American Patchwork & Quilting 2010-08 PDF

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quilting
changes everything
Carol Moellers entered her quilts at the 2009 Iowa State Fair
on a whim and went home the Sweepstakes winner.
Five quilts, five ribbons

For Carol Moellers, quilting is a way to show
friends, family, and members of her community
in Greene, Iowa, that she cares. Whether for a
new baby or for friends who lost their business
in a flood, she’s made countless quilts since
taking her first class in 1982.
When her extended family members planned
a reunion at the 2009 Iowa State Fair, Carol
decided to enter quilts for the first time. She
selected five, all of which had been quilted by
long-arm machine-quilter Tim Juhl.
Carol was surprised when she won more
ribbons—including three first-place prizes—
than anyone else who entered. The feat earned
her the Sweepstakes award and a prize from
American Patchwork & Quilting® magazine.
Carol and Tim each credit the other for
the success. “Carol has always pushed me to
the next level,” Tim says. “When she brought
in some quilts, I told her she should really
consider entering them in contests.”
“Tim did a wonderful job—I like my quilts
heavily quilted, and I think that’s why they did
so well at the fair,” Carol says.
The experience encouraged Carol to explore
other ways to share her passion. Her state
Photo by Greg Scheidemann
fair kaleidoscope quilt, Summertime Fun,

will appear in the gallery of Ricky Tims’ Kool
Kaleidoscope Quilts (C&T Publishing; available
November). Another of her later quilts, also
quilted by Tim, was accepted into this year’s
American Quilter’s Society Quilt Show and
Contest in Lancaster, Pennsylvania.
Carol Moellers (right) collaborated with local long-arm machine-quilter Tim Juhl
“I enter quilts in contests for fun,” Carol says. on thread colors and designs. Their state fair quilts include (left easel, main quilt)
“My feeling is if the quilt is pretty, it might put Grandstand Fireworks and (right easel, main quilt) Summertime Fun. Tim is holding
New Beginnings, a blue-ribbon winner that Carol pieced using a technique from
a smile on the face of someone that’s having a Louisa L. Smith’s book A New Twist on Strips ’n Curves (C&T Publishing 2007).
not-so-great day.”
AMERICAN PATCHWORK & QUILTING AUGUST 2010 1

contents AUGUST 2010 / VOL. 18 / NO. 4 / ISSUE 105
departments
Quilting Changes
Everything 1
2009 Iowa State Fair winner
From the Editors 4

Discover your go-to patterns.
Contributors 8
quilt designers to know
Tips from Readers 10

clever tricks and ideas
Favorite Finds 12
travel items and summer reads
Global Perspective 104

quilting traditions from
around the world
Back to Basics
Patern Sheet 4
quilting how-tos
features
PEOPLE AND PLACES
Brighten Up 14
Mary Jacobson and Barb Groves,
84
the duo behind Me and My Sister
Designs, bring a love for color and
fun to their work.
Color Your World
Piecing It Together:
Fabric Design 23
We go behind the scenes to
discover how one of Timeless
Treasures’ newest fabric lines
materialized—from inspiration to
complete collection.
2 AUGUST 2010 ALLPEOPLEQUILT.COM

On the Cover
Fun With Fabrics 36, 44,
58, 68, and 84
How Fabric Is Designed 23
Precuts 29, 36, 42, 44, 58,
66, and 84
Foolproof Foundation Piecing 44
workbook
PROJECTS, TIPS & TECHNIQUES
COVER PHOTOGRAPH
GREG SCHEIDEMANN
what’s online …
Summer Salsa 30 30 36
Showcase a spicy color
combination.
Nature’s Neutrals 36
Work with Japanese
prints and yarn-dyed
woven fabrics to piece
concentric squares.
Points of Pride 44 AllPeopleQuilt.com/356

Let foundation piecing
44 58
make machine-stitching More for You
these blocks a breeze. Free Pillow and
Pillowcase Patterns
Linked Together 58
AllPeopleQuilt.com/356
Use two bundles of 21∕ 2"-
Make a pillowcase,
wide strips to get the look
and make a difference.
of interlocking shapes.
Participate in our
Outside the Box 68 1 Million Pillowcase
Find 10 ways to sew this Challenge.
striking two-tone quilt made
from 16-Patch blocks. Save Time with Precuts
Coneflower Use precut fabrics to
Pillow 74 spend less time cutting
Appliqué a bloom with and more time sewing.
hand-dyed wool, velvet, and
linen for a folk art pillow. Templates Made Easy
68 74 AllPeopleQuilt.com/358
Color Your World 84 Learn about making
Combine basic units into a and using templates to
bright quilt featuring one create perfect appliqué
block in multiple colorways. precut pieces.
✂
strips
Blue Jeans &
Bubble Gum 92 Look for this icon
Raid your stash to re-create to find quilts made
a vintage Churn Dash quilt from precut fabrics Get more American Patchwork &
Quilting on Facebook.
that evokes yesteryear. on pages 36, 42, facebook.com/apqmagazine
92 44, 58, 66, and 84.
AllPeopleQuilt.com
Look for this icon throughout the
issue to find Web-exclusive extras.

editors
from the
DO YOU HAVE A Perfect for Precuts

GO-TO RECIPE—one Summer offers plenty of
you turn to time and reasons for me to neglect my
again when you need sewing room. There’s grilling,
to whip up something gardening, and the great
special in a jiffy? I do. outdoors in general. When I
It’s surprisingly simple do make my way back to the
but gets rave reviews sewing room, I find getting
whenever I make it. I call started on a project is often
it “magic dip” because the most difficult part. Once I get to piecing,
people always think it’s I’m motivated to keep on quilting, but cutting up
more complicated than it fabrics isn’t nearly as much fun, which can leave
actually is. me stuck in the starting gate.
In this issue, many With that in mind I sought out patterns for
of the quilt patterns this issue that utilize the bundles, strips, and
have that same kind of “magic” in that the finished quilts look squares that captivate so many of us. (I confess
more complicated than they really are. If you’re skeptical, see to having a mountain of precuts in my stash—I
Outside the Box on page 68. A simple 16-Patch block yields just can’t resist buying them when I’m in a quilt
myriad striking variations. Or look closely at Linked Together shop!) They’re a great way to get a head start on
on page 58. It’s composed of three dozen of a single block your quilting and have you piecing in no time.
set side by side, yet it fools the eye once you’ve sewn the Whether you collect fat quarters, fat eighths,
blocks together. charm squares, or precut strips, look for the
Need more proof? Check out Points of Pride (page 44), icon below to see how you might use them to
Color Your World (page 84), and Nature’s Neutrals (page 36). begin a project today. And if you just can’t bring
All are single-block quilts that rely on color placement rather yourself in from the patio or deck, check out
than tricky settings for their stunning looks. Sue Spargo’s Coneflower Pillow on page 74.
My hope is that one or two of the quilts in this issue will It’s an easy hand-appliqué project that you can
become your go-to patterns. Because they’re simple to create work on outdoors!
and so much fun to put together, you’ll want to make them
again and again. Have fun quilting!
precut
✂
strips
Elizabeth Tisinger
Senior Editor Got precuts?
Jennifer Erbe Keltner This icon highlights
Executive Editor perfect-for-precut
projects.
PS: My go-to dip recipe is 16 ounces of cream cheese
(softened), 16 ounces of chunky salsa, and 8 ounces of
shredded cheddar cheese; mix and chill. Serve with corn chips
or fresh veggies. Have a favorite recipe with three or fewer
ingredients? Share it with me at jennifer@meredith.com.

EDITOR IN CHIEF Deborah Gore Ohrn Purple and orange.
ur
What is yocolor
EXECUTIVE EDITOR Jennifer Erbe Keltner I know it’s not for
ART DIRECTOR Tim Alexander everyone, but I love it!
at your FAVORITEation?
CREATIVE DIRECTOR Brenda Drake Lesch
service combin
editorial questions
If you have questions or comments SENIOR EDITOR DESIGN DIRECTOR
Elizabeth Tisinger Nancy Wiles
concerning editorial material in this EDITOR SENIOR GRAPHIC DESIGNER
magazine, e-mail apq@meredith.com. Jill Abeloe Mead Elizabeth Stumbo
ASSISTANT EDITOR CONTRIBUTING ILLUSTRATOR
Jody Sanders Chris Neubauer Graphics
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manage your current subscription, CONTRIBUTING QUILT TESTER ASSOCIATE E-COMMERCE MANAGER
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Retailers can order American CONTRIBUTING WRITERS
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Patchwork & Quilting, Quilt Linzee Kull McCray, and Kimber Mitchell Van Heukelom
Sampler®, Quilts and More™,

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Fi
Better Homes and Gardens Creative CollectionNow rst Tim
11 e Ev
Sh er
op
PREPRESS DESKTOP SPECIALIST RETAIL BRAND MANAGER, NEWSSTAND
s!
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PHOTO STUDIO MANAGER BUSINESS DIRECTOR
Get an insider’s tour of 10 Spring/Summer 2010
Jeff Anderson Janice Croat

outstanding quilt shops Shop VICE PRESIDENT/GROUP PUBLISHER ADVERTISING BUSINESS MANAGER
Kits for
1
Hop Tom Davis Chris Marcantonio
Every
(and revisit an 11th shop Quilt! 1
ADVERTISING SALES DIRECTOR BUSINESS MANAGER
from our inaugural issue) 10
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Projects ADVERTISING ACCOUNT EXECUTIVES CONSUMER MARKETING MANAGER
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BHG CC Pink Checkout
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now at your local quilt PROJECT SUPERVISOR
Bethany Peterson
shop or newsstand). Along with SALES ASSISTANT
Ashley McGraw
10 all-new quilts and a bonus
BRAND MANAGER Mark Mooberry
pincushion, this issue is your guide to MARKETING DIRECTOR, MEREDITH DIRECT Heather Proctor
these great stores, whether you visit –––––––––––––––
Meredith National Media Group
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hop by flipping through the pages. EXECUTIVE VICE PRESIDENTS
President of Consumer Magazines TOM HARTY Chief Brand Officer ANDY SAREYAN
our promise
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SENIOR VICE PRESIDENTS
Chief Marketing Officer NANCY WEBER Consumer Marketing DAVID BALL
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and instructions. Then Chairman and Chief Executive Officer STEPHEN M. LACY
an experienced team –––––––––––––––
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of editors reviews the materials lists, –––––––––––––––
In Memoriam — E.T. MEREDITH III (1933-2003)
how-to directions, and illustrations to
make sure the information we provide
For editorial questions: American Patchwork & Quilting, 1716 Locust St., LN-418, Des Moines, IA 50309-3023; fax 515/284-3450.
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American Patchwork & Quilting
6 AUGUST 2010

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contributors
Get to know the people behind a few of the projects
in this issue and learn their tips for better borders.
WRITER LINZEE KULL MCCRAY
Karen Montgomery Sue Spargo Debbie Roberts

As a former coordinator for The give-and-take between “I’m a very eclectic person,”
a general crafts store, Karen teacher and student is one of Sue says Debbie Roberts,
Montgomery has tried every craft Spargo’s rewards for traveling the owner of The Quilted Moose
imaginable. “I could fill in for the country to share the techniques (quiltedmooseonline.com) in
cake decorator and knit right- and she uses in her contemporary Gretna, Nebraska. With its mix of
left-handed. If rhinestones weren’t folk art creations (suespargo.com). fabric styles and antique accents,
sticking to a sweatshirt, you could “My students teach me and her quilt shop reflects that. Debbie
call me,” she says. But once she inspire me—I love watching them started sewing clothing as a
found quilting, the lure of other experiment and grow,” she says. 9-year-old in 4-H and transitioned
activities faded. “There’s so much Sue grew up in Zambia and South to sewing quilts as a young
variety in quilting and a sense of Africa but now stitches at her mother. Her move to design began
satisfaction and accomplishment,” home in Ohio, where she combines as a way to create patterns for
she says. “It’s an art form you can a range of embellishments, fibers, her customers. Nature’s Neutrals
take ownership of.” In addition to and fabrics in her whimsical on page 36 is one of her designs.
designing quilts—see Outside the creations. For an example, see Stitching samples ensures she
Box (page 68)—Karen owns the Coneflower Pillow on page 74. gets to sew often. “I love working
Pittsburgh-area shop The Quilt “I call this my soul food,” Sue says with quilters because they love
Company (thequiltcompany.com) of the pleasures of the creative what they do,” Debbie says.
and designs fabric and patterns for process. BORDER TIP: For borders that
Timeless Treasures. BORDER TIP: To prevent wool won’t stretch out of shape, cut
BORDER TIP: Not all quilts need borders that will be appliquéd border strips on the lengthwise
a border. Traditional favorites, from stretching, attach them grain (parallel to the selvages).
such as Log Cabin, Trip Around before appliquéing them. If If you must piece strips to get
the World, and Grandmother’s you’re joining different textures the required length, sew them
Flower Garden, look great in a border, use 1 ∕ 2 -inch seams together using straight seams
without one. and press them open. as diagonal seams add stretch.

