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Jane Rae’s favourite podcasts


Curate artful prints in Nicola Dodd’s floral design



Sew simple
Bargello designs






Combine classic quilt blocks in

Katherine Guerrier’s sampler and 7KH KLVWè\ RI
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Meet the team
Covering Editor Nikki Morgan
Art Editor Rachel Bullen
Deputy Editor Laura Pritchard
Production Editor Jessie Doughty
Digital Editor Zoe Williams
Features Editor Anne Williams
Technical Consultant Lin Clements
Contributing Editor Jane Rae
As we put the finishing touches to this issue, we’re in the depths of winter
Sally Ablett • Jo Avery • Janet Clare • Nicola Dodd • gloom – rain is tapping away at the window and on the streets below I see
Jenny May Forsyth • Katharine Guerrier • Karen Lewis • figures clutching umbrellas rushing to stay dry. Oh, how I’m longing for the
Tina Prior • Davina Rungasamy
first signs of Springtime as the days grow longer and nature seems to
Photography Immediate Media Photo Studio
unless otherwise stated. reawaken all around us.
Location photographer Dave Caudery

Write to us Nature is a never-ending source of inspiration for us quilters – whether we’re

Today’s Quilter, Immediate Media, Eagle House, replicating a scene or landscape, creating stylised versions of motifs in the wild
Colston Avenue, Bristol, BS1 4ST
or picking colour palettes based on the bounty of the world outside our
ADVERTISING windows. The magazine showcases a range of designs with their origins firmly
Call: 0117 300 8206
Senior Advertising Manager Penny Stokes rooted in nature. With a simple rotation, Sally Ablett’s snail trail blocks
Client Partnership Manager Beckie Pring
Senior Sales Executive Tiffany Jackson become the centrepiece for her medallion design. While Nicola Dodd’s
MARKETING AND CIRCULATION repeated floral motifs in Lenten Roses are inspired by the blooms that appear
Newstrade Marketing Manager Janine Smith
Export Marketing Manager Rebecca Richer
in her flower beds, even in the depths of winter. Karen Lewis has used this
Direct Marketing Executive Joe Jones month’s Pineapple Block templates to create an all-over design in ocean
PRODUCTION colours – it’s a masterclass in building a minimal palette. Jo Avery has created
Production Coordinator Ian Wardle
Production Manager Rose Griffiths/Louisa Molter
a sweet garden scene with three iconic British songbirds poised on a leafy
Production Director Sarah Powell branch. All a perfect antidote to the cold dark days.
Director of International Licensing & Syndication Tim Hudson
However you choose to introduce nature into your quilting, cosy up with
Publishing Director Liz Taylor Today’s Quilter, a cup of tea and let’s wait out the winter weather together!
Managing Director (Craft) Kerry Lawrence
Managing Director (Bristol) Andy Marshall
Chief Executive Officer Tom Bureau
Printed and bound by William Gibbons
Distributed in the UK by Frontline

Nikki Morgan Covering Editor
Paul Torre • Karen Flannigan • Jennifer Morgan

PS We love to hear from you - keep in touch online, by email or by post.
Call 03330 162 154† or subscribe online at
buysubscriptions.com Todaysquilter Todaysquilter Todaysquilter Todaysquilter
†Calls from landlines will cost up to 9p per minute. Call charges from mobile phones will cost between
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Immediate Media Company Bristol Limited (company number In this issue, we’re delighted to feature…
05715415) is registered in England and Wales. The registered
office of Immediate Media Company Bristol Limited is at Vineyard
House, 44 Brook Green, London W6 7BT. All information
contained in this magazine is for information only and is, as far as
we are aware, correct at the time of going to press. Immediate
Media Company Bristol Limited cannot accept any responsibility
for errors or inaccuracies in such information. Readers are advised
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Company Bristol Limited nor its employees agents or
subcontractors shall be liable for loss or damage.

Nicola Dodd Karen Lewis Jo Avery

is working to ensure that all of its
paper is sourced from well managed
Sew our glorious cover quilt Stitched in Jennifer Sampou’s Turn to page 77 to give your
forests. This magazine can be featuring a variant of the gorgeous Sky collection, this favourite armchair a freshen
recycled, for use in newspapers and Rolling Star, inspired by the tropical Pineapple quilt will up with Jo’s delightful
packaging. Please remove any gifts,
samples or wrapping and dispose late Winter bloom, the Lenten have you dreaming of summer cushion project. Perfect for a
of it at your local collection point. Rose. Turn to page 22. already! See page 56. weekend of stitching!

Join us at www.todaysquilter.com 3
Create a stained glass window of
your most treasured scraps with
Katharine Guerrier’s project

Sew our glorious cover
quilt by Nicola Dodd in
Jardin de Versailles fabric

Get ready for spring with these
sweet appliqué birds

07 INSPIRED BY… Light and airy

Jo discusses the art of free-motion
GREAT READS quilting, her best tips for the practice,
and the techniques she uses today
Discover the thrifty quilting resources of 69 ESSENTIAL GUIDE
America’s yesteryear, the feed sack Perfect your Bargello patchwork skills
under the expert guidance of our very
Anne Williams considers the art of EPP
Make sure you receive every issue of Today’s
Quilter – delivered direct to your home address.
98 TRAVELLING QUILTER Janet Clare’s fourth block in her
Turn to page 30 for great subscription offers. Join Jane Rae on her homely staycation Spoondrift series, Beach Huts


36 Infuse your home with cosy,
warm colours with Sally
Ablett’s Rosewood Whorls
56 ES

Capture the


ripples of
raindrops on
water in Karen
Lewis’ quilt



his issue’s Block
of the Month 44
Discover the surprising
epurposing of feed sacks 13
Fresh picks:
All the latest
quilting news

Sew Nicola Dodd’s stunning cover quilt, Nikki chats about what’s in this issue
inspired by a precious winter bloom
36 ROSEWOOD WHORLS Perfect your Pineapple blocks with
Cosy up with Sally Ablett’s warm-toned a handy set of templates
Today’s Quilter – February 2020
(ISSN 20593230) (USPS 020-750) is published Snail Trail block creation
13 times a year (monthly, with Christmas issue in 30 SUBSCRIPTION OFFERS
November) by Immediate Media Company Bristol
Ltd., Eagle House, Colston Avenue, Bristol, BS1 4ST, 49 HEART AND SOUL Try our free trial of our digital
United Kingdom. Distributed in the U.S. by NPS Get scrap-happy with Katharine subscription!
Media Group, 2 Corporate Dr., Suite 945, Shelton,
CT 06484. Periodical Postage paid at Shelton, CT Guerrier’s patchwork perfect wallhanging
and additional mailing offices. 90 TEMPLATES For the projects
POSTMASTER: Send address change to 56 PUDDLE RIPPLES
Immediate Media, 2900 Veterans Highway,
Bristol, PA 19007, USA Stitch a calming kaleidoscope of blues in 95 DIRECTORY
Karen Lewis’ Pineapple block beauty Quilting suppliers at your fingertips
Either metric or imperial measurements (sometimes 99 NEXT MONTH
both) are included in each project, as per the designer’s 77 FEATHERED FRIENDS
preference. Converting measurements could interfere Appliqué Jo Avery’s sweet cushion project A sneak preview of issue 59
with cutting accuracy. Follow the same units of
measurement throughout; do not mix metric and
imperial. Read the instructions all the way through
before cutting any fabric. Always make a test block

CIARA (AQ 268) • 56”x68” • LC & HB Friendly

To live in a cottage or farmhouse surrounded by flower gardens and cozy

soft colors is a dream. No matter where you might live, being able to
bring some softness into our daily lives is a way of taking a deep breath, of
welcoming tranquility and comfort.
With fresh colorways of linen white, willow, mist, pebble, and blossom,
Bramble Cottage envelops these airy, fresh, cozy feels for your home, and
to share with those you love.

Yardage, Pre-Cuts and Patterns Available in January 2020

Light and airy

Add a splash of
colour and print
to every room in
your home!


Famed quilt designer Lissa Alexander, author of books such as All In A Row,
Sisterhood of Scraps is
Scraps Made Simple and Lucky Charm Quilts invites six quilting friends to sew
published by Martingale scrap quilts, each capturing their signature style. With designs from Susan
and will be available to buy Ache, Kim Brackett, Barbara Brackman, Sheryl Johnson, Laurie Simpson and
from January 2020.
For more information, visit Sandy Klop, each is a homage to much-loved fabric scraps and celebrates your
www.shopmartingale.com stash. Join the Sisterhood of Scraps and sew along.

Join us at www.todaysquilter.com 7
I N S P I R E D BY l l ight a n d a i r y

Indulge in a
with layers of


Featuring a tufted diamond-shaped motif and delicate tasselled trim, this
See this and all of the
beautiful bedding in
exclusive range of Tufted Amora bedding offers a modern twist on classic white
Anthropologie’s bedding, which is always great for giving a clean, airy feeling. The soft texture,
Autumn/Winter neutral tones and minimalist hygge style of these pieces provide the perfect
collection at their
website www. backdrop for a densely patterned quilt to really shine. Layer up textiles to create
anthropologie.com a space that inspires and calms you.

8 Join us at www.todaysquilter.com
I N S P I R E D BY l l ight a n d a i r y

Treat yourself
to an update on
a classic design
style with this
two-tone gem


The eclectic style of Australian quilt designer Jen Kingwell has won her many
Order the pattern from
devotees around the world. Colourful Double Date is a modern take on a classic
Jen’s online store block and includes instructions for both hand- and machine-piecing. The simple
www.amitie.com.au two-tone blocks offer a great opportunity to raid your stash for contrasting prints to
where you will also find
accompanying acrylic jazz up your quilt and personalise it to your preferences. Using a huge array of fabrics
templates for the design will also help you achieve Jen’s signature scrappy look.

Join us at www.todaysquilter.com 9
I N S P I R E D BY l l ight a n d a i r y

stylish floral
inspiration that
suits any
home décor


At Home is manufactured
At Home by Bonnie & Camille combines the favourite reds, linens and greens that
by Moda (United Notions)
and will be available in
Bonnie loves with the blue, aquas and greys that feature prominently in her daughter
stores from March 2020. Camille’s home. Mix pretty florals, vintage prints and versatile blenders to create a
To buy the accompanying ready-made quilt palette. Home is where the heart is and this collection is a nod to the
patterns, visit Camille’s
website www. mother/daughter design-team’s colourways that featured in their first fabric ranges.
thimbleblossoms.com The best journey always takes you home!

10 Join us at www.todaysquilter.com
Lake Havasu City, Arizona

I'm a pilot, a camper,

At Handi Quilter, we make longarm

quilting machines that help you
finish more quilts and create more stories to
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HandiQuilter.com/AndIQuilt and share your
own #AndIQuilt story.

1.877.MY.QUILT (697.8458)

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for just £3

In every issue:

10+ inspirational projects

& WARDROBE Step-by-step stitch guides
TO SEW FOR Expert-led tutorials
THE SEASON Full-size templates
Transfer patterns
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Bright designs
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Be inspired by
exclusive interviews
& projects from top
embroi ery designers

Issue one Printed in the UK | £5 99



2 easy ways to subscribe

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* This offer ends 30th May 2020. 3 issues for £3 offer is only available to UK residents paying by Direct Debit. If you cancel within two weeks of receiving your second issue you will pay no more than £3. Otherwise, your
subscription will continue at £29.49 every 6 issues, saving you 19% on the shop price. Your subscription will start with the next available issue and you will receive 13 issues in a year. Full details of the Direct Debit guarantee are
available upon request. Prices correct at point of print and are subject to change. All savings are calculated as a percentage of Basic Annual Rate. The UK Basic annual rate is £78.87 which includes any event issues (issues
charged at higher than standard cover price) published in a 12 month period. Customers must order by 17th February 2020 in order to receive Issue One. Any orders processed after this date will receive the next available issue.
Discover seasonal fabrics, the latest books and gadgets, as well as
previews of inspirational exhibitions taking place around the country.


Wall art
Much-loved quilter
Katharine Guerrier is making
and selling one-of-a-kind
collectable mini quilts
by combining traditional
patchwork blocks, such as
pinwheels, Log Cabin and
nine-patch, with a variety of
improv techniques. “Having
made many large quilts
over the decades, drawing
on tradition and adding my
own interpretations, I am
experimenting with small-
scale pieces that draw from
a number of techniques in a
similar way,” said Katharine.
Each piece is unique
and can be displayed on a
pinboard, mounted on a NEW CHAPTER
canvas or framed to add a
flash of colour to a small
space. This is a rare chance to STITCH FESTIVAL
purchase a quilt from a highly This year, the Spring Knitting & Stitching Visitors can also enjoy the Dressmaking Studio
regarded quilt-maker and Show is relaunching as the The Stitch Festival and the Stitch Stage, which will be hosting
teacher, who has contributed and moving to a new home at the Business a daily Upcycling Challenge in which teams
much to our enjoyment and Design Centre in Islington, London. Look of contestants will battle against the clock to
the development of quilting forward to a fresh, contemporary show, with transform an old item of clothing into a new
here in the UK. A limited more than 200 classes, demonstrations, fashion garment. Fashion designer Esme Young of
collection will be available for exhibitions and textile installations, and The Great British Sewing Bee fame and whose
sale on Katharine’s website. hundreds of exhibitors selling specialist craft designs were featured in Bridget Jones’s Diary
www.katharineguerrier.com supplies. Here’s a little preview of what’s in and Trainspotting, will be exhibiting her film
store for patchworkers and quilters: costumes. There’s lots to do and see!
Don’t miss the opportunity to pre-order
Q A selection of Kaffe Fassett’s Quilts in discounted tickets – use the code TQ2020
America will be on display before 23:59 on 26th February to receive
Q Quick-and-easy clamshell patchwork £2.50/£1.00 off.
by machine
Q Classes by Angela Daymond, Janet Goddard 27th February-1st March 2020
and many more £15 adult/£13.50 concessions
Q Quilt-as-you-go using your overlocker See the website for other ticket options.
Q Hawaiian appliqué www.thestitchfestival.co.uk
Q Foundation pieced mini village 08448 541 349

Join us at www.todaysquilter.com 13

Sunprints 2020 by Alison Glass has arrived, and it’s guaranteed to brighten up your stash. Continuing with a sewing/stitched
theme, Sunprints features subtle design elements that echo our love of sewing – a running stitch pattern, outlines of delicate
embroidered shapes and a brand-new design called Menagerie, which recreates cross stitch samplers featuring a host of endearing
creatures and motifs, including lions, beetles, bunnies, mushrooms, bees and flowers. Sunprints comes in Alison Glass’ signature
rainbow colours, creating a wonderful fabric paint box from which to choose the colours for your next quilt project.



Sew smart
Sew Easy’s new 3-in-1 tool is designed to
help tired fingers hand stitch through thick,
densely woven or multiple layers of fabric.
The hard, dimpled plastic surface acts as
a thimble to help you push and pull your
needle through fabric, avoiding painful nicks
to your fingertips. There’s also a built-in
thread cutter to snip your thread to the
desired length. You can watch Sew Easy’s
videos and tutorials on YouTube at

For stockist information, email

14 Join us at www.todaysquilter.com
FRESH PICKS l q u i l t i ng n e ws


Craft tidy
If your New Year’s resolution is to
keep your sewing space spick and
span, then this new accessory from
Hemline is going to be very useful.
The shape of a giant thimble is just
the perfect size for holding scissors,
pens and pencils as well as other
sewing implements. At last you can N E W B O M W I T H T H E Q U I LT R O O M
accessorise your sewing space with
a product that has its origins well and
truly in stitch. BASICALLY BALLROOM
The Quilt Room in Dorking has created metres of fabric and, even though it’s in
Thimble Shaped Craft Organiser in a stunning modern sampler using Great 10 parts, you will also receive three extra
Rose Gold Finish (12.5cm x 12cm) British Quilter’s Back to Basics fabrics parts for your filler blocks. And to help
£9.95 designed by Sarah Ashford. Basically you stay organised, Sarah has designed
groves@stockistenquiries.co.uk Ballroom is stepping out in February/ special Project Pouches that will be sent
March 2020 (just as soon as the new fabric out in the first month so that you can store
range arrives) and is suitable for confident your blocks neatly.
beginners upwards. The quilt measures 84in square, and
To join this exciting new club, there’s a you will receive layouts to make two lap-
joining fee of £25, which will secure your size quilts with the blocks if you prefer to
place, followed by £24.95 per month for make a smaller sized quilt.
10 months. Your last pack will go out in
time for you to finish for Christmas 2020. To find out more or to join up, visit
In total you will receive more than 14 www.quiltroom.co.uk or call 01306 877 307


Reading material
Over the years Mary A. Blythe
has learnt many tricks for working
with wool, which she shares in her
new book, Wool Appliqué Heirlooms.
Inspired by folk art style, she has
created 15 projects including
heirloom-worthy table mats and two
variations of an Advent calendar. If
you’ve been collecting lots of small
pieces of yarn in your stash over the
years, this could be the book to inspire
some handmade warm and textured
accessories for your home.

