up of over
300 individual blocks arranged in the Barn Raising pattern and
we know that it took Ellen over 20 years to make as it was finally
backed by her sister Sarah Bryant in 1886.
70 DECEMBER 2017
Example of possible wedding quilt with
basket, by Ann Shanks of Benwell c.1910
The Beamish Museum
One particularly popular design for
newlyweds was the Rose of Sharon. This
attractive floral pattern was believed
to represent romantic love and the
sacrament of marriage and was inspired
by verses in the bible: I am the rose of
Sharon and the lily of the valleys. As
the lily among thorns, so is my love among the
daughters. There is a well-preserved example of
this pattern at the American Museum worked in
appliqud cottons with a series of 12 bright red
flowerheads surrounded by smaller leaves and
buds set against a pale cotton background. The
border is worked with vases of flowers and the
piece has been quilted all over. Its particularly
interesting as its one of the few surviving historic
quilts that we know for sure was made for a
wedding often curators and collectors assume
a quilt was made for a wedding because of its
design without necessarily having proof of where
and when it was made. However, this quilt has
an excellent provenance as, thanks to a handy
embroidered text added to the quilt by the
makers daughter, we know that it was made by
a certain Lavinia Krishner in 1850 to celebrate her
marriage to John Fox.
Another popular pattern for American wedding
quilts was the Double Wedding Ring design.
This complex pattern of interlocking patchwork
circles or rings was first published in the Ladies
Art Company Magazine in 1928 and soon became very popular
among brides. Other similar patterns used were the Single
Wedding Ring and Indian Wedding Ring designs and the bizarrely
named Pickle Dish. Theres a good example of the Double
Wedding Ring Quilt in the American Museum, but ironically it
wasnt actually made to celebrate a wedding, but was made by
 FEATURE

a married woman from Texas,

Grace Munschain, who used scraps
from her daughters childhood
dresses to make her quilt. It was
donated to the museum by her
descendants in 1973.
Wedding quilts are slightly
more difficult to identify in
the UK, partly due to lack of
reliable documentation and
partly due to the fact that they
didnt follow any set design.
They were certainly made this
side of the Atlantic, with young
women putting quilts aside for
their bottom drawer in the same
way as their American cousins.
Again, as in America, these were
the most important quilts a girl
would make, a fact underlined by
Rosie Nichols from the Beamish
Museum who says that after the
wedding these quilts would have
only been used for best, when
guests or the doctor came round
or when the family were first
introduced to a new baby.
Depending on their sewing
prowess, girls would have
either made their wedding quilt
themselves, or have sought
outside help, often in the form
of a professional quilter who
would draw out or stamp a design Example of Welsh quilt with heart motifs (photo by Carolyn Gibbs)
for the bride and her mother to quilt
at home. The Wedding Quilt, a painting by North Country artist with a large flowering plant growing out of a very small flower
Ralph Hedley of 1883, shows how all the female members of the basket surrounded by a jaunty red and white border of hearts
family would have helped out with this important project. Three and zig-zags.
generations of a family are grouped around a quilting frame in the The true lovers knot was also popular. This is a continuous
front room of a what looks like a modest farmhouse. In the centre scrolling pattern that has been used for a symbol of eternal love
of the group is a young woman presumably the bride-to-be for centuries and often appears on other household items like
somewhat dreamily sewing. Although its quite a romanticised fenders and trivets, which may have been given as wedding
view of country life, Hedley has got his technical details correct gifts. A wholecloth quilt in the Beamish Museum made by a
as the bride is stitching with her right hand whilst feeling for the 25-year-old Mary Jane Turnball for her wedding at Leadgate
needle under the frame with her left hand. Her grandmother in County Durham in 1906 is worked with a border of these
leans over to give her advice and her mother is depicted carefully knots. Interestingly, if you look carefully at this quilt you can
positioning the templates. Even her younger sisters are involved still see the blue pencil lines used by the professional stamper
in the project. to mark out the pattern. A continuous design such as the
As the picture suggests, there was a strong tradition of quilt running feather or cable pattern was often used for the borders
making in the north of England and many wedding quilts come of wedding quilts as, like the lovers knot it was unbroken and
from this area with several on show at the Beamish Museum in so symbolised a long and happy marriage. Flowers, wreaths and
County Durham. Motifs popular with brides include the heart, doves were also popular. In fact, it seems that almost anything
although confusingly hearts often appeared on general quilts, goes when it comes to patterns on British wedding quilts
too they were particularly popular in Wales and often used as what made them special was the emotional significance
for cot quilts. Another popular motif was a basket, which, like attached to them rather than a particular design. They were
the heart, symbolised love and fruitfulness. A very attractive highly treasured items that marked an important rite of passage
early 19th century wedding quilt at the Beamish Museum in their makers lives and were valued accordingly by both
made in the Weardale area incorporates both these symbols, American and British brides alike.