Let your inner child out to play, create and dream. Just imagine what you can
create with all of the fun new designs from Moda Fabrics. Featured designers
include: Holly Taylor, Bonnie & Camille, Laundry Basket Quilts,
Fig Tree & Co., Oliver + s, Minick & Simpson, Howard Marcus, Urban Chiks,
Me & My Sister, MoMo, Bunny Hill Designs, Sandy Gervais,
French General and Brannock & Patek.
To view all Moda designers collections visit our website modafabrics.com
©Copyright 2010 Moda Fabrics. All rights reserved.

tips from readers
what a view
While removing the 5" cardboard
backing from a charm pack,
I realized it would make a great
view template for fussy-cutting. To
FABRIC in the photo is from the Nicey Jane collection by Heather Bailey for FreeSpirit (freespiritfabric.com).
create a template, I measured and
cut a 4" square from the middle
of the cardboard using a craft
knife. The window makes it easy
to isolate the printed design and
mark where I need to cut a square.
Rae Ann Nilson
Highland, Utah
hair care when I was away from my safety first space stays neat. When it’s
After seeing my 3-year-old machine, my young children If your iron doesn’t have time to clean up, everything
niece’s small elastic hair would not be able to climb automatic shut off, here’s a is in one place, making it
bands, I decided to buy the chair and reach my sharp way to make sure you don’t quick and easy to put away.
some for myself. They work quilting supplies. However, it accidentally leave it on. Plug Myra Pierce
perfectly to keep my 60-inch also offers the added bonus the iron and a night-light Commerce Township, Michigan
tape measures rolled up and of ensuring good posture. into a power strip placed in
under control. Now I never experience a a visible location. When you
Olevia A. Wente sore back and shoulders use your iron, turn it on and
Kenosha, Wisconsin after long periods of sewing. off using the power strip’s
Share your tips
Kristen DiFilippo switch. If you inadvertently
We’ll pay $25 for each original
dry zone Mahomet, Illinois leave your iron on, the
tip we publish. Send ideas
I worry about quilting safety night-light will remind you,
with your name, address,
pins becoming rusty if free labels especially when you turn all
and daytime phone number
exposed to moisture in the There’s a good use for other lights off at night.
to American Patchwork
air. To prevent this, I store those free address labels Lisa England
& Quilting, Quilting Tips,
mine in a box with a couple that arrive in the mail. Ashland, Kentucky
1716 Locust St., LN-418,
of the small packets of silica When laying out blocks for
Des Moines, IA 50309. Or
gel that often come with new a quilt, I write a large number neat and tidy e-mail apq@meredith.com;
shoes. The packets are free or letter on the labels and I keep a wicker laundry
in the subject line, please type
and just the right size! place them on the blocks. basket next to my sewing
Quilting Tips.
Gayle Burton The labels, which stick well, machine. When I’m finished
Clinton, Utah help me keep the blocks in with fabric, cutters, rulers,
order while sewing. They a pattern, or other supplies
sitting pretty also work well for picking while working on a project,
When sewing, I sit on an up stray threads. I toss them into the laundry
exercise ball instead of a Marilyn Michael basket. If I still need an item,
chair. I started doing this so Greenville, Pennsylvania it is nearby, but my work

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Summer Reads
Check out these must-read quilting
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Handmade Beginnings:
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21 full-size embroidery patterns Mary Lou Weidman offers
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The Aloha Quilt

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Love the Big Apple? Whip Jennifer Chiaverini’s series
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Brighten Up WrITEr Linzee KuLL Mccray
PHOTOGrAPHEr JaSOn DOnneLLy
Mary Jacobson and A conversation with Barb Groves and Mary Jacobson of Me and My
Sister Designs reveals that these sisters know how to make work fun.
Barb Groves of Me and
Their friendly banter is interspersed with affectionate sibling teasing.
My Sister Designs have (Mary isn’t offended when Barb doesn’t let her get a word in edgewise,
discovered that the secret but jokes that she has the beter hair.) And the two, who live just three
miles apart in Phoenix, see or talk to one another every day. Even their
to success—in their
husbands, both engineers, have been friends since their Navy days.
relationship, their business, Their positive outlook is contagious, so it’s no surprise their fabrics
and their homes—is to take and paterns, which they design from sewing rooms in their colorful
homes, are just as upbeat and fuss-free.
things in stride.
Barb and Mary, self-described opposites, say they weren’t always so
amiable. “We didn’t get along too well growing up,” Mary says. “But now
we realize that even though we’re different in so many ways, we
complement each other.”

OPPOSITE: Barb Groves (left)
and Mary Jacobson name their
colorful fabric lines early in the
design process to help solidify
the direction. THIS PHOTO:
Neutral walls allow Mary to
effortlessly accent her home
with the duo’s playful samples,
such as Seeing Spots (hanging)
and, on rack (clockwise, from
top left), Nickel Dogs, Leap
Frogs, and Hip to be Square. In
the dining room scrappy Alice
Ann (hanging) features small-
scale 1930s reproduction
florals and embroidery.

“ Mary likes
bright—that’s
her passion. I just
like happy things
that put me in a
good mood.”
—Barb Groves
CLOCKWISE, FROM
TOP LEFT: Glass-front
Creating Together While those varied approaches
cabinets allow Barb’s Both Barb and Mary, who are three may have created friction in earlier
folded quilts to brighten
up her sewing room. A years apart in age, enjoyed learning days, they turned out to be perfect for
vintage shopping cart
how to sew in an eighth-grade collaborations, something the sisters
holds Full Bloom. Oh My
Darling, a crazy quilt, and home economics class, but for discovered afer taking a quilting
Pinafore Bag hang from a
rack in Barb’s home. The different reasons. class and going into business
embroidery on Spring Daisy
“I liked the math, the figuring it together. “Barb gets a vision, and I run
Quilt complements Barb
and Mary’s Spring Fever out, the cuting it out, and puting it the numbers,” Mary says. “And if you
fabric line for Moda Fabrics.
(Get the free pattern at back together,” Mary says. want an honest opinion, ask a sister.
meandmysisterdesigns.com.)
“And I liked the feel of fabric,” Barb That’s really what you want in a
Hula Hoops, a fat-quarter-
friendly design, fits the says. “That was true even before I business partner.”
yellow, blue, and green
scheme in Mary’s bedroom. started quilting—I had more sheets, Their first venture together was a
blankets, and bed linens than anyone.” quilt shop in Phoenix, which they

owned for four years. Contacts made
in the shop provided a springboard to
the design side of the industry, and
once they sold the shop they began
designing paterns. In 2005, they
were asked to try fabric design, and to
date Me and My Sister Designs has
designed 16 lines for Moda Fabrics. In
addition they worked with Wrights to
develop the SideWinder, a portable
bobbin winder. Their sixth book will
be published by Leisure Arts this
winter, and they’ve produced more
than 40 individual paterns, which are
known for clear instructions and
plenty of illustrations.
“Our moto is fast, fun, and easy,”
Barb says. “We want people to
complete something, feel good about
it, and then make another one.”
Craving Color
“We pull each other out The sisters’ easy style is also evident
of slumps. We’re never both in their happy-go-lucky fabrics, which
down at the same time.” feature clear, playful hues and
—Barb Groves (front) about Mary Jacobson whimsical imagery, including daisies,
cherries, and squiggly stripes.
Their design collaboration starts
CLOCKWISE, FROM BOTTOM with Mary choosing a color palete
LEFT: The SideWinder is a sewing
staple for the sisters, who invented and Barb doing most of the drawing.
the tool. They are anxiously
awaiting the release of the Deluxe
Despite the contemporary feel of
SideWinder at the end of June. their fabrics, the sisters ofen find
The new version is compatible with
bobbins for all types of sewing inspiration during trips to antique
machines. Flipping Out, offered
in two sizes, provides a colorful
shops and flea markets. “Sometimes
backdrop for Barb’s sewing table. it’s the way a leaf is shaped or a
A detailed pattern makes it easy
to stitch the whimsical motifs on cluster of flowers is grouped on an old
Maggie Mae. Checkered borders
surround Shoofly blocks on Check
teacup or plater,” Barb says.
Your Flies, a playful pattern that “And I just got an antique sugar
reflects the sisters’ sense of humor.
shaker that’s the greatest shade

EVERY QUILT IS A JOURNEY.
SHOULDN’T YOU ENJOY THE TRIP?
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Right? Every quilt you see begins the dream of your own exciting project.
Yes? That’s how we feel too, and why we’re so excited to introduce the new
Your best quilting experience Janome Horizon. Get ready for your next journey; because how you get
is on the Horizon
there makes all the difference.
TAKE THE
TRIP Visit janome.com for details,
projects, videos and more.
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★ QUILT PIECING SYSTEM:
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AN AMAZING SYNERGY OF PRECISION
★ AUTOMATIC PLATE CONVERTER (APC)
★ FULL LENGTH MEASURING MARKINGS ON ARM PLUS NEEDLE
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TO FIND A JANOME AMERICA DEALER NEAR YOU, VISIT WWW.JANOME.COM OR CALL 1-800-766-SEWS (7397). © JANOME AMERICA 2010.

“ When we’re
designing patterns,
we think the more
illustrations, the
better. We like to tell
stories with pictures.”
—Mary Jacobson
of pink,” Mary says. “For us, brights

are everyday colors.”
Their homes certainly reflect that
philosophy. Both women have sunny
yellow sewing rooms. Mary loves her
green kitchen and family room and
Barb enjoys a lavender entryway. “I’m
more eclectic in my decorating than
Mary,” Barb says. “We’re both on the
traditional side, but we like to mix in
funky colors.”
The public face of their business is
just as bright. “When people come
by our booth at International
Quilt Market [a trade show for the
quilting industry] we ofen hear
CLOCKWISE, FROM TOP someone say, ‘This is such a happy
LEFT: Barb keeps a Scrambled
Eggs pincushion on her cutting booth—it makes me smile,’” Barb says.
table. Mary’s sewing room
holds her machine and supplies; That happy aura is a reflection of the
she does her number crunching pleasure Barb and Mary take in their
out of a nearby home office.
Barb draws and cuts out paper partnership.
motifs during an early stage
in the fabric design process. “I get to work at home, be with my
Strawberry Lemonade family, and have lots of flexibility,”
Pincushions (a free online
pattern) and a lunch bag made Mary says. “I’m so lucky I get to work
from fabrics in the sisters’
Oh-Cherry-Oh! collection for with my sister.” •
Moda Fabrics are sweet treats AllPeopleQuilt.com/359
for quilters. Mary rolls quilts Turn to page 84 for a quilt pattern from
to save storage space; Cherry Type the address above into your Me and My Sister Designs, or learn more
Turnover (hanging) provides the Web browser to get a behind-the- at meandmysisterdesigns.com.
room with a pop of red. scenes look at this photo shoot.

START TO FINISH
FABRIC DESIGN
piecing it together:
fabric design
Discover the elements that go into developing a fabric
collection with a behind-the-scenes look at the process
used by Timeless Treasures Fabrics’ Alice Kennedy.
WRITER CHARLOTTE BARNARD
PHOTOGRAPHER BRYAN MCCAY
Like most creative endeavors, a fabric collection

begins with an idea. Sometimes a memory or a
favorite swatch prompts that idea, which then
becomes the jumping-off point for a collection
that hopefully captures the attention of quilters
and becomes a building block for future quilts.
From start to finish, creating a fabric collection
takes at least four months, though some
collections can be in development for a year or
more. The entire cycle occurs twice a year at a
minimum, and often more, as fabric companies
prepare for spring and fall markets where they
introduce their new collections to shop owners.
Here design director Alice Kennedy of Timeless
Treasures Fabrics shares how she went about
creating the Berkeley collection.
Concept
A 1960s quilted and hand-embroidered dress
Alice found at the Brooklyn Flea Market, a
weekly event she routinely attends, was the seed
from which this group of fabrics grew. Excited
about her discovery, she brought the dress to
the Timeless Treasures’ creative team, who
agreed with her assessment and the design
process got underway. The first step was to
develop the concept and overall color palette.
“Typically, we develop the focal, or
central, print of the collection and six or
more companion prints,” Alice says. While
the quilted dress inspired the Berkeley
collection, it did not become the main print.
“Its diamond pattern didn’t make a good
focal print,” she says. “For that central
RIGHT, FROM TOP: These

prints compose the pink
colorway of the Berkeley
collection. Alice Kennedy works
in the Timeless Treasures’
design studio. First and second
“strikeoffs” of the dress-inspired
print are compared for tonal
changes. These prints make up
the blue colorway of the
Berkeley collection.
23

START TO FINISH
FABRIC DESIGN
ABOVE: Paint chips, threads,

and photos inspire the design
team as they develop a second
color story for the Berkeley
fabric collection. RIGHT: The
blue colorway goes through the
same step-by-step colorations,
size and scale variations, and
modifications as the original
pink grouping, left.
This vintage fabric piece

inspired the motifs used for
a companion print design.
design we like to do something four way

(nondirectional), to give quilters more
flexibility.”
Design and Development

Next Alice worked with a graphic designer
to further develop the focal print. They used
a computer to experiment with scale, repeats,
and color, referencing Pantone swatches and
paint chips because they “speak” the same color
language as the computer. As Alice watched the
designs evolve, she noted how they related to one
another. “There’s no formula,” she says. “It’s intuitive
and visual, and each collection is different.” Initial color
palettes may be altered or even completely changed.
RIGHT, FROM TOP: The original At this stage, Alice and the designers also came up with
dress print was scaled down and companion patterns for the Berkeley collection. These
its colors were swatched.
are the small- and medium-size motifs that complement
Strikeoffs were printed on
different-color backgrounds. In the focal print, with some repeated in several colorways.
the pink grouping, the focal Foreground colors may remain identical, but there could be
print’s blue background option two or more different backgrounds—one light and one dark,
was eliminated at the end. for example. Alice says that she doesn’t visualize a finished
A paisley companion print went quilt when developing a collection. “What I do is more
through several colorations
intuitive; it gets things out there for people to create with,”
before deep purple won out.
she says. The Berkeley collection features one focal print
and six coordinates in two colorways.

