2019-03-01 Love Patchwork Quilting

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ISSUE 68 2018
ISSUE SIXTY EIGHT 2018
Say hello to rich jewel tones
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DESIGNS ¢(0}¢" '
Sew satisfying! Quick

Clever Courthouse steps
blocks by Karen Lewis
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Meet the team
Acting Editor Nikki Morgan
Art Editor Kit Cheung
Production Editor Lorna Slessor
Senior Technical Editor Sarah Griffiths
Digital Editor Zoe Williams
Designer Tina Prior
Contributors
Caroline Hadley • Debbie von Grabler-Crozier
Jaine Bevan • Karen Lewis • Kate Basti
Kate Webber • Laura Cunningham • Louisa Goult
SELFISH SEWING
Louise Stevens • Lynne Goldsworthy • Sara Lawson
Sonia Spence • Susi Bellingham • Suzy Williams
Tiffany Horn • Yvonne Fuchs
Photography Immediate Media Photo Studio

unless otherwise stated. Hopefully when you read this you’ll be chilling with your feet up and a
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Love Patchwork & Quilting, Immediate Media, you have been in the run up to Christmas this year. If you are, then
Tower House, Fairfax Street, Bristol, BS1 3BN
lovequilting@immediate.co.uk what better way to reward yourself than with some selfish sewing? Yep,
that’s right, stitching that is just for you! We’ve got some cracking
ADVERTISING
Call: 01173 008 203 projects for you to lose yourself in this month that build quickly and
Senior Advertising Manager Penny Stokes
Client Partnership Manager Beckie Pring
easily for a super-satisfying and impressive finish. And, for those of you
Senior Sales Executive Tiffany Jackson
Ad Coordinator Emily Thorne
aren't feeling so smug? Our columnist Suzy Williams is here to help
Ad Designer Libby Parfitt with some sage sewing tips for last-minute homemade gift ideas... so
MARKETING AND CIRCULATION you might just be able to squeeze in some selfish sewing time after all!
Senior Direct Marketing Executive Lily Nguyen
Newstrade Marketing Manager Janine Smith
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Production Controller Lizzie Ayre
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LICENSING
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PUBLISHING
Publisher (Sewing Portfolio) Liz Taylor
liz.taylor@immediate.co.uk
Group Senior Editor Julie Taylor
Chief Executive Officer Tom Bureau
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Caroline Hadley Tiffany Horn Lynne Goldsworthy

Maths-lover Caroline A big move from Arizona to Lynne first fell in love with
Immediate Media Company Limited is
working to ensure that all of its paper is
combines two of her favourite upstate New York inspired the quilting on a business trip to
sourced from well-managed forests. This things in her intricate-looking launch of Tiffany's quilt Washington. She now spends
magazine can be recycled, for use in
designs – geometry and pattern design brand and her days whipping up both
newspapers and packaging. Please remove any gifts, samples or wrapping
and dispose of it at your local collection point. quilting, of course! blog, Village Bound Quilts modern and traditional quilts
WWW.LOVEPATCHWORKANDQUILTING.COM 3
33
24
44
66
58
78
Pro ects
STEPPING STONES POCKET FULL OF POSIES CRAFTBOUND
16 Combine glimmering metallics
and simple strips to piece a unique
quilt inspired by the stepwells of India
53 For a statement cushion, look no
further than this English Paper
Pieced ring design with fussy cut curves
78 Put a modern spin on the Log
Cabin block with mix and match
strips and a medley of vibrant prints
RAINBOW TWIST CHEVRON MINI BLOCK OF THE MONTH

24 Reach for your stash of solids and
bright white cottons to stitch up a
striking design that lets cool curves shine
58 Piece half hexie shapes into a
striking braid arrangement 96 This month, make a nature-inspired
hills design featuring simple
appliqué curves with the latest instalment
PIXEL PLAID of Karen Lewis’ Courthouse Steps Block
SNUGGLE BUNNY
33 Sew a quilt for a new baby with
floppy ears and patchwork details
60 Recreate a classic checked pattern
with a chic modern twist
row by row sewalong
MEASUREMENTS NOTE
FUCHSIA FADE Either metric or imperial measurements
MARINER & MUSTARD
66 Three shades combine for an (sometimes both) are included in each
38
project, as per the designer’s preference.
Indulge in two of your favourite understated HST design that plays
Converting measurements could interfere
hues to make an easy and with contrasting pattern and texture with cutting accuracy. Follow the same units
eye-catching Courthouse Steps design of measurement throughout; do not mix
IMPROV DISCO DUO metric and imperial. Read the instructions all
BEE BUNTING
73
the way through before cutting any fabric.
Glitter, patchwork, pompoms… Always make a test block before embarking
44 Foundation Paper Piece bright

buzzy bees and a cheery sentiment
oh my! Combine all three to
make two stylishly simple wall hangings
on a large project.
4 WWW.LOVEPATCHWORKANDQUILTING.COM
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73
16
96
Features
COVER GIFT shapes and colours. We caught up with the
6 You deserve as many projects as we

can physically give you, so this month
we’re gifting you two extra designs to sew
self-taught designer to chat about QuiltCon,
collaborations and proudest moments
– an FPP quilt and a stylish bag! NEXT MONTH

OUT THERE 76 Your sneak peek at the goodies
we’ve got in store for you in the next
9 Each month we pick out our fave

new quilty finds. Fabrics, sewing
accessories, book releases, patterns and
issue of Love Patchwork & Quilting
TEMPLATES
homewares – if the team love it, you’ll find
it in these pages 87 You’ll find all the templates for this
issue’s lovely projects right here.
If you prefer, you can also download them
IN THE KNOW for yourself and print them out full-size at
30 No time to sew those last-minute

Christmas gifts? Think again!
Suzy Williams shares her clever ideas for
home – find them now at
lovepatchworkandquilting.com
quick presents you can whip up now THE LAST WORD

DESIGNER PROFILE 98 This month, rainbow obsessed,
colour-loving Kate Basti has stepped
48 Modern quilter Nydia Kehnle is

a natural when it comes to
out of her comfort zone to curate a tranquil
bundle that celebrates the beauty of winter
Make me today!
Cl iCk Here
for Your
PatTerns!
COVER GIFT
PRETTY
PATTERNS
Because you deserve as many projects as we can physically give
you, we're bursting out of our pages to bring two extra designs to
sew this month – an FPP quilt and a stylish bag!
Boost your sewing library with this month's gift of not oundation Paper Pieced quilt. It features a striking
one, but two pattern envelopes, complete with all the arburst design made up from super-sized blocks
full-size templates you need to get making. Kick-start at come together quickly for beginner-friendly FPP,
your creativity with Sara Lawson's Half-square Triangle a satisfyingly speedy sew for experienced quilters.
handbag – beautifully pieced in Art Gallery Fabrics by When you're done, file your patterns away in their
Debbie von Grabler-Crozier – to learn essential ordinating printed envelopes ready to revisit
bag-making skills that can be transferred to all kinds nother day, or pass onto a fellow quilter and share
of projects. the love! Oh, and don't forget to show us your
Once that's in the bag (pardon the pun!), stretch projects on social media too using #lovequiltingmag
your stitching skills with Lynne Goldsworthy's – we always love to see what you’ve been making.
LovePatchworkandQuilting LoveQuiltingMag LoveQuiltingMag
www.lovepatchworkandquilting.com
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OUT THERE
Bundle up!
We've often wasted hours agonising over the best fabric combos for our quilts – so much so, that it has eaten into our making time! That's
where these cleverly curated fabric sets from Art Gallery Fabrics come in. Designed for ease and speed, the new Bundle Up fabric stacks are
grouped in themes, brimming with iconic prints from AGF designers, while Color Master bundles are built around specific shades for
beautifully coordinated makes. Each set contains ten fat quarters or half yards, with 40 editions to choose from! View at artgalleryfabrics.com
OUT THERE
TEA TIME
Kick off your year with a new
block of the month challenge and
add a quilty touch to your kitchen
as well with Moda's collectable
2019 Quilt Block Calendar Tea
S¨ %χ &
Towel. It features a different Meet Hunt, slow-sewing champion
patchwork design for you to sew Carolyn Friedlander's latest
each month so you'll have plenty appliqué pattern. Made using her
of quilting inspiration to hand signature needle turn technique,
SAFE AND SOUND and 12 new blocks to add to your it's a soothing, repetitive design to
There are few things more satisfying to us repertoire. We're popping it on snuggle down with and while the
than an organised sewing space, and so our Christmas wish lists right now hours away. Its beautifully simple
this nifty storage from Milward is a dream (hint, hint everyone) and will be design and striking colourway is
come true – keeping our quilting rulers gifting it to our fellow quilters sure to brighten even the bleakest
neat and tidy and looking oh-so-stylish, too. Buy at fatquartershop.com winter's day! Purchase the pattern
too. Get yours from sewingquarter.com from carolynfriedlander.com
§ -ª& φ

A lot of time and love goes into creating
a quilt, so it's only fitting to choose a label
for it that’s as beautiful as the project
itself. Rae Ritchie, whimsical illustrator
and Dear Stella fabric designer, has just
released a stunning new quilt label fabric
featuring a plethora of sweet sentiments
to cut out and stitch into your heirloom
makes. Coordinating with her latest
collection, Love You to the Moon, the
fussy-cut designs are laced with inky blue
watercolours and charming hand
sketched motifs on a classic white cotton
background, with lots of space for you to
add in your own messages, too. All that's
left is to practise your calligraphy skills!
See the range and stock up on label
fabric now at dearstelladesign.com
GOOD
READS
PATCHWORK PIN PALS

Some books are so pretty you just have to
have them, like our latest crush, Pin Pals
by Carrie Nelson. Her passion for pinnies,
poppets, pincushions – or whatever you
prefer to call them – is infectious and we
can't wait to stitch our way through the 40
covetable projects inside. Because, when
it comes to pincushions as pretty as these,
there's no such thing as having too many!
Purchase through amazon.com
FIGO
FABRICS
Take note, quilters, there's
a new fabric brand in town!
FIGO Fabrics, a division of
Northcott, is set to bring a
whole lot of fun to the modern
quilting landscape. Working
with unique designers from
different industries, their prints
combine trend-based colours
and motifs with high quality
K"φ¥&Æ£/&
If you haven't sewn with kraft-tex
cotton for a finish that modern before, Betsy La Honta and
quilters will find impossible Gailen Runge's new book Sew
to resist. Current collections kraft-tex Bags will teach you
feature lucky charms, tropical everything you need to know
icons, boomboxes, boogying about this game-changing paper,
figures and chic blooms. Oh, which feels like leather and
and did we mention that there stitches like fabric. It features 17
are coordinating solids, too? You projects plus oodles of top tips
heard it here first! Browse all the for working with this new stash
latest ranges at figofabrics.com essential. Find at ctpub.com
OUT THERE
DOTS AND DASHES