Wool Appliqué Heirlooms

15 Antique-Inspired Projects
& Techniques
Mary A. Blythe

Join us at www.todaysquilter.com 15
FRESH PICKS l q u i l t i ng n e ws


Flower Market is a fun new collection from Riley Blake consisting of lovely painted florals
and bold patterns, and we love the addition of the black prints to add extra impact. Mix and
match watercolour florals with large gingham checks, tone-on-tone prints and some very
sweet little flowers framed in faux embroidery hoops. This eclectic collection will make
gorgeous quilts, as well as fun sewing-room accessories.


Fabric focus
Designed by Nancy Zieman
Productions for Riley Blake,
Elegance mixes rich reds and
pink with cream and taupe
in 24 different designs. This
versatile range is a classic
combination of colours and is
ideal for shabby-chic quilts. It
just goes to show that red isn’t
just for Christmas!

Themes for 2020
April - Indian kantha
Looking for time work, from simple lines
In their journeys as designers/makers and textile-workshop of running stitch to
tutors, Sarah Hazell and Lindsay Roberts were struck by complex patterns, from
how little time people felt they had to give to their stitching purely practical to highly
projects. So, together they created Finding Time. These decorative.
textile retreats enable guests to explore inspiring textile
resources and focus on the contemplative process of hand June - there is an opportunity
stitching, rather than rushing to complete a set project. to use some of the stunning
The Finding Time retreats are based in a beautiful stone fabrics created by independent
farmhouse just 30 minutes from central Edinburgh and contemporary designers and hand
run from Monday to Thursday. The rooms are warm and printers in boro style work.
comfortable, and the food is plentiful and considerately
prepared (all diets are catered for). The dedicated September 2020 – explore block printing cotton and linen
workspace is accessible day and night and there are pieces adding pattern and texture by incorporating a range
plenty of cosy corners to retreat to, along with miles of threads and stitches. Book early to secure your space.
of paths and woodlands to explore from the door. www.finding-time.co.uk

16 Join us at www.todaysquilter.com
FRESH PICKS l q u i l t i ng n e ws



Alice Caroline has launched its new block of the month project – Jewel
Palace Quilt – inspired by owner Alice Caroline Garrett’s travels to the
Alhambra Palace in Granada in southern Spain. Every month for 12
months, you’ll receive a box containing instructions, Liberty Tana Lawn
fabrics and pre-cut papers to make your English Paper Pieced blocks. Each
block forms a distinctive pattern, which will then be appliquéd onto an off-
white quilting cotton background to make the finished quilt. The fabrics
selected include Liberty Tana Lawn 2019/2020 classics and Alice Caroline
Exclusive Liberty fabrics, paired with Liberty Tana Lawn plain-coloured
fabrics. Subscriptions cost £25.95 per month to create a finished quilt at the
size of 60in x 72in (152cm x 183cm).
Alice visited the Alhambra Palace when she was a student and was
completely struck by the beauty of the geometrical design, in particular the
tiles. “I love the way that art and science meet within these tiles and wanted
to use that to design my new Quilt BOM. I’ve always thought that beauty
comes out of science.”
For those who missed signing up for the Radiant Stars Quilt BOM last
year, don’t miss the chance to sign up for this in 2020 when Alice Caroline
will be running it again. The quilt, when completed, has 133 different
Liberty fabrics with no repeated fabrics and is a sea of rainbow colour
and detailed design. Subscriptions cost £17.50 per month. Both quilts are
available to buy on the Alice Caroline website as a monthly subscription.

D I A RY DAT E S l wh at ’s o n


Treat yourself to a wonderful day out at an inspiring quilting or textile
exhibition. See what’s on around the country with our handy listings guide.

Spring Quilt Festival Severn Valley Quilters a raffle! Workshops on the Little Coxwell Quilters
24th-26th January, Ardingly
Exhibition Friday and Sunday. Group Exhibition
Quilt displays from 9:45-16:45 / £15 Guild members 28th-29th March, Oxfordshire
21st-22nd February, Bristol
advanced / £22 non-Guild
well-known quilters and Exhibition including members advanced
Large display of handmade
textile artists, a variety of traders, a sales table, a Chichester College, Westgate quilts created by members.
exhibitors selling patchwork tombola and refreshments, Fields, Chichester PO19 1SB There will be a beautiful
and quilting supplies. Marilyn 01243 789181 group quilt raffle, traders
with proceeds going to
Disabled access available. Western Air Ambulance. and other interesting displays
10:00-16:00 / Ticket prices vary –
Disabled access available.
Cornbow Quilters on the day. Proceeds will go
see website for details 7th March, Halesowen
South of England Showground, 14:00-17:00 Fri to the Thames Valley Air
An exhibition of quilts Ambulance.
Norfolk Pavilion, Ardingly, West 10:00-16:00 Sat / £3
Sussex RH17 6TL Thornbury Methodist Church Hall, from the group plus the work 10:00-17:00 (16:00 Sunday) / £4
www.grosvenorshows.co.uk Castle Court, Thornbury, Bristol of local craftspeople. Disabled Uffington Village Hall, Uffington,
BS35 2AQ facilities available. Oxfordshire SN7 7RA
11:00-16:00 / £3 janecole494@gmail.com
Quiltfest 2020 Lifecentral Church, Little
5th-14th February, Llangollen Cotton Club Quilters Cornbow, Halesowen B63 3AJ TEXTILES
Exhibits will include “Song of Silver Anniversary Barbara 07504 298 705
the Celts” from Celtic Fringe, Quilt Show
“Forty Years And Still 21st-23rd February, Suffolk
Doughty’s Fabric Sale
Cornerstone Quilters hosted by Meadow
Stitching” challenge quilts, a The group’s twelfth Spring Quilt Festival
selection from the Traditional biannual show will feature 7th-8th March, Liverpool
17th February, Reading
Quilt Group: A retrospective many vibrant, exciting An exhibition of quilts, Big fabric sale hosted
from Ten Plus Textiles and quilts and many other items, including craft and fabric by Meadow Quilters. Free
more. See website for all trade stalls, demos, a raffle sales tables, a tombola, parking and disabled access
other information, including and tombola as well as refreshments and group and available. All profits will be
opening times and tickets. refreshments. All proceeds charity quilt raffles.
The International Pavillion, Abbey 10:00-16:00 / £2 / Children free
donated to Thames Valley Air
will go to The Blossom Ambulance.
Road, Llangollen LL20 8SW The Old Police Station, Lark Lane,
www.quiltfest.org.uk Appeal. Free parking. Liverpool L17 8UP 10:30-14:30 / £1.50
10:00-16:00 (14:00 Sunday) / £4 Charvil Village Hall, Hawthorns,
Jo 07477 268 768
Wickham Market Primary School, Charvil, Reading RG10 9TR
Montague Patchers’ Dallinghoo Road, Wickham Julie 01189 793 467
15th Biennial Market, Woodbridge IP13 6DX Beckenham Quilters
Exhibition Marion 07711 040 908 Biennial Exhibition, The Stitch Festival
14th-15th February, Manchester Region 2 27th February–1st March, London
Exhibition including Chichester 21st March, Beckenham Formerly known as The
traders, a tombola, a quilt Regional Day An exhibition celebrating Spring Knitting & Stitching
raffle and homemade 7th March, Chichester 40 years at Beckenham Show, The Stitch Festival is
refreshments. All proceeds Two fantastic quilters, Methodist Church, including the ultimate day out for craft
will be going to charity. Carolyn Forster and Gilli traders and refreshments. lovers, with workshops for
10:00-16:00 / £2 Theokritoff will be speaking 10:00-16:00 / £4 / Children and
students go free
all levels of crafting. Fashion
Montague United Reformed
on the day. You will find Beckenham Methodist Church, designer and TV judge Esme
Church, Montague Road, Sale
M33 3DU taster sessions, Sussex by the Bromley Road BR3 5JE Young will be hosting an
www.montaguepatchers.org.uk Sea challenge, retailers and www.beckenhamquilters.co.uk exhibition of her film costume
designs. See website for ticket
Broughton Gifford information and prices.
Piecemakers Quilt 9:30-17:30 (15:30 on Sunday)
The Business Design Centre, 52
Exhibition Upper Street, London N1 0QH
27th-28th March, Broughton
An exhibition of the
group’s work plus trader
stand, sales table and LET US KNOW! Email
refreshments. There will be TodaysQuilter@immediate.
a raffle in aid of Wiltshire co.uk about your upcoming
Air Ambulance, to be drawn quilting events with a title,
at 16:00 on the Saturday. date, description, time, entry
Disabled access available. fee, address and contact detail.
16:00-20:00 (Friday), 10:00- Please give us three months’
16:30 (Saturday) / £3 notice. Limited space available.
The Stitch Festival, previously The Spring Knitting and Stitching The Village Hall, The Street, We’ll try our best to include as
Show, promises to be a highlight in this years quilting calendar Broughton Gifford SN12 8PN many events as possible.
Sue 07734 320 548

18 Join us at www.todaysquilter.com
Your gift
Get to grips with the classic Pineapple block and use
your new templates to streamline your piecing process!

Drop us a line
Visit our blog: – an email,
www.todaysquilter.com letter, tweet
or Facebook
today! post – letting
us know about
your quilting.
Whether it’s
a new project,
fabric or
mood board,
we’d love
to see what
you’ve been
up to and hear
your stories!

H istorically, pineapples were considered a symbol

of hospitality and friendship. They have
appeared in many traditional quilt designs, as
can make this dazzling block accurately and with no
fabric wastage – just use scraps or strips!
We love this block for its varied effects, created by
appliqué, pieced motifs or as more abstract blocks, the careful placement of contrasting fabrics versus a
such as this one, which represents the spiky leaves random, scrappy layout. Secondary patterns can also
and texture of the fruit’s skin. be created by clever colour placement, and you can
The Pineapple block is a variation of the Log experiment with placing blocks directly next to one
Cabin block. Similar to making a Courthouse Steps another, or separate them with sashing. You could even
block, the Pineapple block is usually assembled using combine the two block sizes into a unique design.
strips that are added to opposite sides of a square, Read on to familiarise yourself with the method and
then trimmed after each round. create your own Pineapple block, then turn to page 56
For your gift this month, we’ve designed two sets for project inspiration from the talented Karen Lewis
of different-sized Pineapple block templates so you with her stunning quilt, Puddle Ripples.

WRITE TO US: Today’s Quilter, Immediate Media, Eagle House, Colston Avenue, Bristol BS1 4ST EMAIL: todaysquilter@immediate.co.uk

Todaysquilter Todaysquilter Todaysquilter Todaysquilter

20 Join us at www.todaysquilter.com
Understanding your templates 3 To cut pieces for rounds 3 and 4, place the marked
line of the trapezoid template at one long edge of the
strip, and cut as you did in the previous step.
Each set of templates is comprised of a triangle and a
trapezoid. The smaller set will create a 4in finished square,
and the larger set will create an 8in finished square. The
sets are colour-coordinated for ease. Each block consists of
4 Use the triangle template to cut the inside triangles,
aligning the marked line with the fabric edge. Then,
use the same method to cut the outside triangles,
four rounds, with an inner and outer set of triangles around
aligning the bottom edge.
a central square (Fig 1).

Round 4 5 Use a regular quilting ruler to cut the coloured

centre square for each block. Cut a 1 in square if
ng e

O ian
ia id

ut g
you’re making the small block or a 2 in square if you’re
tr uts


si le

making the large block.

Round 2


Assembling the block


6 First, sew inside triangles to opposite sides of your




triangle central square. Press seams open. Sew the remaining



inside triangles to the other sides (Fig 2). Trim ‘dog-ears’.

Round 4

Round 2

Round 2

Round 4






Fig 2




Round 2
7 Begin sewing the trapezoids to the block. First, sew

ng e
ia id
O ian

the round 1 pieces, pressing each one and trimming

ut g

tr uts

si l e

‘dog-ears’ before moving to the next (Fig 3). Then sew


Round 4 rounds 2, 3 and 4 (Fig 4). Finally, sew the outside corners
to complete the block.
Fig 1

Cutting out
1 Start by choosing one set of templates for either the
large or the small block and cut strips of fabric to the
required width. You will need 1in-wide strips for the
Fig 3
small block trapezoids and 1 in-wide strips for the large
block trapezoids.

2 Use the trapezoid template to cut the strips into

rounds. To cut pieces for rounds 1 and 2, align the
top edge of the trapezoid with one long edge of the strip.
Use your rotary cutter to trim both edges. Rotate the
template 180-degrees, then cut along the right edge
to cut the second piece. Continue working in this way Fig 4
across the strip.

Block components
To make a single block with colour placement as
illustrated, you will need the following:
From coloured/dark fabrics:
Q One (1) centre square (1 in square for the small
block, 2 in square for the large block).
Q Four (4) trapezoids for round 1.
Q Four (4) trapezoids for round 3.
Q Four (4) outside triangles.

From background/light fabrics:

Q Four (4) inside triangles.
Q Four (4) trapezoids for round 2.
Q Four (4) trapezoids for round 4.

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P R OJ E C T l l e nt e n r ose


Signifying the end of the cold season, it’s
the perfect time to stitch this Lenten Rose
beauty, just in time for spring’s arrival!

Designed and pieced by NICOLA DODD


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P R OJ E C T l l e nt e n r ose

Join us at www.todaysquilter.com 23


You will need

Q One (1) Layer Cake or twenty-five
(25) 10in square prints
Q Light contrast (cream) fabric –
2 yds
Q Background fabric – 2yds
Q Border fabric – 1 yds
Q Batting – 77in square
Q Backing fabric – 4 yds
Q Binding fabric – yd

Finished size
Q 69 in square

Cutting out
1 From the Layer Cake, choose
twenty-five (25) squares for the
centre of the flowers and cut each
into one (1) 4in square and eight (8)
3in squares. Keeping your sets of
print pieces together, sort as follows:
Q Thirteen (13) print sets for the full
flowers in the centre.
Q Eight (8) for the side border flowers.
Q Four (4) for the corner border

2 From the light contrast (cream)

fabric, cut as follows:
Q Fifteen (15) 4in x WOF strips,
subcut into one-hundred (100)
4in x 5 in pieces.
Q Eight (8) 3in x WOF strips for strip

3 From the background fabric, cut

as follows:
Q Three (3) 4in x WOF strips, subcut
into twenty-four (24) 4in squares.
Q Eighteen (18) 3in x WOF strips. Set
six (6) aside for strip sets. Subcut the
BEHIND THE QUILT remainder into one-hundred-and-
sixty-eight (168) 3in squares.

“The repeating floral motif in this quilt has always reminded me of the delicately
shaded hellebores – or Lenten roses – that grace our flower beds in late winter
4 From the border fabric, cut as
Q Three (3) 5 in x WOF strips,
and early spring. Using a favourite Layer Cake makes each bloom as unique as its
subcut into twelve (12) 5 in x 9in
inspiration with their creamy outer petals. And if purple isn’t your thing, then the
hellebore is a member of the buttercup family, which also includes anemones and
Q Twelve (12) 3in x WOF strips. Set
Delphiniums, giving you plenty of colour inspiration.
seven (7) aside for the outer border
“The block is variant of the traditional Rolling Star, and although it looks
and strip sets. Subcut the remainder
complex to piece, it has been broken down into two simple units. Fabric placement
into the following:
does all the hard work for us. The design is created in alternating rows, which
– Four (4) 3in x 5 in pieces.
allows the floral motifs to overlap the pieced border. So, as each row is added, the
– Thirty-two (32) 3in squares.
design grows… just like a real garden. Happy planting!” – Nicola Dodd

24 Join us at www.todaysquilter.com
Fabrics used
Q Jardin de Versailles by French
General for Moda, see

Q Seam allowance is in unless
stated otherwise.
Q WOF = width of fabric (42in).
Q RST = right sides together.
Q WST = wrong sides together.

5 From the binding fabric, cut

seven (7) 2 in x WOF strips.

Making strip sets

6 For strip set A, join a 3in x WOF
cream strip to a 3in x WOF
background strip, pressing away from
the cream strip and taking care to
keep your sets straight. Make six (6),
then trim the end and subcut into
seventy-two (72) 3in sections (Fig 1).