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START TO FINISH
FABRIC DESIGN
The Berkeley collection
joins the wall of designs.
“I always look
around, see
what’s in stores,
and try to
absorb what’s
going on.”
—Alice Kennedy
BELOW: While her job can

take her to India, Paris, and
Japan to scout color trends,
Alice also finds inspiration at
home. In her free time, she
gs paper visits flea markets, estate
Alice han
ABOVE: -p ercent scal
e sales, and vintage clothing
at 5 0
printouts re s’ b oard stores, such as What Goes
s Treasu
on Timeles , which Revise and Refine Around Comes Around
o p en fa bric lines
of
re se ason’s Once the initial designs were completed, they were (whatgoesaroundnyc.com)
e enti
shows th th e creative in SoHo, a few blocks from
his gives sent to the fabric mill for a “strikeoff,” a small piece of
fabrics. T y to review the office.
pportunit fabric printed to show the actual colors as printed colors
team an o d et ermine if
s and
collection that need can differ from those on a computer screen. The first
any gaps
there are strikeoffs take about six weeks. Once they had the initial
d.
to be fille
Berkeley strikeoffs in hand, Alice and the creative team
tweaked the colors and sent the designs back to the mill
for a re-strikeoff. It takes about two weeks for the second
 round to return.
Something About Alice At this point, the entire Berkeley collection was
A fan of vintage clothing reviewed as a whole, and further color adjustments were
and textiles since junior made as necessary. Final colors usually are achieved by
high school, Alice Kennedy the third strikeoffs. When final colors were determined,
majored in painting at the a production sample was requested. This last, exacting
Rhode Island School of step—from strikeoffs and final approval to receiving a
Design. After a few years production sample—takes about a month.
working in fashion and The production sample must be approved before the
scarf design, Alice joined printed yardage is shipped from the mill—and before
Timeless Treasures as one any samples can be made to show fabric retailers exactly
of the design directors what will be delivered to their shops. Once a production
in the company’s SoHo sample is approved, it takes a month for the fabrics to
headquarters. She oversees be shipped to stores, where they await quilters eager for
a creative team that new designs. 
develops the company’s
various fabric lines. For more on Timeless Treasures Fabrics, visit ttfabrics.com.
For more about Alice Kennedy, go to alicekennedydesign.com.
Type the address above into your Web browser to
see a slide show of more images from this shoot.
26 AUGUST 2010

www.quiltminnesota.com
A palette of wintery blues was created

by Holly Taylor for the
2010 Quilt Minnesota Shop Hop.
To find out more about Quilt Minnesota
and the shops participating, please visit
www.quiltminnesota.com
Great prizes!
July 30-August 15
www.modafabrics.com

|



www.ClothworksTextiles.com/blog
Snow Flurries


By Diane Knott

Projects, Tips & Techniques
Do you love making scrappy quilts? Is your motto “the more the
merrier” when it comes to choosing fabrics for a project? If so, then precuts—
collections of precision-cut strips, squares, and bundles—are perfect for you!
They ensure accuracy and allow you to begin sewing sooner.
STRIPS: Precut strips

are an easy and economical
way to get a little bit of
every fabric in a collection.
Cut across the width of
the fabric, the 5"-, 21 ∕ 2"-,
or 11 ∕ 2"-wide strips are
packaged in various ways.
FABRICS FROM
LEFT: 11 ∕ 2 "-wide
BUNDLES: Fat quarters and fat eighths are good
Honey Bun (Adoring
choices when you want more than a strip set. They
by Sandy Gervais)
and 21 ∕ 2 "-wide Jelly Roll
also fit the bill if you need a bigger section of a large-
(12 Days of Christmas scale print or wish to utilize the fabrics for appliqué
by Kate Spain), both from backgrounds. Some are sorted by collection, others by
Moda Fabrics (modafabrics color. A fat quarter measures 18×22" (versus a “skinny”
.com); and 21 ∕ 2 "-wide 1
∕4 yard measuring 9×44"). A fat eighth measures 9×22".
Bali Pop (Berry Bliss) from
Hoffman California Fabrics FABRICS FROM LEFT: Fat eighths, Park Ave. by 3 Sisters for Moda Fabrics
(hoffmanfabrics.com). (modafabrics.com); fat quarters, Groove by Caleb Gray for Robert Kaufman
Fabrics (robertkaufman.com); and Ceylon and Taffy collections by Hoffman
California Fabrics (hoffmanfabrics.com).
SQUARES AND What’s your skill level?

RECTANGLES: For our icons take the guesswork out
a quick and easy quilt, of choosing a project.
start with precut pieces.
Be sure to measure your
beginner BEGINNER The perfect project
pieces to see if the pinked
edges are included in the for new quilters or for a quick-
stated size, which could to-make gift.
be 5", 8", or 10" squares or
5×91 ∕ 2" rectangles.
FABRICS FROM LEFT: 10" squares, intermediate INTERMEDIATE Just right if
Lumiere de Noel by French General for Moda you’ve quilted before but are
Fabrics (modafabrics.com); Wheels by My Mind’s
Eye for Riley Blake Designs (rileyblakedesigns eager to learn more.
.com); 5×91 ∕ 2 " rectangles, Road to Marrakech
and Essentials from Studio E Fabrics
(studioefabrics.com); and 5" squares (charm ADVANCED When you’re ready
advanced
pack), Felicity collection by Emily Taylor for Riley
Blake Designs (from fatquartershop.com). for a challenge, we have just
the quilt for you.


beginner
summer
Stitch up Nine-Patch blocks and
combine them with setting squares
for an easy checkerboard-style quilt.
DESIGNER KATHIE HOLLAND

MACHINE QUILTER LORRE FLEMING
PHOTOGRAPHER KATHRYN GAMBLE
SALSA materials
1 7—9×22" pieces
cut fabrics
Cut pieces in the following
(fat eighths) assorted order.
red prints (blocks)
From each of seven
1 78 ∕ yard white polka dot assorted red prints, cut:
(blocks) 1 3—2 1 ∕ 2×21" strips
From white polka dot, cut:

1 37∕ 8 yards red floral 1 21—2 1 ∕ 2×21" strips
(setting squares, setting From red floral, cut:

and corner triangles, 1 9—2 1 ∕ 2×42" binding
binding) strips
1 9—9 3∕ 4" squares, cutting
1 3 yards yellow print each diagonally twice in

(setting squares) an X for 36 setting
triangles total (you will
1 71 ∕ 8 yards backing fabric use 34)
1 44—6 1 ∕ 2 " setting
1 85×94" batting squares

1 2—5 1 ∕ 8 " squares, cutting
Finished quilt: 77×85 1 ∕ 2" each in half diagonally for

(double-bed size with 4 corner triangles total
10 1 ∕ 2" drop) From yellow print, cut:
Finished block: 6" square 1 90—6 1 ∕ 2 " setting
squares
Quantities are for
44/45"-wide, 100%
cotton fabrics.
Measurements include 1 ∕4"
seam allowances. Sew with
right sides together unless
otherwise stated.

seams in one direction.
The block should be
61 ∕ 2" square including
seam allowances.
Repeat to make four
matching Nine-Patch
blocks total.
■
4 Repeat steps 1–3 with
each assorted red print
to make 28 Nine-Patch
blocks total (seven
sets of four matching
blocks).
assemble quilt top

■
1 Referring to Quilt
Assembly Diagram
assemble blocks into eight 2 1 ∕ 2"-wide Press seams toward on page 34, lay out
■
1 Referring to Diagram 1,
sew together two
A segments. red prints. Cut strip
set into four 2 1 ∕ 2"-wide
Nine-Patch Blocks,
yellow print setting
matching red print
2 1 ∕ 2×21" strips and
■
sew together two white
B segments. squares, and red
floral setting squares
one white polka dot
2 1 ∕ 2×21" strip to make
polka dot 2 1 ∕ 2×21"
strips and one red print
■
sew together two
and setting triangles in
18 diagonal rows.
strip set A. Press 2 1 ∕ 2×21" strip (same A segments and one
seams toward red print
strips. Cut strip set
print as in Step 1)
to make strip set B.
B segment to make a
Nine-Patch block. Press
■
2 Sew together pieces
in each row. Press
seams toward setting
21 ⁄ 2" 21 ⁄ 2" squares. Join rows;
press seams in one
direction. Add red
floral corner triangles
to complete quilt top.
Press seams toward
corner triangles.
DIAGRAM 3
DIAGRAM 1 DIAGRAM 2

QUILT ASSEMBLY DIAGRAM
finish quilt
n
1 Layer quilt top, batting, and
backing; baste. (For details, see
Complete Quilt, Pattern Sheet 4.)
n
2 Quilt as desired. Lorre Fleming
machine-quilted an allover feather
design (Quilting Diagram).
n
3 Bind with red floral binding
strips. (For details, see Complete
Quilt.) y
QUILTING DIAGRAM

color option
Kick Summer Salsa up another
notch with a bold expanded
color palette. The large-scale
prints of Berkeley by Alice
Kennedy for Timeless Treasures
(ttfabrics.com) fit well within
the large setting squares. For
a smaller version that maintains
symmetry, quilt tester Laura
Boehnke used only the center
portion of the original design.
To read more about this fabric
collection, turn to page 23.
Type the address above into your
Web browser for free instructions
to make the color option, left.
AUGUST 2010 35

Designer Debra L. roberts of the QuiLteD Moose
(quilteDmooseonline.com)
PhotograPher aDaM aLbright

precut
✂
fat
eighths
nature’s
neutrals
intermediate It’s hip to be square when you stitch simple blocks from
Japanese prints and yarn-dyed woven fabrics in a range of
muted shades reminiscent of moss, bark, stone, and sky.
materials Finished quilt: 59×77" 1 6—1×31 ∕ 2" strips (you KIT: To order a kit of
1 37—9×22" pieces Finished blocks: will use 220 of the 222 similar fabrics for quilt
(fat eighths) assorted 41 ∕ 2" square total cut) top and binding, send
light to medium prints in 1 6—1×21 ∕ 2 " strips (you $159.99 ppd. to The
cream, gray, tan, pink, Quantities are for44/45"- will use 220 of the 222 Quilted Moose, 109
light blue, and light green wide, 100% cotton fabrics. total cut) Enterprise Dr., Gretna, NE
(blocks) Measurements include 1 ∕4" 1 3—21 ∕ 2 " squares 68028; 402/332-4178;
seam allowances. Sew with From each dark print, cut: quiltedmooseonline.com.
1 37—9× 22" pieces right sides together unless 1 6—11 ∕ 4×5" strips (you Fat-eighth bundles of
(fat eighths) assorted otherwise stated. will use 220 of the 222 five prints and three
dark prints in black, total cut) wovens are available
brown, red, blue, and
green (blocks) cut fabrics 1 6—11 ∕ 4×31 ∕ 2 " strips (you
will use 220 of the 222

for $14.99 each plus
shipping.
Cut pieces in the following total cut)
1 5 8∕ yard dark gray plaid order. 1 6—1×31 ∕ 2 " strips
(binding) 1 6—1×21 ∕ 2 " strips
From each light to medium 1 3—21 ∕ 2 " squares (you
1 43∕4 yards backing fabric print, cut: will use 110 of the 111
1 6—11 ∕ 4×5" strips total cut)
1 67×85" batting 1 6—11 ∕ 4×31 ∕ 2 " strips From dark gray plaid, cut:
1 7—21 ∕ 2×42" binding
strips

FABRICS are a variety of prints and yarn-dyed wovens from Daiwabo and Lecien.
assemble blocks ■
2 Sew light or medium tips for accurate blocks
■
1 For one dark block, print 1×2 " strips
1
∕2
gather two 1×3 ∕ 2" 1
to opposite edges of • To tame loosely woven fabrics,
strips and two 1×21 ∕ 2" dark print 21 ∕ 2" square or ensure stripes and plaids stay
strips from one light (Diagram 1). Press on grain, spray them with starch,
or medium print, two seams toward strips. Best Press (maryellenproducts.com),
11 ∕4×5" strips and two Add light or medium or Magic Sizing (magicsizing.com)
11 ∕4×31 ∕ 2" strips from print 1×31 ∕ 2" strips DIAGRAM 1 before cutting and piecing.
one dark print, and one to remaining edges • Cut all strips for the blocks
assorted dark print 21 ∕ 2" to make block center. lengthwise (parallel to the selvages)
square. Press seams toward to make use of the more stable
strips. lengthwise grain.

n
3 Join dark print 1 ⁄ ×3 ⁄ "
1
4
strips to opposite edges of

1
2
block center (Diagram 2).

Add dark print 11 ⁄4 ×5"
strips to remaining edges
to make a dark block. Press
all seams away from block
center. The block should be
5" square including seam
allowances.
DIAGRAM 2
n
4 Repeat steps 1–3 to make
110 dark blocks total.
n
5 For one light block, gather
two 1×3 1
⁄ 2" strips and two
1×21 ⁄ 2" strips from one dark
print, two 11 ⁄4 ×5" strips
and two 11 ⁄4 ×31 ⁄ 2" strips
from one light or medium
print, and one assorted
light or medium print
21 ⁄ 2" square. Referring to
Diagram 3, repeat steps 2
and 3 to make a light block.
Repeat to make 111 light
blocks total.
DIAGRAM 3
assemble quilt top

n
1 Referring to Quilt Assembly
Diagram, lay out blocks in
17 rows, rotating every
other block to alternate
block seams (Diagram 4).
Designer Debra L. Roberts
DIAGRAM 4
distributed light and dark
blocks randomly to enhance
the quilt’s scrappy look.

Nancie M.
Wiseman
Find an all-new
collection of
fashionable,
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embellishments
with this follow-up
to the best-selling
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Kathy Brown
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Learn simple fabrics—one focus
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Put a new spin appliqué for
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■
2 Sew together blocks
in each row. Press
■
2 Quilt as desired. Debra
stitched in the ditch
seams in one direction, around each block. She
alternating direction also created a diagonal
with each row. Join rows grid across the quilt top
to make quilt top. Press by stitching from corner
seams in one direction. to corner through each
block then adding a
second line of stitching
finish quilt 1" away (Quilting
■
1 Layer quilt top, batting,
and backing; baste. (For
Diagram).
details, see Complete

Quilt, Pattern Sheet 4.)
■
3 Bind with dark gray
plaid binding strips. QUILTING DIAGRAM
(For details, see

Complete Quilt.) 
color option
Like shortcuts? A charm pack is

perfect for this pattern’s 21 ∕ 2" precut
✂
charm
squares and narrow strips. Quilt squares
tester Laura Boehnke used 1930s
reproduction prints from Judie
Rothermel’s Aunt Grace collection for
Marcus Fabrics (marcusfabrics.com;
charm pack from fatquartershop.com).
The result is a scrappy table topper
with more pronounced color variations
than the original.

points
of pride
DESIGNERS DOLORES SMITH AND SARAH MAXWELL
OF HOMESTEAD HEARTH (HOMESTEADHEARTH.COM)
MACHINE QUILTER CONNIE GRESHAM
PHOTOGRAPHER GREG SCHEIDEMANN

precut
✂
fat
quarters
intermediate
Foundation and curved piecing pay off on a star-studded
bed quilt. Our tips and tricks prove it’s possible to master
these easier-than-they-look techniques.
materials 1 105" square batting

cut fabrics Sheet 4. Be sure to
transfer dots marked on
1 16— 5∕ 8 -yard pieces 1 Lightweight tracing paper Cut pieces in the following patterns to templates, then
assorted cream and tan order. See Cutting to fabric pieces. These
prints (blocks) Finished quilt: Diagram, page 46, to get dots are matching points,
961 ∕ 2" square (queen-bed the most pieces from each which are used when
1 32—18×22" pieces size with 181 ∕4" drop shown fat quarter. Because block joining pieces.
(fat quarters) assorted above; king-bed size with units are foundation-
red prints (blocks) 10 1 ∕4" drop shown on cover.) pieced, fabric pieces are
Finished block: 12" square cut larger than necessary. KIT: To buy a kit of similar
1 22—18×22" pieces You’ll trim them to the fabrics for quilt top and
(fat quarters) assorted Quantities are for 44/45"- correct size after stitching binding, send $238.15
blue prints (blocks) wide, 100% cotton fabrics. them to the foundation. ppd. (Missouri residents,
Measurements include 1 ∕4" Patterns are on Pattern send $253.98 ppd.) to
1 1 yard tan-and-blue seam allowances. Sew with Sheet 3. To make Homestead Hearth, 105
stripe (binding) right sides together unless templates of patterns C N. Coal St., Mexico, MO
otherwise stated. and D, see Make and Use 65265; 573/581-1966;
1 8 3∕4 yards backing fabric Templates, Pattern homesteadhearth.com.