Erin Dollar of Cotton & Flax has pops of zingy yellow and punchy
stylish simplicity nailed. Her turquoise add a splash of fun to
latest collection for Robert the sophisticated range. Texture
Kaufman, Balboa, brings more of is key, with the entire collection
the screen printed shapes we being printed on quality Essex
saw in Arroyo but in a new Linen, while the tactile, imperfect
muted colour palette. Dots and patterns give a delightfully rustic
dashes make their way across touch. We're in love! Find the
taupe, blue and black, while range at robertkaufman.com
S ©-§"
S£ '
ABBY HERSEY: Looking for a hero print
for your next make? Illustrator, sewist and
lover of the great outdoors, Abby, creates
bold and dreamy prints in abundance
using a vintage colour palettes and retro
motifs… see for yourself in her
Spoonflower.com shop, abbyhersey.
BOOBOO COLLECTIVE: Architect and

surface pattern designer Daniela has
plenty of fun creating her fabrics, weaving
her favourite things into digital prints and
playing along with Spoonlower's monthly
design challenges. See her effortlessly cool
work in her shop, booboo_collective.
OUT THERE
Have you seen this issue's amazing UK subscription offer? Subscribe now and receive
a bundle of Dashwood Winterfold fabrics, worth £30! Find out more on page 22…
HO HO HO!
INTO THE It may be cutting it fine to start
WOODS a full-size quilt in time for

Christmas, but you've still got
Mid-century shades are key in plenty of time to stitch up some
this stunning new Spruce Woods kitsch decorations… enter The
quilt pattern by Erin Kroeker Make Arcade. With a range of
of The Blanket Statement. adorable felt ornament kits on
Available in two sizes – 40in or their (virtual) shelves, you'll be
60in square – the design boasts spoilt for choice! These soft
Half-square Triangles in a cuties are ideal for stitching with
symmetrical arrangement that your little ones, or indulging in
makes us think of the forest a quick sewing sesh with a mince
floor. Copy Erin's warm colour pie in hand. You'll find us tucked
palette or experiment using the up in the corner making our very
handy colour-in page – it's easy own festive sprouts! Browse the
to make this versatile design full collection of Christmas craft
your own. Download yours from kits over at themakearcade.co.uk
theblanketstatement.ca
F(
T $)
Ready for some sunshine?
Maureen Cracknell's latest
collection for Art Gallery
Fabrics, Sunkissed, is a
cheerful reminder of
scorching hot days, lying
poolside in dreamy
destinations. Overlowing
with vibrant tones and
tantalising patterns, the range
cools down bright corals and
spicy mustards with soothing
navy and cream, while fresh
lorals dance across textured
backgrounds and tropical tiles
add a punch of geometry. See
more at artgalleryfabrics.com
OUT THERE
ZAKKA HOME
For those of you sitting there with a
slight look of confusion, the Japanese
design aesthetic Zakka is all about
combining practicality with beauty and
style. With that in mind, Sedef Imer has
created a collection of yummy projects
to bring a helping of homespun
goodness into your life. Simply called,
Zakka Home, it features 19 easy-sew
tutorials that are perfect for those in
need of a quick stitchy fix! Time to
whip out those ditsy prints you have
OUT OF MY SHELL
stashed away... Buy at amazon.com Here's one for all ages! Out of my Shell multicoloured kites ly above the animal
by Dear Stella is overlowing with fun, pals, while ditsy lorals are set against a
transforming adorable tortoises' shells similar sweet sky blue. Dotty blenders
into fairytale abodes for little bears, complete the collection, in punchy coral,
rabbits, mice and more. Feature prints soft pink, dusky blue and a light grey,
are bold and upscaled, ideal for home tying it up in one lovely – and slightly
decor makes and fun fussy cutting. Mini mad – bow. dearstelladesign.com
INSTA INSPIRES!
#GINGERBREADQAL
Here at LP&Q HQ, we simply can't
get enough of Christmas. Some of
you may have noticed our festive
Gingerbread House quiltalong back
in October, where Gracey Larson's
(@burlapandblossompatterns) sweet,
seasonal block designs were
@paula_sewyellow
brightening up our Insta feeds! We've

loved seeing everyone's versions, and
can't wait to catch more last-minute
makes in the run up to Christmas.
Check out issue 66 for the pattern
and make sure to tag us so we can @aqua_paisley
see your blocks! @lovequiltingmag
Patchwork & Quilting Shows
Calendar 2019
Presented by Grosvenor Shows Ltd.
Bringing Quilting to Quilters
Spring Quilt Festival, Find Us on Springfields
Harrogate Facebook Quilt Show, Spalding
At : Exhibition Hall 2, Great Yorkshire www.facebook.com/grosvenor At : Springfields Events Centre,
Showground, Harrogate HG2 8NZ Camel Gate,
Open: 10.00am - 4.30pm (4pm Sun.) Spalding, Lincs PE12 6ET
22 - 24 February 2019 Open: 10.00am - 4.00pm
Friday, Saturday, Sunday 31 May - 1 June 2019
Friday, Saturday
Great Northern Quilt & Springfields Christmas
Needlecraft Show, Quilt Show, Spalding
Harrogate At : Springfields Events Centre,
At : Exhibition Hall 1, Great Yorkshire Camel Gate,
Showground, Harrogate HG2 8NZ All dates are Spalding, Lincs PE12 6ET
Open: 10.00am - 4.30pm subject to change Open: 10.00am - 4.00pm
30 Aug - 1 September 2019 6 - 7 December 2019
Friday, Saturday, Sunday Friday, Saturday
Spring Quilt Festival,

Newark Quilt Show Duxford
At : Lady Eastwood Centre, At : Conservation Hall,
Newark Showground, Imperial War Museum,
Lincoln Road, Newark NG24 2NY Duxford, Cambs. CB22 4QR
Open: 10.00am - 4.00pm Open: 10.00am - 4.30pm (4pm Sun.)
18 - 20 January 2019 8 - 10 March 2019
Friday, Saturday, Sunday Friday, Saturday, Sunday
Autumn Quilt Festival, Autumn Quilt Festival,

Duxford
Newark NEW At : Conservation Hall,
At : Lady Eastwood Centre, SHOW Imperial War Museum,
Newark Showground, Duxford, Cambs. CB22 4QR
Lincoln Road, Newark NG24 2NY Open: 10.00am - 4.30pm (4pm Sun.)
Open: 10.00am - 4.00pm 25 - 27 October 2019
13 - 15 September 2019 Friday, Saturday, Sunday
Friday, Saturday, Sunday
National Quilt
Championships,
Quilts UK, Malvern Sandown
At : Severn Exhibition Hall and Marquee, At : Sandown Exhibition Centre,
Three Counties Showground, Sandown Park Racecourse,
Malvern, Worcs. WR13 6NW Esher, Surrey KT10 9AJ
Open: 10.00am - 5.00pm Open: 10.00am - 4.30pm (4pm Sun.)
(4.30pm Sunday) 21 - 23 June 2019
16 - 19 May 2019
Friday, Saturday, Sunday
Thursday, Friday, Saturday, Sunday
Autumn Quilt Festival, Spring Quilt Festival, Spring Quilt Festival, Autumn Quilt Festival,
Malvern Exeter Ardingly Kent
At : Severn Exhibition Hall, At : Westpoint Exhibition Centre, At : Norfolk Pavilion, South of England At : Clive Emson Exhibition Hall,
Three Counties Showground, Exeter EX5 1DJ Showground, Ardingly, Kent Showground, Detling,
Malvern, Worcs. WR13 6NW West Sussex RH17 6TL Maidstone, Kent ME14 3JF
Open: 10.00am - 4.00pm
Open: 10.00am - 4.30pm (4pm Sunday) Open: 10.00am - 4.00pm Open: 10.00am - 4.00pm
18 - 20 October 2019 29 - 31 March 2019 25 - 27 January 2019 8 - 9 November 2019
Friday, Saturday, Sunday Friday, Saturday, Sunday Friday, Saturday, Sunday Friday, Saturday
Tel: 01406 372600/372601 www.grosvenorshows.co.uk

LET IT SPARKLE
Dotty prints and metallic
fabrics add a celestial
quality to this quilt design
STEPPING
STONES
Combine glimmering metallics and striking
strips to piece a unique quilt design
inspired by the stepwells of India
BY CAROLINE HADLEY
STEPPING STONES
YOU WILL NEED

Q Fabric A (pink) 1yd
Q Fabric B (dark blue) 1yd
Q Fabric C (mustard) 1yd
Q Fabric D (light grey) 1yd
Q Fabric E (cream) 1½yds
Q Backing fabric: 4yds
Q Batting: 68in x 80in
Q Binding fabric: ½yd
FINISHED SIZE
Q 60in x 72in
NOTES
Q Seam allowances are ¼in,
unless otherwise noted.
Q Press seams open, unless
otherwise instructed.
Q RST = right sides together.
Q WOF = width of fabric.
Q Wash and press all fabrics
well before cutting.
FABRICS USED
Fabrics are all basics from the
Netorious, Sprinkle and XOXO
collections by Cotton+Steel.
CUTTING OUT SELECT FABRICS WITH HIGH

CONTRAST TO HIGHLIGHT THE
1From Fabric A cut:
Q Twelve (12) 3in squares.
Q Twelve (12) 3in x 5½in rectangles. INTRICATE PIECING
Q Twelve (12) 3in x 8in rectangles.
Q Thirty six (36) 1¾in x 5½in rectangles.
Q Six (6) 1¾in x 15½in rectangles.
2 From Fabric B cut:

Q Eleven (11) 3in squares.
Q Eleven (11) 3in x 5½in rectangles.
Q Eleven (11) 3in x 8in rectangles.
Q Thirty three (33) 1¾in x 5½in rectangles.
Q Six (6) 1¾in x 15½in rectangles.
3 From Fabric C cut:

Q Twelve (12) 3in squares.
Q Twelve (12) 3in x 5½in rectangles.
Q Twelve (12) 3in x 8in rectangles.
Q Thirty six (36) 1¾in x 5½in rectangles.
Q Seven (7) 1¾in x 15½in rectangles.
4 From Fabric D cut:

Q Thirteen (13) 3in squares.
Q Thirteen (13) 3in x 5½in rectangles.
STEPPING STONES
Fig 1
Fig 2
Q Thirteen (13) 3in x 8in rectangles.