Fig 1

7 For strip set B, join a 3in x WOF

cream strip to a 3in x WOF
border strip, pressing away from the
cream strip and taking care to keep
your sets straight. Make two (2), then
trim the end and subcut into twenty-
eight (28) 3in sections (Fig 2).
eight (8) 3in squares of the same print
(cut in step 1), plus four (4) 4in x
5 in cream pieces and eight (8) 3in
9 Repeat on the adjacent corner
along the same short edge with
another 3in background square, as
background squares. shown in Fig 3D). Repeat steps 8
and 9 with two (2) 3in print squares

8 To make a petal unit, mark a

diagonal line on the back of a 3in
background square. Pin RST to the
on the other end of the rectangle
(Fig 3E-3F).

Fig 2

Piecing the centre

corner of a 4in x 5 in cream piece,
as shown in Fig 3A). Stitch on the
line, flip ‘open’ and press, trimming
10 Make a total of four (4) petal
units and keep them together
with the matching 4in print square
flowers away the back pieces to a in seam until it’s time to assemble the centre
Note: For each of the flower motifs, allowance (Fig 3B & 3C). of the quilt. Repeat with all thirteen
you will need one (1) 4in square and (13) sets.

Fig 3A Fig 3B Fig 3C Fig 3D Fig 3E Fig 3F

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P R OJ E C T l l e nt e n r ose

Piecing the side border Piecing the four- Assembling the quilt
flowers patches
Note: For each of the flower motifs,
you will need one (1) 4in square and 13 Join two (2) 3in sections of
strip set A, pressing your seams
15 Assemble the quilt centre two
(2) rows at a time, as shown in
Fig 7, finishing with an extra row 1.
eight (8) 3in squares of the same print, to one side, or open if preferred, The first row alternates the flower
plus four (4) 4in x 5 in cream pieces, as shown in Fig 5. Make a total of centre and matching petal units with
six (6) 3in background squares and two thirty-six (36) four-patch units. 4in background squares. Press away
(2) 3in border squares. from the petal units. The second row
alternates petal units with the four-

11 Make three (3) petal

units (steps 8-10) with 3in
background squares. Make one (1) Fig 5
patches made in step 13. Again, press
away from the petal units or open if
petal unit with 3in border squares
(Fig 4). Make a total of eight (8) sets. Piecing the corner units
14 Join a 3in section of strip set
B to a 3in x 5 in border piece
(Fig 6). Press towards the rectangle.
Placing the cream
Make a total of four (4). portions of the four-
patches next to the print
Fig 4 portions of the petal
units will help with the
correct placement.
Piecing the corner
border flowers Fig 6

Note: For each of the flower motifs,

Row 1
you will need one (1) 4in square and
eight (8) 3in squares of the same print,
plus four (4) 4in x 5 in cream pieces,
four (4) 3in background squares and
four (4) 3in border squares.

12 Make two (2) petal units (steps

8-10) with 3in background
squares. Make two (2) petal units
Row 2

with 3in border squares. Make a total

of four (4) sets. Fig 7

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P R OJ E C T l l e nt e n r ose

the selvages and join together using

a in seam, press open, then trim to
77in square.
Fig 8

16 To make the pieced border

sections, lay out the
to each end of the remaining border
sections and join to the top and the
20 Sandwich the batting between
the backing and the quilt top,
baste, then machine or hand quilt.
corresponding petal units around the bottom of the quilt, again pressing
quilt centre with 3in sections of strip
set B and 5 in x 9in border pieces
towards the border (Fig 9).
21 Join the binding strips and
press in half, WST, along
in-between. Join into border strips
pressing as shown (Fig 8). Make a
total of four (4) sections.
18 Add the 3in border strips,
joining strips as necessary to
make them longer. Press towards the
its length. Trim away excess batting
and background – taking the
opportunity to ensure your corners
outer border. are square – and bind the raw

17 Add the matching border

section to each side of the Quilting and finishing
edge using your preferred method.
Find Nicola’s method on her blog
quilt centre, pressing away from the
centre. Then join a corner section 19 Cut the backing into two (2)
77in x WOF pieces, trim off
(see “Meet the designer” section
on page 28).

Fig 9

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P R OJ E C T l l e nt e n r ose

Choose a subtly
patterned fabric for the
border to frame the quilt
Meet the designer without detracting from
Nicola Dodd has been quilting since 2010 after chancing upon a the beautiful Layer Cake
quilting website and becoming hooked. Having designed all her blooms
working life – as an architect and as a garden designer – the temptation
to start designing quilts was irresistible and she established her pattern
company, CakeStand Quilts, in 2015. A regular Today’s Quilter
contributor, Nicola now has a successful blog, where she enjoys sharing
tutorials, and is a regular contributor to the Moda Bakeshop.
www.cakestandquilts.com cakestandquilts @nicolajdodd

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Friday 21st - Sunday 23rd FEBRUARY 2020 10am-4.30pm (4pm Sunday)
Feature Displays All displays are subject
to change
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C R E AT I V E CO R N E R l f r e e - m ot i o n q u ilt i n g

Jo tried he
r first FMQ
this art quilt on

Machine quilting the correct foot for my machine and sought advice
As I discussed last month, my first attempt at quilting about basting with pins, thread, etc. It was only when
was by hand. But once I realised that you could make I got my old machine ready for this new activity that
a whole quilt using a sewing machine, my quilting I discovered I already owned a free-motion quilting
journey properly began. My first quilts were made on foot and remembered that I had tried FMQ back when
my childhood New Home sewing machine and quilted I made art quilts! I had completely forgotten doing it.
with the simplest ‘stitch-in-the-ditch’ straight lines. This method of quilting came back to me very easily,
It took a few years before I started experimenting even on larger quilts, and I put this down to retaining
with free-motion quilting (FMQ). This was in my the muscle memory from that earlier period, even if the
art quilt phase back in the 1990s, and so, the quilts brain memory hadn’t worked so well!
were relatively small and easy to handle with my old
machine. The free-motion quilt I produced was very The art of FMQ
improvisational and creative. Free motion quilting is hands down my favourite way
For nearly a decade I drifted away from quilting as to quilt to this day and I always prefer it to straight
my main passion and produced a bare minimum of line quilting on large quilts. One reason for this is that
quilts for friends and family. In 2009 I discovered the I am very bad at stitching in a straight line, and I’m
burgeoning online quilting community and became just too lazy to mark them out. I also find it really hard
inspired again. Modern quilters seemed to love FMQ, to manoeuvre the quilt when you can’t turn in any
especially the meandering ‘stiple’ pattern, and before direction you like as you can with FMQ. I teach FMQ
long I had decided to attempt this myself. I bought frequently and find that so many students seem to be
afraid of the ‘freedom’ that comes with it, as it makes
them feel out of control. I always point out that they
have the ultimate control – they can just take their foot
off the pedal and the machine will stop!
I never mark designs on my quilts as I feel that if you
can control the machine enough to follow a drawn line,
then you probably don’t need it. Instead, my students
start with easy patterns like loops, leaves and flowers and
are encouraged to practise at home by making scrappy
quilts for charity until they feel ready for the next level.
It’s just like doodling, but whereas you usually do this
with a pen that moves over paper, here you are moving
your ‘paper’ under a fixed pen. Learning to free-motion
quilt is a bit like learning to fly a plane – you need a
certain number of hours under your belt before you can
do it properly. Unfortunately, there’s no easy short cut
other than to practise, as boring as that sounds!
Once you feel more relaxed and confident, you can
e walking
a ch ieved with th s try some of my other favourite patterns such as spirals,
Wavy lin e s pe mini quilt
n o n e o f J o’s landsca mussels and rainbows. I make a lot of quilts, but rarely
foot o
repeat a design. Instead, I add many small twists to

Join us at www.todaysquilter.com 33
C R E AT I V E CO R N E R l f r e e - m ot i o n q u ilt i n g

Interlocking rainbows
these basic designs to make then different each time. Try
adding flower petals to your spirals or lines of pebbles
amongyour mussels. Recently, I have been straightening
the lines on my favourite interlocking rainbow design to
give it a more modern look. Or, try taking a motif from
the quilt top and use this as your FMQ pattern, such as
the fans I quilted over the recent Cleopatra’s Fan quilt
for Today’s Quilter, issue 57.
A new whiz-bang sewing machine for quilting is
wonderful if you can afford it, but much can be achieved
on a relatively inexpensive model. My students always
seem to worry about getting their quilts through a small
machine throat. However, I assure them that this is
perfectly possible, as there isn’t as much bulk to a quilt
as you think. Just try grasping one, from an edge to the
centre, and you will see that there is no more to it than
a handful. The main issue is not the size of the throat
but the amount of room around your machine which
supports your quilt. Make sure you have plenty of this
to prevent your quilt tugging one way or the other and
pulling your stitches. My sewing table butts up to my
cutting table and I add an extra support space by placing
my ironing board at the back of my sewing machine.
I would advise dividing your quilting into small
chunks, as FMQ can be quite intense. I try to do no
more than an hour and a half at a time, though it is
sometimes difficult to stop as I’m having so much fun! ‘Square’ your rainbows for
a more modern look

Walking foot quilting

Straight line quilting doesn’t have to mean straight lines!
This method is more often referred to as ‘walking foot
quilting’ these days and it’s amazing how versatile this
technique can be. I often suggest that my students start
with wavy lines rather than straight for their first quilt
– they’re more forgiving than straight lines especially as
the piecing lines on your first quilt might not quite line
up! I like to use this design on small projects, quilting
the lines very close together for a textural effect. One
of my most successful quilts, an off-centre medallion,
was finished with one continuous circle that began in
the middle and then continued until the whole quilt
was covered. The effect is amazing, but the 12 hours of
torture I spent doing it were not easily forgotten! If you
are thinking about trying this, my advice would be to
make your line spacing much wider than I did (at least
an inch apart) and not to start in the middle of the quilt.
Starting off-centre means you will sooner be freed from
the tyranny of the never-ending circle and can instead go
backwards and forwards around three sides.
It’s important to get your machine to the right height
to avoid shoulder and neck problems. Most people sew
with their machine too high in comparison to their seat
height due to putting their machine on top of a regular
table. I used to hike myself up on an office chair on
top of so many pillows that I had to place a platform
under the table so I could reach the pedal. I now have
my machine set into a special low table at just the right
Amazing long-arm quilting by height and it’s made a huge difference to my quilting
Tatyana Duffie on the Pinball comfort. My final piece of advice is to use an extension
Wizard quilt from Jo’s new book
table and sewing machine gloves. I find these are
essential to both types of quilting.

34 Join us at www.todaysquilter.com
C R E AT I V E CO R N E R l f r e e - m ot i o n q u ilt i n g

Turn your mussels Change it up by

in to ’flames’ adding pebbles

Mussels ‘Echo’ your

Add petals and spikes to motifs
the mussels and flames

Call in the professionals quilts should be kept for special occasions and not relied
Perhaps you made an heirloom quilt top that requires on. I think your quilting skills need to grow in tandem
some special attention, or you made your top so big with your piecing skills. If you begin sending your first
that you just can’t manage it on your own? Well, quilts off to be quilted, then it will be so much harder
luckily for you there are alternatives these days. You to go back to quilting yourself at a later stage. The quilt
can get your quilt finished by a professional long-arm tops you make will keep improving while your quilting
quilter (at a cost, of course) and you don’t even need will still be at the beginner level. I think it’s much better
to baste it. When I wanted a special finish for one of to make those slightly imperfect quilts for a while until
the show-stopping quilts in my new book, I gave it to both skills improve together. After all, you can’t really
my incredibly talented friend, Tatyana Duffie, to work call yourself a quilter if you never actually quilt!
her long-arm magic on. Tatyana’s quilting pattern has
enhanced the piecing design perfectly for a stunning For more information on Jo’s retreats, visit
result. However, I do think this way of finishing your www.stitchgathering.co.uk and www.thethreadhouse.co.uk

Shutter Speed Quilt – squaring the lines on interlocking A bit more:

rainbows gives a more modern twist to FMQ Jo Avery has been
quilting for 30
years and writing
her craft blog for a
whole decade. She
runs her own fabric
shop, myBearpaw,
in Edinburgh and
online, as well as
teaching a range
of workshops and
organising annual
sewing retreats.

Join us at www.todaysquilter.com 35
P R OJ E C T l r ose w o od wh o rl s

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P R OJ E C T l r ose w o od wh o rl s


Embrace the last weeks of winter with this
stunning geometrical quilt, designed to
show off a favourite fabric collection.

Designed and made by SALLY ABLETT

Join us at www.todaysquilter.com 37

WHORLS You will need
Q Assorted print fabrics – approx. 6yds in total*
Q Cream background fabric – 2 yds
Q Backing fabric – 4 yds
Q Batting – 80in square
Q Freezer paper for templates
Q Templates (see Templates section)

Finished size
Q Approx. 74in square

Fabric used
Q Rosewood by 3 Sisters for Moda

Cutting out
1 For block 1 (quilt centre) choose
three (3) colours and cut as
Q From colour A, cut one (1) 2 in
square, for the block centre.
Q From each of colours B and C, cut
as follows:
– One (1) 3 in square, subcut in
half diagonally once.
– One (1) 4in square, subcut in half
diagonally once.
– One (1) 5 in square, subcut in
half diagonally once.
Q From background fabric, cut one (1)
3 in square. Cut in half diagonally
twice to make four (4) QSTs.

2 For each of blocks 2 and 3, (four

of each) choose two (2) colours
and cut as follows**:
Q From colour A, cut eight (8) 7 in
squares, subcut in half diagonally
once (for block 2, unit 2). Note: You
will only use four (4) triangles for the
block 2s; set the rest aside for border 3.
Q From each of colours A and B, cut as
follows for eight (8) blocks:
– One (1) 2 in square
BEHIND THE QUILT (four-patches).
– One (1) 3 in square, subcut in
half diagonally once (one of each
CHANGING SEASONS triangle per block).
“Brown is not a colour I usually like, but adding creams, blues, dark red and a – One (1) 4in square, subcut in
cream background to a quilt made up of mostly brown shades, shifts the focus of half diagonally once (one of each
the design, so you end up with a quilt that looks warm and inviting. This quilt has triangle per block).
a Snail Trail block for the centre – I have added a large triangle to the outer part of – One (1) 5 in square, subcut in
each block to link it to the inner border, so that the blocks end up looking like they half diagonally once (one of each
are floating within the quilt centre. I think this quilt would look fantastic made triangle per block).
with your favourite scraps in your favourite colours. The choice of fabric colours – One (1) 7 in square, subcut in
for the Snail Trail blocks and their placement means you’ll have two colourways half diagonally once (for block 3).
in each one, with the borders using a square-within-a-square block. Make sure, Q Choose a third contrast colour and
if you’re using scraps, your colours complement each other, as this can make or cut four (4) triangles using template
break the design!” – Sally Ablett A, and four (4) using template B (for
block 2, unit 1).

38 Join us at www.todaysquilter.com
Q Seam allowances are in, unless
otherwise stated.
Q Press after each seam.
Q RS = right side(s).
Q Mix and match the print fabrics
across the quilt, choosing whatever
placement you prefer.
Q QST = quarter-square triangle.
* Sally used 36 prints in her quilt.
** Each of Sally’s blocks 2 and 3 use
a different pair of colours. TECHNICAL TIP
To ensure correct colour
placement, we advise
cutting pieces for each
block and border as
Q From background fabric, cut you work. Making the centre block
as follows:
– Four (4) triangles using template C
(for block 2, unit 1).
8 Take the 2 in colour 1 square
and four (4) 3 in background
triangles. Stitch two (2) triangles to
– Eight (8) 5 in squares, subcut in (8) 5 in squares, subcut in half the opposite sides of the block, press,
half diagonally once (for block 2, diagonally once, and eight (8) 2 in then add the remaining triangles
unit 2). x 5in rectangles. in the same way (Figs 2A and 2B).
– Sixteen (16) 2 in squares. Note: You now have bias edges on
– Eight (8) 3 in squares, subcut in
half diagonally once.
– Eight (8) 4in squares, subcut in
4 For border 2, cut as follows from
background fabric (you need to
join WOF strips to get the lengths):
the outside of the block, so handle
with care.

half diagonally once. Q Two (2) 1 in x 49in strips.