From assorted cream From assorted red From tan-and-blue Pattern A 64 times
and tan prints, cut: prints, cut: stripe, cut: onto lightweight
1 384—5×7" rectangles 1 320—3×7" rectangles 1 Enough 2 1 ∕ 2 "-wide bias tracing paper or
(64 sets of 6 matching 1 64 of Pattern C strips to total 410" for foundation material of
rectangles) From assorted blue binding (For details, see your choice, tracing
prints, cut: Cut Bias Strips, Pattern all lines, numbers,
1 64 of Pattern D Sheet 4.) and dots. (As an
alternative, download
foundation patterns at
D
3×7" 3×7" 3×7"
prepare AllPeopleQuilt.com/363
3×7" 3×7" 3×7" foundation papers and print them on your
D 3×7" 3×7" 3×7" Foundation Patterns A and foundation material.)
3×7" B are on Pattern Sheets 2
C C
and 3. ■
2 Using Foundation
Pattern B, repeat
D
CUTTING DIAGRAM
■
1 Use a pencil to
trace Foundation
Step 1 to make 64 total
Foundation B pieces.

“Christmas Memories”
by Judy Hansen
Paintbrush Studio
For Independent Quilt Shops Only
Quilt Size: 61” x 75”
“Christmas Memories” Quilt

designed by Judy Hansen
To view “Christmas Memories” and download the free “Christmas Memories” quilt pattern, please visit
fabri-quilt.com. The “Christmas Memories” fabrics and fat quarter packs can be purchased from your
local independent quilt shop. For assistance finding a store, e-mail us via our
contact page at fabri-quilt.com.
■
3 Cut out foundation A
and B pieces roughly
64 arc foundation
papers total.
facing up and the fabric
pieces layered underneath.
■
1 For one arc unit,
gather six matching
1
∕4" outside dashed The resulting pieced units cream or tan print 5×7"
lines. Match A and B will be mirror images of rectangles and five
pieces on position 6 assemble arc units foundation papers. The assorted red print 3×7"
dotted lines. Tape To foundation-piece, you diagrams and photos below rectangles.
pieces in place to make stitch fabric pieces to a and on page 50 show the
an arc foundation
paper. Repeat to make
foundation paper with the
marked side of the paper
right and wrong side of an
arc as it is being
■
2 Aligning long edges,
layer a cream or tan
constructed. print 5×7" rectangle
atop a red print 3×7"
rectangle.
■
3 Place an arc foundation
paper atop layered
5 6 7
3
4 8
9 rectangles, positioning
2
10
11 it so that rectangles’
1
aligned edges are 1 ∕4"
beyond stitching line
between positions 1
DIAGRAM 1 PHOTO A and 2 and at least 1 ∕4"
beyond arc’s top and
bottom stitching lines
(Diagram 1). Check
placement; pin on the
line between positions
4
5 6 7
8 1 and 2, then flip red
3 9
2
10 print rectangle open.
11
1
Make sure it completely
covers position 2 and
extends into position 3
DIAGRAM 2 PHOTO B at least 1 ∕4". If it doesn’t,
reposition and recheck
until it does.
■
4 Working with marked
side of arc foundation
6
4
5 7
8
9
paper up, sew on
3
2
10
11
stitching line through
1
all layers, extending
stitching past
beginning and end
PHOTO C
of the line by a few
DIAGRAM 3
stitches (Photo A).
■
5 Press rectangles
Foundation materials open, pressing seam

toward red print
• A foundation material can be permanent or temporary. Permanent rectangle (Diagram 2
foundations remain part of the quilt, while temporary foundations are and Photo B). Trim
removed before the quilt is layered for quilting. red print rectangle
• Permanent options include muslin, flannel, and sheer cut-away stabilizer. to about 1 ∕4" beyond
Tracing paper, freezer paper, lightweight newsprint, translucent vellum, stitching line between
wash-away foundation paper, tear-away stabilizer, and typing paper are positions 2 and 3
examples of temporary foundation materials. pieces (Diagram 3 and
• The pattern for the arc can be drawn or printed on any foundation Photo C).
material. If you are new to foundation piecing, test different foundation
materials to determine what works best for you.

QUILTS & MORE QUARTERLY CHALLENGE
MAKE THESE
FOR THE CHANCE TO
WIN THESE
2010 SECOND & THIRD CHALLENGES
Join the second

challenge with our
around the block
Join the third challenge with our

quilt starts 5/1/10
zip it bag starts 7/1/10
Simply create your version of our pattern then post it online!

The overall size and shape should be the same – but fabric,
trims, and embellishments are up to you. Prizes will be
announced quarterly and at the end of the year! If you like
these projects, look for similar ideas in Quilts and More®.
1. Download each of the free patterns from our website and

create them in your style
2. Post the photo(s) online to be eligible for prizes
3. Vote for your favorite Quarterly Challenge projects
AllPeopleQuilt.com/QuarterlyChallenge
No purchase necessary to enter or win. The Quilts & More 2010 Quarterly Challenge #2 entry period begins on 5/1/2010 and ends on 6/7/2010. Entries must be received by
11:59 p.m. C.T., on 6/7/2010. The Quilts & More 2010 Quarterly Challenge #3 entry period begins on 7/1/2010 and ends on 8/16/2010. Entries must be received by 11:59
p.m. C.T., on 8/16/2010. Visit www.allpeoplequilt.com/quarterlychallenge and download the free patterns. Then complete the individual projects, go back to the site and click
the button to enter. Complete the registration form and follow the instructions to upload one (1) album of photos (up to six (6) photos) of each project. One album is one entry.
One entry per person, per project. Void where prohibited. Sponsor: Meredith Corporation

5 6 7
■
6 Align a matching
cream or tan print
4 8
3 9
2
10 5×7" rectangle with
11
1
trimmed red print piece
so their right-hand
edges are about 1 ∕4"
DIAGRAM 4 PHOTO D
beyond stitching line
between positions 2
and 3 (Diagram 4).
Sew on stitching line
(Photo D). Trim seam
allowance if needed;
5 6 7 press seam toward
4 8
3 9 cream or tan print
10
2
1
11 rectangle (Diagram 5
and Photo E). Trim
just-added rectangle to
DIAGRAM 5 PHOTO E about about 1 ∕4" beyond
next stitching line.
■
7 Continue adding red
print rectangles and
matching cream or tan
4
5 6 7
8
print rectangles in an
3 9
10
alternating pattern,
2
1
11
trimming in the same
manner, until you
have pieced an entire
DIAGRAM 6 PHOTO F arc (Diagram 6 and
Photo F).
■
8 Trim all fabric layers
and foundation paper
on dashed lines to make
6
4
5 7
8
9
an arc unit (Diagram 7
3
2
10
11
and Photo G).
1
■
9 Repeat steps 1–8 to
make 64 arc units total.
DIAGRAM 7
PHOTO G
Tip Because foundation piecing requires a lot of pressing, setting

up a pressing surface close to your sewing machine will
increase your productivity. The optimum location for your
iron is one you can reach without getting out of your chair.

© 2009 Delta Patchwork, LLC

assemble blocks
■
2 Aligning marked center
■1 With right sides

together, place a red
dots, pin Step 1 arc
unit to a blue print
print C piece atop an D piece (Diagram 10).
arc unit; align marked Pin edges and stitch
dots and pin at center as in Step 1 to make
(Diagram 8). Pin pieces a block (Diagram 11).
together at each end, Press seam toward
then smooth red print blue print D piece. The
C piece along arc until block should be 12 1 ∕ 2"
edges are aligned; square including seam
pin approximately allowances.
every 1", picking up
DIAGRAM 10
only a few threads at
a time (Diagram 9).
Sew pieces together,
removing each pin just
before needle reaches
it. Press seam toward
red print C piece. DIAGRAM 9
DIAGRAM 8
DIAGRAM 11
size options
ALTERNATE QUILT SIZES WALL THROW TWIN with 163∕ 4" drop
Number of blocks 16 36 48
Number of blocks wide by long 4×4 6×6 6×8
Finished size 481∕ 2" square 721∕ 2" square 721∕ 2×961∕ 2"
YARDAGE REQUIREMENTS
Assorted cream and tan prints 4—5∕ 8 -yard pieces 9—5∕ 8 -yard pieces 12—5∕ 8 -yard pieces
Assorted red prints 8—18×22" pieces 18—18×22" pieces 24—18×22" pieces
Assorted blue prints 6—18×22" pieces 12—18×22" pieces 16—18×22" pieces
Tan-and-blue stripe 3
∕4 yard 7
∕ 8 yard 7
∕ 8 yard
Backing fabric 31∕4 yards 41∕ 2 yards 57∕ 8 yards
Batting 57" square 81" square 81×105"
Type AllPeopleQuilt.com/372 into your Web browser to download

Quilt Assembly Diagrams for Points of Pride in the sizes shown above.

Needle tips
• When foundation piecing, use a tiny
stitch length (12–16 stitches per inch)
and a larger needle, such as a size
90/14, so the foundation will easily
tear away from the assembled block.
Return to a regular stitch length to
piece rows of blocks together.
• Sewing through multiple layers
(including your foundation material),
can dull a needle quickly. To avoid
sewing with a blunt tip, change your
needle every 6 to 8 hours of sewing.

assemble quilt top

n
3 Repeat steps 1 and 2 to n
make 64 blocks total. n
Assembly Diagram,
in each row. Press
seams in one direction,
n
4 If temporary foundation
material was used,
lay out blocks in eight
rows, rotating blocks
alternating direction
with each row.
remove foundation with as necessary to create
tweezers or the blunt
edge of a seam ripper.
this pattern. n
3 Join rows to complete
quilt top. Press seams
in one direction.

■
2 Quilt as desired.
Machine-quilter Connie
Gresham echo-quilted
the blue print section of
each block and stitched
a curl-and-ray design
in the remaining areas
(Quilting Diagram).
finish quilt
■
■
3 Bind with tan-and-blue
stripe bias binding
details, see Complete strips. (For details, see
Quilt, Pattern Sheet 4.) Complete Quilt.) 
QUILTING DIAGRAM
color option
Points of Pride goes global
with Asian-inspired prints
from Imperial Collection 6
by Robert Kaufman Fabrics
(robertkaufman.com).
Quilt tester Laura Boehnke
created blocks in four
colorways to add interest. A
4-inch-wide border gives the
medallion-style wall hanging
a polished appearance.
“I used one gold tone-on-
tone for all of the points
in the blocks, and I like how
the blocks look like sun
rays when placed together,”
Laura says.

Flex Rollers Fabric Refillz ™
Cutz ™
Patternz ™
Shapez ™
Grows with your Adhesive made with Cut decorative strips Emboss project A 6½” wide press for
project up to textiles in mind. or finish the edges of borders or full the industry’s leading
1/2” thick! Great for appliqués, your projects with a sheets of paper flat dies and embossing
quilting or adding great selection of up to 12” wide! folders all in one
fabrics to your projects! cutting blades. machine!

precut
✂
strips
Grab two bundles

of precut 21∕ 2×42"
linked
strips in your favorite
fabrics to devise an
interesting illusion of
together
interlocking squares
and strips.
intermediate DESIGNER MONIQUE DILLARD OF OPEN GATE

(OPENGATEQUILTS.COM)
MACHINE QUILTER SUE GLORCH
PHOTOGRAPHER CAMERON SADEGHPOUR
materials 1 9—2 1 ∕ 2×42" strips or

2
∕ 3 yard total assorted cut fabrics From assorted brown
prints, cut:
The featured quilt uses brown prints (blocks) Cut pieces in the following 1 144—2 1 ∕ 2 " squares
two Moda Jelly Rolls order. (36 sets of 4 matching

(precut 2 1 ∕ 2×42" strips) 1 13∕4 yards pink floral squares)
that contain the number (outer border, binding) From assorted cream and From pink floral, cut:
of strips in the colors gold prints, cut: 1 7—5 1 ∕ 2×42" strips for
specified below. 1 37∕ 8 yards backing fabric 1 12—1 3∕ 4×20" strips for outer border
inner border 1 7—2 1 ∕ 2×42" binding
1 24—2 1 ∕ 2×42" strips or 1 69" square batting 1 288—2 1 ∕ 2 " squares strips
12 ∕ 3 yards total assorted (36 sets of 8 matching
cream and gold prints Finished quilt: 61" square squares)
(blocks, inner border) Finished block: 8" square From assorted blue and
green prints, cut 36 KIT: To order a kit of
1 18—2 1 ∕ 2×42" strips or Quantities are for 44/45"- matching sets of: fabrics for quilt top
11 ∕ 8 yards total assorted wide, 100% cotton 1 2—2 1 ∕ 2×41 ∕ 2 " rectangles and binding for $104
blue and green prints fabrics. 1 4—2 1 ∕ 2 " squares ppd., (Illinois residents,
(blocks) Measurements include 1 ∕4" From assorted olive $110.68 ppd.), contact
seam allowances. Sew with green and pink Bundles and Bolts Quilt
1 18—2 1 ∕ 2×42" strips or right sides together unless prints, cut: Co. at 815/568-6081,
11 ∕ 8 yards total assorted otherwise stated. 1 144—2 1 ∕ 2×41 ∕ 2 " bundlesandboltsquiltco
olive green and pink rectangles (36 sets of .com.
prints (blocks) 4 matching rectangles)

FABRICS are from the Garden Party collection by Blackbird Designs for Moda Fabrics (modafabrics.com).
assemble blocks matching brown print or green print 2 1 ∕ 2×41 ∕ 2" ■