Q Thirty nine (39) 1¾in x 5½in rectangles.
Q Seven (7) 1¾in x 15½in rectangles.
5 From Fabric E cut:

Q Sixteen (16) 3in squares.
Q Sixteen (16) 3in x 5½in rectangles.
Q Sixteen (16) 3in x 8in rectangles.
Q Forty eight (48) 1¾in x 5½in rectangles.
Q Ten (10) 1¾in x 15½in rectangles.
6 From the backing fabric cut:

Q Two (2) 68in x WOF rectangles.
7 From the binding fabric cut:

Q Seven (7) 2½in x WOF strips.
ASSEMBLING THE QUILT
8 Each block contains two fabrics. From

each fabric select one 3in square, one
3in x 5½in rectangle, one 3in x 8in rectangle
and three 1¾in x 5½in rectangles.
9 Take one Fabric B and one Fabric D

1¾in x 5½in rectangle and sew together
along the long edge. Repeat with the
remaining two 1¾in x 5½in rectangles for
that block to make three striped units.
Arrange with the remaining pieces for the
STEPPING STONES
TOP TIP
To match seams perfectly across the
blocks, hold together by hand, or with
pins. As you reach a seam, stop with the
needle down, and adjust as necessary to
match the next set of seams.
Layout Diagram
block. Sew together in rows. Then add a
Fabric D 1¾in x 15½in rectangle to the
bottom (Fig 1).
13 Press the quilt top and backing well.
Make a quilt sandwich by placing the
10 Repeat step 9 to make the next three

blocks, noting the positions of the
strips to make the corners as shown in
backing fabric right side down, the batting
on top, then place the quilt top centrally
and right side up. Baste the layers
Fig 2. Sew together in a set of four blocks. together using your preferred method.
Make the remaining blocks in sets of four,
as shown in the Layout Diagram.
14 Quilt as desired. Caroline quilted
straight lines vertically across the quilt
11 Sew the blocks together in rows,

then sew the rows together. Sew the
remaining 1¾in x 15½in rectangles
top, using the piecing in her blocks as a
guide. Trim off the excess batting and
backing fabric and square up the quilt.
together in one long row and add to the
top, matching the colours as shown, to
complete the quilt top. 15 Sew the binding strips together
end-to-end using diagonal seams.
Press the seams open. Fold in half
Caroline Hadley
Maths-lover Caroline
QUILTING AND FINISHING lengthways, wrong sides together, and combines two of her
favourite things – geometry
12 Remove the selvedges from your

backing fabric. Sew the two
68in x WOF pieces together along the
press. Sew the binding to the right side of
the quilt, creating a neat mitre at each
corner. Fold the binding over to the back of
and making quilts
geometriquilt.com
geometriquilt
long edges using a ½in seam. Press open. the quilt and hand stitch in place to finish.
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The digital version of the magazine does not include the
cover gift that you would find on print newsstand copies.
PALETTE POP
Label your fabrics carefully
to create a dynamic colour
gradient across the quilt
RAINBOW
TWIST
Reach for your stash of solids and bright
white cottons to stitch up a striking design
that lets cool curves shine
BY SONIA SPENCE
RAINBOW TWIST
YOU WILL NEED

Q Background fabric: 4yds
Q Twenty seven (27) rainbow solid
colours: one (1) fat quarter each
Q Batting: 90in square
Q Binding fabric:/ yd
Q One (1) copy each of
Templates 1 and 2
FINISHED SIZE
Q 85in square
NOTES
Q Templates include seam
allowances, where necessary.
Q Press fabrics before cutting.
Q For templates see p87.
Q Threads provided by Aurifil (aurifil.com)
FABRICS USED GIVE YOUR QUILT A MODERN

TWIST WITH CURVED CORNERS
All fabrics are Kona Cotton Solids in
(rainbow order) Ruby (A), Poppy (B), Red
(C), Tangerine (D), Orange (E), School Bus
(F), Mango (G), Papaya (H), Corn Yellow (I), AND A STYLISH FACED BINDING
Canary (J), Willow (K), Clover (L), Fern (M),
Sour Apple (N), Teal Blue (O), Caribbean CUTTING OUT Q One (1) 5in x 19in rectangle.
(P), Turquoise (Q), Peacock (R), Azure (S),
Marine (T), Surf (U), Copen (V), Bright Pink
(W), Candy Pink (X), Hibiscus (Y), Tulip (Z),
1 From the background fabric cut:
Q Three (3) 16½in x WOF strips.
Subcut into eighteen (18) 5in x 16½in 4 From mid red (C) and light teal (S)
fabrics cut:
Wisteria (ZZ) by Robert Kaufman. rectangles. Q One (1) 5in x 12in rectangle.
Q Five (5) 7½in x WOF strips.
Subcut into seventeen (17) 7½in squares
and four (4) 7½in x 12in rectangles.
Q Three (3) 19in x WOF strips.
5 From dark orange (D) fabric cut:
Q One (1) 5in square.
Subcut into fourteen (14) 7½in x 19in

rectangles.
Q Four (4) 5in squares.
6 From dark yellow (H) fabric cut:
Q Two (2) 7½in x 5in rectangles.
2 From dark red (A) and dark blue (T)

fabrics cut:
Q Two (2) 5in squares.
1½in 1½in
3 From red (B) fabric cut:

Q One (1) 7½in x 5in rectangle. Fig 1
RAINBOW TWIST
Cutting out piecing the curves
A B C
D E
7 From orange (E), yellow (I), light yellow
(J), green (L), mid green (M), dark teal
(P), teal (Q), mid teal (R) and blue (U)
fabrics cut:
Q One (1) 5in x 19in rectangle.
8 From mid orange (F) fabric cut:

F G
9 From light orange (G) fabric cut:
Q One (1) 7½in x 5in rectangle.
10 From dark green (K) fabric cut:

11 From light green (N) and mid blue (V)

fabrics cut:
Q One (1) 5in square. 15 From dark purple (Y) fabric cut:
Q One (1) 7½in x 5in rectangle. Q Two (2) 7½in x 5in rectangles.
12 From the darkest teal (O) fabric cut:

16 From mid purple (ZZ) fabric cut:
Q One (1) 7½in x 5in rectangle.
13 From dark pink (W) fabric cut:

17 On each coloured 5in square, line up
the straight edges of Template 1 with
two straight edges of the fabric and cut
Q One (1) 7½in x 5in rectangle. around the curve. Set aside.
14 From pink (X) and purple (Z)

fabrics cut:
18 On each background fabric
5in x 16½in rectangle, line up the
short straight ends of Template 2 with the
Q Two (2) 7½in x 5in rectangles. fabric and carefully cut the inwards curve.
Q One (1) 5in x 19in rectangle. Move the template to the opposite corner
Q One (1) 5in x 12in rectangle. at the bottom and cut the curve, making
sure it is going in the opposite direction
to the curve you previously cut (Fig A).
RAINBOW TWIST
X X W W J J J J N N
G S
C
X B B F H J G F R R N R R
W F M M R M M
I I I I ZZ
E E I E E Q Q M Q Q V V ZZ
E H H L L Q L L Y Y V Y Y
D P P L P P U U Z U U B
P K K U X X B
K K Z Z Z Z
K
Z X
O O T T T T A A A A
Layout Diagram
QUILTING
Repeat with each of the four background
5in squares. 23 Use a scant ¼in seam allowance to sew
around the curve, removing the pins as
you go (Fig F). Repeat step 22 with the other 26 Cut the backing fabric in half across
the width. Remove the selvedges and

Q Eight (8) 2½in x WOF strips.
side of the background strip and the second
Template 1 piece. Press seams towards the
background fabric (Fig G).
sew the two pieces together using a ½in
seam. Press the seam open.
20 From the dark red (A) and pink (X)

fabrics cut:
Q One (1) 7½in x 2½in strip on the bias, 24 Repeat steps 22–23 with the
remaining Template 1 and 2 pieces,
27 Press both the quilt top and backing
well. Make a quilt sandwich by placing
the backing fabric right side down, the
for the corner binding. referring to the Layout Diagram for colour batting on top, then place the pieced quilt
pairings. Sew the remaining light yellow, top centrally and right side up. Baste the
PIECING THE CURVES darkest teal, dark blue and light green three quilt layers together using your
21 Using the Layout Diagram as a guide,

start with the first column on the left
Template 1 pieces to the background 5in
Template 2 pieces, using the same
preferred basting method.
hand side, working from the bottom up.

Take a dark orange and a dark green
Template 1 piece and a background
method as before.
ASSEMBLING THE QUILT TOP

28 Quilt as desired. Sonia quilted
straight lines 1in apart across the
background, as well as horizontal and
Template 2 piece (Fig B).
25 Arrange your curved units and
remaining cut pieces into columns,
vertical serpentine stitching in each of the
twists. She used Aurifil 50wt threads in
22 Fold the curves in half and finger

press to find the centre (Figs C and
D). RST, match the centre lines on your
referring to the Layout Diagram for
placement. The pink top left corner and
dark red bottom right corner should be
Burgundy, Yellow Orange, Pale Yellow,
Emerald, Peacock Blue, Dusty Lavender,
Blossom Pink, Bright Turquoise and
curves together. Pin together at the right left as curves. Sew the pieces into the Natural White. Once quilted, trim off the
edges (Fig E), and repeat with the straight columns, then sew the columns together excess batting and backing fabric and
edges on the left side. to complete the quilt top. square up the quilt.
RAINBOW TWIST
FaceD binding
H I
J K
L M
29 Trim the excess quilt top, batting

and backing level to leave a ¼in seam
allowance, ensuring that two corners are
33 To attach the binding, start at one
of the rounded corners. Fold the bias
strip in half to locate the centre point of
edge. Sew a line at 45 degrees across each
corner to provide a crisp finish.
squared, and two rounded.
FACED BINDING
the long edge. Fold the quilted curve in
half to find the centre point and join the
two together, matching the right sides
36 Clip in to the curved edges and trim
the square corners just to the side of
the stitch line (Figs K and L). Press to the
30 Trim each of the Fabric X and A

binding strips as shown, measuring
together (Figs H and I). back of the quilt.
1½in from each end and cutting on the

diagonal to the corner (Fig 1). 34 Match the seams for the edge of the
curved block with the edge of the
bias strip and, starting at the centre of the
37 Pin in place, easing the bias strip
around the curve (Fig M) and, starting
on the side where the binding was cut
31 Join the remaining binding strips

together in pairs along the short ends,
using diagonal seams. Join one binding
curve, sew around the edge of the quilt.
Trim the binding even with the edge of the
quilt. Return to the curve and sew to the
shorter, slip stitch in place. Fold the other
side over and slip stitch in place.
pair to each end of the Fabric A and other edge, trimming any excess binding Sonia Spence
Fabric X strips. at the ends (Fig J). Sonia started sewing in 2011
and has never looked back.
She's even mastered sewing
32 Press under a ¼in seam allowance

along the bottom of the first binding
strip, ensuring that this includes the
35 Repeat this process for the opposite
edge of the quilt, again starting at the
centre of the curve. This time, trim the
curves perfectly without pins!
v>LÀV>`yÜiÀÃ°V°Õ
v>LÀV>`yÜiÀÃ
shorter edge of the bias strip. binding so that it is 1in short of the quilt
IN THE KNOW
IN THE KNOW
Make it mini
Still trying to squeeze in some sewing around the holiday
rush? Suzy Williams is here to help you satisfy your need
to stitch and tick off your gift list at the same time
With the change of season and Make something, just You still following? Reading this
the chaos of the holidays quickly make it small might feel a bit like you’re the one
approaching, most of us are running When thinking about writing this chasing a white rabbit. Let me say it
a little low – low on time, low on article, I kept going back to that more clearly – if time, energy or spirit
energy and maybe even a bit low scene in Alice in Wonderland when is small, just make small things! Not
on joyous holiday spirit. Even though Alice is trying to fit through a teeny only do small handmade items make
I can’t magically wrap all of your tiny door and the only solution is to the sweetest gifts, they can also
Christmas presents or find that drink a shrinking potion labelled serve as a wonderful catalyst to get
perfect, elusive gift for your friend “Drink Me”. It occurred to me that you sitting at your sewing machine
who seems to already have when I’m busy and have just a small without a huge commitment. And
everything, what I can do is give window of time, or shall we say, a what kind of a holiday elf would I be
you a few tips on squeezing in some small door of time, there’s no point if I didn’t leave you with some fun
sewing, even if the spirit isn’t flowing in trying to cram my normal-sized and practical ideas?
(the holiday elf in me needed to self through it! I’ve gotta drink first…
rhyme right there). the shrinking potion that is. A cushion
Remember that friend who already
If energy or spirit is small, just make small things! has a bunch of candles, a monthly
subscription to the good magazines
Small handmade items make the sweetest gifts and (uhum?) and a standing weekly
serve as a catalyst to get you at your sewing machine manicure appointment at her local
salon? Well, you know what one
thing she absolutely does not have?
Whip up a quick
binding-less table A handmade cushion by you! What
runner as a stylish was that? You made her one last
handmade gift!
year? Not making this easy on me,
I see. Then do read on!
A table runner
The amazing thing about table
runners is there really is no “standard
size”. You can pretty much just sew
until you run out of steam and then
call it a table runner. They can be
square-ish, rectangle-ish, long, short,
wide, skinny – it’s up to you! You can
scrap together some improv piecing,
or make a handful of blocks from
your favourite quilt pattern.
When making table runners,
I actually like to take an added
shortcut and avoid binding by
IN THE KNOW
The amazing thing