DECEMBER 2017 71
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 I love winter but am not too fond of being cold so a hot
water bottle is a beautifully low-tech way of
keeping cosy. That doesnt mean that it has to be
ordinary though. Go for muted fabrics and you will have
something to make you look forward to the longer nights.
Bliss!
DEBBIE

See
pattern
sheet for
templates

74 DECEMBER 2017

HYGGELIG HOT WATER
BOTTLE COVER
SKILL LEVEL
MATERIALS
40cm (yd) grey and white fabric
for outer
50cm (yd) 80/20 cotton mix wadding
40cm (yd) lining fabric
19cm (7in) square of pale grey felt
Fat quarter of black and white fabric
and a 25mm (1in) Clover bias tape
maker OR 150cm (60in) of 25mm
(1in) wide shop-bought bias binding
Threads for sewing, quilting and
free-motion embroidery
Fifteen white sequins
One large button
5 x 4.5cm (2 x 1in) rectangle of tan
leather
Glue stick
15cm (6in) red round elastic or cord
FINISHED SIZE
Approx. 23 x 36cm (9 x 14in)
PREPARATION
All measurements include in seam
allowances.
FIG 1: Detail of quilting
Be winter-ready with this cosy cover
by Debbie von Grabler-Crozier
Quilting instructions for guidance, position on the front panel
1 Cut an 11 x 17in rectangle from the
outer fabric, lining and wadding. Make
a quilt sandwich by placing the lining
right side down, followed by a piece of
wadding then the outer fabric. Pin or
tack the layers together.
2 Machine quilt an all-over pattern. Debbie
quilted a random wavy pattern, working
diagonally across the panel. Fig 1
3 Place template A from the Pattern
Sheet on top of the quilted panel and
cut level with the edges.
4 Cut an 11in square from the outer
fabric, lining and wadding and repeat
Steps 1 and 2. Once quilted place
template B (top back) on top of the
quilted panel and cut level with the edges.
5 Cut an 11 x 9in rectangle from the
outer fabric, lining and wadding and
repeat Steps 1 and 2. Once quilted place
template C (top bottom) on top of the
quilted panel and cut level with the edges.
6 Using template A and cut one
snowflake from the felt. Using the photo
FIG 2: Felt snowflake glued to the front
GIFT
and hold in place with a pin or tiny dab
of adhesive from the glue stick. Fig 2
7 Referring to your machines manual for
guidance, set up your machine for free-
motion embroidery. Debbie used a dark
grey thread to outline doodle around her
snowflake this style of stitching looks
good if in some places you stitch two lines,
and dont worry about being too neat as
this adds charm and interest to the work.
When you have finished, tie-off or snip the
thread ends. Fig 3
8 Hand sew the sequins to the centre of
the snowflake. Fig 4
Putting the cover
together
1 If you are making your own binding
follow the instructions on your maker to
create a 60in length of binding from the
black and white stripe fat quarter.
2 Bind the following sections: Fig 5
The top of the front (template A)
The top and bottom of the top back
(template B)
The top of the bottom back (template C)
FIG 3: Free-motion stitching around the
snowflake
DECEMBER 2017 75
 GIFT
3 Trim the tan leather rectangle to 1 x
1in, and trim the cord or elastic to 5in
long.
4 Fold the elastic in half to make a loop
and secure it to the centre of the top
back (template B) approximately 1in up
from the bottom. Fig 6
FIG 4: Sequins sewn on
FIG 5: Binding the straight edges
76 DECEMBER 2017
5 Cover the ends of the elastic with the
1 x 1in piece of leather. Fig 7
6 Place the front (template A) on a
surface right side down. Lay the bottom
back (template C) on top, right side up.
Align the sides and bottom edge. Repeat
with the top back (template B), aligning
the top and sides. There will be an
overlap between pieces B and C. Pin and
stitch all around, in in from the edge.
Fig 8
7 Take the binding and undo the fold on
one side and lay the raw edge against the
outer raw edge of the front of the cover. WHERE TO BUY
Starting at the top sew along the fold line The cover has been made from Snow
down the cover and back up to the top Crystals, part of the Little Town collection
on the opposite side. If you wish you can by Amy Sinibaldi. The lining is Crisscross
from the Capsules Lower the Volume
turn a small hem at the start and finish
collection and the binding fabric is
so there are no raw edges. Then fold the
Slanted Lines from the Take Shape
bias over the raw edge of the project, Capsules collection. All of these are from
enclosing it completely. Without opening Art Gallery Fabrics
the folds this time, hand stitch the back hantex.co.uk/mystockist.
using a small slip stitch and thread that The wadding used is #279 by Vlieseline,
tones with the fabric. available from Lady Sew and Sew
ladysewandsew.co.uk
8 Sew the button onto the back, making
sure it is positioned so the elastic loop
can fasten around it. Debbie layered a
festive snowflake button on top of a
circular button but you could use a
single decorative button or even cover
one with some leftover fabric. Fig 9
FIG 8: The pieces pinned together
FIG 6: Stitching the elastic
FIG 7: The leather rectangle stitched in
place FIG 9: The button stitched to the cover
BOTTOMS UP!
Dress up a gift of festive cheer in a stitched bottle bag
by Janet Goddard