– Eight (8) 5 in squares, subcut in Q Two (2) 1 in x 50 in strips.
half diagonally once. Fig 2A Fig 2B
– Four (4) 9 in squares, subcut in
half diagonally once (for block 3
5 For border 3, cut the fabric
as follows:
Q From print fabrics cut: 9 Take the colour 2 and 3 3 in
triangles and add matching
– Four (4) 3in x 7 in rectangles. – Seven (7) 6 in squares, subcut in triangles to opposite sides of the block
Trim one end to a 45-degree angle half diagonally twice. (Figs 3A and 3B). Repeat to add the
from top left to bottom right for – Twenty (20) 5 in squares, subcut rounds of 4in and 5 in triangles in
block 3 (Fig 1). in half diagonally once. the same way working anti-clockwise
– Four (4) 3in x 10in rectangles. – Four (4) 3in squares (for corners). (Figs 4A and 4B). Press well then
Trim one end to 45-degrees from Q From background fabric cut trim to 9 in square (Fig 5).
bottom left to top right (for block 3). as follows:
– Ten (10) 6 in squares, subcut in
half diagonally twice.
– Four (4) 3in squares (for corners).
Fig 1 – Four (4) 3in x 5 in rectangles (for
corners). Fig 3A Fig 3B

3 For border 1, cut the fabric

as follows:
Q From assorted print fabrics, cut a 6 For border 4, cut the following
from print fabrics:
total of the following: Q Fifty-two (52) 4in squares.
– Sixty-four (64) 2 in squares. Q One-hundred-and-four (104) 3 in
– Four (4) 5 in squares in the same squares, subcut in half diagonally
colour, subcut in half diagonally. once (use four (4) triangles of the
Fig 4A Fig 4B
– Four (4) 5 in squares to match same colour for each 4in square).
block 2, colour 3. Subcut in half
diagonally once.
– Four (4) 3 in squares (for corner
7 For border 5, cut as follows from
print fabrics:
Q Fifty-six (56) 2 in x 5 in
– Eight (4) 3 in squares in rectangles.
matching pairs, subcut in half Q Four (4) 2 in squares (for corners).
Fig 5 Block 1
diagonally once (for corners). Q Eight (8) 2 in x WOF strips using
Q From background fabric, cut eight remaining leftover fabric for binding.

Join us at www.todaysquilter.com 39
P R OJ E C T l r ose w o od wh o rl s

Making Block 2
There are four (4) Block 2s in the
finished quilt and they are all made
in exactly the same way. Follow the
instructions for making one block, then
Fig 8A Fig 8B
repeat to make four (4) blocks in total. Same colour
Each block is made up of three pieced
sections, consisting of unit 1 (using
templates), unit 2 (Flying Geese) and a
Snail Trail block.

10 To assemble unit 1, stitch a

template A triangle to one
Fig 8C Fig 8D
Fig 9 Block 2

side of the background C triangle,

press and then stitch the template B
triangle to the opposite side (Fig 6).
15 Attach the background strips
with the trimmed 45-degree
angle to the bottom and left of the
Trim this unit to 2 in x 9 in. block (Figs 10A and 10B). Then
add the two (2) 9 in background
triangles to square off the block. It
should measure 15 in square.
Fig 6
Fig 8E

11 To make unit 2, stitch a

5 in background triangle
to either side of a colour A 7 in
triangle. Trim this Flying Geese
block to 5in x 9 in (Fig 7).
13 Trim each Snail Trail block to
9 in. Join the three (3) pieced
units together as shown to make
Note: This colour should match Block 2. Rotate the Snail Trail block
one of the colours in the Snail Trail so that the matching colour (colour Fig 10A Fig 10B Block 3

block in the following step. B) is next to unit 2 (Fig 9).

Assembling the
Making Block 3 quilt centre

Fig 7
There are four (4) Block 3s in the
finished quilt and they are all made
in exactly the same way. Follow the
16 Lay out the rows as shown in
Fig 11. Sew the blocks together
in rows, then join the three (3) rows
instructions for making one block then together to complete the quilt centre.

12 To make the Snail Trail block,

stitch the two (2) background
repeat to make four (4) blocks in total.
Adding Border 1
and one (1) of each colour A and
B 2 in squares into a four-patch.
Then add the rounds of triangles in
14 Make the Snail Trail block in
the same way as for Block 2
(see step 12). Add one 7 in triangle
17 Stitch assorted 2 in print
squares together into four-
patches, then join these in pairs to
the same way as for block 1 in the of each colour to opposite sides. make eight (8) rectangle blocks.
following order (Figs 8A-8E):
Q One (1) 3 in triangle of each colour
on opposite sides so that matching
colours touch and rotate clockwise.
Q Two (2) background 3 in triangles
on opposite sides.
Q One (1) 4in triangle of each colour
on opposite corners, working
Q Two (2) background 4in triangles on
opposite sides.
Q One (1) 5 in triangle of each
colour on opposite sides, working
Q Two (2) background 5 in triangles
on opposite sides.

40 Join us at www.todaysquilter.com
P R OJ E C T l r ose w o od wh o rl s

Fig 11

18 Take the 5 in triangles, and

join one background and one
print triangle together to make a
HST. Press well. Make sixteen (16)
HSTs. Note: Pairs of these must
Fig 13A Fig 13B
match the outermost colour of each
block 2 (colour A). Trim ‘dog-ears’.
Each should measure 5in square. borders from step 19, and sew these
to the quilt top and bottom (Fig 14).

19 Sew all the border units

together as shown with the Adding Border 2
background 2 in x 5in rectangles
(Fig 12). Make four (4) border strips
in total. Sew two (2) of the border 1
22 Stitch the shorter border 2
strips to the sides of the quilt
top. Stitch the longer border 2 strips
strips to the quilt sides. to the top and bottom.
Fig 14
Making Border 3
23 Take one background and
one print 6 in triangle, and
join along the short edges. Sew a
Colour to
Fig 12 match Block 2 print 5 in triangle to the pair to
make a split QST (Fig 15). Make
forty (40) of these in total, twenty Fig 15 Fig 16

20 To make the corners, stitch

matching 3 in triangles to
(20) in one orientation, and twenty
(20) mirrored.
opposite sides of a 3 in square, press
back and then stitch two (2) more
to the remaining sides (Figs 13A 24 Sew ten (10) blocks together
(five in each direction) for
25 To make the corner squares,
sew a print and a background
3in square together and then sew the
and 13B). Make four (4) economy each side of quilt, with centre blocks 3in x 5 in background rectangle to
squares in total. forming an arrow. Add two (2) this (Fig 16). Make four (4) in total.
borders to either side of the quilt

21 Sew the economy squares to

each end of the remaining
top with the background fabric
facing outwards. 26 Sew the corner squares to each
end of the remaining border 3

Join us at www.todaysquilter.com 41
P R OJ E C T l r ose w o od wh o rl s

strips, then add these to the top and

bottom of the quilt (Fig 17).

Making Border 4
27 For each economy square you
need one (1) 4in square and
four (4) matching 3 in triangles.
Stitch two (2) triangles to opposite
sides of the square, press open and
then stitch the last two triangles to
the block as in step 20. Make fifty-
two (52) of these in total. Trim to
5 in square if necessary.

28 Join the blocks together into

two (2) strips of twelve (12)
and two (2) strips of fourteen (14).

29 Stitch the shorter border strips

to either side, then add the
longer strips to the top and bottom
(Fig 18).

Making Border 5
30 Sew fourteen (14) 2 in x
5 in print rectangles together
at the short ends to make one border Fig 17
strip. Repeat to make four (4) border
strips in total. Sew two (2) to either
side of the quilt top.

31 Sew a 2 in square to each end

of the remaining border strips.
Join these to the top and bottom of
the quilt (Fig 19).

Quilting and finishing

32 Press the quilt top and the
joined backing fabric. Layer
the backing fabric RS down, the
batting next and then the quilt top
RS up, centrally on top. Pin, tack or
spray baste the layers together.

33 Hand or machine quilt the

layers together as you wish.
Our quilt was long-arm quilted,
but you could quilt by hand. Once
quilted, trim away the excess batting
and backing.

34 Join the binding strips RS

together into one long length,
using diagonal seams. Trim the
seams to in and press them open Fig 18
to reduce bulk. Fold the strip in
half lengthways and press, wrong
sides together. Use to bind the quilt,
mitring the corners. Fig 19

42 Join us at www.todaysquilter.com
P R OJ E C T l r ose w o od wh o rl s

This medley of
diamonds and triangle
formations is sure to
Meet the designer test your piecing (and
Sally Ablett has been making quilts for nearly 30 years. During this time, organisation) skills!
patchwork has developed from a hobby to Sally’s full-time job. She has
a great deal of experience teaching courses and day workshops, as well
as giving regular talks using her own collection of quilts to demonstrate
patchwork techniques and pass on the tips and shortcuts she has learnt
throughout her years of quilting. Sally does freelance design work,
including working with Lewis & Irene to design quilts and produce
patterns that are used to showcase their new fabric collections.

Join us at www.todaysquilter.com 43
T E X T I L E H I S T O RY l fe e d sa c k s

Detail of a scrappy quilt made from 1in

square prints, including feed-sack fabrics

textile history
Anne Williams chats to Linzee Kull McCray about her new book on
this quintessential American product of yesterday.
44 Join us at www.todaysquilter.com
T E X T I L E H I S T O RY l fe e d sa c k s

Photography: Images from Feed Sacks by Linzee Kull McCray

Left, Detail of a double wedding-ring quilt
with rings featuring feed-sack and other prints;
Above, The Percy Kent Bag Company highlighted
the embroidery patterns printed on its bags to
the milling industry, pointing out that this would
give their products extra sales appeal. (From the
collection of Gloria Hall)

T he generic term ‘feed sacks’ is used to

describe the (mostly) cotton bags that
were made to hold a range of dry goods,
such as seeds, fertiliser, flour and sugar, and
not just animal feed as the name suggests. Mass
says, “One blog post attracted over 200
comments and I realised I wasn’t the
only one who found the feed-sack story
a fascinating tale.”
A major attraction for Linzee was that
production of the sacks started in the mid-1800s feed sacks largely tell a story of women’s
when the invention of the lock-stitch sewing social history. As soon as women had
machine made it possible to construct bags that fabric that they regarded as being for
were strong enough to hold heavy produce. Prior to free, they frugally repurposed it to
this, goods were stored and transported in barrels, make all manner of household items.
boxes and tins, which were not only heavier than Manufacturers soon latched onto this
fabric sacks but also much bulkier when empty. and began to ‘add value’ to their bags so
their products would be chosen over a
Bags of inspiration competitor’s. “It’s very clear that feed
Although fabric sacks are used in other parts of the sacks were not aimed at men,” Linzee
world, such as rice bags in Asia for example, print- says. “Women might not have had the pay
fabric bags are unique to North America. Author cheque, but I loved that manufacturers
Above, A farm
Linzee Kull McCray first came across American realised they did have a say in how the family’s girl wearing a
feed-sacks around 10 years ago. Her quilt guild in money was spent – in the US, it’s possibly one dress made from
Iowa hosted a talk by Michael Zahs, a local feed- of the earliest examples of marketing specifically feed-sack fabric;
Below, A printed
sack collector, who showed them some intriguing directed at women.” feed sack for Purina
Linzee tells us, “I really wanted to give these Turkey Chow
“As soon as women had fabric they women their due by sharing their story with as
many people as possible, which was the main
regarded as being for free, they repurposed spark for writing my book.” (See page 47 for
it to make all manner of items” details about Linzee’s book Feed Sacks.)
Having conducted many interviews, Linzee
examples. “I’d never heard of them,” Linzee was also aware that a lot of the women who can
confesses, “but I was completely blown away.” remember using feed sacks are now elderly, so she
With her interest piqued, Linzee started to was keen to capture as many of their memories as
research, write and blog about the bags. She soon as possible.

Join us at www.todaysquilter.com 45
T E X T I L E H I S T O RY l fe e d sa c k s

Top left, This

utility quilt,
76in square, is
made using four
feed sacks. The
A bonus product
fabrics have
Life was hard for many families and nothing been arranged
that came into the home was wasted. Feed sacks in an enlarged
were used to make necessities such as towels, nine-patch
design. (From the
curtains, handkerchiefs and even nappies and collection of Gloria
menstrual pads. Appreciating that the bags were Hall); Above, A
a valuable commodity, goods manufacturers selection of lively
feed-sack fabrics
made their bags more desirable by, for example,
printing embroidery motifs onto them (see below)
or patterns for cut-stitch-and-stuff dolls. By
producing a series of designs, companies hoped to war effort. But as feed sacks were classified for
retain customers’ loyalty as they tried to collect a industrial use, they were still available and so were,
full set. of course, very desirable.”
The print-fabric versions that quilters tend Appealing feed-sack prints were used to make
to identify as feed sacks were mostly produced fashionable articles such as aprons and dresses.
between 1937 and 1963/64. During that Sometimes bags would be sold as ready-made
period, an enormous range of designs were items, like the apron shown to the right. At a time
manufactured – some printed in multiple when perhaps one or two new outfits a year was the
colourways – from the sweet florals of the 1940s norm, choosing the sack for your latest garment
through to mid-century moderns and flower- was an exciting adventure. Linzee says she was
power styles of the 1960s. “The fabric was good told delightful stories by women who remember
quality, but in order to remain attractive to that, as young girls, they would go to town with
customers, prints had to follow the trends of the their father to select the sack for their new dress,
time,” Linzee explains. reminiscing, “We’d jump from sack to sack to
It’s commonly thought that the Great figure out which was the best one!”, or she’d hear
Depression of the 1930s was the big era of from women who recalled giving their husband a
printed feed sacks, but that isn’t the case. swatch of fabric and telling him, “Go to the store
“The Second World War was when feed sacks and get three more of these [sacks].”
really had their heyday,” Linzee comments. “It Quilts too were made from feed sacks. Often,
was considered patriotic to sew, but fabric was whole sacks would be joined for quilt backings or
a scarce commodity because a lot went for the a single sack might be used make a quick cot quilt.

Sugar sacks offering ‘Needle work for

nimble fingers’ embroidery patterns
featuring various household tasks

46 Join us at www.todaysquilter.com
T E X T I L E H I S T O RY l fe e d sa c k s


In this fascinating and lavishly illustrated book, Linzee Kull
McCray takes an in-depth look at feed sacks, a glorious
utilitarian product of yesteryear. She explores their history,

Photography: Images from Feed Sacks by Linzee Kull McCray

from the humble plain cotton sacks of the mid-1800s to the
colourful printed bags of the early 20th century.
Along with images of manufacturers’ adverts and magazine
items on how to use the bags, and evocative photographs from
the feed-sack era, the book also includes imagery of more than
850 colourful feed-sack designs, many reproduced to scale.

“At its heart, feed sacks tell an inspirational story

of women doing amazing things, finding time
around their never-ending household chores to make
practical and beautiful items for their home and
family.” – Linzee Kull McCray

Feed Sacks
Linzee Kull McCray, published by UPPERCASE

This bag is a There are also examples of simple utility quilts that started winding down and by the early 1960s had
ready-made could be put together swiftly, perhaps for a hired ceased altogether. At a time when we increasingly
apron: “Just
rip bag seam –
hand, such the enlarged nine-patch quilt shown on worry about sustainability and items cast aside
wash and the page opposite. The scrappy-style patchworks after one use, it’s tempting to feel nostalgic about
wear”. In 1948, many associate with feed-sack quilts are usually a these multi-purpose, multi-use bags, but Linzee
the Percy Kent
mixture of feed sack and other fabrics. “Whatever can’t imagine them making a comeback. “There
Bag Company
filed the patent was in the scrap bag would be used, so material is huge interest in feed sacks, especially among
for this design, left over from dressmaking and other items – younger sewers, but I don’t think they’re practical
which was which wouldn’t have been exclusively feed-sack in a modern society,” Linzee says. “Aside from
granted in
1950. (From fabric – would all find their way into a quilt top,” food regulations around packaging, to get decent
the collection Linzee says. quantities of fabric you need big bags and not
of Gloria Hall) To use every last piece of fabric, many quilts many of us buy 100lb sacks of flour or sugar!”.
feature lots of small patches, like the double However, with thousands of attractive
wedding-ring quilt shown on page 45 and the basic heritage patterns to influence and inform, several
pattern of 1-inch squares on page 44. But it has contemporary designers produce fabric ranges
been put forward by Carolyn Ducey (curator at the inspired by these fabulous prints. So today’s
International Quilt Museum in Lincoln, Nebraska) sewers – including quilters – can still add a touch
that the large number of tiny patches might also of feed-sack charm to their modern makes.
have been due to quilters’ competitive streaks –
newspaper reports at the time frequently cited the
total number of pieces in a quilt top. MEET THE AUTHOR
By the 1950s, and possibly even earlier, it was You can find out more
recognised that paper sacks were cheaper, and about Linzee’s writing,
more sanitary, than cotton ones. So to keep people peaking and teaching on
buying goods in cotton bags and interested in her website. She is also a
sewing with feed sacks, manufacturers started to designer for Moda Fabric,
run their own competitions, sometimes offering for whom she has created
hree lines of feed-sack
fantastic prizes. “One of my favourites was jointly
nspired fabrics.
organised by manufacturers of bags and chicken This summer, Linzee
feed for which entrants had to dress their fowl in be g gt a d workshops at the quilts
clothing made of feed sacks,” Linzee laughs, “The and quilting week that is part of the Textile
winner won a car!” Festival in Leiden, the Netherlands.
The festival runs 11–16 May 2020 and details
A lasting legacy can be found on the ‘Activities’ dropdown menu
By the late 1950s, more women were working at www.trc-lediden.nl
outside the home, and ready-made clothing was
becoming affordable. With feed sacks no longer www.linzeekullmccray.com @seamswrite
the useful ‘extra’ they once were, production

Join us at www.todaysquilter.com 47
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Mix and match units and put all your quilting skills
to the test in this gloriously scrappy design that will
colour your home with jazzy hearts.