about table runners is
there's no "standard size"
You can sew until you
run out of steam!
SUZY QUILTS
parts of the rope. This gives the rope

fun little pops of colour. And if you’re
particularly invested in this gift, you
could make a couple of nesting
bowls of different sizes. That would
cover a holiday and a birthday, easy.
Suzy suggests
small projects A pouch
like cushions to A universal, easily interchangeable
get your
pouch! Depending on who the gift
sewing fix
is for, you can say that it’s a pencil
pouch, a makeup bag, a going out
clutch, a coin purse, a doggie treat
case, a pills pocket, a toiletries bag,
a Lego container or even a scented
sachet. You could make five of the
same bag and just call it different
sewing the three quilt layers facing (yes, pun very much intended), it looks things on the label! Just make sure
each other and then flipping it like you only need a basic cotton the recipients don’t know each other,
right-side out like a pillow. If those clothesline from your hardware store otherwise the personalised (or non
instructions confused you, look for a and cotton thread for your machine. All personalised) effort will be lost.
free table runner tutorial I posted on you do is slowly zigzag stitch the rope You can choose to make one with
the LP&Q blog last year. There are to itself while coiling it around in a bowl a zipper, drawstring or even a simple
lots of pictures, so you don’t even shape. I will need to read a tutorial on button enclosure. However,
have to read the instructions, hurrah! this since after writing that it seems to if you’re opting for the doggie treat
me you’d end up with a rug rather than case, just know that zippers can be
A rope bowl a bowl. Maybe it’s a choose your own tricky when one has no thumbs.
I have seen tutorials for these adventure kind of thing! Rug or bowl,
floating around social media for over we may not know until it’s finished!
a year and it still remains on my If you feel the holiday spirit seeping
to-make list. Let this year be the back in, you can even add scraps of suzyquilts.com
year! From what I can rope together your favourite fabrics wrapped over suzyquilts
yarn fabric needles & hooks haberdashery buttons ribbons
Visit our online shop at www.sulky-shop.co.uk
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SNUGGLE
BUNNY
Sew the sweetest quilt for a new
baby, complete with soft, floppy
ears and a striking patchwork panel
BY KATE WEBBER
SNUGGLE BUNNY
YOU WILL NEED

Q Fabric A (white) 1¼yds
Q Fabric B (Grey) / yd
Q Fabric C (Green) / yd
Q Fabric D (Yellow) ¼yd
Q Fabric E (Orange) / yd
Q Fabric F (Pink) one (1) fat quarter
Q Fabric G (Black) one (1) 10in square
Q Backing fabric: 1¾yd
Q One (1) copy each of the
Nose, Eye, Right Ear and Left
Ear templates
FINISHED SIZE
Q 32in x 44in (excluding ears)
NOTES
Q Seam allowances are ¼in, unless
otherwise noted.
THE FEATURE PANEL ON THIS
Q HST = Half-square Triangle. CUTE QUILT IS IDEAL FOR
PERFECTING YOUR PIECING SKILLS
Q FPP = Foundation Paper Piecing
CUTTING OUT
FABRICS USED
White, Steel, Candy Green, Buttercup, 1 From Fabric A cut:
Q One (1) 14½in x 32½in strip.
Q Three (3) 2½in x 32½in strips.
Mango, Candy Pink and Charcoal from

Robert Kaufman.
Q Eight (8) 2½in x 4½in strips.
Save the remainder for the ears. 5 From Fabric E cut:
Q One (1) 1¼in x WOF strip. Subcut

Q One (1) 4½in x WOF strip. Subcut into
into seven (7) 1¼in x 1¾in pieces and
two (2) 1¼in x 2¼in pieces.
Q Two (2) 2¼in x 32¾in strips.
nine (9) 2½in x 4½in strips.
Q Two (2) 1in x 30in strips.
Q One (1) 4in x WOF strip. Subcut into nine
(9) 4in squares, and cut each one in half on
6 From Fabric F cut:
Q Two (2) 16½in x 8½in pieces
for the ears.
the diagonal to make eighteen (18) HSTs. Q Two (2) 2½in squares for the nose.
Q One (1) 3in x 10in strip. Subcut into eight
(8) 3in x 1¼in pieces.
7 From Fabric G cut:
Q Four (4) 3in x 3½in pieces for the eyes.

Q Two (2) 2½in x 32½in strips. PIECING THE DIAMOND ROW
Q Two (2) 3¼in x WOF strips. Subcut into
sixteen (16) 3¼in squares. Subcut each
one in half on the diagonal to make thirty
8 Take one Fabric C 3¼in square
and two Fabric B HSTs. Join the HSTs
to opposite sides of the square to make a
two (32) HSTs. diagonal strip, referring to Fig 1 for
Q Two (2) 1¾in x 30in strips. placement. Press seams toward the HST
Q Eight (8) 3¼in squares. units and trim the dog ears.
SNUGGLE BUNNY
9 Repeat step 8 to make eight units. Join

into a row, carefully nesting the seams
(Fig 2). Join the remaining two Fabric B
HSTs to the ends of the strip (Fig 3), then
trim to 32½in x 4½in, centring the strip.
PIECING THE DASH ROW
10 Sew together eight Fabric B 3in

x 1¼in pieces and seven Fabric E
1¼in x 1¾in pieces along the short edges,
alternating the Fabric B and E pieces.
Then sew one Fabric E 1¼in x 2¼in piece
to each end (Fig 4).
11 Sew a Fabric E 2¼in x 32¾in strip to

the top and bottom of the pieced strip
from step 10. Trim the row to 32½in
Fig 1
x 4½in, carefully centring the strip.
PIECING THE STRIPED ROW
12 Piece the eight Fabric A 2½in x 4½in

strips and nine Fabric B 2½in x 4½in
strips into a row, joining along the long Fig 2
edges and alternating the fabrics.
Press seams towards Fabric B and trim
to 32½in x 4½in, ensuring you trim evenly
on either side.
PIECING THE CROSS ROW
13 Sew the Fabric C 1¾in x 30in strips

to either side of a Fabric B 1in x 30in
strip, along the long edge. Press seams
Fig 3
towards Fabric B. Subcut the strip into

sixteen 1¾in x 3½in pieces (Fig 5). Fig 4
SNUGGLE BUNNY
Fig 5
Fig 6
Fig 7
Fig 8
make a 32½in x 4½in strip, pressing and D strips in between pieced rows as
seams open. shown in the Layout Diagram on the
following page.
PIECING THE HST ROW
14 Sew eight of the subcut units along

one side of the remaining Fabric B
16 Take the four Fabric E and four Fabric
B 5in squares. Mark a diagonal line on
the reverse of the Fabric E squares, from
19 To shape the head, take the Fabric A
14½in x 32½in strip and mark 8in from
the ends along the top edge, and 4in
strip. Press seams towards the Fabric B corner to corner. Place the squares down from the top down along each side.
strip (Fig 6). Join the remaining eight together, RST, and sew ¼in from either Draw a line between these marks and cut
subcut units to the other side of the strip side of the marked line. Trim down the along the line (Fig 9). Join the head piece
(Fig 7). Ensure the cross in the centre is line and press seams towards Fabric B. to the top of the pieced quilt.
lined up. Trim each cross unit to 3¼in
MAKING THE EARS
square, carefully centring the crosses.
17 Repeat step 16 to make eight HST
units. Trim each to 4½in square and
20 Foundation Paper Piece each Ear
15 Add a Fabric C HST to opposite sides

of each cross unit. Trim the excess
and add two more HSTs to the remaining
join together to make a 32½in x 4½in strip.

template, using the Fabric F pieces
for Section 1 and the Fabric A pieces for
Sections 2–4. Trim along the outer
sides to make a square (Fig 8). Trim each
cross unit to 4½in square, then join to 18 Join your pieced rows together along
the long edges, inserting Fabric C
dashed line of each template, and
remove the paper template.
SNUGGLE BUNNY
/

8in 8in
4in 4in
Fig 9
21 Using the FPP ears as a guide, cut one

piece of batting to the same size and
shape for each ear. Also cut two pieces of
backing fabric in the same way. Be sure to
cut one each of each ear, so you have two
mirror image pieces of both batting and
backing fabric.
22 Lay one pieced ear front on top of the

batting piece, right side up, and lay
the backing fabric on top, right side down.
Stitch around the edges with a ¼in seam,
leaving the bottom edge unstitched. Trim Layout Diagram
the corners and turn the ear right side out.
Repeat with the second ear.
QUILTING AND FINISHING bottom edge. Trim the corners and turn
23 Topstitch around the edges of the

ear, leaving the bottom edge 26 Lay the quilt top on top of the
backing fabric and trim the backing
the quilt right side out.
unstitched. Quilt around the inner ear.
MAKING THE EYES AND NOSE

fabric to size. Put the backing to one side.
29 Slip stitch the turning gap closed and
top stitch around the edge. Quilt as
24 Place two Fabric F 2½in squares RST.