See
pattern
sheet for
templates

DECEMBER 2017 77
 GIFT

SKILL LEVEL
MATERIALS
One fat quarter for bottle bag
One fat eighth for bottle top
Fabric scraps for the appliqu
20.3cm (8in) square of
paper-backed fusible web
Thread to match fabrics to be
appliqued
Embroidery thread
Small buttons (for pudding version)
50.8cm (20in) thin ribbon

FINISHED SIZE
43.2 x 16.5cm (17 x 6in)

PREPARATION
All measurements include a in seam
allowance, unless otherwise stated

Cutting instructions
1 From the bottle bag fat quarter cut two
7 x 16in rectangles.

2 From the bottle top fat eighth cut one

13 x 6in rectangle.

Sewing instructions
1 Decide which motifs you are going
to use on your bag. Then, using the
templates from the Pattern Sheet, trace

FIG 1: The webbing fused to the wrong

side of the appliqu fabric FIG 3: Star version FIG 5: Shaping the base

FIG 2: The motifs fused to the fabric FIG 4: Christmas pudding version FIG 6: Folding under the bag top

78 DECEMBER 2017
 GIFT

These fabric bottle bags are just the right size for a bottle of wine or instructions to fuse the motifs to the
champagne and who wouldnt like to receive a bottle in a handmade background fabric. Fig 2
bag which can be used again and again? I have made these with a choice
4 Hand stitch around each motif using
of two motifs but you could leave them plain or substitute with a stab stitch, then add buttons (if using
one of your own designs. them). Figs 3 and 4
JANET
5 Place the two 7 x 16in rectangles right
sides together and stitch around three
sides, leaving the top open.

6 To shape the base, match the centre

fold of the base with the side seam.
Measure in 1in along the seam line and
stitch across. Fig 5

7 Take the fabric for the bag top and fold

it in half so that it is the same width as
the bag. Stitch this seam, leaving 1in
open at the top. Press the seam open.
Fig 6

8 Turn down the top of the bag top,

making it double so that the raw edges
are even and the right side and the 1in
opening are on the outside. Fig 7

9 Stitch a row of stitches through both

layers of fabric, 1in away from the raw
edge, all the way around. Fig 8

10 Place the bag top inside the bag, right

sides facing, so that the opening on the
bag top is against one of the side seams.
Stitch around the top. Fig 9

11 Turn the bag right side out and press.

them onto the paper side of the fusible
web. Roughly cut them out, about in
away from the drawn line.
2 Following the manufacturers
instructions, fuse the motifs to the
wrong side of the fabric scraps. Fig 1
3 Following the drawn line, cut out the
motifs. Peel the paper from the back and
position them on one of the 7 x 16in
rectangles. Place the bottom of the
motif, or first motif, 3in up from the
bottom. When you are happy with the
position follow the manufacturers
Thread the ribbon through the casing.
HANDY HINT
The design for this bottle bag could
be used to make bags for gifts at
other times of the year, or it could
be personalised with a name or
special message.

FIG 8: Putting the bag top into the main FIG 9: Finished bag, ready for ribbon tie to
FIG 7: Sewing around the top bag section be added

DECEMBER 2017 79
 QUICK CONES
These simple cones make perfect advent bunting string them across a window,
around a tree or even on a ladder!
by Debbie Shore