Designed and made by KATHARINE GUERRIER

Join us at www.todaysquilter.com 49


You will need
Q Mixed fabric scraps – 1 yds total
Q Sashing and borders fabric – 1yd
Q Backing fabric – 1 yds
Q Batting – 40in x 50in
Q Binding – yd
Q Fusible web – 10in square
Q Heart template (see Templates section)

Finished size
Q 35in x 45in

Planning the blocks

1 For each block, you will need to
make the following:
Q One (1) appliqué heart block.
Q One (1) plain rectangle.
Q One (1) sawtooth strip.
Q Four (4) square blocks (forty-eight
(48) square units in total). Mix and
match from the following:
– Pinwheel (two (2) varieties).
– Economy square.
– Flying Geese.
– Quarter-square triangle.
– Broken Dishes.

Cutting out
2 For each pinwheel unit, select
two (2) fabrics with contrasting
values and cut two (2) 3in squares
from each.

3 For each Flying Geese unit, cut

from two (2) contrasting fabrics
as follows:
Q Two (2) 2in x 3 in rectangles for
the larger triangle.
Q Four (4) 2in squares for the small


4 For each economy square unit,
cut from two (2) contrasting
fabrics as follows:
PATCHWORK PERFECT Q One (1) 3 in square for the diamond.
“Initially, this block was a pattern for one of my workshops, where students Q Four (4) 2in squares for the corners.
would learn to make a ‘scrap bag cushion cover’. A quilt version seemed the
most obvious next step, and became an option for the students taking the
workshop to progress with their skills. I enjoy working with scrap fabrics
and I have a large accumulation hoarded from way back, offcuts from
dressmaking projects or pieces left over from previous quilts. I try to blend
and match the colours and patterns into a harmonious collection. Each of
the blocks for this quilt draws from elements and motifs taken from the
traditional quilt patterns, such as half- and quarter-square triangles, sawtooth
edging and Flying Geese. The heart motif was added to complete the overall
design. When making each unit, why not choose a variety of colours and
values to create a contrast in your quilt?” – Katharine Guerrier

50 Join us at www.todaysquilter.com
Q HST = half-square triangles.
Q QST = quarter-square triangles.
Q RS = right side(s).
Q RST = right sides together.
Q WS = wrong side(s).
Q WST = wrong sides together.
Q There are 12 blocks in the quilt,
choose your own mix of square
units for each one.

5 For each quarter-square triangle,

cut two (2) 4 in squares from
contrasting fabrics.

6 For the sawtooth strips, cut a

total of eighteen (18) 3in squares
(nine (9) dark and nine (9) light).

7 From each of the red fabric and

fusible web, cut twelve (12) 2 in
x 3 in pieces.

8 From assorted fabrics cut twelve

(12) 5 in x 2 in rectangles and
twelve (12) 3 in x 2 in rectangles.

9 For the sashing and borders, cut

as follows:
Q Eight (8) 8 in x 2in strips for
sashing. Note: Katharine advises
cutting these a bit longer, then
trimming them to size when they
are attached.
Q Three (3) 27 in x 2in strips for
Q Two (2) 4 in x 37in for the side
Q Two (2) 4 in x 35 in for the top
and bottom borders.

Making the pinwheels

10 Pair up one of each 3in square,
RST, and draw a diagonal
line across the WS of the lighter
fabric. Stitch a in seam both
sides of the line, cut apart across Fig 2 Fig 3A Fig 3B

the diagonal line and press (Fig 1).

This will yield four (4) HSTs. Trim
off the ‘dog-ears’.
11 Arrange the HSTs on a flat
surface with all seams radiating
from the centre. Stitch the HSTs into
it to a 3 in square so that the seams
bisect the corners (Fig 3A), or for a
skewed pinwheel, cut a 3 in square
two (2) pairs, then stitch the pairs tracing paper template and mark
together (Fig 2). the diagonal lines on this. Pin this
over the pinwheel on a tilt, lining up

Fig 1 12 When the pinwheel is

complete, you can either trim
the centre point and cut around the
template (Fig 3B).

Join us at www.todaysquilter.com 51
Making the Making the Making the Broken
Flying Geese economy square Dishes
13 Place one of the smaller
squares RST against one end
of a rectangle (Fig 4A). Draw a
16 Place two (2) of the 2in squares
RST and at opposite corners
against the 3 in square. Draw
18 Make four (4) HSTs as
described in step 10. Arrange
as shown in Fig 7 and stitch together.
diagonal line as illustrated and stitch diagonal lines across the smaller
on that line. Cut away the corners squares, and stitch on the lines (Fig
in from the stitched line (Fig 4B). 6A). Cut away the corners ¼in away
from the stitched line (Fig 6B).

14 Flip the small triangle over

to reveal the RS of the fabric
and press (Fig 4C). Repeat with the 17 Flip the smaller triangles over
and press as for the Flying Fig 7
second small square on the other side Geese (Fig 6C). Repeat with the two
of the rectangle (Figs 4D and 4E). (2) remaining 2in squares, trim, flip Making the QSTs
Flip and press as before. Make two
(2) Flying Geese.
and press to complete the unit (Fig
6D and 6E). 19 Make four (4) HSTs using 4 in
squares, following step 10.

15 Stitch the two (2) Flying Geese

units together with points
facing the same way to complete the
20 Place the HSTs RST with
the dark fabric against the
light and draw a diagonal line across
unit (Fig 5). both fabrics in the opposite direction
to the seam. Stitch in away on
each side of the line (Fig 8). Cut
Fig 6A Fig 6B
across the stitched line and press to
complete the QSTs. This will yield
two (2) QSTs. Trim to 3 in square
Fig 4A Fig 4B
with seams bisecting the corners.

Fig 4C Fig 4D Fig 6C Fig 6D Fig 8

Making the sawtooth

strips and heart blocks
Fig 4E

Fig 5 Fig 6E
21 Pair up the 3in dark/light
squares and make HSTs.
Trim these to exactly 2 in squares.
Stitch three (3) of these HSTs into

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P R OJ E C T l h e a r t a n d so ul

a sawtooth strip. Make twelve (12)

sawtooth strips, one for each block.

22 Trace the heart motif and

make a card template. Iron
each fusible web rectangle onto the
back of the rectangle of red fabric.
Draw round the heart onto the back
of the fusible web paper and cut out.
Note: Katharine made her hearts in
two different directions. Peel off the
paper, position the heart onto the
5 in x 2 in rectangle and press to
bond. Stitch around the outside of
the heart with matching thread and
a straight stitch close to the edge.
Make twelve (12) heart blocks.

Assembling the blocks

23 Choose four (4) different
square block units and sew
together in a four-patch.

24 Join an appliqué heart

rectangle to a 2 in x 3 in
rectangle along the short edges.

25 Add a sawtooth strip to one

side of each block made in step

Fig 10

Quilting and finishing

27 Add 8 in x 2in sashing strips
between each block. Press
seams towards sashing. Trim to size. 31 Layer and baste the quilt top
ready to quilt.
Fig 9

23. Add a heart strip to an adjacent

28 Connect the four (4) rows
with the 27 in sashing strips
between them. Trim to fit if required.
32 Quilt close to the seams on
the sashing and border. Quilt
each block, stitching close to the
side to square up the block. Repeat to seams of the patchwork, filling in the
make twelve (12) blocks (Fig 9).

Assembling the quilt

29 Add the 4 in x 37in border
strips to opposite sides of the
quilt panel. Press towards the border.
rectangular area with zigzags around
the heart motifs.

26 Arrange the blocks on a

design wall, balancing the
colours, with the heart motifs all 30 Add the 4 in x 35 in border
strips to the top and bottom of
a label.
Once quilted, remove basting
and finish with binding and

facing right way up (Fig 10). the quilt panel.

Join us at www.todaysquilter.com 53
P R OJ E C T l h e a r t a n d so ul

This stunning design reminds

us of a celestial stained
glass window! Why not
Meet the designer turn it into a family quilt by
Katharine Guerrier has been making quilts since 1980 and embroidering some names
to each panel?
teaching patchwork and quilting workshops since 1985. Her work
draws on the traditional motifs of pieced patchwork, developing
them to give a contemporary feel and using colour as an important
part of the design process. She has featured in various magazines
and in several books.

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P R OJ E C T l p ud dl e r ip pl e s


Add a splash of serene blue to any room in your
home with this delightful Pineapple block quilt,
perfect for cosying up under!

Designed and made by KAREN LEWIS

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P R OJ E C T l p ud dl e r ip pl e s

Join us at www.todaysquilter.com 57


You will need

Q Fabric for Pineapple centres –
7 in x WOF
Q Light fabrics – 2 yds
Q Background fabric, dark – 4 yds
Q Backing fabric – 75in square
Q Batting – 75in square
Q Binding fabric – yd
Q 8in acrylic Pineapple block
templates (with this issue)

Finished size
Q Approx. 62 in square

Materials used
Q Sky by Jennifer Sampou for
Robert Kaufmann, see

Cutting out
1 From the Pineapple centres fabric,
cut thirty-six (36) 2 in squares.

2 From the light fabrics, cut the

Q Twenty-eight (28) 1 in strips,
subcut as follows:
– Take twelve (12) of the strips.
Position the round 1 and 2
template line, as shown in Fig
1A, and cut out trapezoids along
the strip, rotating the template as
you go
(Fig 1B). Repeat with all twelve
(12) strips until you have one-
hundred-and-forty-four (144)
pieces for round 2.
– With the remaining sixteen (16)
strips, position the template for
rounds 3 and 4, as shown in
Figs 2A and 2B. Cut one-
hundred-and-forty-four (144)
pieces for round 4.
Q Eight (8) 4in strips, subcut into
seventy-two (72) 4in squares. Cut
BEHIND THE QUILT each square in half diagonally to
make one-hundred-and-forty-
four (144) outside triangles.
MAKE A SPLASH Alternatively, cut these from scraps
“The Pineapple block is such a versatile one. By varying the colour, position using the outside triangle template.
and layout, it can take on a completely different look! With this quilt, I have
chosen to add a sash between each block to give the design a floating feel and to
make the diagonal pieces stand out among the blue. I kept the centres and the
Fig 1A
sashing uniform to give the quilt a sense of regularity and cohesiveness, while still
allowing the eye to gently roam around the design by using Jennifer Sampou’s
variagated, ombre Sky fabric.” – Karen Lewis
Fig 1B

58 Join us at www.todaysquilter.com
Q Karen Lewis Textiles, see
Q Silk batting by Hobbs Bonded
Fibers for Lady Sew and Sew, see

Q Seam allowances are in
Q Press seams open, unless otherwise
Q WOF = width of fabric.
Q RS = right side.
Q WST = wrong sides together.
Q Wash and press all fabrics well
before cutting.
Q For detailed instructions on how to
use your templates, turn to page 20.

3 From the background fabric, cut

as follows:
Q Thirty-seven (37) 1 in strips,
subcut as follows:
– Take nine (9) of the strips, and
position the triangle template
with the inside triangle line on
the edge, as in Fig 3A. Cut one-
hundred-and-forty-four (144)
Take care pressing pieces
inside triangles, rotating the after each round. Some of
template as you go (Fig 3B). the shapes have bias edges
– Take twelve (12) of the strips, that are easily distorted by
and position the round 1 and steam, dragging the iron,
or pulling at the fabric.
2 template line as for the light
Always use an up and down
fabric and cut out along the strip, motion, rather than a
rotating the template as you go. sliding one.
Repeat until you have one-
hundred-and-forty-four (144)
trapezoids for round 2.
– With the remaining sixteen (16)
strips, cut one-hundred-and-forty-
four (144) pieces for round 4. Making the Pineapple
Q Twenty-one (21) 2 in strips, blocks
subcut as follows (join off-cut Fig 2A There are eight (8) different shapes
pieces where necessary; put used in each block: one (1) centre
these aside for the borders of the square, four (4) background inside
Pineapple blocks): triangles, four (4) each of rounds 1
Fig 2B
– Thirty-six (36) 8 in pieces. and 3 from light fabrics, four (4)
– Forty-seven (47) 10 in pieces. each of rounds 2 and 4 from
– One (1) 12 in piece. background fabrics, four (4) light
Q Twenty-one (21) 2in strips, subcut outside triangles and four (4) 2in
into one-hundred-and-forty-four Fig 3A background squares (Fig 4).
(144) 2in squares. Draw a diagonal
line on the reverse of each. Put
these aside for the corners of the
Pineapple blocks. Fig 3B

Fig 4

Join us at www.todaysquilter.com 59
P R OJ E C T l p ud dl e r ip pl e s

4 Take one (1) centre pineapple

square and four (4) inside
triangles. Sew a triangle to opposite
sides of the square (Fig 5A). Unfold,
press and trim the ‘dog-ears’ from
the sides of the square. Sew the
remaining two (2) triangles on the
other sides of the square (Fig 5B).
Unfold and press as before, trimming
the ‘dog-ears’.

Fig 5A Fig 5B

5 Take four (4) different round

1 (light) pieces and sew these
around the previous unit as before
(Fig 6). Then add the round 2
(background) pieces in the same way.
Unfold, press and trim as you go.

Fig 6

Fig 7

6 Continue with round 3 (light) and

round 4 (background) pieces. 8 Take four (4) 2in background
fabric squares and position as
shown below in all four (4) corners
10 Take one (1) 2 in x 8 in piece
and sew along the bottom of
one (1) of the blocks. Take a 2 in x

7 Take four (4) of the outside

triangles and sew to each corner
to square up the block (Fig 8). Press
of the block. Sew across the diagonal
line and trim excess to leave a in
seam allowance (Fig 9). Press open.
10 in piece and sew along the side
of the block (Fig 10). Repeat to add
borders to all thirty-six (36) blocks.
open. The block should measure
8 in square.

Fig 9

Fig 8 9 Repeat with the remaining

fabrics to make a total of thirty-
six (36) Pineapple blocks.
Fig 10

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P R OJ E C T l p ud dl e r ip pl e s

Assembling the quilt

11 Lay out the blocks in a 6x6 grid
and move around until you are
happy with the layout.

12 When you are happy, sew a

2 in x 10 in piece to the top
of the six (6) top row blocks, and the
right-hand side of each of rows 2-6.
Sew the 2 in x 12 in piece to the
right-hand side of the last block in
row 1, as shown in Fig 11.

13 Sew the blocks together to

assemble the rows, then sew all
six (6) rows together to complete the
quilt top.

Quilting and finishing

14 Make a quilt sandwich, basting
together the backing RS down,
batting and quilt top, RS up.

15 Quilt as desired and then

trim the design square. Karen
quilted in a free-motion floral design
using 50wt Aurifil thread in a
coordinating peach shade. Fig 11

16 Sew the seven (7) binding

strips together end-to-end to
make one long binding strip and
press in half lengthways, WST.
Bind the quilt, carefully sewing the
binding around the corners.

Ruler grips are small
sandpaper-like dots that
can be stuck on the bottom
of acrylic rulers and
templates to help them
grip to the fabric and avoid
slipping. A sharp rotary
blade means you don’t need
to apply as much pressure
to the rotary cutter, which
will also help avoid the
ruler slipping.