Lay the Nose template on top and
27 Repeat step 26 with the batting, but
keep the quilt top in place. Position
the ears right side down against the quilt
desired, carefully burying your thread ends.
Kate stitched in the ditch with simple
horizontal lines. Position the eyes and nose
draw around the edges. Stitch along the top, aligning the raw edges with the in place and stitch in place to finish.
drawn line and trim 1/8in outside the angled edges at the top. Baste the ears
stitched circle. Make a small cut in the to the top of the quilt top, through both Kate Webber
centre of one layer, and carefully turn right the fabric and the batting. Kate is a colourful quilter with
side out. Press. an eye for fussy cutting and a
passion for prints, especially
25 Repeat step 24 with the Eye

template and Fabric G pieces to
28 Place the backing fabric over the
quilt top, right side down, and stitch
around all sides with a ¼in seam
when it comes to EPP!
katewebberdesigns.uk
katewebberdesigns
make two eyes. allowance, leaving a turning gap at the
COOL CONTRAST
If yellow and blues aren’t your
vibe, simply switch for two colours
at opposite ends of the spectrum
for a similar effect
MARINER
& MUSTARD
Indulge in two of your favourite hues
and show them off in this easy – and
eye-catching – Courthouse Steps design
BY KAREN LEWIS
MARINER & MUSTARD
YOU WILL NEED

Q Fabric A (navy) 1yd
Q Fabric B (navy stripe) ½yd
Q Fabric C (blue) / yd
Q Fabric D (blue stripe) / yd
Q Fabric E (yellow) 1¼yds
Q Fabric F (yellow stripe) ½yd
FINISHED SIZE
Q 60in square
NOTES
Q LOF = length of fabric.
Q WST = wrong sides together.
Q Press all fabrics well before cutting.
Q Fabrics provided by Andover
(andoverfabrics.com)
FABRICS USED
Stripes are from the Mariner Cloth
SPEND TIME MAKING YOUR
collection by Alison Glass for Andover SEAMS STRAIGHT AND ORDERED,
Fabrics in Chef Ware, Chartreuse, Raven,
Fluorescent, Navy and Staffordshire. OR OPT FOR A WABI-SABI LOOK
CUTTING OUT the strips into twenty four
1 From Fabric A cut:

Q Eleven (11) 2½in x WOF strips. Subcut
into twelve (12) 2½in squares, twenty
(24) 2½in squares and twelve (12)
2½in x 6½in strips.
four (24) 2½in x 6½in strips and twenty

four (24) 2½in x 10½in strips. 5 From Fabric E cut:
Q Sixteen (16) 2½in x WOF strips.
Subcut the strips into twelve (12)

Q Six (6) 2½in x WOF strips. Subcut
the strips into twenty four (24) 2½in
2½in squares, thirty six (36)
2½in x 6½in strips and thirty six
(36) 2½in x 10½in strips.
squares and twenty four (24)
Q Six (6) 2½in x WOF strips. Subcut

Q Eight (8) 2½in x WOF strips. Subcut
into twelve (12) 2½in squares, twenty
the strips into twenty four (24)
2½in squares and twenty four (24)
four (24) 2½in x 6½in strips and
twelve (12) 2½in x 10½in strips.

Q Four (4) 2½in x WOF strips. Subcut
MARINER & MUSTARD
PIECING THE COURTHOUSE

TOP TIP STEPS BLOCKS 9 Join a Fabric B 2½in x 6½in strip to the
top and bottom of the square unit, then
When cutting your fabrics, be careful to
align the stripes along the length of the 8 To make the navy block, take one
Fabric A 2½in square and sew two
Fabric B 2½in squares to either side. Sew
finish the block by sewing two Fabric A
2½in x 10½in strips on the remaining sides
to complete the block (Fig 1). Repeat to
pieces. Cutting instructions are given for
a Fabric A 2½in x 6½in strip either side make a total of twelve navy blocks.
vertically striped fabric. If your fabric has
to make a square. If you’re working with
horizontal stripes, cut 2½in x LOF strips
first, then subcut as instructed.
striped fabrics, like Karen, be careful to
arrange the stripes as shown in the
photos to achieve the same effect.
10 Repeat steps 7–8 to make twelve
Fabric C/D/E blocks and twelve
Fabric E/F blocks as shown (Fig 2).
Fig 1 Fig 2
MARINER & MUSTARD
11 Lay the blocks out in six rows of six,

placement, rotating the blocks as shown.
Sew the blocks into rows, pressing seams
to opposite sides between rows. Sew the
rows together, pressing seams open or
to one side to complete the quilt top.
FINISHING THE QUILT
12 Cut your backing fabric in half

along the width. Sew together along
the long edges using a ½in seam. Press
open. Press the quilt top and backing
well. Make a quilt sandwich by placing
the backing fabric right side down,
the batting on top, then place the
quilt top centrally and right side up.
Baste the layers together using your
preferred method.
13 Quilt as desired. Karen quilted vertical

lines approximately 1½in apart. Trim
off the excess batting and backing fabric
and square up the quilt.
14 Sew the binding strips together

Press the seams open. Fold in half
lengthways, WST, and press.
15 Sew the binding to the right side

of the quilt, creating a mitre at each
corner. Fold the binding over to the back
and hand stitch in place to finish.
Buy the kit!

See this project demonstrated live on
air 20 December 2018
Q Live on Freeview 78 and Sky 678
8am–12noon
Q Online at sewingquarter.com
Q Catch up with the show on
youtube.com/sewingquarter
Q Kits available online from 21 Dec 2018
Karen Lewis
Karen spends her days
screen printing beautiful
fabric and stitching up
striking, modern quilts
karenlewistextiles.com
karenlewistextiles
Layout Diagram
DelicatE
wash
lavender
eucalyptus
grapefruit
unscented
jasmine
the spa treatment for your fine washables
quilters’ fair
Sun 13 January 2019
10am – 4pm The
£6 entry, £3 after 1pm Possibilities
are
Farnham Maltings, Surrey, GU9 7QR
farnhammaltings.com
Endless
CONTACT
TIFFANY JACKSON N
01173 008 203
tifany.jackson@immediate.co.uk
FOR ADVERTISING Recycle your magazine and seven days
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FRESH FLORALS
Pick ditsy prints in bright
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against crisp Foundation
Paper Pieced letters
BEE BUNTING
Foundation Paper Piece some bright
buzzy bees and a cheery sentiment to
bring a little fun to your home décor
BY SUSI BELLINGHAM
BEE BUNTING
YOU WILL NEED

Q Assorted scraps for bees
and letters
Q Background fabric: ½yd
Q Backing fabric: ½yd
Q Binding fabric: two (2)
2½in x 42in strips
Q Dark blue embroidery thread
Q One (1) copy each of Letter
templates B (Section A and B),
H, A and Y (Section A and B)
and Left and Right Bee
templates (Section A and B)
Q Two (2) copies each of the
and Letter templates E and P
FINISHED SIZE
Q 42in per strip of bunting
NOTES
STITCH EXTRA FLAGS TO MAKE
otherwise noted. YOUR BUNTING DOUBLE SIDED
Q Press seams to the side, unless
otherwise instructed. OR BACK WITH A SWEET PRINT!
Q FPP = Foundation Paper Piecing.
Q FPP templates include seam allowances CUTTING OUT
around the outer edge only.
Q For FPP, set your stitch length to 1.5.
1 Using the template as a guide, cut the
fabric pieces for each section of the FPP
template, making sure the pieces will be
Q Fabrics supplied by Alice Caroline at least ¼in larger than the section they
(alicecaroline.co.uk) and Sew Hot will cover, all the way around.
(sewhot.co.uk)
PIECING THE BEES
FABRICS USED
Q Floral fabrics are from a strip roll
by Liberty.
2 Foundation Paper Piece Section A
as follows. Place the fabric piece for
Section 1A right side up on the unprinted
Q Coloured solids are from the Sleeping side of the template against the section.
Porch collection by Heather Ross for Ensure that the fabric covers the whole
Windham Fabrics. section, plus at least ¼in all around.
Q Background fabric is an Essex Pin in place.
Yarn Dyed Linen in Oyster by
Robert Kaufman.
Q Backing fabric is Birds in Green from the
Strawberry Biscuit collection by Elea
3 Place the Section 2A fabric piece right
side down on top of the Section 1A
piece, matching up raw edges on the side
Lutz for Penny Rose Fabrics. where Sections 1 and 2 will be joined and
making sure that when folded back along
the seam line, Section 2 will be covered
TOP TIP by the fabric plus at least ¼in all around.
Pin in place.
If you're new to FPP, cut out your pieces
as you work, using a generous ½in seam
allowance. Then trim the seam
allowances back after sewing each line.
4 Turn the template over to the printed
side and stitch along the marked line
between Sections 1 and 2, backstitching
at the beginning and end of the seam.
BEE BUNTING
Assembling the bunting flags
Fold the template away from the seam made a bee sting with a simple
and trim to ¼in. Fold the template back, running stitch.
turn the work to the fabric side, flip
Section 2 open and then press.
9 Using the outer edge of one of
your completed bunting flags as
5 Continue working in this way to piece

the remaining sections on the FPP
template, in numerical order. Trim along
a template, cut the pieces from your
backing fabric. Lay one on top of
a pieced bunting flag, right sides
the dotted seam allowance line. together (Fig A). Sew around the edges,
leaving the top edge open for turning. 12 Find the middle of your binding
strips by folding in half and finger
6 Repeat steps 2–5 to piece each of the

template B Sections 1–10. Pin together
completed Sections A and B, carefully 10 Clip notches in the curved section
of the seam and trim the seam
pressing. Arrange your bunting flags
across the binding strips, starting in the
centre and working outwards on either
matching points. Return your stitch length allowance near the top (Fig B). Turn right side, taking care to leave approx. 1½in
to its normal length for piecing. Sew the side out and press. Topstitch around the between each bunting flag.
pinned Sections A and B together. sewn edges with a / in seam allowance.
Remove the paper from back of the
bunting flag and press the seam open.
Repeat steps 9–10 with all of your
bunting flags (Fig C). 13 Insert the top of each flag inside
the binding fold and pin in place.
Topstitch along the binding strips with
PIECING THE LETTERS FINISHING THE BUNTING a / in seam allowance to secure your
7 Follow the method outlined in steps

2–6 to FPP each of your letter bunting
panels. Make one of letters B, H, A and Y,
11 If you want one long strip of binding,
join the strips together end-to-end,
using diagonal seams. Otherwise keep
flags in place.
Susi bellingham
and two of E and P. your two binding strips separate. Press FPP master Susi has a head
the seams open and trim any dog ears. full of ideas by day and sews
ASSEMBLING THE BUNTING FLAGS Fold the binding strips in half lengthways,
up her crafty plans by night
tinytoffeedesigns.
8 Add any embroidered details to

your bunting flags. Susi embroidered
the bees’ eyes with French knots, and
wrong sides together, and press. Fold
the edges in to meet the centre fold
and press again.
blogspot.de/
lillaluise
DESIGNER PROFILE
E SIG NER PROFILE