80 DECEMBER 2017

SKILL LEVEL
MATERIALS
Fifty 15.25cm (6in) squares of
fabric in an assortment
of prints
12m (39ft) of bakers twine
Die-cut felt numbers, 125*
Fabric glue
*If you do not have a die cutter,
pre-cut numbers are available
from craft shops
FINISHED SIZE
Each cone approx. 14 x 6.5cm
(5 x 2in)
PREPARATION
Press all fabrics before starting.
DECORATION
Instructions the cone, leaving a length of slack for
hanging. Knot the twine at each side of
1 Take two contrasting fabric squares for the cone before cutting. Repeat for the
each cone one will form the outer, the other twenty-four cones. Hang them up
other the lining. Place them right sides as you wish! Fig 3
together and sew along two adjacent
sides.
2 Pull the unsewn corners apart to form
one large triangle. Sew along the open
edge, leaving a turning gap in the lining
side.
3 Turn right side out, sew the opening
closed and press. Fig 1
4 Push the lining inside the cone and
press again, with the seam running
centrally down the back. Fig 2 This is an extract from Sew Advent
Calendars by Debbie Shore, 9.99,
5 Fold the point over to the front and Search Press.
glue in place. searchpress.com
6 Glue a felt number to the flap with
fabric glue. Using a large needle, thread
the bakers twine through each side of
FIG 1 FIG 2
FIG 3
DECEMBER 2017 81
 NO SEW WREATHA delightful no-sew seasonal decoration for inside or out
by Jemima Schlee

82 DECEMBER 2017
 DECORATION

SKILL LEVEL Instructions 6 Turn your work over wrong side

MATERIALS
Scraps of fabric, Jemima used
approximately 160 6 x 1in strips
30cm (12in) embroidery hoop
Acrylic paint and paintbrush
(optional)
Crochet hook
115cm (45in) of 5cm (2in) wide ribbon
38cm (15in) of 1cm (in) wide ribbon
FINISHED SIZE
Approx. 30cm (12in) diameter,
however you could make it bigger by
using a larger embroidery hoop
PREPARATION
Read through the instructions
before starting, and depending on
the size of your hoop, adjust the
number of strips as required.
Before you start, tip all your scraps
out on your worktable and play
around grouping them, contrasting
colours, brights and monochromes,
then decide which scraps you are
going to use.
1 Roughly cut 160 6 x 1in strips. Fig 1
2 Take your embroidery hoop apart and
work with just one part of it. If you wish,
paint the ring with acrylic paint. It only
needs one coat as you will covering it
with fabric. Fig 2
3 Tie your first scraps on to your hoop
you only need to tie once, and give
each a good tug to ensure its securely
attached. Fig 3
4 Continue tying on scraps until your
hoop is completely covered. Over time,
if left outside, the cotton fabric scraps
will weather in the sun and fray in the
wind, adding beautiful character to your
wreath. Figs 4 and 5
5 Take your wide ribbon and tie a neat
bow over the top of your wreath. Cut
the two ends at an angle or in a chevron
with sharp scissors. Fig 6
facing and use a crochet hook to feed
the thinner ribbon through the back of
the wide ribbon for tying your wreath
onto your door. Fig 7
HANDY HINT
Consider laying your scraps out in
a large circle and playing around
with the order of the colours before
you start tying them on.
WHERE TO BUY
Jemima used plain, textured and spotty
fabrics from Makowers Spectrum,
Linea and Spot ranges makower.co.uk
and additional fabrics from her stash.
The embroidery hoop was from
Brighton Sewing Centre
brightonsewingcentre.co.uk and
ribbons by Berisfords
berisfords@stockistenquiries.co.uk.

This wreath can be made to match your dcor, and with the addition of
baubles it makes a wonderfully festive addition to your home. It is a perfect
way to use up all your little scraps of fabric, and you dont need to cut the
strips to an exact size, roughly cutting them with scissors is fine.
JEMIMA FIG 5: The hoop covered in strips

FIG 1: Scraps roughly cut to size FIG 3: Tying the first strip FIG 6: A bow tied to the top of the hoop

FIG 2: Painting the hoop FIG 4: Continuing to tie strips of fabric FIG 7: Fixing the loop to the back of the hoop

DECEMBER 2017 83
84 DECEMBER 2017
 SEASONAL PROJECT

STOCKING ADVENT
CALENDAR
These cute advent stockings come pre-printed on a panel so all you have to do is cut out and sew
by Wendy Gardiner for the Henley Studio, Makower UK
SKILL LEVEL
MATERIALS
Makower stocking advent panel
60cm (3/4yd) backing fabric
Thread to match
2.30m (90in) of 1cm (in) wide
ribbon
Length of ribbon or garden twine to
hang the mini stockings from
Point turner or knitting needle
Pinking Shears (optional)
FINISHED SIZE
Each stocking is approx. 6 x 16cm
(2 x 6in)
PREPARATION
All measurements include in seam
allowances, unless otherwise stated.
Sewing instructions
1 Place the backing fabric behind the
printed panel, wrong side up (so wrong
sides are together). Cut out the stockings
following the dotted lines around each
one, cutting the backing fabric at the
same time.
2 Neaten the top edges of each piece. Ei-
ther cut a very scant amount with pinking
shears or a zigzag stitch. Turn the edge
over along the printed line (and the same
amount on the backing), press. Top stitch
in place. Stitch stocking after stocking,
without stopping, stitching on nothing
between them for 2-3 stitches this saves
considerable time and thread. Then cut
the stockings apart and press the tops.
of the fabric. Start about in from the
top edge, then reverse to the top before
continuing down. This avoids the fabric
being pulled into the feed dogs and having
thread tails at the very top. At the toe
and heel curves, stop with needle down,
raise presser foot, pivot fabric a little and
continue, do this every 2-3 stitches to
get a lovely smooth curve.
4 Trim the seam allowance to a scant in
and then clip into the seam allowance
diagonally, close to but not through the
stitching all the way round the curved
areas. This helps the fabric turn through
properly for a smooth curve. Press the
stockings and then turn through. Push
out the heels and toes with a point turner
or knitting needle. Press again.