4 Align a second marked
■ 1 For one block, gather

eight matching
2 1 ∕ 2" squares. rectangle (Diagram 1;
note direction of
cream or gold print
square with opposite
cream or gold print
2 1 ∕ 2" squares, a set
■
2 Use a pencil to mark a
diagonal line on wrong
marked line). Sew on
marked line; trim seam
end of Step 3 rectangle
(Diagram 1). Stitch, trim,
of matching blue or sides of cream or gold allowance to 1 ∕4". Press and press as before to
green print pieces print 2 1 ∕ 2" squares open attached triangle, make a Flying Geese
(two 2 1 ∕ 2×41 ∕ 2" and blue or green print pressing seam away unit. The unit should
rectangles and four 2 1 ∕ 2" squares. from cream or gold print. be 41 ∕ 2×2 1 ∕ 2" including
2 1 ∕ 2" squares), four seam allowances.
matching olive green
or pink print 2 1 ∕ 2×41 ∕ 2"
■
3 Align a marked cream
or gold print square
rectangles, and four with one end of a blue
DIAGRAM 1

■
5 Repeat steps 3 and
4 to make a second
(Diagram 2; note
direction of marked
Flying Geese unit. line). Stitch, trim, and
press as in Step 3.
■
6 Align a marked cream
or gold print square
with left-hand end of an
■
7 Align a marked blue
or green print square
olive green or pink print with right-hand end
2 1 ∕ 2×41 ∕ 2" rectangle of Step 6 rectangle
(Diagram 2; again note
direction of marked
line). Stitch, trim, and
press as before to make
DIAGRAM 2
a diagonal unit. The
diagonal unit should
be 41 ∕ 2×2 1 ∕ 2" including
seam allowances.
■
8 Repeat steps 6 and 7
to make four diagonal
units total.
■
sew together a Flying
Geese unit, a diagonal
unit, and two brown
print 2 1 ∕ 2" squares in
two rows. Press seams
toward brown print
squares. Join rows;
press seam toward
row with diagonal unit.
DIAGRAM 3
Add a diagonal unit to

left-hand edge of joined
rows to make a block
segment (Diagram 4).
Press seam away from
diagonal unit. The
block segment should
be 81 ∕ 2×41 ∕ 2" including
seam allowances.
Repeat to make a
second block segment.
DIAGRAM 4

■
join block segments
to make a block.
Press seam open. The
block should be 81 ∕ 2"
square including seam
allowances.
DIAGRAM 5
■
make 36 blocks total.
Tip
When I design quilts
using precut fabrics,
I try to use as much
of the fabric as I can.
To use up leftover
precut strips, I
often piece them
together to make a
scrappy binding. The
precut 21 ∕ 2" width
is perfect! —designer
Monique Dillard
AMERICAN PATCHWORK & QUILTING 63

51 ⁄ 2�61"
13⁄4�51"
13⁄4�481 ⁄ 2"
51 ⁄ 2�51"
assemble quilt center assemble and

n
2 Join rows to make quilt
add borders n
2 Sew short inner border
n 1 Referring to Quilt center. Press seams in strips to opposite

Assembly Diagram, lay
out blocks in six rows.
one direction. The quilt
center should be 481 ⁄ 2"
n
1 Using diagonal seams,
cut and piece assorted
edges of quilt center.
Add long inner border
Sew together blocks square including seam cream and gold print strips to remaining
in each row. Press allowances. 13⁄4×20" strips to make: edges. Press all seams
seams in one direction, 1 2—1 3⁄ 4×51" inner toward border.
alternating direction border strips
with each row. 1 2—1 3⁄ 4×48 1 ⁄ 2 " inner
border strips

Fresh from
the
Garden
Come to Hancock Fabrics to see our
exclusive fabric collections
by
M’Liss ®
M’Liss Rae Hawley
International Fabric & Quilting Expert.
Fresh from the Garden

is perfect for sewing,
quilting, and crafting
projects.
Visit hancockfabrics.com
for a location near you or
call 1- 877- HANCOCK.

■
3 Cut and piece pink finish quilt
floral 5
to make:
1
∕ 2×42" strips ■
1 2—5 1 ∕ 2×61" outer details, see Complete
border strips Quilt, Pattern Sheet 4.)
1 2—5 1 ∕ 2×51" outer
border strips ■
2 Quilt as desired. Sue
Glorch machine-quilted
■
4 Sew short outer border
strips to opposite
an allover stipple
across the quilt center
edges of quilt center. and added feather
Add long outer border designs in the borders
strips to remaining (Quilting Diagram).
edges to complete quilt
top. Press all seams
toward outer border.
■
3 Bind with pink floral
binding strips. (For
Quilt.)
QUILTING DIAGRAM
color option
Watch new shapes emerge precut
as you tweak the color
✂
placement of Linked Together.
By using the same batik for
the rectangles in the diagonal
strips
units and the 21 ∕ 2" squares

in the block segments, quilt
tester Laura Boehnke made
the spinning pinwheels
prominent. A tan batik in the
inner border and each block
corner unifies the design.
Bali Pop (precut 21 ∕ 2"-wide
strips) batiks in Berry Bliss
from Hoffman California
Fabrics (hoffmanfabrics.com)
help achieve the look. “The
mottled prints blend when you
piece them together, resulting
in a seamless appearance,”
Laura says.
to make the color option, above.

VISIT SOON! 2010 EXHIBITIONS
“Quilts Under the Microscope” “Marseille: White Corded Quilting”
Through August 1, 2010
November 13 - May 8, 2011
Inherent vice does not sound like
something the nice little quilts next The first ever U.S. exhibition exclusively
door might have. But a look through devoted to the quilting art originating
the microscopes reveals secrets of their in the Provence region of France,
pasts and help determine the best way to safeguard “Marseille: White Corded Quilting,” curated by Kathryn
them for the future. Berenson, will inform and delight viewers with examples
from the late 17th century to the beginning of World
War II.
“South Asian Seams: Quilts from India,
Pakistan, & Bangladesh” “Revisiting The Art Quilt”
May 15 - November 7 curated by Penny McMorris
A long history of quilting exists in the
culturally rich South Asian subcontinent. December 17 - March 27, 2011
Experience an international textile 1986’s ‘The Art Quilt’ exhibition and
tradition and gain insights into the lives catalog was a groundbreaking study of
of the women who carry it on today. early studio quilts. Penny McMorris’
reprise of the original show will remind viewers of
quiltmaking’s blending of craft and art. Be inspired!
“Childhood Treasures: Doll Quilts

from the Ghormley Collection” Visit www.QuiltStudy.org.
August 6 - December 12 • Subscribe to the FREE Quilt of the Month
Doll quilts are the smallest, yet some
of the most endearing of quilts. Mary
Ghormley assembled one of the few International Quilt Study Center & Museum
(and we think finest!) collections of University of Nebraska-Lincoln
such quilts in the world. Fall in love with 1523 N. 33rd Lincoln, NE 68583
these charming quilts and doll beds.
University of Nebraska-Lincoln
33rd & Holdrege | T - Sa 10 - 4:30, Su 1 - 4:30 | 472-6549 | www.QuiltStudy.org

Six rows of 16-Patch blocks plus
calculated color placement equals
a head-turning quilt whose sum is
outside the
greater than its simple square parts.

beginner
box materials
1 13— 1 ⁄ 3 -yard pieces or
31 ⁄ 2 yards total assorted
blue batiks (blocks)
1 8— 1 ⁄ 3 -yard pieces or
2 1 ⁄4 yards total assorted
white tone-on-tones (blocks)
1 2 3⁄ yard dark blue batik

(binding)
1 41 ⁄ 2 yards backing fabric
1 81" square batting
Finished quilt: 72 1 ⁄ 2" square

Finished block: 12" square
Quantities are for 44/45"-

wide, 100% cotton fabrics.
Measurements include 1 ⁄4"
seam allowances. Sew with
otherwise stated.
Designer Karen MonTgoMery
of The QuIlT CoMpany
(thequiltcompany.com)
machine quilter rebeCCa STahl
photographer KaThryn gaMble
KIT: To order a kit of similar

fabrics for quilt top and
binding, send $84 ppd.
(Pennsylvania residents,
send $89.88 ppd.) to
The Quilt Company, 3940
Middle Rd., Allison Park, PA
15101; 412/487-9532;
thequiltcompany.com. Kits
for quilt in other sizes and
extra-wide backing also are
available.
AUGUST 2010 69

FABRICS are from the Tonga Batiks Blue Moon collection from Timeless Treasures (ttfabrics.com).
cut fabrics assemble blocks

■
2 Sew together squares the layout.) The block
From assorted blue
batiks, cut:
■
lay out 10 assorted
in each row. Press
seams in directions
should be 12 1 ∕ 2"
1 360—3 1 ∕ 2 " squares blue batik 31 ∕ 2" squares indicated by arrows. allowances.
From assorted white and six assorted white
tone-on-tones, cut:
1 216—3 1 ∕ 2 " squares
tone-on-tone 31 ∕ 2"
squares in four rows.
■
3 Join rows to make
a 16-Patch block
■
4 Repeat steps 1–3
to make thirty-six
From dark blue batik, cut: (Diagram 2). Press 16-Patch blocks total.
1 8—2 1 ∕ 2×42" binding seams in direction
strips indicated. (If you plan
to experiment with the
block layout, consider
pressing seams open
or waiting to press until
after you determine DIAGRAM 2
DIAGRAM 1

nine more setting options 
Because the 16-Patch blocks
in Outside the Box are
deciding to use the Barn
Raising set, opposite. If you

divided diagonally into light plan to experiment with the
and dark sections, they can layout as Karen did, consider ffrom Pat Sloan
utilize traditional Log Cabin pressing seams open instead
block settings. Designer of in the directions specified
Karen Montgomery mocked in the instructions.
up the options below on her Turn to Pattern Sheet 4 for
design wall before ultimately four additional setting options.
Item #5044 • SRP $19.95
Barn Raising, light center Streak of Lightning
Light and Dark Light and Dark variation Item #4825 • SRP $12.95
TOP LEFT: A Barn Raising set creates a

pattern that radiates from the center of
the quilt. This version has a light center
instead of the dark center in the featured
quilt, opposite. TOP RIGHT: The Streak
of Lightning set results in zigzags that
run the length of the quilt. ABOVE LEFT:
In the Light and Dark set, a pattern of
white squares on point emerges as the
blocks are rotated so lights and darks
meet. ABOVE RIGHT: For a variation on
the Light and Dark set, rotate the blocks
to alternate the inside color in each
group of four blocks. RIGHT: Diagonal
bands of color are created by the See your favorite retailer,
Straight Furrows set. call 1-800-526-5111 or visit
Straight Furrows www.TheLeisureBoutique.com

assemble quilt top
■
Assembly Diagram,
lay out blocks in six
rows. At red circled
intersections, re-press
block seams in opposite
directions so they will
interlock when blocks
and rows are joined.
■
in each row. Press
seams in one direction,
alternating direction
with each row. Join
rows to complete quilt
top. Press seams in one
direction.
finish quilt
■
■
2 Quilt as desired.
Rebecca Stahl
machine-quilted feather
designs in the white
tone-on-tone areas
(Quilting Diagram).
She stitched a feather
through the center of
the blue batiks in each
corner of the quilt top
and a four-loop pattern
in each remaining blue
batik square.
■
3 Bind with dark blue
batik binding strips.
(For details, see
Complete Quilt.) 
QUILTING DIAGRAM
Web browser to see two more
versions of Outside the Box.

“I love my Innova”
I searched for years for the right machine. After sewing on every longarm machine on the market I grew
tired of thread breaks, skipped stitches, and the broken needles that limited my artistic freedom by forcing
me to sew with one type of thread.
Thank you ABM for making the longarm machine of my dreams. Finally, a lightweight, reliable, high
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Wool, Pearl Cotton and Jeans Stitch, all sew without issues thru the needle.
ABM invented the first industrial quilting machine that could
cross over stitching lines over 70 years ago. With their
expert know-how, amazing engineering, and fabulous
24 hours a day, 7 days a week, free technical service I'm Heidi Farmer,
hotline, I can sleep well at night. The ABM Innova 26 owner,
Innova is built to quilt. I love my Innova
Stop by an Innova dealer today. and I know you'll
love yours too.
ABM introduces its

revolutionary
internationally
patented “Ecording
Multitech”.
The most advanced
and revolutionary
enhancement to long
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with virtually any yarn, thread, cord
or embellishments.
Call (936) 441-4401

or (888) 99-Quilt or visit
SINCE 1947
™
www.abminternational.com
coneflower pillow
Take creative license with textured
materials—velvet, linen, and hand-dyed
wool—and appliqué an artistic bloom on
a pillow that’s appealing to the eyes and
soothing to the touch.
74 AUGUST 2010

intermediate
Designer Sue Spargo (suespargo.com)

photographer Cameron Sadeghpour

materials 1 18"-square pillow form iron, press each freezer-
1 1 2 ⁄ yard gray polka dot linen paper I circle, shiny side
or cotton (pillow front and Finished pillow: 18" square down, onto wrong side
back) of orange velvet; let
Quantities are for 44/45"- cool. (If desired, place
1 20" square gray felted wool wide, 100% cotton fabrics velvet facedown on a
(pillow front and back) unless otherwise indicated. towel to prevent the nap
Measurements include 1 ⁄4" from getting crushed.)
1 8×12" piece each of fuchsia, seam allowances unless
turquoise, and orange
felted wools; fuchsia and
otherwise stated. Sew with
n
4 Cut out cotton and
velvet shapes, adding
green florals; orange print; otherwise stated. a 1 ⁄4" seam allowance
and orange velvet beyond drawn lines.
(appliqués)
cut fabrics Cut out wool shapes
on drawn lines. Peel off
1 Scraps of yellow and dark Cut pieces in the following freezer paper from all
gray felted wools (appliqués) order. Patterns are on pieces except orange
Pattern Sheets 1 and 2. velvet I circles.
1 20"-long piece of 1 ⁄4"-wide To felt your own wool,
velvet rickrack: light green machine-wash it in a hot- From gray polka dot, cut:
water-wash, cool-rinse 1 1—131 ⁄ 2×181 ⁄ 2" rectangle
1 41 ⁄ 2"-long piece of 1 ⁄ 2"-wide cycle with a small amount 1 1—11×18 1 ⁄ 2 " rectangle
velvet ribbon: green (stem) of detergent. Machine- 1 1—2 1 ⁄ 2×18 1 ⁄ 2 " strip
dry it on high heat and From gray wool, cut:

1 2—4"-long pieces of steam-press. 1 1—10×18 1 ⁄ 2 " rectangle
1
⁄4"-wide linen ribbon: gray To use freezer paper to 1 1—8×18 1 ⁄ 2 " rectangle
(button closures) prepare appliqué pieces, From fuchsia wool, cut:

complete following steps. 1 1 each of patterns A
1 Wool and cotton threads in and C

colors that match appliqués n
1 Lay freezer paper,
shiny side down, over
1 2— 3⁄ 4×1" rectangles
From turquoise wool, cut:

1 Perle cotton No. 8: patterns. Use a pencil 1 1 each of patterns F, K,
variegated purple/fuchsia to trace each pattern and L

and variegated teal/blue the number of times From orange wool, cut:
indicated in cutting 1 1 each of patterns G
1 2—11 ⁄4"-diameter buttons: instructions, leaving 1 ⁄4" and P

orange between tracings. Cut From fuchsia floral, cut:
out each freezer-paper 1 1 each of patterns B, D,
1 Brass “dream” charm shape on drawn lines. and E

(available in crafts stores) From green floral, cut:
n
2 For cotton and wool 1 2 of Pattern J
1 Freezer paper appliqués: Using a hot 1 1 of Pattern M
dry iron, press each From orange print, cut:

1 Needles: chenille, No. 24; freezer-paper shape, 1 1 of Pattern H
straw, No. 11 shiny side down, onto From orange velvet, cut:
right side of designated 1 16 of Pattern I
cotton or wool; let cool. From yellow wool, cut:

KIT: To buy a kit of similar 1 1 of Pattern N
fabrics and hand-dyed

threads for making the
n
3 For velvet appliqués:
To prevent raveling,
From dark gray wool, cut:
1 1 of Pattern O
pillow, send $68.50 designer Sue Spargo From light green velvet
ppd. (Ohio residents, sometimes uses rickrack, cut:
send $72.95 ppd.) to lightweight sheer 1 1—10"-long piece
Sue Spargo Folk-Art interfacing, such 1 1—8"-long piece
Quilts, 1364 Walnut as Presto Sheer, to

Ridge Dr., Uniontown, OH stabilize velvet before
44685; 330/899-9454; cutting. Using a hot dry
suespargo.com.