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P R OJ E C T l p ud dl e r ip pl e s

We can think of so
many different ways
Meet the designer to make this quilt a
personal and unique
Karen Lewis is a screen printer, fabric designer, quilter and one – why not stitch
author living in Leeds, West Yorkshire, with her husband and it in your favourite
three children. Much-adored Cockapoo, Scout, has recently colourway or use
joined the clan and, when Karen isn’t knee-deep in paint and your most treasured
scraps for the
fabric and designing for Robert Kaufman, she and Scout can
Pineapple blocks?
be found out in the fields by their house. Karen teaches printing
and textiles at workshops around the UK and overseas.
www.karenlewistextiles.com @karenlewistextiles

62 Join us at www.todaysquilter.com
u sly
The ultimate day out for craft lovers
Knitting · Crochet · Dressmaking · Quilting · Needlecraft

27th February – 1st March 2020

Business Design Centre, London


& features



For more information: thestitchfestival.co.uk

0844 854 1349 (+44 (0) 115 896 0105 from outside the UK)
OLD TR ADITIONS l e ngl i sh pa p e r p i e c i ng


AnneWilliams considers English paper piecing and chats to
Christine Chester about her contemporary take on this tradition

Above, Billings overle , ma er un nown, – , 2 cm x cm: T is s unning patchwor is a our e force of

the mosaic technique. The complex design of fifteen frames includes motifs such as hexagons, squares on-point,
diamonds and kites, all pieced over papers. It features a vast range of delightful printed cottons – mostly dress
fabrics – with some dating from the 1770s

64 Join us at www.todaysquilter.com
E nglish paper piecing (EPP),
also known as piecing over
papers or mosaic patchwork,
is an accessible hand technique that
requires minimal materials and
shapes can give rise to wonderfully
intricate, sometimes kaleidoscopic,
designs. Visual effects can be further
enhanced by fussy cutting, though
selecting particular areas of a print
equipment. These qualities mean requires more fabric.
it’s very portable and can be worked CONTEMPORARY
on anywhere – it can also be a great EPP gained favour in the
icebreaker if you’re happy to whip out eighteenth century, when fabric was a TWISTS ON EPP
your stitching in public! valuable commodity and using every
last scrap counted. The hexagon
The basic method is to wrap and shape is strongly associated with the
tack a fabric piece over a paper technique – and it was ubiquitous
template. The patches are then in the patchwork revival in the
joined with an overstitch, sewing 1970s – but many other tessellating
just through the folded edges of the shapes are found too. In the 1700s,
fabrics. To ensure accurate piecing, squares, often halved or quartered

Artist’s own images

the papers are removed only when all into triangles, were widely used (see
adjoining patches have been sewn in below). By the end of the eighteenth
place. In some historic examples, the and into the nineteenth century,
papers remain in situ. Too precious cottons became fashionable and
to waste, paper was frequently other mosaic motifs were becoming
repurposed and templates are often popular. The Billings Coverlet (see Above, Faint Hope, 42in x 29in: This piece
fragments of letters, accounts, left) features a range of shapes and makes a feature of what is usually thrown
away in EPP – the ‘papers’
newspapers and so on. As well as also illustrates the variety of cotton
offering an intriguing glimpse into prints available. What was your introduction to EPP?
the life and times of the maker, the EPP was how I started patchwork. My
papers may also help to date and The rotary cutter and quick- first quilt was pieced from scraps my
document a work. piecing machine techniques mother had left over from dressmaking
revolutionised patchwork, but EPP – I loved the link between the hexagons
As each piece is cut out has recently experienced something and tangible memories. Later, when
individually, EPP is a great way of a renaissance. Undoubtedly, it is a I looked at historical examples, it was
to use up small pieces of fabric. slow way of working, but it can be a the papers and what they told me that
Combining a range of colours, meditative process providing a much- really interested me.
prints and different interlocking needed calm space in our hectic lives.
Is EPP a technique you regularly
Mostly, I employ mixed media with
paper and paper lamination, often
incorporating text. I always begin
with an idea or concept, together
with a visual starting point or a
process. Recently, I’ve been working
with traditional techniques, using
contemporary materials and processes.
This can present challenges and
adaptations generally have to be made.

How did you construct Faint Hope?

The ‘papers’ are made of acetate.
Hand-written words were traced onto
the ‘papers’ in the centre section, and
text was digitally printed onto the
‘papers’ in the panels at either side.
Muslin was used to wrap the acetate
hexagons, with the seams on top, so
that the ‘papers’ are exposed. The
hexagons were then over sewn together
and black knots were added to keep the
Above left, This rare eighteenth century silk ‘papers’ in position. Tulle was placed
mosaic patchwork chair-seat cover maker is one on top to secure everything.
of a set of six (dated 1730–1750; maker unknown).
The central star is surrounded by triangle motifs;
quarter-square triangle units were widely used Why did you choose the materials
at the time. The reverse (directional) shows the and processes used?
fascinating paper templates – recycled from The ideas developed from my original
letters, newspapers and children’s handwriting
practice – still in place concept, which was inspired by the

Join us at www.todaysquilter.com 65
OLD TR ADITIONS l e ngl i sh pa p e r p i e c i ng

Above, Fading ii,

99cm x 130cm: This
work was designed INFORMATION
to be double-sided
so people can The Quilters’ Guild has several
view the work in a English paper-pieced patchworks
context, just as our in its Museum Collection, many
memories are made
of which can be viewed online
at www.quiltmuseum.org.uk

The heritage patchworks shown

on pages 64 and 65 feature in
the book Forty: The Evolution
Artist’s own images

of a Collection, which explores

the growth and development
of The Quilters’ Guild Museum
Collection. Available from

faintest of hope offered by the good What is the message of Fading ii? Lucy Boston (1892–1990) –
wishes contained in cards received Fading ii is about fading memories. famous for her award-winning
following a catastrophic event in my My father spent the last six years of Green Knowe children’s books
family. Acetate enabled me to include his life with dementia. He lost the – was a skilled needlewoman
the unique hands of those well-wishers memories of the last half of his life, who made the most incredible
without damaging the precious cards. but he could remember himself as a English paper-pieced coverlets.
I confined their words of hope between young fisherman. My father died seven By prior arrangement, her
the printed hope-less words from years ago, and just as his memories patchworks can be seen at The
doctors at the time. Muslin suggests faded, so my recollections of him are Manor in Hemingford Grey in
old-fashioned bandages and the black diminishing too. Cambridgeshire, the home in
knots medical stitching. which they were created. The
How did you interpret this theme Patchworks of Lucy Boston by
in EPP? Diana Boston is an absorbing
I wanted to create a portrait of my read. As well as photographs and
father and used a photograph of him details about the patchworks,
fishing that was taken by my mother. through Lucy’s own writings and
Pixelating it into hexagons produced letters, we gain an insight into
a slightly blurred effect, reminiscent the dedication and passion that
of memories becoming confused produced them. Find out more at
and then disappearing. Transparent www.greenknowe.co.uk
fabrics in a range of monochromatic
tones hint at the delicacy of memories. Flossie Teacakes’ Guide to
The diaphanous nature of the piece English Paper Piecing (The
also means that it can be displayed so Quilting Company, 2018) provides
people can move around it and been an up-to-date take on EPP.
seen through it, alluding to memories Blogger Florence Knapp (Flossie
Artist’s own images

rarely being shaped in solitary isolation. Teacakes) shares her love of

The fragments of text on some of fussy-cut EPP through a range of
the hexagons represent snippets of step-by-step tutorials. There are
recollections my father tried to grasp also inspiring chapters about the
at, but without context or details no history of the EPP, the benefits of
Left, Faint Hope, detail: The variety of the one was able to help him reach them. making by hand and profiles of
hand-writing in these tracings from cards modern-day practitioners.
from well-wishers contrasts well with the
harder look of the printed medical comments www.christinechester.com

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OLD TR ADITIONS l e ngl i sh pa p e r p i e c i ng



1 Instead of using conventional

materials, try experimenting with
non-traditional fabrics, like plastics
or transparent materials (Fig 1).

2 If using unusual materials,

Artist’s own images

sample them first to see how
things work in practice. For
example, when using lightweight
fabrics, they will be easier to handle
if they are stabilised in some way.
Christine found that freezer paper Fig 1 A selection of the transparent fabrics Christine used in Fading ii
‘templates’ were ideal for use with
the transparent materials used in
Fading ii, as they stayed in place
once ‘fused’ to the fabric and were
easy to remove, without causing
damage or distortion, once the units
had been joined together.

3 As there are usually so many

different fabrics in EPP quilts,
it is best to use a cool-toned neutral
thread (grey or similar) throughout.
In Fading ii, Christine matched
the thread to the fabric weight and
colours, using Superior Threads
MicroQuilter thread, a very fine
100-weight, 2-ply polyester thread,
in dark grey, mid grey and white.

4 As in Faint Hope, consider

making the ‘papers’ the main
feature. This can be a way to add
personal words or images to a piece.
Imagery could be used clearly in
the final work for a bolder effect,
or fragmented so the meaning is
more subtle.

5 You could ‘make’ your own

fabrics by printing or stamping
onto them, again making work that
is unique and meaningful to you,
as in Fig 2.

6 As in Fading ii, you could

look through and enlarge your
Artist’s own images

photographs to see if you have

something that would work as
a pixelated EPP image. When
arranging the patches before joining
them, take photographs and look at
them on your screen to see if you are This detail of Fading ii shows some of Christine’s unique fabrics made by methods
Fig 2
creating the effect desired. such as paper lamination, mark-making with India Ink and soy-wax resist

Join us at www.todaysquilter.com 67
Sewing Bargello Patchwork

Bargello patchwork
with Florentine
embroidery designs
but is used by
patchworkers today
to create excitingly
modern designs

Bargello patchwork is a great way

to bring colour and movement
into your projects

“It’s easy to recognise the distinctive appearance of

Bargello patchwork, and here we show you how to
achieve this colourful look.”
– Lin Clements

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ESSENTIAL GUIDE l se w i n g b a r gell o p at c h w o rk

atchworkers are highly inventive people and see potential for piecing all
around them, so it’s no surprise that Bargello embroidery has been used as
inspiration for fabulous quilting designs for years. Bargello is a technique
normally associated with 17th-century Florentine needlepoint embroidery, where
flame-like, wavy patterns were created with stitches on canvas. Patchworkers have
interpreted these designs using ‘strip sets’ of squares and rectangles arranged in
rising and falling patterns to create colourful designs full of movement. Careful
colour grading is often a feature of the work.
The piecing of multiple squares and rectangles requires fairly accurate seam
alignments for the best results. Strip piecing is one technique used to achieve this,
but sewing individual patches together is also a common method. Some complicated
and visually stunning designs can be created using Bargello patchwork, and we will
be looking at some techniques in this article. Although Bargello is visually striking
on its own, it can also be embellished and some suggestions are given here for taking
the work in more decorative directions.

The fabrics used for Bargello can
be anything you like prints and
solids, matte and silky, smooth
and textured. Bargello is also
a great technique for using up
spare fabrics. Batiks are a good
choice as they usually have many
variations of pattern and colour
in each piece of fabric. Selecting
fabrics for Bargello is fun, but
may take time to achieve a
pleasing balance.

It’s helpful to decide on your
overall colour scheme to begin
with. You could look at your
stash to see what colour you
have most of and then select a
dozen or so fabrics in this colour
range. You will also need to
decide whether you are aiming
for a graded colour scheme,
arranging the fabrics from pale
through to dark. It’s also good
to throw in the odd surprise for
contrast. Once you have learnt
the technique, you can become
This wallhanging, called Bargello Schist, appeared in Issue 32 of Today’s Quilter more adventurous with your
and shows Bargello being used in a more contemporary way. The method used
to piece the Bargello is slightly different from the normal approach but can lead choices and introduce more than
to more creative freedom (see Floating Bargello, page 74) one range of colours.

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ESSENTIAL GUIDE l se w i n g b a r gell o p at c h w o rk

In its simplest form, creating the strip sets needed
for Bargello can be achieved by sewing individual
pieces of fabric together into vertical columns.
These columns can be repeated and used as they
are, or be inserted into different strip sets at
strategic points to create the pattern required. In
Bargello, fabrics are numbered in order to keep
track of where each fabric should be in a design,
so it’s a good idea to create a swatch card before
you begin any project (see Fig 1).

1 To make an individual strip set into a vertical

column, cut your fabrics into straight strips of
the desired width and then subcut into squares
or rectangles according to the pattern you are
This needlecase was made using strip sets constructed from
creating. individual squares. Due to its small size, this project happened to
suit a simple stepped pattern most, with special detail added with
a tiny embroidered butterfly

2 Following the colour order you have chosen

(see Using Design Charts), sew the individual
pieces together, using a consistent seam allowance
(usually in). Press the seams to one side (Fig
Bargello patchwork can be complicated and can consist of
2). When making such columns, alternate
different strip sets, so it’s important to keep track of where they
the pressing direction, so the columns will fit
all fit in the design. Constructing a design chart using graph
together snugly later when they are sewn together.
paper is a good way to do this as you can interpret the vertical
columns of the work into a numbered and coloured chart.
Fig 1
Making a Fig 2 Creating a Number the columns across the top of the chart and note the cut
swatch card strip set
width of each column. The example in Fig 3 shows the complete
strip set outlined in red.
br 1 strip set
Fig 3 Creating a design chart

Col Col Col Col Col Col Col Col Col Col Col Col Col
1 2 3 4 5 6 7 8 9 10 11 12 13
3 1 in 2in 2 in 2in 1 in 1in 1 in 2in 2 in 2in 1 in 1in 1 in

1 10 9 8 7 8 9 8 7 7 8 9
2 1 10 9 8 9 10 9 8 7 8 9 10
5 3 2 1 10 9 10 1 10 9 8 9 10 1
4 3 2 1 10 1 2 1 10 9 10 1 2
5 4 3 2 1 2 3 2 1 10 1 2 3
7 5 4 3 2 3 4 3 2 1 2 3 4
7 5 4 3 4 5 4 3 2 3 4 5
8 8 7 5 4 5 5 4 3 4 5

9 8 7 5 7 5 4 5 7
10 9 8 7 7 8 7 5 7 8
1 1 10 9 8 7 8 9 8 7 7 8 9
2 1 10 9 8 9 10 9 8 7 8 9 10
3 2 1 10 9 10 1 10 9 8 9 10 1
4 3 2 1 10 1 2 1 10 9 10 1 2

Join us at www.todaysquilter.com 71
ESSENTIAL GUIDE l se w i n g b a r gell o p at c h w o rk

A common way of creating
Fig 4 Sewing the strip-pieced unit Fig 7 Unpicking a seam between
Bargello patchwork is with strip colours
piecing, where the strip-pieced
unit is formed into a tube and Fabric 1
then subcut into rings of fabric 2
of the desired width. 3
1 Choose your fabrics – in
the example described and
shown in Fig 4, six fabrics are
2 Unpick
used. Cut two strips from each seam
colour, cutting the strips 2 in 3
wide x about 24 in long. Sew 4
fabric strips 1 to 6 together in the 5
desired order using in seams 6
and then repeat, pressing seams
open or to one side. Fig 8 Working along rows to
unpick the seams

2 Take this strip-pieced unit

and fold it in half, right sides
together, as in Fig 5, matching
Row 1
Row 2 Row 3

the top edges. Sew the edges seam
together to form a tube. seam

3 Fold the tube flat and cut it

into segments at the widths
required using a rotary cutter and
ruler. In the Fig 6 example, all
segments are the same width of
2 in, but other Bargello designs
Fig 5 Forming the unit into a tube
may use varying widths. Make
sure you are cutting exactly at 1 2 3 4 5 6 7 8 9
right angles to the seams.

4 Referring to Fig 7 and starting

with Row 1, take the first ring
of fabric and unpick the seam
at the position required. In the
example shown, this is between
Fabric 1 and 6. Lay the strip out
flat. Take the second ring of fabric
and unpick the seam between Sew seam
Fabric 1 and 2 (Fig 8). Lay the
strip flat beside the first strip.
Continue in this way, changing
the position of the unpicked
Wrong side
seams, so the pattern undulates
according to the plan. Fig 9 Final result

5 Use in seams to sew the

rows together, pinning right
sides together and matching seam Fig 6 Cutting the tube into segments
junctions carefully. Press seams
open or to one side. Fig 9 shows
the final result of this simple Trim
pattern. You can create more end to
give a
intricate effects by varying the clean ilti g to show
‘waves’ (see Wave Effects). edge e p otograph,
mind thread colour a d quiltin
Cut 2Ωin wide segments

72 Join us at www.todaysquilter.com
ESSENTIAL GUIDE l se w i n g b a r gell o p at c h w o rk

The most striking quality of Bargello work is in the wave patterns that
can be created to generate movement. The position of the strips, how
they are stepped up or down, and using variable strip widths can all affect
the look of the final pattern. All of this means that Bargello is a great
technique for experimenting and creating your own unique designs.
Fig 10 shows pieced strips of the same width, creating gentle undulations
by being stepped up or down by one fabric each time. Fig 11 shows that
more interesting movement can be created by varying the width of the
cut strips, with some tips given on how to achieve different effects. In
many cases, the stepping up or down is done by a full strip width, as in
Fig 12A, but you could step up or down by just half a strip width, as
shown in Fig 12B, although you will notice that this arrangement tends
to smooth out the waves. This partial stepping does have the advantage of
having no seams to match up.