WHERE TO BUY 3 Match a back with a printed stocking, 5 Cut the ribbon into lengths of 3in. Fold
Wendy used an advent calendar panel and with right sides together and the each into a loop. Stitch the loop to the
and fabric from makoweruk.com. printed stocking uppermost, stitch back of the stocking at the top heel edge.
around the stocking following the printed
outline you can see through the back 6 Hang the stockings on the garden twine
in any random order. Alternatively, other
ways to hang the stockings include
Bonus gift tags hanging them on a tree, or adding
The bonus gift tags have been printed on spare areas of the panel and can be used in buttons onto a panel of fabric.
a number of ways. Cut the backing fabric at the same time (as for the stockings), then
using double-sided fusible web (such as Bondaweb), fuse a gift tag and backing piece
together with the webbing in-between. Neaten the outside edges with pinking shears
or a zigzag stitch.
Turn these tags into:
Mini bunting make some festive fabric tags as well, using the gift tag shape as
a template and alternate them to hang on a length of ribbon to make bunting for
the mantelpiece or door.
Napkin rings overlap the ends to create a ring and fix in place with a pretty button.
Pressie pockets With right sides together, stitch a gift tag to a festive fabric
tag down the straight edges and across the bottom. Turn through to create little
pockets.
Place name tags Use a fabric pen to write your guests names on and use the tags
as place markers for your dinner table
Appliqu make a table centre; appliqu each tag to the centre of a contrast plain
fabric square and then join the square into a runner for the table, adding borders,
sashing and backing.

DECEMBER 2017 85
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accommodation ?

Small groups of 6-10 students will be

taught by a husband and wife team, one a
To advertise here please contact: fully qualied teacher and the other a
two time Houston prize winner.
Angela Price
+44 (0) 78 41 01 96 07
angela.price@mytimemedia.com

POPULAR For more information come and visit us at

www.sunpatch.es
POPULAR

COMING
NEXT
MONTH
ON SALE 8TH
DECEMBER

Winter
Brights
15 quilts and
accessories for a
Bright New Year
 s
POPULAR

HANDY HINTS FOR

PROJECT SUCCESS
If you are new to Popular Patchwork or sewing in general,
following a pattern can be confusing. We want you to enjoy
making the projects in the magazine, so to help you here are
some questions we regularly get asked.

Why do you have quantities in both metric and imperial in the materials list?
Whilst most quilters in the UK work in inches, shops sell in centimetres, so we put both.

The materials list says fabric, but I am not sure what I should be buying.
Can you advise?
Unless stated, our contributors use craft weight (a medium-weight) 100% cotton fabric
for their quilts.

You talk about cutting fabric across the width of the fabric, and the length of the
fabric. Im confused about which is which
The width of the fabric (also known as WOF) is selvedge to selvedge. This measurement
can vary depending on how wide the fabric is, but most standard quilting cotton is
approximately 112cm wide.

The length of the fabric depends on how long a piece you have bought. It is sometimes
handy to cut this way as it can give you longer strips, for example, if you buy 2m of
fabric you can cut a strip 2m long, while if you cut from the width you will need to join
two pieces together.

How do I use your templates?

On the pattern sheet within the magazine we have the templates at full size. The easiest
way to use them is to photocopy the template, glue it onto a piece of card (cereal packets
are ideal) and cut out following the line. Alternatively, you can trace it onto template
plastic. When drawing around a template onto the wrong side of your fabric, place it
face down on the fabric so the finished piece is the right way round. If you are reading
a digital copy of the magazine, or have
lost or torn your pattern sheet, you
can download pattern sheets from our
website, popularpatchwork.com.

I needed scissors for a project, and you

didnt mention them in the materials
list. Why is this?
We presume our readers have a basic
sewing box containing pins, needles,
thread, scissors, a rotary cutting set, an
iron, and a sewing machine.