Classic elegance and style...redefined!
© 2010 Benartex, Inc.
Isabella by Diane Nagle
Introducing the Mayfair collection (Neutral Story)

by Michele D’Amore! Inspired by Jacobean style, the
details in each pattern are intricately rendered in today’s
trendiest colors; from the richly etched paisley to the tiny
mini-flower. It also includes a wonderful paisley trellis design,
a handsome pencil stripe and a beautifully engineered floral
stripe, just perfect for borders or sashings. This sophisticated group is
available in ebony black, chocolate brown, ivory and slight olive green.
For the FREE Isabella pattern shown above, send a
www.benartex.com
44¢ SASE* to: Mayfair, c/o Benartex, Inc.,
The home of Fossil Fern
and Triple-Dyed Balis 1359 Broadway, Suite 1100, New York, NY 10018
*No checks please. Orders cannot be processed if checks are sent instead of a SASE. Current one ounce First Class postal rates apply at time of publication.
make a pillowcase
make a difference
American Patchwork & Quilting is
challenging YOU to join our efforts to
Make a Pillowcase, Make a Difference.
Every pillowcase can make a difference
in your community. A pillowcase can
provide comfort for a cancer patient,
hope for a foster child, encouragement
for a battered woman, or beauty for a
nursing home resident.
The idea is simple—make and donate

pillowcases to local charities in your
community. Find a participating quilt
shop in your area by visiting
AllPeopleQuilt.com/
millionpillowcases. We’re
counting on you to help us
reach 1,000,000!
AllPeopleQuilt.com/millionpillowcases

assemble and
appliqué pillow front n
4 Using threads that
match appliqués,
n
1 Join long edges of gray
polka dot 11×18
whipstitch wool
⁄ 2"
1
appliqué shapes
rectangle and gray wool in place. Designer
8×181 ⁄ 2" rectangle Sue Spargo used
to make pillow front. 12-weight, 50%
Press seam open. The wool/50% acrylic
pillow front should be thread and a No. 24
181 ⁄ 2" square including chenille needle for the
seam allowances. wool appliqué.
To whipstitch, bring
n
2 Hand-sew a running
stitch around edge of
needle up at A and
down at B (Whipstitch
each orange velvet Diagram). Continue in
I circle within seam same manner around
allowance. Pull thread entire shape.
ends to gather fabric
circles around freezer-
paper circles.
n
3 Referring to Pillow
Front Appliqué
A
CC B
Placement Diagram,
position and pin
appliqué pieces A–K, WHIPSTITCH DIAGRAM
green velvet ribbon
41 ⁄ 2"-long stem, and
light green velvet
n
match appliqués,
rickrack pieces on hand-appliqué cotton
pillow front. Tuck edges and velvet pieces in
of A–E petals and F place, turning under
flower base under the 1 ⁄4" seam allowance
orange wool G oval; with your needle
tuck ends of green as you stitch. (Sue
velvet ribbon under F recommends 60-weight
flower base and K hill cotton thread and a
pieces. Baste in place. No. 11 straw needle.)
B C D
A
E
H
I
G
F
J J
PILLOW FRON
APPLIQUÉ PLACEMEN DIAGRAM

Popcorn The Bear™ © Bright Star Characters Ltd 2010

check your local quilt shop for these
FEATURED FABRICS
10 11 12
1 2 3 13 14 15
4 5 6 16 17 18
7 8 9 19 20 21
1. Jungle Friends 6. Glam Garden by Josephine Kimberling 11. Promises by Red Rooster Studio 17. Cherie by Masha D’yans
2. Back to Nature by Wing & A Prayer Design 7. Shasta by Lori Mason 12. Olivia by Gudrun Erla 18. Cottage Garden by Diane Knott
3. Orchard Bloom 8. Shasta by Lori Mason 13. Enchantment 19. Cherish Nature by Deb Strain
4. On a Whim 2 by Amy Schimler 9. Shasta by Lori Mason 14. All American Girl 20. Whimsy by Fig Tree Quilts
5. On A Whim by Amy Schimler, Kona 10. A Stitch in Time with Mother Goose 15. Floral Vignettes 21. A Breath of Avignon by American Jane
Cotton solids & Flower Child by iota by Amy Barickman 16. Garden Path by Barb Tourtillotte
visit us online at AllPeopleQuilt.com/featuredfabrics

When stitching a Push needle down at D appliqué and
velvet circle appliqué, to complete a fly stitch. assemble pillow back
sew three-quarters
of the way around the
Continue in the same
manner, varying the
n
1 Turn under ⁄ " along
1
4
one long edge of gray

A BA B
circle, remove basting height of each stitch as polka dot 2 1 ⁄ 2×181 ⁄ 2"
C C
thread and freezer desired. strip; press.
paper with tweezers,
D
then finish appliquéing. n
8 Referring to photo on
page 75, hand-stitch
n
2 With raw edges aligned,
pin right side of gray
n
match, whipstitch
brass “dream” charm to
teal wool F flower base
FLY STITCH DIAGRAM
polka dot strip to
wrong side of gray wool
green velvet ribbon to make pillow top. 10x181 ⁄ 2" rectangle;
and light green velvet
rickrack pieces in place.
n
7 Referring to photo on
page 75, backstitch
curving vertical lines
on fuchsia wool petals
using variegated
purple/fuchsia perle
cotton.
To backstitch,
pull needle up at A For more information on these
(Backstitch Diagram). and our other programs, visit
Insert it back into fabric www.stitchinheaven.com
Stars Over Bali Skies
at B and bring it up at C. September 2010 or call 800.841.3901 today!
Push needle down at D
and bring it up at E. Enchanted Autumn
Continue in the same September 2010
manner.
A
D
FC
E
G
BACKSTITCH DIAGRAM
Using variegated
teal/blue perle cotton,
add fly stitches along
top of turquoise wool
K piece.
To fly stitch, bring
your needle up at A,
form a U shape with
thread, and hold angle
of U shape in place with
your thumb (Fly Stitch
Diagram). Push needle
down at B and come up
at C to secure U shape.
Petal Party
Happy Haunting October 2010
October 2010
800.841.3901 • www.stitchinheaven.com

center fuchsia wool
3
∕4×1" rectangles over
ribbon ends; whipstitch
rectangles in place.
■
5 Turn under ∕ " along
1
2
one long edge of gray

1 ⁄ 8"
polka dot 131 ∕ 2 x181 ∕ 2"
rectangle; press. Fold
3⁄ 8" pressed edge under 2";
press again. Topstitch
each folded edge with
DIAGRAM 1
two seams 1 ∕4" apart to
make lower pillow back
sew together (Diagram 1). rectangle (Diagram 2).
Fold gray polka dot strip
to right side of wool 1 ⁄4 "
rectangle, letting about 1 ∕ 8" 1 ⁄4 "
of the wool fold to the right

side. Topstitch in place 3∕ 8"
from bottom folded edge.
Topstitch remaining edge
of gray polka dot strip
1
∕ 8" from pressed edge to
make upper pillow back DIAGRAM 2
rectangle.
■
6 Overlap topstitched
■3 Referring to Pillow Back

Appliqué Placement
edges of upper and lower
pillow back rectangles by
Diagram, position and about 2" to make an 181 ∕ 2"
pin appliqué pieces L–P square. Baste across
to upper pillow back overlapped edges to make
rectangle. Using threads pillow back (Diagram 3).
that match appliqués, Sew buttons to lower
whipstitch each wool piece pillow back rectangle,
and hand-appliqué green aligning each one with a
floral M wing in place. ribbon loop.
181 ⁄ 2"
P
N O M L
4½" 4½"
2" over ap 181 ⁄ 2"
PILLOW BACK
APPLIQ É PLACEMENT DIAGRAM
■
4 Fold each 4"-long gray
linen ribbon in half; pin
near bottom edge of
gray polka dot strip,
41 ∕ 2" from side edges DIAGRAM 3
(Pillow Back Appliqué
Placement Diagram).
Stitch across ribbon ends
to secure loops. Referring
to photo opposite left,

color option
A purple wool 181 ∕ 2"

square makes a
bold background for
finish pillow edges to prevent executive editor Jennifer Keltner’s
■
1 With right sides
together, layer pillow
raveling.
version of Coneflower Pillow. She
embellished some of the petals and leaves,
top and pillow back;
pin or baste edges.
■
2 Turn pillow cover
right side out through which are all cotton, with rows of long
Sew together through opening in pillow back. running stitches.
all layers to make Insert pillow form;
pillow cover. If desired, fasten button closures AllPeopleQuilt.com/367
zigzag-stitch around to complete pillow.� Type the address above into your
to make the color option, above.
The Old
Santa Claus
Fashioned
By Ingrid©
Available now at a quilt

shop or fabric store near you!
Download a free pattern for this
and other projects at our website:
www.redroosterfabrics.com
So new. So exciting.
Quilt: 53 Sew Red Rooster!
" x 61½"

RRFAmerPQAug.indd 1 3/23/10 12:00 PM
precut
✂
fat
eighths
color intermediate
your world
Spruce up your surroundings with a quilt that radiates fearless fun.
Don’t be fooled by what looks like blocks set on point. This clever
design is really blocks set side by side.
DESIGNERS BARB GROVES AND MARY JACOBSON OF
ME AND MY SISTER DESIGNS (MEANDMYSISTERDESIGNS.COM)
MACHINE QUILTER SHARON ELSBERRY
PHOTOGRAPHER SCOTT LITTLE
materials 1 11 ∕ 3 yards purple floral

(block centers, outer cut fabrics 1 4—7" squares for outer
1 1 yard green plaid border) Cut pieces in the following border
(blocks, binding) order. Cut purple floral From purple plaid, cut:
1 34 ∕ yard purple plaid outer border strips 1 6—2 1 ∕ 2×42" strips for
1 34 ∕ yard white print (blocks, inner and outer lengthwise (parallel to the inner border
(blocks) borders) selvages). 1 2—3 3∕ 4" squares
1 4 —3 3∕ 8 " squares
1 4—9×22" pieces 1 1 2∕ yard each lime green From green plaid, cut: 1 4—2 1 ∕ 2×7" rectangles for
(fat eighths) assorted swirl and lime green 1 7—2 ∕ 2×42" binding strips
1
outer border
florals (1 each of orange, tone-on-tone (blocks) 1 9—3 3∕ 4" squares From lime green
pink, turquoise, and 1 36—3" squares swirl, cut:
yellow) for block centers 1 37∕ 8 yards backing fabric From white print, cut: 1 9—6 1 ∕ 4" squares, cutting
1 9—3 ∕ 4" squares

3
each in half diagonally for
1 8—9×22" pieces 1 68" square batting 1 18—3 3∕ 8 " squares, cutting 18 large triangles total
(fat eighths) assorted each in half diagonally for From lime green tone-on-
bright prints (2 each of Finished quilt: 36 small triangles total tone, cut:
orange, pink, purple, and 59 7∕ 8" square 1 36—3 3∕ 8 " squares 1 9—6 1 ∕ 4" squares, cutting
turquoise; 1 of yellow) Finished block: From each assorted each in half diagonally for
for blocks 141 ∕ 8" square orange, pink, and 18 large triangles total
turquoise floral, cut:
Quantities are for 1 2—8" squares
44/45"-wide, 100% From yellow floral, cut: assemble

KIT: To order a kit of cotton fabrics. 1 1—8" square snowball units
fabrics for quilt top and
binding, send $73.99
Measurements include
1
From each assorted bright
print, cut:
■1 Use a pencil to mark a
∕4" seam allowances. Sew diagonal line on wrong
ppd. (Texas residents, with right sides together 1 2—3 3∕ 4" squares side of each green plaid
send $79.35 ppd.) to unless otherwise stated. 1 4—3 3∕ 8 " squares 3" square.
Fat Quarter Shop, PO From purple floral, cut:
Box 1544, Manchaca, TX
78652; 866/826-2069;
For a chart of
optional sizes, visit
1 4—7×427∕ 8 " strips for
outer border
■2 Align a marked
green plaid square
fatquartershop.com. AllPeopleQuilt.com/368. 1 2—8" squares with a corner of an

Turn to page 14 to learn more
about designers Barb Groves
and Mary Jacobson.

FABRICS are a variety of prints by Me and My Sister Designs for Moda Fabrics (modafabrics.com).
orange floral 8" square orange Snowball unit.