Fig 10 Creating waves by strip position

Even a practice piece of Bargello can be

made up into a project. Here, an oblong
shape was turned into this simple little bag

Stepping up or down can be a full

Fig 12
strip (A) or half a strip (B)
Fig 11 Creating tighter or looser waves by variable strip widths

Wide segments Narrow segments For gentle inclines For acute inclines
can create can create deep up or down, use a up or down, use a
plateaux о the valleys о the wide segment narrow segment
wider the narrower the width for as long width for as long
segment, the segment, the as needed as needed
ŇĂƩĞƌƚŚĞƉůĂƚĞĂƵ steeper the valley

Join us at www.todaysquilter.com 73
ESSENTIAL GUIDE l se w i n g b a r gell o p at c h w o rk


The size of a finished Bargello piece depends on Floating Bargello
the length of the cut strips (when untidy ends Another way of creating Bargello patchwork is with initial strip
have been trimmed off ) and the cut width of the piecing, as before, but with additional pieces of fabric added
strip sets once combined together (see Fig 13). If above and below the unit (Fig 14). This method is not formed
the Bargello needs to fit a specific area, then you into a tube and does create some fabric wastage. I call this
will need to bear this in mind when choosing the method ‘floating’ Bargello and like to use it occasionally to allow
cut widths of your strip sets. me to move the strips about freely, and so, the Bargello ‘floats’
in a sea of background fabric. It’s also interesting to rotate some
sections of the Bargello by 180-degrees. Once the pattern is
formed and sewn, the excess fabric is trimmed off (Fig 15).
Fig 13 Calculating size

2in 3in 2in 1in 2in 2in 3in 1in 1in1in 2in 1in 2in Fig 14 Cutting the unit
into strips Fig 15 Sewing and trimming

height =
original cut
strip width
x number
of fabrics
in the

Adding embellishments
Bargello can be embellished with decorative trims. To do this,
sew the trims along the fabric strips before the strip-pieced unit
Total width = combined measurement of the cut is cut up (Fig 16). The cut ends of the trims are sealed into the
width of all columns, minus seam allowances
seams when the segments are sewn together. You can also add
beads to Bargello, after the pattern is sewn together.

Fig 16 Adding trims to a strip-pieced unit

This Bargello piece (left) was given a different look by embellishing

the strip-pieced unit with decorative trims before it was cut into
strips (see Fig 16). Beads can also be used as embellishments

74 Join us at www.todaysquilter.com
ESSENTIAL GUIDE l se w i n g b a r ge l l o p a t c h w o r k


Bargello is an exciting and striking technique. Here are answers
to some questions about sewing this type of patchwork.

Help! When I’ve tried Bargello Help! I’d like to make up my own Bargello patterns, but I’m not good
in the past, I often end up with at design. What’s the best way of going about this?
the strips curving. What can I
Try this… It can be difficult to visualise a design. You could use graph paper
do about this?
and colour in a design (in a similar way to creating a design chart). I hate
Try this… This effect is called wasting time and fabric, so I tend to spend useful time on the design process
‘bowing’ and can happen with and create a rough design on paper first. Here are the basic steps I use.
any multiple strip piecing. Sewing
the strips together from the same
direction each time can create 1 Photocopy each of the fabrics and print an A4 size sheet of each (Fig 18A).
Cut the paper fabrics into strips (I usually reduce the size so I end up with
a scaled-down version of the design). Tape the strips together, to mimic the
a tightness in the stitches and
encourage the fabric to stretch strip-pieced unit (Fig 18B).
and bow (see Fig 17). Pressing
can accentuate this. To prevent it
happening, every time you sew a 2 Cut the paper unit into segments of various widths (again, scaling the size
down). Arrange the segments side by side, stepping them up or down in
a way that pleases you (Fig 18C) (I don’t worry about forming the complete
strip to the unit, sew it from the
opposite direction to the previous design, just the individual strip sets). Use tape to stick the segments together.
strip. Careful pressing will also Use this rough layout to create the design in fabric.
help to correct this. Place the unit
on a cutting mat to check if it’s Fig 18 Planning a design with paper strips
bowed and if so, ease the seams
into place with the iron. A B C
Scan the fabric and ƵƚĂŶĚƐƟĐŬƐƚƌŝƉƐ ƵƚĚŝīĞƌĞŶƚƐĞŐŵĞŶƚƐĂŶĚ
print on paper together into a arrange into a layout
Fig 17 Bowing occurring in a paper unit
strip-pieced unit

and includes everything she has learnt working with the

About the designer industry’s best designers. For Today’s Quilter, Linda is
Linda Clements is a leading technical quilting expert, working with the team to select practical and creative
editor and writer who, for 25 years, has worked on techniques. She will then go in-depth, exploring the
many fabric and craft titles for F&W Media and other methods, taking them from the basic premise to their full
leading craft publishers. technical and creative potential. You can cut out and keep
this section to build your own bespoke technical handbook.
Among the many quilters who have trusted Linda to
ensure their books are both accurate and reader friendly,
are Lynne Edwards MBE, Susan Briscoe, Pam & Nicky ESSENTIAL GUIDE NEXT ISSUE:
Lintott, Pauline Ineson, Mandy Shaw and Lynette KANTHA QUILTS
In the next issue we learn how to hand quilt Kantha
Anderson. Linda’s own book, The Quilter’s Bible, is the
must-have guide to patchwork, quilting and appliqué,

Join us at www.todaysquilter.com 75
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Jo Avery’s appliquéd cushion, with its trio of chirpy
birds chatting on tree branches, will bring a touch
of whimsical delight to your décor.

Designed and made by JO AVERY

Join us at www.todaysquilter.com 77

You will need
Q Linen background fabric – yd
Q Brown fabric for branch – 9in square
Q Green fabric for leaves – 10in square
Q Scraps of black, charcoal, white,
grey and red fabric for the bullfinch
Q Scraps of white, blue and yellow
fabric for the blue tit
Q Scraps of mid green, dark green and
pale green fabric for the goldcrest
Q Water soluble pen or similar
Q A mixture of embroidery threads in
black, charcoal, grey and yellow
Q Cushion pad – 12in x 20in
Q Templates (see Templates section)

Raw-edge method
If hand-stitching isn’t your
thing, feel free to use raw-
edge appliqué using your
machine as follows:

1 Using the inner broken

lines on your templates,
trace pattern pieces on to the
paper side of some fusible web.

2 Press fusible web onto the

wrong side of your fabric,
paper side up.

3 Carefully cut out the shape

using small, sharp scissors
and peel away the paper. Place
on top of the right side of the
background square, matching
with the pattern, and the
fusible web facing background
fabric. Press to adhere the
shape to the background.

4 When all shapes are fixed

in place, sew a neat top
stitch, blanket stitch or satin
stitch close to the edge all
around each shape.
“I first stitched a little blue tit as part of the A Month in the Country block of
the month quilt that I designed for Today’s Quilter a few years ago. It proved Cutting out
to be a huge success and I turned it into a workshop project. Since then, I
have appliquéd many blue tits and finally decided that I should branch out
with some other British garden birds. So, for this pillow, I have enlarged
1 From the brown fabric, cut 1in
wide strips on the bias in the
following lengths for branches: 7in,
the original blue tit pattern and added a bullfinch, with his beautiful bright 12in, 6 in and 8in. Cut one (1) in
plumage, and a goldcrest, our smallest garden bird. I tried hard to keep the each size for four (4) in total.
correct scale of size between the three birds, though I am not sure they would
all sit so close together in a tree in real life!” – Jo Avery
2 Using the leaf template, cut eight
(8) leaves from the green fabric.

78 Join us at www.todaysquilter.com
Finished size
Q 12in x 20in

Materials used
Q Jo used Essex Linen by Robert
Kaufman as a background fabric,
see www.robertkaufman.com
Q 12in x 20in feather pad available
from www.thefeathercompany.com


Q Seam allowance is in unless stated If you can’t see the pattern
otherwise. lines easily through your
fabric, try taping to a
window. Or make a quick
and easy light box to help
with your tracing: take a
small shallow cardboard

3 For the bullfinch, cut out as

Q Using templates A and B, cut one
box with no lid and pop
your phone inside it with
the torch function switched
on. Place a large square
(1) piece each from the white fabric. patchwork ruler on the box
Q Using templates C and D, cut one and trace your pattern on
(1) piece each from charcoal fabric. top of this.
Q Using template E, cut one (1) piece
from the black fabric.
Q Using template F, cut one (1) piece
Fig 2
from the grey fabric.
Q Using template G, cut one (1) piece 8 Take all four (4) of the bias strips
and, wrong side up, press a in
from the red fabric. seam over so that the edges meet
in the centre. Pin the 7in strip over 10 Pin the eight (8) leaves in
place, as shown on the pattern

4 For the blue tit, cut out as

Q Using templates A, D and E, cut
the branch on the right side of the
pattern (for the blue tit to perch on).
Using a matching thread and a tiny,
– they will cover the remaining bias
stem raw edges. Stitch around all
leaves as before, taking care to tuck
one (1) piece each from blue fabric. neat slip stitch, close to the folded in the ‘dog ear’ at the pointed end of
Q Using template B, cut one (1) piece edge, appliqué the strip on both sides the leaf (Fig 3 and Fig 4).
from the white fabric. (Fig 1). There is no need to turn
Q Using template C, cut one (1) piece under the ends of the strip.
from the yellow fabric.

5 For the goldcrest, cut out as

Q Using template A, cut one (1) piece
from the pale green fabric.
Q Using template B, cut one (1) piece
from the mid green fabric.
Q Using template C, cut one (1) piece
Fig 3
from the dark green fabric.
Fig 1

6 From the background fabric, cut

one (1) piece measuring 13 in x
21 in and two (2) pieces measuring 9 Stitch the 8in bias strip at the
top left of the pattern (for the
13in x 13 in for the backing. goldcrest to perch on), followed by
the 6 in strip, which sits behind
Stitching the appliqué the bullfinch, covering over one raw

7 Trace the pattern (see Templates

section) onto the 13 in x 21 in
background rectangle using
edge of the previous branch (Fig 2).
Lastly, stitch the 12in strip (for the
bullfinch to perch on) covering the
removable marker. raw ends of previous branches.
Fig 4

Join us at www.todaysquilter.com 79
P R OJ E C T l fe ath e r e d f r i e n d s

11 Start stitching the bullfinch.

Pin the white fabric template
A in place in the centre of the bird’s
pin the red template G body in place,
turn under and stitch the whole way
around (Fig 10), snipping into the
wing. This does not need to be seam at the concave curve.
stitched down as it will be covered
by other fabric pieces. Pin the white
fabric template B piece over the
bird’s belly, turn under and stitch
down only the bottom edge (Fig 5
and Fig 6). You may need to snip the Fig 12
fabric slightly at the concave curve.

15 Pin the yellow template C body

in place and stitch along the
top edge and all around the curve of
Fig 8 the body. Stitch the blue template D
tail in place and stitch around three
sides as shown in Fig 13. Finally, pin
the blue template E wing in place and
stitch the whole way around.

Fig 5

Fig 9

Fig 13

Fig 6

12 Pin the charcoal fabric C and

D templates either side of the
white template A piece. Turn under
and stitch down the bottom edge Fig 10

only of template D. Stitch all around

the tail and the top edge of template
C, as shown in Fig 7, snipping into
the seam where necessary.
14 Now stitch the blue tit. Pin the
blue A template piece to the top
of the white template B head. Turn
under the bottom edge and stitch
as shown in Fig 11. Pin the head in
place and stitch all the way around
the curved edge leaving the straight
bottom edge (Fig 12).

Fig 7

13 Pin the black template E head

piece in place and stitch around
the curved top edge only (Fig 8). Pin
the grey template F top wing in place
and stitch around the bottom and
left-hand edges only (Fig 9). Finally, Fig 11

80 Join us at www.todaysquilter.com
P R OJ E C T l fe ath e r e d f r i e n d s

Keep all the pieces for each
bird together and transfer
the template labels on to
the back of the shapes.
Don’t remove the paper
until you are ready to fuse
it in place.

16 Lastly, stitch the goldcrest.

Pin the pale green template A
belly in place and stitch around the
bottom curve (Fig 14). Pin the green
template B body in place and stitch
around the top curve and the right-
hand edge, as shown in Fig 15. Pin
and stitch the dark green template C
wing all the way around (Fig 16).
Fig 16 Fig 17

17 Add details to the birds with

embroidery thread. For the
bullfinch, use black thread and
a backstitch to outline the beak
(Fig 17), then fill in with satin

Fig 14

Fig 15

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P R OJ E C T l fe ath e r e d f r i e n d s

stitches in a mix of grey and charcoal. turn over a in twice on one of

Stitch around the eye with grey thread the 13in sides. Pin and then stitch
and fill with black satin stitches (Fig along to hem. Repeat with the other
18). Use black thread and backstitch backing piece. Press.
for the feet on all three (3) birds.

18 For the blue tit, use thick black

thread and a backstitch to
22 Lay the cushion front, right
side up. Lay the two (2)
back pieces on top, right sides down
make the face markings with extra and overlapping. Pin all the way
stitches for the eye. Outline the beak Fig 21 round and stitch using a in seam
with black thread and a backstitch allowance. Snip corners, turn inside
and fill with grey satin stitches.
20 Press carefully and remove
pattern markings (Fig 21).
Trim to a 13in x 21in piece.
out and press. Insert pad to finish.

Finishing the pillow

21 Take one of the 13in x 13 in
pieces of backing fabric and
Using a fine thread, such
as Aurifil 80wt, for the
appliqué alongside a fine
needle, such as a Straw
Milliners number 10,
will help your stitches
Fig 18

19 For the goldcrest, outline the

eye with tiny backstitches and
grey thread and fill with a black satin
stitch. Use black backstitches for
the face markings with a few extra
straight stitches for the beak. Outline
the crest with black backstitches
and fill with satin stitch in yellow
(Fig 19). Sew rows of running stitch
in black thread for the wing and tail
markings (Fig 20).

Fig 19

Fig 20

82 Join us at www.todaysquilter.com
P R OJ E C T l fe ath e r e d f r i e n d s

Clever fabric
choices and hand
embroidery brings
Meet the designer the birds’ faces to
Jo Avery has been quilting for almost 30 years and writing her life and gives them
craft blog for a whole decade. She runs her own fabric shop, their own character
myBearpaw, in Edinburgh and online, as well as teaching a
range of workshops and organising annual sewing retreats.
www.mybearpaw.com bearpawcraftclasses mybearpaw

Join us at www.todaysquilter.com 83



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BLOCK OF THE MONTH l sp o o n d r if t q u ilt


Designed by JANET CLARE

“Ah, beach huts… somewhere to eat

Join us at www.todaysquilter.com 85
You will need
Q Seabirds Pearl – 12 in x 4 in
Q Cowes Sky – 30 in x 4 in
Q Seaweed Sand – 12 in x 4 in
Q Ships Dark Ocean – 4 in x 7in
Q Cowes Dark Ocean – 5in x 6 in
Q Starfish Dark Ocean – 4 in x 7in
Q Stripe Pearl – 17 in x 6in
Q Starfish Pearl – 12in x 6in
Q Cowes Sand – 18in x 4 in
Q Starfish Ocean – 5 in square
Q Fusible web – 14in x 7in
Q Lightweight vilene
Q Templates – see Templates section

Finished size
Q 12in square

Q Before proceeding with any cutting,
please read through all the instructions.
Q Consider the orientation of your prints,
the appliqué templates and any sections
you may wish to fussy cut.
Q Fabric requirements are for both the
Beach Huts and Time and Tide blocks.
Q Use a in seam allowance throughout.
Q RS = right side.
Q WOF = width of fabric.

Cutting out open so they lie as flat as possible Placing the appliqué
beach huts
1 From Cowes Sky, cut one (1) 12 in
x 4 in piece. Set the rest aside for
the next block.
ready for the appliqué.

4 Arrange the appliqué beach huts

very carefully on the pieced
background (Fig 2). Once they are

2 From each of the three (3) dark

fabric rectangles, cut a beach hut
using the template.
pressed in place with the iron they
cannot be removed, so take your time!

Piecing the background

3 Take the three (3) pieces of sand
(Starfish Sand), blue (Cowes Sky)
and cream (Seabirds Pearl) rectangle-
shaped fabrics and piece together to
form the background for the beach
huts (Fig 1). Press the long seams Fig 1

Prepare the fusible web for the appliqué

1 Lay a piece of fusible web (paper side up) over the beach hut templates
(which have been reversed) and trace. Roughly cut the pieces out with
paper scissors leaving a small allowance all round.
Fig 2

2 Place the pieces paper side up on the reverse of your chosen fabrics and
iron to fix in place. Now cut them out as carefully as you can on your
5 Set up your machine for free-
motion stitching and stitch around
the beach huts. When you’ve finished,
traced pencil lines. pull the threads to the reverse of the
fabric and tie off securely. Press. Tip:

3 Peel off the backing paper. If this is tricky, scratch the middle with a pin
and peel it away from there.
This step could also be satin stitched
or even buttonhole stitched by hand.

86 Join us at www.todaysquilter.com


This block sings in Ebb and

Flow fabric with the depiction
of swelling and receding tides

Cutting out Preparation

1 From Cowes Sky, cut four (4) 4 in
squares. 5 Trace four (4) each of the
foundation templates A and B and
their seam allowances onto lightweight

2 From Stripe Pearl, cut out as

Q One (1) 5 in square.
vilene (not fusible) or stitch ‘n’ tear or
simply photocopy them from the
magazine onto thin paper. Note: The
Q Six (6) 6in squares. foundation paper on which the
triangles are drawn is actually the

3 From Starfish Pearl, cut two (2)

6in squares.
wrong side of your work.