88 DECEMBER 2017
 REGULAR

I am a beginner and keep seeing references to in seam allowance. How do I sew this?
You can usually buy a special in foot for your sewing machine that helps you achieve
the correct seam allowance. If you do not have one you can place a piece of low-tack
masking tape on your machine, in away from the needle, and use this as a guide.

Should I pre-wash my fabrics?

We recommend pre-washing all your fabrics before starting a project. This ensures the
colour will not run, or they shrink.

You talk about pressing, not ironing,

why is this?
Moving the iron from side to side can
distort fabric, especially if you are
sewing shapes such as triangles that
have a bias edge. Moving the iron up and
down in a pressing motion prevents this
from happening. Good pressing is as
important as accurate cutting and
piecing, so do take your time.

I went to the shop to buy wadding and they had lots of options, what should I use?
If the designer has used a certain type of wadding in their project for a specific reason,
for example a thin polyester for hand quilting, or a fusible wadding for bag making we
will include this in the materials list. Otherwise it totally depends on what you prefer
to use. Generally, our designers tend to use 100% cotton, or 20% polyester/80% cotton
wadding, for bed quilts.

I read quilt as desired in the instructions, what does this mean?

Quilting is a very personal thing, one person may love hand quilting, and the next
person machine quilting. We usually say in the instructions how the designer has
quilted their work, so if you want to make an identical quilt you can follow what they
have done. Alternatively, quilt as desired means you can do whatever you want. If
youre not sure, have a look at how youve quilted previous projects. You can also try
taking a photograph of the quilt top: lay some tracing paper on top and doodle different
patterns to try out ideas before sewing. The most important thing to remember with
quilting is what holds the layers together, and the amount you need depends on how
you want the finished quilt to look, and the type of wadding (also known as batting)
you use. Some types need a stitch every 4in, while others only need a stitch every 8in.

I am unsure how to sew binding, can you help?

There are lots of different ways of sewing binding, however the most common one we
see among our contributors is double fold binding with mitred corners. There is a handy
downloadable guide on our website, go to popularpatchwork.com/howtobinding

I am new to quilting, can you give me any advice?

Take your time and enjoy the process. Whether youre a beginner, or have years of quilting
experience, always read the project instructions all the way through before starting.

It is our aim to have easy-to-read patterns, and all our designers are professionals
who work in the field of sewing, patchwork and quilting. We do take every effort
to ensure projects are correct, we have an in-house tech editor, and designers
always proof their final projects.

You can find a glossary of quilting terms on our website

www.popularpatchwork.com/news/article/glossary-of-terms/70

DECEMBER 2017 89
 www.quiltandstitchvillage.com

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The Winking Owl
Fabric Shop
We feature a beautiful collection
of fabrics, charm packs, notions
and wadding for every project.

Classes and workshops available.

Christmas shop now online!

www.winkingowlfabricshop.co.uk
Gloucester
Gather your friends and family for an afternoon of
crafting and raise money for Mind. Organise your
Christmas Crafternoon and help make sure that nobody
faces a mental health problem alone.

Let it sew, let it sew, let it sew...

Get your free Crafternoon guide
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Registered charity no. 219830
 Shirley Dene, North Carr Road, West Stockwith, DN10 4BD
Tel: 07785 378371
Regional Shopping Guide & Courses
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CUMBRIA DONCASTER LANCASHIRE SOMERSET

Visit our new store!
Superb range of fabrics, wadding and
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Tel: 07785 378371

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STAFFORDSHIRE SUFFOLK YOUR SHOP COULD BE HERE

To advertise here please contact:

Angela Price
+44 (0) 78 41 01 96 07
angela.price@mytimemedia.com
POPULAR

To advertise your website here

call +44 (0) 7841 019607 or
email angela.price@mytimemedia.com

94 To advertise please call: +44 (0)7841 019607 or e-mail: angela.price@mytimemedia.com indicates shops who stock Popular Patchwork
 SURPLUS QUILTING FABRIC
STOCKS REQUIRED
If you are retiring or nishing for any other reason
please call us on 07525 668887 anytime
We are looking for Branded Quilting Fabrics, we pay Cash,
Bankers Draft or Online in Your Account prior to collection.

To advertise here please contact:

Angela Price
+44 (0) 78 41 01 96 07
angela.price@mytimemedia.com

www.sunnysidefabricsuk.com POPULAR

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Oakshottfabrics Tel: +44 (0)1452 371571

PATCHWORK OF MY LIFE
Sara Cook
Sara Cook progressed from having the best-dressed teddies in town to dressing the opera
stars at Glyndebourne. Now, this talented quilter and teacher is exploring the traditions of the
Korean textile art, Bojagi. Here she tells us what gets her creative juices flowing.