(Diagram 1; note The unit still should
direction of drawn line). be 8" square including
Sew on drawn line. Trim seam allowances.
excess, leaving 1 ∕4" seam
allowance. Press open
attached triangle.
■
4 Repeat steps 2 and 3
with remaining assorted
floral 8" squares to
■3 In same manner, add
marked green plaid
make nine Snowball
units total (two each of
DIAGRAM 1
squares to remaining orange, pink, purple,

corners of orange floral and turquoise and one
square to make an yellow).

BOOK OF
Joyful THE YEAR
FINALIST
color and
stunning quilts
from fabric designer
and quilter Edyta Sitar,
Laundry Basket Quilts
Friendship Triangles Hop to It!
NEW! In the Best-Selling Basics & Beyond Technique Series
BOOK OF
THE YEAR
FINALIST
Visual Guide Includes DVD 51 How-to Techniques

to Thread Techniques
Fresh Picked Big, Bold

N ew d
esigns by Dodi Lee
Pou
lsen
for
for all Seasons
re l H
ollo
w
Novelty Prints
Combine with
T wo S
isters at Squir
30 Quilts &
Sassy Basics
Projects
for you and
your home
With scrumptious
Perfect Blocks
recipes from
fresh picked fruits
Innovative and Easy

Successful Projects
Dodi Poulsen for Penny Haren’s
Two Sisters at Squirrel Hollow Innovative Technique
See Your Favorite Quilt Shop, Book Retailer

or contact Landauer Publishing • 800-557-2144 • www.landauercorp.com
assemble blocks
n
1 Mark a diagonal line on wrong
side of each green plaid 3 3
⁄4"
square and each white print
3 3⁄4" and 3 3⁄ 8" square.
n
2 Layer a marked white print
3 3
⁄4" square atop a bright
orange print 3 3⁄4" square
(Diagram 2). Sew together
with two seams, stitching 1 ⁄4"
on each side of drawn line. Cut
apart on drawn line to make
two triangle units. Press each
triangle unit open, pressing
seams away from white print, BLOCK ASSEMBLY DIAGRAM
to make two white triangle-

squares. Each triangle-
square should be 3 3⁄ 8" square
including seam allowances.
n
6 Using marked white print 3 ⁄ "
squares and matching bright
3
8
orange print 3 3⁄ 8" squares,

repeat Step 2 to make eight
small triangle-squares. Each
small triangle-square should
be 3" square including seam
DIAGRAM 2
allowances.
n
3 Using a marked green plaid
3
n
7 Referring to Diagram 4, sew
3
⁄4" square and a matching small triangle-squares to
bright orange print 3 3⁄4" opposite edges of an hourglass
square, repeat Step 2 to make unit to make a star point unit.
two green triangle-squares. Repeat to make four star point
units total.
n
4 Mark a diagonal line
perpendicular to seam line
on wrong side of each white
triangle-square (Diagram 3).
DIAGRAM 4
n
8 Sew white print small triangles
to opposite ends of a star point
unit to make a star point row
DIAGRAM 3 (Diagram 5). Press seams away
from white print triangles.
n
5 Layer a marked white triangle-
square atop a green triangle-
Repeat to make a second star
point row.
square, making sure a bright
orange print triangle faces a
green triangle (Diagram 3).
Sew together with two seams,
DIAGRAM 5
stitching 1 ⁄4" on each side of
drawn line. Cut apart on drawn
line to make two triangle
n
9 Referring to Block Assembly
Diagram, sew star point units
units. Press each unit open, to opposite edges of an orange
pressing seam in one direction, Snowball unit. Press seams
to make two hourglass units. toward star point units. Add
Each unit should be 3" square star point rows to remaining
including seam allowances. edges of Snowball unit; press
Repeat to make four hourglass seams toward Snowball unit.
units total.

Join the Fat Quarter Shop for
n
10 Sew green swirl large triangles our exclusive
to opposite edges of Snowball
unit. Press seams toward
2010 Designer Mystery Block
triangles. Add green tone- of the Month
on-tone large triangles to featuring blocks by 12 designers
remaining edges to make a star and 12 Days of Christmas fabric
block. Press seams toward
block center. The block should
by Kate Spain for Moda!
be 145⁄ 8" square including
seam allowances.
n
11 Matching the bright print in
the triangle-squares with the
Snowball unit color, repeat
steps 2–10 to make nine
star blocks total (two each
of orange, pink, purple, and
turquoise and one yellow).
Create 12 adorable
novelty blocks with
assemble quilt top easy piecing – perfect
n
Diagram, page 90, sew
for all skill levels!
78”
together blocks in three rows. 64” x
Press seams in one direction, Starts June 2010, so visit
alternating direction with www.FatQuarterShop.com for more details!
each row. Join rows to make
quilt center. Press seams
in one direction. The quilt www.FatQuarterShop.com 1-866-826-2069
center should be 427⁄ 8" square
including seam allowances.
n
2 Cut and piece purple plaid
2 1
⁄ 2×42" strips to make:
1 2—2 1 ⁄ 2×59 7⁄ 8" inner border
strips
1 2—2 1 ⁄ 2×427⁄ 8 " inner border
strips Quilt • Sew • Create

Baltimore Bali Muchas Poochas
n
3 Sew purple plaid 2 ⁄ ×42 ⁄ "
1
2
inner border strips to opposite

7
8 56” x 56”
www.quiltingbythebay.com 48” x 60”
Americana Modern
edges66”ofx 79”
quilt center. Add
purple floral 7×427⁄ 8" outer
border strips to same edges.
Press seams toward outer
border.
n
4 Sew purple plaid 2 ⁄ ×59 ⁄ "
inner border strips to
1
2
7
8
remaining edges of quilt

center. Press seams toward
inner border.
n
Diagram, join two purple floral
Washington Medallion
84” x 84”
7" squares, two purple plaid Vintage Christmas Be Merry

2 1 ⁄ 2�×7" rectangles, and a 53” x 55” 1-866-632-QBTB(7282) 60” x 75”
purple floral 7×427⁄ 8" strip to Quilting by the Bay is your one stop shop for
make a long outer border strip. quilting supplies, kits and Block of the Month Programs
Visit www.quiltingbythebay.com and get inspired!
2303 Winona Drive-Panama City, Florida 32405

7�427⁄ 8"
7"
sq.
21⁄ 2�427⁄ 8"
21⁄ 2�7"
21⁄ 2�597⁄ 8"

7�427⁄ 8"
21⁄ 2�7"
7"
sq.
Press seams toward

purple plaid. Repeat to
n
2 Quilt as desired. Sharon
Elsberry machine-quilted
make a second long outer a daisy in the center of
border strip. each block and outer
border corner. She
n
6 Sew long outer border
strips to purple plaid
outlined the star shape
and stitched a stylized
inner border strips to heart in the corner of
complete quilt top. Press each block. Scroll and
seams toward outer mirror-image heart motifs
border. highlight the borders
(Quilting Diagram).
finish quilt
n
3 Bind with green plaid
n
1 Layer quilt top, batting.
binding strips. (For
details, see Complete Quilt.) y
QUILTING DIAGRAM

color option
Warm up Color Your World
with harvest-inspired hues.
To create a harmonious look,
quilt tester Laura Boehnke
pieced four identical blocks
using fabrics from the Olivia
collection by Gudrun Erla of
G.E. Designs for Red Rooster
Fabrics (redroosterfabrics
.com). Geometric prints in the
border and star points frame
the soft florals featured in the
center of the Snowball units.
Web browser for free instructions to
make the color option, left.
ngga
att o
onn
ttiin
More colors.
$5
lyly
rr
ssttaa
More combinations. pe ya
err y d!!
arrd
More fun!
p
We’ve added dozens of new samplers to our existing selection.

Build your fabric stash for only $5 per yard with our new color
coordinated Stash Builder samplers, or collect one of each fabric
in a collection for only $5.96 per yard. As always, our exclusive
fabric is made from super-combed cotton grown in the USA.
20% OFF
All SAMPlERS
Simply enter the code APQsave at checkout
to receive 20% off all the samplers in your order.
Expires
Expires 8/31/10.
8/31/10. Valid
Valid on
on all
all charm
charm packs,
packs, strips,
strips, stacks,
stacks, fat
fat quarter
quarter
samplers,
samplers, and
and fat
fat eighth
eighth samplers.
samplers. Limit
Limit one
one offer
offer per
per customer.
customer.
Cannot be
Cannot be combined
combined with
with other
other offers.
offers. Web
Web orders
orders only.
only.
1-800-574-6454
1-800-574-6454 FREE
FREE shipping
shipping on
on all
all web
web orders
orders over
over $50
$50 www.ConnectingThreads.com
www.ConnectingThreads.com
QUILT COLLECTOR PAM BUDA
OF HEARTSPUN QUILTS
blue
(HEARTSPUNQUILTS.COM)
PHOTOGRAPHER KATHRYN GAMBLE
jeans &
intermediate Like a happy memory, this vintage blue-and-
pink Churn Dash quilt will have you yearning for
yesteryear. Craft a modern-day version with
scraps of prints, stripes, plaids, and checks.
materials 1 5 1 ∕4 yards pink-and-blue

shirting (setting and
From assorted light to
medium blue, pink, red,
1 2—8×641 ∕ 8" top/bottom
border strips
To get the same look as the corner triangles, setting and tan prints and white 1 9—8 3 ∕ 8 " squares, cutting
original quilt, pull assorted squares, border, binding) shirtings, cut: each diagonally twice in
prints, stripes, plaids, and 1 180—27∕ 8 " squares an X for 36 setting
checks from your stash in 1 5 1 ∕ 3 yards backing fabric (90 sets of 2 matching triangles total (you will
these color amounts. pieces) use 34)
1 84×95" batting 1 450—1 1 ∕ 2 " squares 1 72—5 1 ∕ 2 " setting squares
1 17∕ 8 yards total assorted (90 sets of 5 matching 1 2—41 ∕ 2 " squares, cutting
light to dark blue prints Finished quilt: pieces; if desired, match each in half diagonally for
(blocks) 751 ∕ 8×861 ∕ 8" some of these sets to the 4 corner triangles total
Finished block: 5" square 27∕ 8" squares just cut) 1 9—2 1 ∕ 2×42" binding
1 11 ∕ 3 yards total assorted From assorted medium strips

light to dark pink and red Quantities are for 44/45"- to dark blue and red,
prints (blocks) wide, 100% cotton fabrics. medium tan, and black
Measurements include 1 ∕4" prints, cut: assemble blocks
1 1 2 ∕ yard total assorted seam allowances. Sew with 1 180—27∕ 8 " squares Rather than using
light to medium tan prints right sides together unless (90 sets of 2 matching matching pieces, mix
(blocks) otherwise stated. pieces) fabrics of the same (or
1 360—1 1 ∕ 2 " squares contrasting) color for a
1 1 2∕ yard total assorted
white shirtings (blocks) cut fabrics (90 sets of 4 matching
pieces; if desired, match
scrappier look. The
unknown quiltmaker did
Cut pieces in the following some of these sets to the this in most of her blocks.
1 1 8∕ yard total assorted order. Cut border strips 27∕ 8" squares just cut) Only 16 of the quilt’s 90
black prints (blocks) lengthwise (parallel to the From pink-and-blue blocks are made from just
selvages). shirting, cut: two fabrics.
1 2—6×86 1 ∕ 8 " side border
strips

bubble
gum
AMERICAN PATCHWORK & QUILTING

should be 2 1 ∕ 2" square
including seam
allowances. Repeat
with remaining pair to
make four matching
triangle-squares total.
■
5 Join a light or medium
print 1 1
∕ 2" square
and a medium or dark
print 11 ∕ 2" square to
make a rectangle unit
(Diagram 2). Press
seam toward darker
print. The unit should
be 11 ∕ 2×2 1 ∕ 2" including
seam allowances.
Repeat to make four
rectangle units total.
DIAGRAM 2
■
sew together triangle-
squares, rectangle
units, and remaining
light or medium print
11 ∕ 2" square in three
rows. Press seams
away from rectangle
units. Join rows to
make a Churn Dash
block. Press seams
in one direction. The
block should be 5 1 ∕ 2"
■
1 For one Churn Dash
block, gather the
■
2 Use a pencil to mark a
diagonal line on wrong
■
4 Cut a pair apart on
drawn line to make
allowances.
following: two 27∕ 8" side of each light or two triangle units
squares from one light medium print 27∕ 8" (Diagram 1). Open
or medium print; five square. triangle units; press
11 ∕ 2" squares from a seams toward darker
second (or the same)
light or medium print;
■
3 Layer each marked
square atop a medium
print to make two
triangle-squares.
two 27∕ 8" squares from or dark print 27∕ 8" Each triangle-square
one medium or dark square. Sew each pair DIAGRAM 3
print; and four 11 ∕ 2" together with two
squares from a second seams, stitching 1 ∕4" on
(or the same) medium or
dark print.
each side of drawn line
(Diagram 1).
■
make 90 Churn Dash
DIAGRAM 1
blocks total.

color option
A chocolate brown border
contrasts with the light
blue background on this
contemporary wall hanging. As
a nod to the original quilt’s mix
of plaids, stripes, and checks,
quilt tester Laura Boehnke
chose a dotty “stripe” from the
Color Defined collection by
Faye Burgos for Marcus Fabrics
(marcusfabrics.com) for the
setting squares and triangles.
For a less scrappy look, Laura
used similar color placement in
each Churn Dash block.
How much fun can you have stitching

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thread, metallic sewing threads and
flosses, full line of Finca® Mouliné Floss
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BagLady Press Presencia USA
Presencia USA is a proud sponsor 888-222-4523 866-277-6364
of the Pillowcase Challenge www.baglady.com www.presenciausa.com
8�641 ⁄ 8"
6�861 ⁄ 8"
assemble quilt top 641 ⁄ 8 ×711 ⁄ 8" including n

2 Quilt as desired. A n
3 Bind with pink-and-
n
Assembly Diagram,
seam allowances. grid with seven lines
(each a little more
blue shirting binding
strips (For details, see
lay out Churn Dash
blocks, setting squares,
n
2 Sew short border strips
to short edges of quilt
than 11 ⁄ 8" apart) per
block is hand-quilted
Complete Quilt.) y
and setting triangles center. Sew long border in the blocks and
in 18 diagonal rows. strips to remaining setting pieces of the
Sew together pieces in edges to complete quilt featured quilt (Quilting
each row. Press seams top. Press all seams Diagram). Diagonal
toward setting pieces. toward border. lines of quilting spaced
Join rows and press the same distance
seams in one direction. apart head in one
Add corner triangles to finish quilt direction in the top and
complete quilt center;
press seams toward
n
bottom border, and the
opposite direction in
corner triangles. The details, see Complete the side borders.
quilt center should be Quilt, Pattern Sheet 4.)
QUILTING DIAGRAM