4 From Cowes Sand, cut four (4)

4 in squares.
6 Plan your fabrics – several of the
fabrics used in the block are
directional and this means you need to

Join us at www.todaysquilter.com 87
BLOCK OF THE MONTH l sp o o n d r if t q u ilt

plan the position of the prints carefully

on the foundation if you want to keep
the direction of the print consistent
across the block. To help this process,
take the foundation papers and lay
them out in their respective positions
in the block and label (Fig 3). This
will help when you pin your fabrics in
place on the foundation prior to Fig 4A Fig 4B
stitching. The method for piecing is
the same for both templates A and B. Making the FPP units on the opposite diagonals. Carefully
You can hand or machine sew as you
prefer. Fabrics are placed from the
centre outwards and the seams are
7 Place a piece of fabric (Cowes Sky
for template A, Cowes Sand for
template B) large enough to cover the
lay them out on the templates in
preparation for piecing.

always sewn in numerical order. central triangle on the right side of the
foundation square. Ensure that both
the drawn lines are covered with the
9 Pin the triangle for foundation
piece 2 RS together against the
centre triangle alongside the drawn
usual in seam allowance. line between pieces 1 and 2 (Fig 5).
There should be enough fabric for a

8 Take the 6in squares (Stripe Pearl

for template A, Starfish Pearl for
template B). For directional fabrics,
in seam allowance. Flip over the
template and stitch only on this line,
securing the beginning and end of
place the squares side by side and cut each line of stitching (Fig 6).
one in half from top to bottom, and
one in half from left to right (Figs 4A
Fig 3 and Fig 4B). Then cut the rectangles

Ebb and Flow fabric swatches

Keep this safe so you can refer back to the fabric grid
1 2 3 4 5 6

Fig 5

7 8 9 10 11 12

13 14 15 16 17 18

Fig 6

19 20 21 22 23 24

10 Turn the foundation template

over and flip the fabric back to
lay flat on the foundation square and
press well. Repeat this process to add
25 26 27 28 29 30 foundation piece 3 (Figs 7 and 8).

1. Cowes Pearl 2. Cowes Dark Ocean 3. Cowes Ocean 4. Cowes Sky

5. Cowes Sand 6. Woven Texture Ocean 7. Seabirds Pearl 8. Seabirds Sky
9. Seabirds Sand 10. Seaweed Pearl 11. Seaweed Ocean 12. Woven Texture
Pearl 13. Seaweed Sky 14. Seaweed Sand 15. Starfish Pearl 16. Starfish
Dark Ocean 17. Starfish Ocean 18. Woven Texture Sand 19. Stripe Pearl
20. Stripe Dark Pearl 21. Stripe Dark Ocean 22. Stripe Sand 23. Ships Pearl
24. Woven Texture Sky 25. Ships Dark Ocean 26. Ships Sand 27. Whales
Pearl 28. Whales Ocean 29. Whales Sky 30. Woven Texture Dark Ocean Fig 7

88 Join us at www.todaysquilter.com
BLOCK OF THE MONTH sp o o n d r if t q u ilt

Hold the foundation
template and pinned fabric
up against a window and
you will be able to check
the coverage.
Fig 8

11 Make four (4) of template A and

four (4) of template B, taking
careful note of the fabrics and their
orientation as you go (Fig 9).

Making the centre unit

Fig 9
13 Take the 5 in squares (Stripe
Pearl and Starfish Ocean) and Piecing the b oc

12 If you used lightweight vilene it

can stay in the quilt, otherwise,
cut each across both diagonals to
create eight (8) small triangles. 15 Carefully lay out all the pieces
in the block and check that
everything is in the right place before
carefully remove your foundation
papers. Press well and trim each
foundation pieced square to 4 in
14 Using a scant in seam
allowance, first piece pairs of
small triangles together taking careful
you begin sewing. Then piece together
the three (3) units in each row, before
sewing the rows together to complete
ready for stitching the block together. note of the fabric placement (Fig 10). the block (Fig 11).
Press. Then piece these triangles
together to complete the quarter-
square triangle unit. Press and trim
carefully to 4 in square.
Pippa has a neat approach
if you want to be as thrifty
as possible with your fabric.
Make an extra copy of the
foundation template, then
cut out the section with a
in seam allowance and use
this as the template to cut
your fabric.

Fig 10 Fig 11

Meet the designer

After completing a degree in fashion and textiles, Janet worked as a
freelance designer for many years. Janet also creates lively designs STOCK UP ON
for quilts and stitcheries that combine her unique joint appliqué FABRICS FOR
templates and free-motion drawing technique. As an experienced YOUR QUILT!
speaker and teacher, Janet regularly host talks and workshops Ebb and Flow has now arrived in
focusing on the design process and creative techniques. She’s also the UK. Contact Janet and Tony
written five books, including Freya and Fred, Hearty Good Wishes, for more information
A Field Guide, Home Quilt Home and The Wordsmith. You can get using the email address
in touch with Janet by emailing her at: janet@janetclare.co.uk provided.
www.janetclare.co.uk Janeteclare

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T O DAY ’ S Q U I LT E R l t e m pl at e s TE M P L ATE S
All the templates you’ll
need from issue 58...


PLEASE NOTE: Appliqué templates are
reversed and do NOT include seam allowances.







Thank you for making this project from Today’s Quilter. The copyright for these templates belongs to the designer of the project. They work hard to create projects
for you to enjoy, so please don’t re-sell or distribute without permission. Please do not make any part of the templates or instructions available to others through your website
or a third party website, or copy it multiple times without permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.

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T O DAY ’ S Q U I LT E R l t e m pl at e s










Visit our blog:

Thank you for making this project from Today’s Quilter. The copyright for these templates belongs to the designer of the project. They work hard to create projects
for you to enjoy, so please don’t re-sell or distribute without permission. Please do not make any part of the templates or instructions available to others through your website
or a third party website, or copy it multiple times without permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.

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T O DAY ’ S Q U I LT E R l t e m pl at e s


PLEASE NOTE: Appliqué templates include
seam allowances where necessary.







Thank you for making this project from Today’s Quilter. The copyright for these templates belongs to the designer of the project. They work hard to create projects
for you to enjoy, so please don’t re-sell or distribute without permission. Please do not make any part of the templates or instructions available to others through your website
or a third party website, or copy it multiple times without permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.

92 Join us at www.todaysquilter.com
T O DAY ’ S Q U I LT E R l t e m pl at e s






Thank you for making this project from Today’s Quilter. The copyright for these templates belongs to the designer of the project. They work hard to create projects
for you to enjoy, so please don’t re-sell or distribute without permission. Please do not make any part of the templates or instructions available to others through your website
or a third party website, or copy it multiple times without permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.

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T O DAY ’ S Q U I LT E R l t e m pl at e s



PLEASE NOTE: Appliqué template does NOT
include seam allowances.

Visit our blog:


Includes seam allowances.


Thank you for making this project from Today’s Quilter. The copyright for these templates belongs to the designer of the project. They work hard to create projects
for you to enjoy, so please don’t re-sell or distribute without permission. Please do not make any part of the templates or instructions available to others through your website
or a third party website, or copy it multiple times without permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.

94 Join us at www.todaysquilter.com
Useful guide to quilting goodies!

Find the fabrics, accessories and more that you want from this month’s issue.

COLLECTIONS Wool Appliqué Heirlooms
ACCESSORIES www.ct ub.com
Sunprints 2020
Jewel Palace Quilt www.makoweruk.com
www.alicecaroline.com Sisterhood of Scraps
01386 725 000 Flower Market www.sho martin ale.com
Sew Easy 3-in-1 Tool Feed Sacks
roves@stockistenquiries.co.uk Elegance www.sho martin ale.com
Thimble Shaped Craft
Organiser Sky
roves@stockistenquiries.co.uk www.robertkaufman.com
Double Date Jardin de Versailles
www.amitie.com.au www.winbourne abrics.co.uk
At Home

Shop In-Store or On-Line for New Patchwork and Quilting
our fabulous fabrics from shop with workshops open in
Lynette Anderson, Liberty, Tunbridge Wells.
Makower, Moda, Timeless 25 Lower Walk, The Pantiles,
Treasures and more! Notions, Tunbridge Wells, Kent, TN2 5TD.
EPP supplies, Cross stitch,
Courses, Workshops and Social Tuesday to Saturday 10am-4pm.
sewing. Group visits welcome. Sunday 11am-3pm.
The Hop Farm Family Park,
Maidstone Road, Paddock Wood.
Kent, TN12 6PY. 01622 296510.
01892 518242



Specialist Patchwork Shop in Everything you need for Regular workshops and a wide CENTRE
the Lake District offering mail Patchwork and Quilting. range of 100% cotton A friendly welcome for fabric
order service and shopping by Hundreds of quality cotton patchwork fabrics, waddings crafters. Fabric, haberdashery,
appointment for your fabrics, wadding, haberdashery, and threads. wadding and notions.
convenience. Brother Sewing Machines. 01507 524596
fobbles.co.uk temptationsbentham.co.uk stickyfingerscrafts.co.uk thesewstore.co.uk


Fabric suppliers of top quality
100% cottons for quilting.
Moda stockist. Workshops,
quilting retreat and classes.
217-219 Grimsby Road
Cleethorpes, Lincolnshire GATHER ‘N’ SEW SHERINGHAM
DN35 7HB 01472 600874 Whatever your project, we have Fabulous fabrics, notions and
Unit 2 Albion Street, Hull, a wonderful selection of luxury haberdashery for all your
HU1 3TE. 01482 325072. dressmaking and patchwork patchwork & quilting needs &
Visit our website: fabrics, sewing supplies and yarns, beads, books and more!
www.lcfabrics.co.uk workshops. 24 Church Street, NR26 8QS
lcfabrics@live.co.uk gathernsew.co.uk owltreecrafts.co.uk




Your fabric haven. Broadly Patchwork is a one-stop patchwork and quilting shop in Craig-y-Don
Specialising in Australian the Norfolk Broads, selling a wide range of fabrics, wadding and Llandudno
patterns & threads. Variety notions as well as offering workshops and regular classes. Conwy, North Wales
of courses. 01933 227973. Wroxham Barns, Tunstead Road, Hoveton, NR12 8QU. LL30 1AZ
Northamptonshire, NN29 01603 781665. thequiltingbeecyd@gmail.com
7TR. poppypatch.co.uk. broadlypatchwork.co.uk 01492 878599

For advertising opportunities call Kerri McKenna on 0117 300 8550 or kerri.mckenna@immediate.co.uk


Bright, friendly shop for all Tailored to meet your fantastic selection of Online shop stocking hundreds
sewers, selling patterns, personal needs whether you machines, cabinets, habby, of patchwork fabrics & quilting
fabric and notions. Sewing are a seasoned sewer or fabrics & notions. Friars tools use code TD1000 for
classes for all ages and buying your first machine. Street, Stirling. psmc.co.uk 10% off your first order!
abilities. romys-sewing.co.uk 01387 249 580 01786 462 993 pelennapatchworks.co.uk


Visit our website for all
your Patchwork and Quilting
Fabrics, Sewing Notions, Books
and Patterns. Watch Kim on
Create & Craft TV.
An independent sewing store A little corner of patchwork
in Chapeltown, Sheffield, heaven. Fabric, wadding,
stocking a range of fabrics, threads , haberdashery.
including Michael Miller, Workshops for all abilities. six-penny.com
Riley Blake and Tula Pink. 01785 859360. ST21 6BZ sales@six-penny.com
handmadehappyhare.com thecornerpatch.co.uk. 07908748856


Thousands of bolts of fabrics For all your Quilting needs. BLUE FABRICS “A Patchworker’s Paradise”
and an extensive range of A large range of fabric, notions Supplier of patchwork fabrics, 36 High Street, Lampeter,
notions to ensure you have and workshops. Free parking, threads, waddings and SA48 7BB
everything you need for your all on one level. notions. Find us on Facebook. 01570 422866
next project. Contact us at thecosycabin.co.uk 01903 230008 calicokate.co.uk
sewsos.co.uk. 01986 896147. 01284 811222. IP28 6QU. Chalk Hill Blue Fabrics


A truly delightful selection of
high quality fabrics to meet
all your sewing needs.
Weekly sewing & craft
workshops close to the
historical Piece Hall.
ONLINE FABRICS The Fabbadashery
Largest selection of textiles at your fingertips. Samples available 10-12 Clare Rd
of our whole range. No minimum order level. Halifax HX1 2HX.
online-fabrics.co.uk 01422 647574
02476 687 776 thefabbadashery.com
The Fabbadashery

For advertising opportunities call Kerri McKenna on 0117 300 8550 or kerri.mckenna@immediate.co.uk


Above left, February’s library; Right,

Jane’s Podcast Quilt using Elizabeth
Hartman’s Preppy The Whale block;
Below left, catch Pat Sloan on air
hroughout 2020; Below right, tea and a
Toast podcast is on the breakfast menu!


itch from the

Exploring the world of st ace...
comfort of a cosy sewing
no th in g be tte r th an to retreat to my creativ

velli ng
ac e. It’s wh er e so m e of my best ar mchai r tra
sp e door on
t. Being able to shut th ns.
ex periences take fligh ed theory among historia
wo rld and to rela x, su rrou nd s are
the chaos of th e ex te rn al
s month, All th ree of these book
m e joy, is a real treat. T hi uk, wh ich
by the th in gs th at br in g
ts I’m available on audible.co.
the books and podcas need to be ha nds-free.
I wa nt to sh ar e so m e of I subscr ibe to when I
ts and have lots of
enjoyi ng delv ing into. I’m a big fa n of podcas n’s
ngle Thread ar rived in
th e to p of my list are Pat Sloa
Trac y Chevalier’s A Si er catchi ng up to do . At
fts an d I ca n’t wait to discov y of Abby Glassenberg
bu ndle of C hr ist m as gi
ell, who, Fi reside Chats and an C loser
aracter, Violet Speedw og, W hile She Naps.
mor e ab ou t th e m ai n ch
at hedral is interv iews from her bl Sa ra h
eeler s at Winchester C up with episodes from
wh ile embroidering kn r the to home, I’m catchi ng
m e lif e- changi ng events af te Quilter Podcast series,
wh ich
coming to te rm s wi th so
who Ashford’s G reat Br itish ast
or ld W ar . I m us t be one of the few quilter s ed la st ye ar , as we ll episodes from the To
Fi rst W ’s novel, Im iss
s of Marga ret At wood eative Practice and The
miss ed th e te lev ise d se rie
. Quilts magazine’s series, A Cr not specifically about
ared on Net fli x in 2017 , al th ou gh
Alias G race, wh ich appe resti ng Unknown Pa th , wh ich
iate a
e book, offer ing an inte listen to if you apprec
feat ure th roug hout th of the quilts, are just a joy to but not
ho ric al co nt ra st to th e ha rsh su rrou ndings cu ra te d, cr ea tiv e po dcast series. And last
metap she serves well- r and
race is being held wh ile Nadia Arbach’s Declutte
pr iso n se tti ng wh er e G
ll in the ea rly stages of least, I’m listeni ng to incent ive to do some
ce fo r m ur de r. I’m sti ur Se wi ng Sp ac e as an
out her senten tr ig ue that is un foldin
g. Organise Yo
bu t I am lo vi ng th e in cle an in g. W he th er it’s Winchester, Toronto
the book, ad’s The spring
in th e wi ng s is a co py of Colson W hitehe le St re et in Ea st Lo ndon, I look forward to
Waitin g wa nted to or C ab rm
wh ich is a book I have m the com fort of my wa
U nd erg ro un d Ra ilr oa d,
h debate ex plor ing the world fro nd.
la rly since there is muc e cosy quilts close at ha
read for a wh ile, pa rt icu code sewi ng room with som
ve ra cit y of th e un de rg round railroad quilt
about the

98 Join us at www.todaysquilter.com
On Sale
20th February

Add appliqué blooms to a backdrop of
nine-patch units by Deidre Abel Bond
*Gift and contents may be subject to change

Combine hand and machine IN THE GARDEN
piecing to sew Carolyn Mix soft pastel tones
Forster’s version of the in Jo Avery’s repeat
classic Milkmaid’s Star Lone Star blocks


Pair Carolyn Forster’s star blocks with blue and white prints • Make miniature
versions of a Lone Star by Jo Avery • Combine a classic chequerboard design with
appliqué flowers by Deidre Abel Bond • Plus news, reviews, events and more…
Your gift! Binding clips - an essential addition to any quilter’s toolbox*
Issue 59 on sale 20th February 2020