T
he first sewing
machine in my
life was blue and,
when my mother found
me as a child trying to
get the bobbin thread
through that little hole
in the throat plate, she
knew I longed to know
how to sew. It was set in
a teak sewing cupboard
and I can still remember
the smell of the drawers
filled with paper
patterns and mysterious
sewing equipment like
bodkins, rolls of bias
binding and a leather
patch for an elbow.
I was born in London
and at an early age
discovered that I had an
enthusiasm for all things
sewing-related. Toys
and teddies alike had
clothes made and scarves knitted for them. With a professional Walking in the Sussex countryside can often be a starting
seamstress for a mother, and a Saville Row tailor for an uncle, point for a new piece of work. Evening walks in mid-summer
I was never far from fabric and sewing advice. can be an inspiring time for me to observe the effects of
As an adult I honed my creative skills training as a theatrical light fading slowly into darkness. The translucent qualities
costume-maker in Liverpool before heading to the Opera House of Bojagi seem to me a perfect medium to express these
at Glyndebourne. Whilst there, I enjoyed the most demanding fleeting moments.
and rewarding job in theatrical costuming and also learned My latest work The Grey Line expresses that change of light,
a love of teaching. the boundary between night and day. Researching Korean
As a qualified teacher I established Brighton Fashion and textiles has inspired me to experiment with traditional narrow
Textile School in 2012 to offer accredited courses where I teach seams creating irregular grids combined with transparency to
the City & Guilds qualifications in patchwork and quilting. evoke the feeling of light moving across the landscape.
Training as a Quilt Judge for the Quilters Guild meant I was once At the time of writing this I am looking forward to having a solo
again the student and continuing my journey of learning even exhibition of my work in the textile gallery at the Knitting and
more about this wonderful world of stitching. Stitching Show at Alexandra Palace in London. After 25 years of
Attending the Korean Bojagi Forum in Seoul in Korea in 2016 teaching, I find myself in the unusual position of being at the
gave me a further opportunity to research Korean Textiles. start of something new, and its very exciting.
Inspired by Chunghie Lees work, No Name Woman exhibited
at the Festival of Quilts in 2009, I have been developing my own Find out more about Saras Bojagi work at bojagiuk.com
work influenced by the historical and cultural traditions of this or visit brightonfashionandtextileschool.com for
wonderful textile art. future courses.

96 DECEMBER 2017
 REGULAR

1 2 1 Evening walks on the South Downs feel like very special

moments when I can connect with nature. I find twilight an
exciting time. The structure of trees reveal themselves, and
grasses and seed heads stand out against the skyline. It can
be a quiet time with nothing to assault your ears other than
the sounds of the birds or an occasional baa-ing sheep.
2 In late autumn we pick the quinces from our tree in the garden.
The yellow colour of these gnarled fruits with their furry skins
are transformed by a delicate pink emitting a flowery aroma.
3 The garden often provides a solace and connects me to the
seasons. The fun of harvesting food you have grown yourself
can balance out the frustrations of a day. Always so absorbing.
3 Shadows cast by skeletal hydrangea flowers collected from my
garden. There are moments in the year when I notice shadows
cast by plants creating a dancing pattern against a wall, or grey,
ghostly shadows. When I display my bojagi work I also enjoy
seeing the shadows cast by the seams on the wall adding
another dimension.
4 5 4 The V&A and its collections have been inspiring me since I was
a teenager. I irreverently refer to it as my Cathedral. The wrought
iron gallery is an inspiring place to observe the use of line and
pattern. I can feast my eyes on the colours and shapes to be
found in the beautiful glass and ceramics exhibits and leave
feeling uplifted by so much beauty and great design by makers
over the years.
5 This grey gingham Formica table was my mother-in-laws.
Her son once stripped down a car engine on it and it still has
a few dents to prove it. Its where family meals are eaten,
fabrics are dyed and where I often photograph things I have
been inspired by. I enjoy the fact that it has a patina of marks
left as a type of memory.
6 These scissors were picked up in the street by my grandfather
7 during the Second World War. He worked as a fireman and after
fighting the fires of yet another air raid he came across this pair
of scissors. For some reason he brought them home. He was a
man of unexpected talents my grandfather, an excellent gardener,
6 fan of Shakespeare and apparently, according to my mother,
able to cut a design for a dress without a pattern. In the Eastern
philosophy it is believed that tools have a living soul and must
be respected. Passed down to me I treasure them
7 Holidays are often when you see things outside your everyday
experience. One very wet holiday in Wales inevitably found us
at the Slate Museum. The sight of this stack of slates looking
gorgeous with the water bringing out their beautiful colours had
me rejoicing. Sometimes even the most unpromising places and
situations can yield beauty and inspiration.
8 Learning to work with Ramie fabrics, traditionally used for
8 Bojagi, has been a new challenge. Collecting leaves in the
autumn to admire their colours is a seasonal pleasure, and
inevitably inspires ideas for making. Here I have been using
a pinching technique to create a graphic image of leaves.
10
9 Looking at how other artists approach their subject and use
their medium energises me in my own work. Grayson Perrys
Reith lecture in 2013, Playing to the Gallery, gave me the added
confidence to question the excluding jargon that exists in some
quarters of the art world. A Recent trip to see Korean artist, Do
Ho Suhs work at the Victoria Miro gallery in London, had my
brain buzzing for days.
9
10 My most treasured acquisition is Bojagi Simple Elegance by
Huh Dong Hwa. I was lucky enough to meet and share tea with
him at his flat above the Museum of Korean Embroidery where
he told me about his lifetime of collecting Bojagi covering
cloths. My collection of books spans a lifetime of the study of
textiles. Starting with my earliest childrens books of Things to
do and Make, to current books that I have contributed my own
work to. Its good to be able to share these with my students
during classes.