Coneflower
Pattern I
Pillow
Coneflower Pillow
pattern sheet 1
Pattern K
Coneflower Pillow
Pattern H
AUGUST 2010 Issue 105
our promise to you

Prior to publication, we cut, sew,
Points of pride
and assemble at least four blocks
pages 44–56 of every quilt to verify the accuracy
Outside the Box of our patterns and instructions.
pages 68–72 Then an experienced team of editors
Coneflower Pillow reviews the materials lists, how-to
Coneflower Pillow pages 74–83
Pattern A directions, and illustrations to make
Coneflower Pillow sure the information we provide you
Pattern A
is clear, concise, and complete.
The American Patchwork
& Quilting Staff
er Pillow
rn D All piecing patterns are full-size and include
seam allowances where necessary.
© COPYRIGHT 2010
Coneflower Pillow
Pattern F
Coneflower Pillow
Pattern C
Coneflower Pillow
Pattern F
eflower Pillow
Pattern B
4/27/10 10:29:20 AM
pattern sheet 4
basics
back to
To make pieces for hand
piecing or appliqué, place
template facedown on
wrong side of fabric and
trace. If desired, mark
matching points on corners
of seam line. Reposition
template at least 1 ⁄ 2" away
from previous tracing,
trace again, and repeat
(Diagram 1). The lines
Refer to these tips and techniques whenever you trace on the fabric
you need information for your projects. are sewing lines. Mark
cutting lines 1 ⁄4" away from
sewing lines, or estimate
the distance by eye when
cut bias strips template plastic. Lay plastic Verify each template’s cutting out pieces with
Strips for curved appliqué over a printed pattern. Trace shape and size by placing scissors. For hand piecing,
Coneflower Pillow
pieces and for binding pattern onto plastic using it over its printed pattern. add a 1 ⁄4" seam allowance;
curved edges should be a ruler and a permanent Templates must be accurate for hand appliqué, add a
Pattern H
cut on the bias, which runs marker to ensure straight because errors, however 3
⁄ 16" seam allowance.
at a 45° angle to the lines, accurate corners, and small, will compound many
selvages (or diagonally permanency. times as you assemble a A
across the grain of a woven For hand piecing and quilt. To check templates’
fabric) and has the most appliqué, make templates accuracy, make a test block
stretch. the exact size finished before cutting the fabric
To cut bias strips, begin pieces will be (without seam pieces for an entire quilt.
with a fabric square or allowances). For piecing,
rectangle; use an acrylic this means tracing the use TEMPLATES
ruler to square up the left patterns’ dashed lines. To trace a template on DIAGRAM 1
edge if necessary. Make a For machine piecing, fabric, use a pencil, a white
cut at a 45° angle to the make templates that include dressmaker’s pencil, chalk, Because templates
left edge (Bias Strip seam allowances. Trace the or a special fabric marker used to make pieces for
Diagram). Handle diagonal patterns’ solid and dashed that makes a thin, accurate machine piecing have seam
edges carefully to avoid lines onto the template line. Do not use a ballpoint allowances included, you
distorting the bias. To cut plastic. or ink pen; it may bleed if can use common tracing
a strip, measure desired For easy reference, mark washed. Test all marking lines for efficient cutting.
width from the 45° cut each template with its tools on a fabric scrap Place template facedown
edge; cut parallel to edge. letter designation, grain before using them. on wrong side of fabric and
Cut enough strips to total line (if noted by an arrow trace. Mark corner matching
the length needed. on the pattern), and block
or quilt name. Also mark
45º
the matching point of each
45º
corner on the seam line
(these may be indicated with
BIAS STRIP DIAGRAM
dots on the printed pattern).
Cut out traced shapes on
make and outside lines.
use templates On templates used to
make TEMPLATES make pieces for machine
A template is a pattern piecing, use a pushpin to
made from extra-sturdy make a hole in the template
material so you can trace at each matching point and
around it many times seam allowance corner. The Coneflower P
without wearing away hole must be large enough Pattern F
the edges. for the point of a pencil
To make permanent or marking pen to mark
templates, use easy-to-cut OUTSIDE THE BOX
through. CHIMNEY AND CORNERSTONE SETTING
OU
SUNSHINE
Pattern Poster Aug 2010.indd 2-3

DIAGRAM 6
DIAGRAM 6
points through holes in also specify enough width clip threads. Remove
DIAGRAM 6
template. Reposition for a French-fold, or double- quilt from under
template without a space layer, binding because it’s sewing machine
between it and previous easier to apply and adds presser foot. DIAGRAM 7
DIAGRAM 6
tracing (Diagram 2); trace durability. Fold binding
DIAGRAM 7
again and repeat. Using Join stripsConeflower
with diagonal
Pillow Patternupward
strip G (Diagram 7),
rotary cutter and ruler, seams (Diagram 3) to make creating a diagonal fold,
cut out pieces, cutting a continuous binding strip. and finger-press. Holding
precisely on drawn lines. Trim excess fabric, leaving diagonal fold in place with DIAGRAM 7
1
⁄4" seam allowances. Press your finger, bring binding
seams open. With wrong strip down in line with next
side inside, fold one end edge of quilt top, making DIAGRAM 7
of binding strip under 1" a horizontal fold that DIAGRAM 8
Coneflower
(Diagram 4); press. Fold aligns with the quilt edge

Pattern I
B
Pillow
strip in half lengthwise and (Diagram 8). DIAGRAM 8

DIAGRAM 7
press (Diagram 5). Start sewing again at top
of horizontal fold, stitching
DIAGRAM 2 through all layers. Sew DIAGRAM 8
around quilt, turning each
APQ AUGUST 2010 corner in same manner.
APQ AUGUST 2010
complete
CMR 3905040
quilt
Indigos 16-Patch
Setting Option DIAGRAM 3
CMR 3905040
Indigos 16-Patch When you return
Setting Option
APQ AUGUST 2010
CMR 3905040
DIAGRAM
Indigos 8
16-Patch
DIAGRAM 3
Cut and piece 3-26-10
C. Neubauer backing DIAGRAM 3 to the starting point,
C. Neubauer 3-26-10 Setting Option 1
C. Neubauer 3-26-10
fabric to measure at least encase binding strip’s DIAGRAM 9
100526944
4" bigger on all sides than raw edge inside folded DIAGRAM 8
DIAGRAM 9
quilt top. Press seams end (Diagram 9). Finish
open. With wrong sides sewing to starting point
DIAGRAM 4
together, layer quilt top DIAGRAM 4
DIAGRAM 4
(Diagram 10). Trim batting
and backing fabric with and backing fabric even DIAGRAM 9
batting in between; baste. with quilt top edges.

Quilt as desired. Turn binding over edge
DIAGRAM 5
DIAGRAM 5
Binding for most quilts DIAGRAM 5 to the back. Hand-stitch DIAGRAM 10
DIAGRAM 9
is cut on the straight grain Place binding strip’s binding to backing fabric,
DIAGRAM 10
of fabric. If your quilt has folded end in the center of making sure to cover all place up to next corner.
curved edges, cut binding a quilt top edge against the machine stitching. Finish each9 corner in same
DIAGRAM
strips on the bias. Cutting right side. Align raw edges To make mitered corners manner. 
instructions for projects (Diagram 6). Sew through on back, hand-stitch up DIAGRAM 10
in this issue specify the all layers, stopping 1 ⁄4" (or to a corner; fold a miter in
number of binding strips a distance equal to seam the binding. Take a stitch
or a total length needed to allowance you’re using) from or two in fold to secure DIAGRAM 10
finish the quilt. Instructions corner. Backstitch, then it. Then stitch binding in
DIAGRAM 10
Pillow
F
UTSIDE THE BOX OUTSIDE THE BOX OUTSIDE THE BOX

E AND SHADOW SETTING CHEVRON SETTING CHEVRON VARIATION SETTING

100526949
Pattern Poster Aug 2010.indd 4-5
APQ AUGUST 2010
CMR 3961807
Coneflower Pillow
Full-Size Patterns 2
C. Neubauer 3-31-10
100526948
N
O
P
Patte
Pattern L
Coneflower Pillow
Coneflower Pillow
Pattern J
Pattern M
Coneflower Pillow
Pattern Pattern E
N Coneflower Pillow
Coneflower Pillow
Pattern M
Con
Coneflower Pillow
Pattern L
pattern sheet 2
Pattern B
Coneflower Pillow
APQ AUGUST 2010
neflower Pillow CMR 3961807
Pattern K Coneflower Pillow
C. Neubauer 3-31-10
100526949
O
P
Pattern L
Coneflower Pillow
Points of Pride
Foundation Pattern A
6
5
Match Foundation Patterns A and B here

4
ern
Coneflower Pillow
Pattern M
Coneflower Pillow Pattern G

APQ AUGUST 2010
CMR 3904995
New York Beauty (Points of Pride)
Foundation Pattern A
C. Neubauer 3-17-10
100526902
Pattern F
Coneflower Pillow
Points of Pride
Foundation Pattern B
6
7
8
Match Foundation Patterns A and B here
10
11
Points of Pride
Pattern C
Coneflower Pillow
Pattern H
Coneflower
Pattern I
Pillow

APQ AUGUST 2010 pattern sheet 3
CMR 3904995
Foundation Pattern B
C. Neubauer 3-17-10
100526903
Points of Pride
Pattern D
Pl
ac
e
on
fo
ld
Points of Pride
Pattern C
100526904
C. Neubauer 3-17-10
Full-Size Patterns C / D
CMR 3904995
APQ AUGUST 2010
4/17/10 7:27:16 AM
APQ AUGUST 2010
CMR 3961807
Coneflower Pillow
C. Neubauer 3-31-10
100526948
APQ AUGUST 2010

CMR 3905040
Indigos 16-Patch
Setting Option 2
C. Neubauer 3-26-10
100526946
Coneflower Pillow Coneflower Pillow

Pattern J Pattern D
Coneflowe
Patter
Coneflower Pillow Pattern G
Coneflower
Pillow
Pattern I
Coneflower Pillow
Pattern B
Coneflower Pillow Cone
Pattern H P
Pattern K
Coneflower Pillow

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global perspective
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Better Homes and Gardens American Patchwork & Quilting (ISSN 1066-758X), August 2010 issue. American Patchwork & Quilting is published bimonthly in February, April, June, August, October, and December by Meredith Corp., 1716 Locust St., Des
A century separates these quilts, but Japanese indigo-dyeing methods
and a tradition of repurposing and reusing fabrics unites them.
Photos courtesy of International Quilt Study Center & Museum, University of Nebraska-Lincoln, 1997.007.1092 (right) and 2009.017.0007.
At first glance, the
two quilts shown here don’t
seem to have much in common
besides color. The 19th-century
utilitarian quilt, below, is tattered
and unbound. The large mid-
1980s art quilt, right, has been
meticulously maintained.
However, these quilts, from the
International Quilt Study Center
& Museum in Lincoln, Nebraska,
both feature repurposed Japanese
indigo-dyed fabrics. Japan has a
long history of indigo dyeing (known
as aizome), and the deep blue hues
are almost as representative of
the country’s textile traditions as
sashiko stitching and kimonos.
To make the dye, dyers harvest
and ferment the native indigo
plant. Fabric or yarn then
is dipped into a vat
of the dye. Depending
on the desired shade,
dipping is repeated
multiple times or the fibers
ABOVE: A contemporary art quilt by Shizuko Kuroha, a Japanese art quilter,
are allowed to soak. author, and teacher, features 168 different fabrics. LEFT: This antique boro
“Indigo dyeing is very may have been used as a bed covering.
technical because you don’t
see the results right away,” says of worn clothing and household as Kuroha, who work with older
®
Carolyn Ducey, museum curator. textiles. For the contemporary quilt, fabrics and put a fresh twist on
Both quilts feature yarn-dyed designer Shizuko Kuroha added traditional construction methods.
woven fabrics. The art quilt also strips Log Cabin-style around “Quiltmaking is based in
includes fabrics created in the octagons to showcase remnants of traditional work, but people have
kasuri method (similar to ikat) in vintage indigo-dyed yukatas (casual taken these techniques and turned
which dyed yarns are woven into summer kimonos). Log Cabin setting them into something that is new and
geometric and pictorial designs. blocks are pieced around a tiny contemporary,” Ducey says.
®
Scraps of recycled textiles center square of bright blue.

compose both quilts as well. A rural Ducey believes there is a renewed AllPeopleQuilt.com/371
peasant most likely pieced the interest in boros due to their
Visit our site for more info on indigo
utilitarian quilt or boro, meaning resemblance to modern-day art dyeing and the International Quilt
“tattered rags,” from remnants quilts and because of quilters, such Study Center & Museum.

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PROVING OUR WAY TO THE TOP.

© 2009 BERNINA of America BER903102

Visit www.Bernina8Series.com to experience it for yourself.

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Five quilts, ﬁve ribbons

fair kaleidoscope quilt, Summertime Fun,

AMERICAN PATCHWORK & QUILTING AUGUST 2010 1

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From the Editors 4

Tips from Readers 10

Global Perspective 104

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Points of Pride 44 AllPeopleQuilt.com/356

AMERICAN PATCHWORK & QUILTING AUGUST 2010 3

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DO YOU HAVE A Perfect for Precuts

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Sampler®, Quilts and More™,

just for you

Jeff Anderson Janice Croat

places to eat, stay & shop!

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Receive an Amazing Designs

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Karen Montgomery Sue Spargo Debbie Roberts

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©Copyright 2010 Moda Fabrics. All rights reserved.

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I wrap soldiers in love

Introducing the HQ18 Avanté.

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The Aloha Quilt

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of pink,” Mary says. “For us, brights

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Like most creative endeavors, a fabric collection

RIGHT, FROM TOP: These

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ABOVE: Paint chips, threads,

This vintage fabric piece

design we like to do something four way

Design and Development

24 AUGUST 2010 ALLPEOPLEQUILT.COM

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It’s time to change fabric cutter

the way you cut!

The GO!® Fabric Cutter by AccuQuilt is safe, easy to use,