D
Nydia Kehnle
Modern quilter Nydia Kehnle is a natural when it comes to
shapes and colours. We caught up with the self-taught designer
to chat about collaborations, QuiltCon and proudest moments
Tell us about your quilting journey. over many years. Flickr really Lucky Penny. We just started talking
I wanted to learn how to quilt after changed my life, as far as finally from there and quickly became
my daughter was born, so I feeling a sense of belonging. I felt friends. We would talk about the
borrowed my friend’s sewing encouraged to continue to make world of fabric and quilting, and
machine and just taught myself using quilts and really just began feeling I had wondered if there was a place
books and blogs. I ended up making confident enough to try to design for me in it to design quilt patterns.
my first quilt when I joined along a few things on my own when I She was very encouraging and
with Dana of Old Red Barn Co. and moved over to Instagram. suggested that we collaborate on
her quiltalong on Flickr and the rest
just spiralled from there!
I learned so much through the
I feel so free when I am improvising. I love
Flickr community, and joined a lot of
different groups, swaps and bees
working organically and without a plan - it feels
like a break from having to be perfect
How did you start collaborating a pattern. Feathers was the first
with Alison Glass? pattern that we worked on together.
Alison and I met through Instagram.
I had made a pillow that she really Explain the process of your
liked using her very first fabric line, partnership with Alison.
The concepts for our patterns are
created by either one of us. We’ll
either FaceTime or text about ideas
that we have, as and when we have
them. Sometimes ideas are ready to
go and we’re immediately like “Yes!”.
Other times they are little sparks of
ideas that we go back and forth
about until the idea develops into
something that we both believe to
be a strong pattern.
Once we decide to go ahead with
a design, I make the templates,
figure out the fabric measurements
and make the quilt top. I then send
Alison all of my messy quilt notes
and she takes them and transforms
them into a beautifully laid out
Above: Nydia's Perception pattern with detailed instructions.
quilt, quilted by Kristi Ryan
She then handles all of the selling
Right: Nydia and Alison
Glass' Feathers quilt aspects of the patterns too.
DESIGNER PROFILE
Above: Tessellation
Minis by Nydia and Your quilt patterns range from necessary balance. I like to create
Alison Glass improv to FPP, what’s your quilts that force your eyes to move
Above right: The
Aura quilt, quilted by favourite technique and why? around, and I’ve also more recently
Gina Pina Oh, that’s a difficult question for been exploring minimal designs.
Right: Tessellation
me! I don’t think I can pick one. I love my Dimension quilt (left)
quilt in solids
Below: The Foundation Paper Piecing is because it reads as 3D even though
Dimension quilt, wonderful because I am able to it’s flat. I guess you could say that
quilted by
Gina Pina
make quilts using odd angles that I enjoy creating quilts that make
would be seemingly impossible your eyes work a little bit harder.
otherwise. On the complete
opposite end of the spectrum, You’ve previously done
I feel so free when I am improvising. photography for several Lucky
I love working organically and Spool books. Have you always
without a plan – it feels like a break been into photography?
from having to be perfect. It’s a really I was a natural light portrait
nice balance to be able to do both. photographer for about five years
before I decided to really invest all
How would you describe your my time into quilting and design.
design aesthetic? It was a hard thing to let go of
I think my most identifying aesthetic because I was doing really well for
is that I create colourful quilts with an myself, but it just wasn’t right for me.
emphasis on movement, and not I was so happy to be asked to do the
DESIGNER PROFILE
Below: Nydia and Alison's

Swell quilt, quilted by
Sarah of Sariditty
Right: Nydia and Alison's
unique Celestial quilt
photography for Lucky Spool's to all different kinds of prints. Some

books. To be able to capture quilty of my favourite designers are Leah
things and make quilty things too… Duncan, Carolyn Friedlander and
it’s really wonderful! Alison Glass. I have quite the stash
of fabrics hoarded away!
How important do you think it is
to have strong images as a quilt You’ve previously won both 1st
pattern designer? and 3rd place with two of your
Having strong images is absolutely quilts at QuiltCon. Does that give
imperative when you are a pattern you confidence to keep designing
designer. It’s a ton of work to create your own patterns?
Right: The
a pattern – I spend hours coming up I am really proud of both of my
Perception quilt in
contrasting prints with ideas, figuring out the QuiltCon awards, but I don’t think
Below: Nydia and construction, doing the maths for my confidence in designing is
Alison's Tessellation
Quilt, quilted by
Angela Walters Having strong images is absolutely imperative when you're
a pat tern designer. It 's a ton of work to create a pat tern,
the photo is what encourages customers to buy it
fabric requirements, making the quilt affected by the wins. There are so
and creating the illustrations and many beautiful quilts entered every
layouts for the pattern. The photo on year, I’m just so grateful to have a
the cover is part of what encourages platform to share my work.
your customers to buy it.
What’s your proudest moment?
What fabrics are you drawn to? I think my proudest moment was
I love to work with solids and when my daughter, at age ten, won
textured solids, however I am drawn first place in the Youth category at
DESIGNER PROFILE
Below: Nydia's daughter's QuiltCon-winning design

Below left: The Tessellation quilt in its full glory
Bottom: An improv-pieced hand-quilted design
QuiltCon. She had really wanted to How does it feel to be a part

go with me to QuiltCon in Savannah, of such a supportive community
Georgia. I was teaching there that of modern quilters?
year and I told her that if she wanted It’s wonderful! I feel so lucky to be
to come, she had to enter a quilt. able to be a part of this community.
I didn’t want her missing school just
to get a little vacation – I wanted to What’s on your career bucket list?
know she was actually interested in I would love to go abroad and
quilts. It was the first quilt that she explore other cultures to learn even
had ever made and she pieced and more and share the art of quilting.
quilted it entirely by herself. I was
so proud to see her stick to it. What can we expect from you
in the future?
You’ll be teaching a range of You can expect me to keep on
techniques at QuiltCon next year. designing new quilt patterns as
Are there any techniques you’ve I continue to experiment with this
not yet tried, but would like to? beautiful craft. I also hope to be
I am always up for learning new teaching more, as well as getting
techniques! I wish I had a bit more some fun new quilty opportunities
free time during QuiltCon to take a to travel internationally!
class or two… but I have such a full
schedule! I would have loved to
explore raw edge reverse appliqué
with Kim Eichler-Messmer, I think nydiakehnle.com
it would really push my creativity. nydiak
£7
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POCKET FULL
OF POSIES
For a statement cushion, look no further than
this English Paper Pieced ring design with
fussy cut curves – it's easier than you think!
BY LOUISA GOULT
POCKET FULL OF POSIES
YOU WILL NEED

Makes one (1) cushion
Q Three (3) fat quarters
Q Background fabric: 20in square
Q Binding fabric: one (1) fat quarter
Q Lining fabric: one (1) 23in square
Q Backing fabric: ½yd
Q Embroidery thread (optional)
Q One (1) 20in zip
Q Three (3) copies each of
Templates A, B and C
FINISHED SIZE
Q 18in square
NOTES
Q EPP = English Paper Piecing.
Q Louisa starched her fabrics with
Mary Ellen’s Best Press.
Q Templates don’t include seam allowance.
Q For templates, see p87.
FABRICS USED
Q Prints fabrics are from the Dovestone
FRAME YOUR APPLIQUÉ
collection from Dashwood Studios. EPP PIECES WITH NEAT LINES
Q Background is an Essex Yarn Dyed Linen in
Graphite from Robert Kaufman. OF KANTHA QUILTING
CUTTING OUT
1 From the backing fabric cut:

Q One (1) 9in x 18½in piece.
Q One (1) 14in x 18½in piece.

Q Five (5) 2¼in x 22in strips.
Cutting out
preparing your epp segments

B C D
3 Trace Template A onto template plastic.

Add a ¼in seam allowance around the
outer edge and cut along this line. Repeat
Sewing your rounds
with Templates B and C.
E F
4 Position the plastic templates on the
fabric, framing the print (Fig A). Draw
around the plastic template and cut out
with scissors. Using your template pieces,
cut the following for each cushion:
Q Fabric one: three (3) Template A pieces.
Q Fabric two: three (3) Template B pieces.
Q Fabric three: three (3) Template C pieces.
PREPARING YOUR EPP SEGMENTS
5 Baste the fabric pieces around the

paper templates. Use a dab of glue to
centre the paper piece on the reverse of G H
the fabric. Run glue along the edge of the
paper and press over the seam allowance.
For inner curves, snip the fabric within the
seam allowance to about two threads from
the paper’s edge, before gluing in place
(Fig B). For outer curves, gently pull the
fabric down into place to create a smooth
curved with no sharp points (Fig C).
Repeat this basting for all English Paper
Piecing shapes (Fig D).
SEWING YOUR ROUNDS
6 Take one Template B and one

Template C. Place them face down with
curved edges adjacent to each other. With
7 Now move to the other end of the
curve and connect the two points as
before. Keeping the pieces flat, sew a flat
to make sure you have the correct curvature
when sewing your pieces into a round.
Baste together at this point, as in step 6.
knotted thread, bring your needle up whip stitch along the seam to attach the
through the seam allowance of Template
C, backstitch to secure, then sew across
to the point on Template B (Fig E). Sew
two shapes, (Fig F). Continue, until you
reach the other end, and knot off your
thread (Fig G).
9 Secure your thread at the bottom point
of Template A. Gently peel back the
seam allowance along the bottom of
a couple of stitches over these two seam Template C to reveal another drawn
allowances to secure, bringing the thread
through the loop of the last stitch to knot,
and break the thread.
8 Place a Template A adjacent to your
sewn unit, lining up that marked
guideline with the sewn seam (Fig H). This is
guideline. Sew across seam allowances,
connecting the shapes and lining up the
guidelines (Fig I).
sewing your rounds
press the top and bottom points to mark Repeat along one long edge of your 14in x
the centre, and align with the background 18½in piece, pressing under ½in each time.
fabric (Fig L). Unfold, align the horizontal
mark with the intersecting seams and pin
in place (Fig M). 17 Place your zip face up with the opening
to the right, and lay the 14in backing
piece on top so that the folded edge of
13 Starting along the inner edge,

appliqué the round to the background
the hem sits just under the zip’s teeth. Pin
in place and using your zipper foot on the
K fabric using a tiny slip stitch (Fig N). Then machine, sew about an 1/8in below the
appliqué the outer edge. Tuck any dog zip’s teeth (Fig O).
ears underneath as you sew.
QUILTING 18 Take the 9in backing piece, unfold the

pressed hem once, and line the folded
14 Gently press the cushion top. Make

a quilt sandwich by placing the lining
fabric down, then the batting on top, then
edge up with the top of the zip, RST (Fig P).
Pin in place and stitch about an 1/8in away
from the other side of the teeth.
the cushion panel right side up. The lining
and batting are slightly larger than the
cushion panel. Baste together using your
preferred method.
19 Refold the 9in backing piece so it
lays over the zip closing, insert pins
vertically along the seam (Fig Q) and sew
10 Sew these units together using a flat

whip stitch (Figs J and K). Repeat steps
6–9 to make three identical segments. Join 15 Quilt as desired. Louisa hand quilted
¼in inside the edge of each shape,
along the top side of the zip’s teeth again,
as you did in step 17. Get as close to the
zip’s teeth as you can so you catch the
the segments together to make a round, then added an arc shape within the fabric underneath. This will create a small
using the guidelines, as before. Template A shape and a large leaf shape flap over the zip, neatly concealing it in
within the Template B/C units. She also the back panel.
11 Spray your sewn unit with a gentle fabric

starch and press with a dry, hot iron.
Carefully pull back the seam allowances
hand quilted parallel lines of stitching
around the inner and outer edges of the
whole round, using three strands of light 20 Open the zip about halfway and
lay the backing face down. Place the
and remove the papers. Press again, being coloured embroidery thread. Trim the cushion panel on top, face up, pin and sew
careful to keep the outer edges smooth. cushion front to 18½in square, cutting around the edge. Trim any excess seam
away any excess batting and lining allowance and zip ends.
ASSEMBLING THE CUSHION FRONT around the edges.
12 Fold your background fabric

lengthwise and gently press, open out CONSTRUCTING THE CUSHION 21 Sew the binding strips together
and repeat, folding the fabric widthwise to
mark the centre. Fold your sewn round in
half down the length and gently finger
16 Press under 1in along one long edge
of your 9in x 18½in backing piece. Press
under 1in again to enclose the raw edge.
Press the seams open and trim the dog
ears. Fold in half lengthwise, wrong sides
together, and press. Sew the binding to the
assembling the cushion front
L M N
constructing the cushion
O P Q
right side of the cushion, folding a mitre

at each corner. Fold the binding over to
the back and hand stitch in place to finish.
Buy the kit!