DECEMBER 2017 97
OFFERS & GIVEAWAYS
For your chance to win one of this months giveaways, visit popularpatchwork.com
and simply click on WIN! Select the competition you wish to enter and
fill in your details. Good luck!

East-Meets-West Quilts
Break any rule you like and open the door to creative freedom says Patricia Belyea, author
of this exquisite new book on improv quilting with Japanese-inspired designs. There are
14 projects to try out combining contemporary fabrics with bold hand-stitching and lots of
clear instructions. Patricia has travelled widely in Japan and has a fearless approach that
embraces the philosophy of wabi-sabi (the acceptance of transience and imperfection).
If youre just starting out, it can be reassuring to embark on a project without fear of failure.
For the more experienced, its a chance to experiment with new techniques and introduce
unexpected elements. Weve got three copies worth 19.99 to give away for those
rule-breakers amongst you!
abramsbooks.com

Habico Pre-packs
Weve got four bundles of three new
products from Vlieseline worth 25
for you to try out some new creative
projects! Thermolam 272 is a great
alternative to batting made from
100% crush-proof polyester that
will add substance to seat pads
and oven gloves. The Quilters Grid
Flatter Spray from Soak in is lightweight and fusible and is
Celebration designed for watercolour quilts in
Made with plant-derived renewable ingredients, particular. H640 is a lightweight,
this starch-free ironing spray will keep all your iron-on volume fleece that keeps your
patchwork pieces wrinkle-free. It has a soft mist fabrics in place whilst you stitch. You
sprayer for even distribution and will be a handy can ensure an accurate finish without the
addition to your toolkit, keeping your fabrics fresh need for pinning or tacking. Its ideal for
and static-free. Weve got five of the new handy travel quilting as well as other sewing projects. All
size (RRP 9) to give away thanks to our chums at three products have been designed with you
Soak. Its biodegradable and phosphate and dye-free, in mind, to make your projects quicker and
so its kind to the environment to boot! easier. Therell be no stopping you!
soakwash.com ladysewandsew.co.uk

Fat Quarter Bundle of Libertys

English Garden
Theres been quite a buzz about this beautiful new collection
of Liberty fabrics. Named The English Garden, its made up
of 23 pieces in classic craft and quilting weight cotton, and
is the first stage of a roll-out that will include accessories
and a further collection coming next year. The prints have
a soft, sun-bleached quality and consist of re-drawn Liberty
patterns from the early 1900s teamed with modern
coordinates. Thanks to our friends at EQS, one lucky winner
will win a FQ bundle of all 23 designs in this gorgeous
collection worth 90. Its all coming up roses!
eqsuk.com

98 DECEMBER 2017
AVON Direct Sewing Machines, Bristol 0117 9778216 AUTUMN 2017
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BUCKINGHAMSHIRE Alans Sewing Machines, High Wycombe 01494 527600
Threads and Patches, Milton Keynes 01908 649687
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CHESHIRE Allan Sheen Sewing Machines, Winsford 01606 593554
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30 stitch choices
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YORKSHIRE A1 Woodseats Sewing Machines, Sheffield 0114 2552822
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Electra (DA) Company, Doncaster 01302 340 369
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Pembertons Sewing Machines, Stirling 01786 462993
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WILTSHIRE Franklins, Salisbury 01722 554466 retail outlets nationwide. Promotion starts 4th September until
2nd January 2018. (All offers subject to stock availability.)
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www.janome.co.uk The worlds leading sewing machine manufacturer

 For more information on local stockists
contact 01793 834304. Our latest
brochure can be downloaded now from;
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