See this project demonstrated live on
air 9 December 2018
8am–12noon
Q Catch up with the show on
youtube.com/sewingquarter
Louisa Goult
Fabric addict Louisa spends
her days designing quilts
and turning them into
pre-cut kits and patterns
sewmotion.com
sewmotion
CHEVRON
MINI
Piece half hexie shapes into a striking
braid arrangement for a simple
yet effective design
SEWING QUARTER TV
CUTTING OUT
YOU WILL NEED

Q Print and solid fabrics:
1 From each print and solid fabric fat
quarter cut:
Q One (1) 3in x 22in strip. Subcut into
three (3) fat quarters five half hexies, using the template.
Q Background fabric: ½yd Q Three (3) 2½in x 6in strips for a
Q Backing fabric: 20in square pieced binding.
Q One (1) copy of the Half
Hexie template 2 From the background fabric cut:
Q One (1) 20in x 12in piece.
Q One (1) 2½in x WOF strip for binding.
Fig 1
FINISHED SIZE
Q 18in square MAKING THE BRAID
3 Place the short edge of one half hexie

against the longest edge of a second,
right sides together. Sew along the short
edge and press the seam to one side. Fig 2
NOTES You will have a unit forming a “V” shape
Q Seam allowances are ¼in, with one short edge and one long edge
unless otherwise noted. along the bottom (Fig 1).
Q Press seams to one side, unless
4 Take another half hexie and place the
longest edge right sides together with
the longer edge of the joined unit from
Q For templates, see p87. step 3. Sew along the edge and press
Q All fabrics supplied by our friends at to one side (Fig 2).
Sewing Quarter (sewingquarter.com)
FABRICS USED
Q Prints are from the Sunkiss Fat Eight
5 Continue adding half hexies to the
unit in this way until you’ve added all
the pieces in a braid formation (Fig 3).
Bundle by Tilda.
Q Solids are from the Fat Quarter Bundle FINISHING THE QUILT
by V & Co. for Moda.
6 Sew the 20in x 12in piece of
background fabric to the longer edge
of the braid. Press the seam towards the
background fabric.
7 Make a quilt sandwich by placing your

backing fabric right side down, the
batting on top, then place the mini quilt
top centrally and right side up.
8 Quilt as desired. We quilted diagonal

lines, mirroring the braid shape. Trim
and square up the quilt to 18½in square.
9 Sew your binding strips from the braid

and background fabrics into one long
length and use to bind the quilt.
Fig 3
Head to sewingquarter.com today to get £5 off your next purchase with our code LPQ518.
To see the products in action or for more hands-on sewing demos,
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You will receive £5 off your next order with Sewing Quarter when you enter the code LPQ518. This offer is for new and existing customers and can be used on web and auction products. Your total spend must be greater than the
amount discounted. This offer is valid from the 29th November until 31st January 2019. Only one use per customer. All offers are subject to availability. See full T&Cs atwww.sewingquarter.com.
SOOTHING BLUES
Keep your quilt design
simple with different
shades of the same solid
for a tranquil effect
PIXEL PLAID
Join simple strips and squares
together to recreate a classic checked
pattern with a chic modern twist
BY TIFFANY HORN
PIXEL PLAID
YOU WILL NEED

Q Fabric A (silver) 2¼yds
(includes binding)
Q Fabric B (fog) / yd
Q Fabric C (aqua) 1¼yds
Q Fabric D (jade green) ½yd
Q Fabric E (candy green) ¾yd
Q Fabric F (white) / yd
Q Fabric G (pond) ¼yd
Q Backing fabric: 4½yds
FINISHED SIZE
Q 72in square
NOTES
Q Press seams to the side,
unless otherwise instructed.
Q Fabric supplied by Robert Kaufman
(robertkaufman.com)
USE THE SQUARE PIECING
AS A GUIDE FOR QUILTING
FABRICS USED
Q Solids are Kona Cotton Solids in Silver, PERFECTLY STRAIGHT LINES
Fog, Aqua, Jade Green, Candy Green
CUTTING OUT
and Pond by Robert Kaufman.
Q Backing is Crosshatch in Fog by Carolyn
Friedlander for Robert Kaufman. 1 From Fabric A cut:
Q Eight (8) 2¼in x WOF strips
Q Twelve (12) 4½in x 5½in pieces (M).
Q Twelve (12) 5½in squares (N).
for the binding.
Q One (1) 5½in x 18½in piece (A).
Q Four (4) 4½in x 18½in pieces (B).
Q Four (4) 5½in x 11in pieces (C).
7 From Fabric G cut:
Q Four (4) 7in squares (O).
Q Four (4) 4½in x 11in pieces (D). PIECING THE QUILT TOP
Q Six (6) 7in x 5½in pieces (E).
Q Twelve (12) 7in x 4½in pieces (F). 8 Referring to the Layout Diagram and
starting with the left column, take two
D pieces, three M pieces and two B

Q Twenty (20) 7in squares (G).
pieces. Sew the pieces together as
shown. Press the seams towards the top.

Q Eight (8) 5½in x 18½in pieces (H).
Q Sixteen (16) 7in x 5½in pieces (I)
9 Use the Layout Diagram to piece the
rest of the columns in a similar manner,
alternating between pressing seams
towards the top and bottom of the

Q Twelve (12) 7in squares (J).
columns so that when sewn together, the
seams nest neatly.
5 From Fabric E cut:

Q Four (4) 5½in x 18½in pieces (K).
Q Eight (8) 7in x 5½in pieces (L).
10 Sew the columns together, nesting
seams for a precise finish. Press the
seams open or to one side.
PIXEL PLAID
F M F F M F F M F
D C C D
G G G G G G
M I H I N I H I N I H I M
G J J J J G
B E N L K L N L K L N E B
G J O O J G
M I H I N E A E N I H I M
G J O O J G
B E N L K L N L K L N E B
G J J J J G
M I H I N I H I N I H I M
G G G G G G
D C C D
F M F F M F F M F
Layout Diagram
QUILTING AND FINISHING
11 Cut the backing fabric in half across

Press the seams open and trim away the
sew the two pieces together using a ½in dog ears. Fold the strip in half
seam. Press the seam open. lengthways, WST, and press.

backing fabric right side down, the
15 Sew the binding to the right side
of the quilt, carefully creating a mitre
at each corner. Fold the binding over to
batting on top, then place the quilt top the back of the quilt and neatly hand
centrally and right side up. Baste the stitch in place to finish.
three quilt layers together using your
preferred method. Tiffany Horn
A big move from Arizona to
13 Quilt as desired. Tiffany quilted upstate New York inspired

the launch of Tiffany’s brand,
straight lines roughly 1in apart across
Village Bound Quilts
the entire quilt, using a light coloured
villageboundquilts.com
thread. Trim off the excess batting and villageboundquilts
backing fabric and square up the quilt.
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make sure you have a very happy holiday season!
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CONTRAST
QUILTING
Mix and match your quilting
patterns, juxtaposing soft
florals with a structured grid
FUCHSIA
FADE
Three shades combine for an understated
HST design that plays with contrasting
pattern and texture
BY YVONNE FUCHS
FUCHSIA FADE
YOU WILL NEED

Q Background fabric: 2½yds
Q Fabric A (light pink) ¾yds
Q Fabric B (mid pink) ½yd
Q Fabric C (dark pink) ½yd
FINISHED SIZE
Q 54in x 72in
NOTES
Q HST = Half-square Triangle.
Q QST = Quarter-square Triangle.
Q Fabric supplied by Robert Kaufman
(robertkaufman.com)
THIS DESIGN IS A MODERN PLAY
ON A CLASSIC ARGYLE PATTERN,
FABRICS USED
Snow, Pink, Candy Pink and Cerise
from Robert Kaufman.
WITH PLENTY OF WHITE SPACE
CUTTING OUT
1From the background fabric cut:

Q One (1) 72½in x WOF strip.
Subcut into one (1) 27½in x 72½in strip
and one (1) 9½in x 72½in strip.
Q Eight (8) 6in squares.
Q Eight (8) 5½in squares.

Q Sixteen (16) 6in squares.

Q Eight (8) 6in squares.


FUCHSIA FADE
Fig 1
Fig 2
HST BLOCKS
6 Pair a background 5½in square RST with

a Fabric A 5½in square. Mark a diagonal
line from corner to corner on the wrong
side of the lighter fabric. Sew a ¼in seam
on both sides of the marked diagonal line.
Cut along the marked diagonal to form
two background/Fabric A HSTs (Fig 1).
Trim each HST to 5in square.
7 Repeat step 6 to make the following

5in units:
Q Sixteen (16) background/Fabric A HSTs.
Q Sixteen (16) Fabric B/C HSTs.
QST BLOCKS
8 Repeat step 6, using the 6in squares to

make the following HST units. Leave
these units untrimmed, and press all
seams towards Fabric A.
Q Sixteen (16) background/Fabric A HSTs.
Q Sixteen (16) Fabric A/B HSTs.
9 Place a background/Fabric A HST

RST with a Fabric A/B HST, nesting the
seams. Mark a diagonal line from corner
to corner, running perpendicular to the
HST seam. Sew a ¼in seam on both sides
of the marked diagonal line. Cut along the
marked diagonal line to form two QST
blocks (Fig 2). Trim each unit to 5in square.
Repeat to make a total of thirty two QSTs.
FUCHSIA FADE
Fig 3
Fig 4 Layout Diagram
ASSEMBLING THE BLOCKS
10 Arrange a background/Fabric A HST,

a Fabric B/C HST, and two QST units
Join the background 9½in x 72½in piece
to the left side of the column, then sew
the background 27½in x 72½in piece to
15 Quilt as desired. Yvonne quilted a
grid pattern inside each of her blocks,
and a floral freemotion design across her
as a four patch (Fig 3). Sew together in two the right side to finish the quilt top. white background fabric. Trim off the
rows of two, then sew the rows together to excess batting and backing fabric and
complete one unit. Make sixteen identical QUILTING AND FINISHING square up the quilt.
four-patch units.
13 Cut the backing fabric in half across
11 Arrange four units as a four patch,

with the Fabric C triangles in the
centre, referring to Fig 4 for placement.
sew the two pieces together using a ½in
seam. Press the seam open.
Press seams open. Fold in half lengthways,
wrong sides together, and press.
Piece into two rows of two, then sew the
rows together to complete the block.
Make four blocks.
backing fabric right side down, the batting 17 Sew the binding to the right side
of the quilt, creating a mitre at each
on top, then place the quilt top centrally corner. Fold the binding over to the back
12 Sew the four blocks into a column,

referring to the Layout Diagram.
and right side up. Baste the layers
together using your preferred method.
of the quilt and neatly hand stitch in
place to finish.
FUCHSIA FADE
YOU WILL NEED

Q Background fabric: one (1)
fat quarter
Q Fabric A (light pink) ¾yd
Q Fabric B (mid pink) one (1)
fat quarter
Q Fabric C (dark pink) one (1)
fat quarter
Q Lining fabric: 20in square
FINISHED SIZE
Q 18in square
CUTTING OUT
1 From the background fabric cut:

Q Two (2) 5½in squares.
ADAPT ONE OF THE FOUR-
PATCH QUILT BLOCKS INTO A
Q Two (2) 12½in x 18½in pieces,
for the cushion back. COORDINATING OMBRÉ CUSHION
Q Four (4) 6in squares. MAKING THE CUSHION

5 Follow step 6 of the main quilt
instructions to make four background/
Fabric A HSTs and four Fabric B/C HSTs.

6 Follow steps 8–9 of the main quilt
instructions to make eight QST units.
Then follow steps 10–11 to make one block.
7 Make a quilt sandwich by placing the

lining fabric right side down, the batting
on top, then place the block centrally and
right side up. Baste the layers together
using your preferred method, and quilt as
desired. Trim to 18½in square.
8 Fold the long edge of a Fabric A backing

rectangle under by ¼in and press.
Fold again by ½in, press and topstitch in
place. Repeat to hem the remaining
backing rectangle.
9 Lay the quilted cushion front right side

up and place a backing rectangle on
top, RST, lining up the top and side raw
Yvonne Fuchs
Ex-aerospace engineer
Yvonne “sews at the speed
of sound” and loves to share
edges. Place a second back panel on top,
her quilting knowledge
this time lining up the bottom and side
quiltingjetgirl.com
edges. Sew around all four sides and turn quiltingjetgirl
right side out to finish.
132 PAGES OF FABRIC INSPIRATION + FOLD-OUT PATTERN SHEET
Just
99 *
The team behind Mollie Makes bring you a collection of fantastic fabric projects.
From wardrobe hacks and unique accessories to cute gifts and handmade decor ideas,
our step-by-step guides will get you stitching, sewing and quilting.
order your copy today!

Call 03330 162 138 AND QUOTE ‘MOLLIE SEWING VOLUME 2 PRINT 1’
Online WWW.BUYSUBSCRIPTIONS.COM/MOLLIESEWING2
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allowances (if offered by your phone tariff). Outside of free call packages call charges from mobile phones will cost between 3p and 55p
per minute. Lines are open Mon to Fri 8am-6pm and Sat 9am-1pm. Overseas please call +44 (0)1604 973 746.
* Price applies to UK orders only. EUR price £11.99, ROW price £12.99. All prices include P&P. Please allow up to 28 days for delivery.
IMPROV
DISCO DUO
Glitter, patchwork, pompoms… oh my!
Combine all three to make two stylishly
simple wall hangings with a splash of fun
BY LAURA CUNNINGHAM
IMPROV DISCO DUO
YOU WILL NEED

Makes one (1) wall hanging:
Q Solid fabrics: approx. three (3)
fat sixteenths
Q Print fabric: one (1) fat eighth
Q Backing fabric: one (1) fat quarter
Q Binding fabric: one (1) fat eighth
Q Embroidery thread
Optional
Q Driftwood, acrylic paint, glue,
glitter, pompom maker, yarn
FINISHED SIZE
Q 10in x 12in
NOTES
otherwise noted.
LOOK OUT FOR NICELY SHAPED
Q Because of the improv nature of this mini DRIFTWOOD OR FALLEN
quilt, it isn’t possible to give precise fabric
quantities. The amount suggested should BRANCHES ON WINTER WALKS
be enough for your mini, but if necessary
add more fabric to comfortably achieve CUTTING OUT
your desired angles.
Q Solid fabrics provided by RJR Fabrics
Q Three (3) 2½in x 22in strips.
(rjrfabrics.com) IMPROV PIECING

Q 12wt thread provided by Aurifil
(aurifil.com) 2 Place a solid piece right side up, and
lay a second solid on top at an angle
(Fig A). Cut approx. ¼in from the edge of
FABRICS USED the top piece (Figs B and C). Discard the
Q Print fabric is Classic Plaid in White scraps and flip over the top piece so
by Sevenberry for Robert Kaufman. they’re RST with aligned edges (Fig D).
Q Solids are Cotton Supreme Solids Sew the pieces together along the edge
in Periwinkle, Iceberg, Apricot Ice, and press towards the darker fabric.
Neon Cotton, Ballerina and Orchid
by RJR Fabrics.
3 Take the next piece of fabric and place
on top, right side up, at the angle you
wish to achieve. Cut approx. ¼in from the QUILTING AND FINISHING
edge, as in step 2 (Fig E). Discard the
scraps and flip over the top piece so
they’re RST with aligned edges.
5 Place the improv panel on top of your
batting and baste in place (Fig H). Quilt
as desired. Laura used Aurifil 12wt thread
in Mint, Spring Green, Light Blue, Fuchsia
4 Continue adding fabrics to your panel

in different angles until you’re happy.
If you like it scrappy, use plenty of smaller
and Medium Orchid to hand quilt her
wall hangings.
pieces and fun angles. Once complete,

cut to measure 10in x 12in (Fig F). Baste
the edges over your seams within the
6 Make a quilt sandwich by placing the
backing fabric right side down, and the
quilted improv panel on top. Sew the
seam allowance to hold the edges layers together around the edges and trim
together (Fig G). the excess backing fabric.
IMPROV DISCO DUO
improv piecing
A B
C D
E F
G H

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

quilt, creating a neat mitre at each corner.
Fold the binding over to the back of the
acrylic paint and let it dry. It might need a
second coat if you’ve chosen a light paint.
Laura Cunningham
Laura is an indie sewing
pattern designer and lover
of handmade bags and
quilt and hand stitch in place to finish.
10 Use a brush to apply school glue to the
edges and sprinkle plenty of glitter on
Instagram sewalongs!
www.craftsy.com/
9 For the wooden hanger, paint a piece of

driftwood in your preferred colour using
top. Attach the mini quilt onto the
driftwood and add pompoms if desired.
«ÀwiÉâÕViÀÕÃÃ
>ÕÀ>ÚâÕViÀÕÃÃ
NEXT
ISSUE
Issue 69 on sale
28 December 2018
MAKE IT...
Double Wedding Ring by Jo Avery
Modern medallion by Nicole Calver
Chic Orange Peel by Sarah Ashford
FPP cushion pair by Lou Orth
PLUS! Essential Flying Geese acrylic
template set for every reader*
*Print copies only.

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NEW CLASSIC
Four variations of the
strip-based Log Cabin
block combine for a
stylish arrangement
CRAFTBOUND
Put a modern spin on the Log Cabin block
with mix and match strips and a medley
of multicoloured prints
BY LAURA PRITCHARD
CRAFTBOUND
YOU WILL NEED

Q Print fabrics: seven (7)
fat quarters
Q Solid fabrics: five (5)
fat quarters
FINISHED SIZE
Q 48in x 56in approx
NOTES
Q Quilt made by Lorna Slessor.
Q Fabrics supplied by Art Gallery Fabrics
(artgalleryfabrics.com)
FABRICS USED
Q Prints are Zigzagged Pyramids, Rhombi
Abroad, Clover Compass, Marked
Sights, Blossoming Mosaic and East
West Arrowheads from the Craftbound
collection, plus Zirkusbau Candy from
the Tallinn collection by Jessica Swift,
both for Art Gallery Fabrics.
Q Solids are Ash, Cherry Lipgloss, White
SAVE YOUR SCRAPS! THIS QUILT
Linen, Empire Yellow and Mirage Blue USES TWELVE FABRICS TO GIVE
from the Pure Elements collection, also
from Art Gallery fabrics. THE DESIGN AN ECCLECTIC FEEL
CUTTING OUT
Start by cutting the large 4½in squares,
followed by the longest 2½in wide strips,
as then you can cut down the spare fabric
to make the shorter and narrower strips
and reduce wastage.
1 From each of the twelve (12) print and

solid fat quarters, cut pieces as in steps
2–4, and referring to the Cutting Diagram.
Organise all pieces of the same cut size
together, mixing the prints and solids.
2 Cut one (1) 4½in x 22in strip.

Subcut the strip as follows:
Q Two (2) 4½in squares – you need
a total of twenty (20). Discard four.
Q Two (2) 2½in x 4½in pieces – you need
a total of twenty one (21). Discard three.
CRAFTBOUND
1½in x 4½in
2½in
2½in 2½in x
4½in 4½in x x 3½in 1½in x 4½in
square square 4½in 4½in
1½in
2½in x 8½in 2½in x 7½in x
2½in 1½in x 3½in
2½in x 7½in 2½in x 6½in 2½in x 6½in
2½in x 5½in 2½in x 5½in 2½in x 5½in 2½in 2½in

square square
22in
Fig 1 Cutting Diagram
Q One (1) 2½in x 3½in piece – you need Q One (1) 1½in x 3½in piece – you need
a total of eleven (11). Discard one. a total of eleven (11). Discard one.
Q Two (2) 1½in x 4½in pieces – you need Q One (1) 1½in x 2½in piece – you need
a total of twenty one (21). Discard three. a total of eleven (11). Discard one.
3 Cut three (3) 2½in x 22in strips.

Subcut the strips as follows:
Q One (1) 2½in x 8½in piece – you need
4 Cut four (4) 1½in x 22in strips. Subcut
the strips as follows:
Q Three (3) 1½in x 8½in pieces – you need
a total of eleven (11). Discard one. a total of thirty one (31). Discard five.
Q Two (2) 2½in x 7½in pieces – you need Q Four (4) 1½in x 7½in pieces – you need
a total of twenty one (21). Discard three. a total of forty one (41). Discard seven.
Q Two (2) 2½in x 6½in pieces – you need Q Two (2) 1½in x 6½in pieces – you need
a total of twenty one (21). Discard three. a total of twenty one (21). Discard three.
Q Three (3) 2½in x 5½in pieces – you need Q Three (3) 1½in x 5½in pieces – you need
a total of thirty two (32). Discard four. a total of thirty two (32). Discard four.
Q Two (2) 2½in squares – you need a total
of twenty four (24).
5 From the binding fabric, cut seven (7)
2½in x WOF strips. Subcut one (1)
of these strips into nine (9) 2½in squares.
TOP TIP Add these squares to the 2½in squares
Sort your fabrics so that the ‘L’ shaped you cut above.
units in each block are pieced with the BLOCK A
same fabrics, or same coloured fabric.
Don’t worry about being too uniform
though, it’s fun to put a few random
6 Pull a mix of fabric strips for Block A,
referring to the Layout Diagram.
unmatching fabrics in there too so that

it appears a little more improvised. 7 Take the 2½in square and place the
first strip (1½in x 2½in) along one side,
right sides together, and pin, lining up
CRAFTBOUND
2½in x 8½in 1½in x 8½in
2½in x 7½in
1½in x 6½in
1½in 1½in x 5½in

2½in x 5½in x
7½in
2½in 1½in
x x 2½in
6½in 5½in 1½in x 3½in x
5½in 1½in
2½in x 4½in
x 4½in square
3½in 1½in
x 2½in
2½in square
Layout Diagram Block A Layout Diagram Block B
1½in x 7½in
2½in x 7½in
1½in 1½in
x x
7½in 7½in
1½in
2½in x
2½in x 4½in 6½in
x
5½in 1½in 2½in
x x 4½in
4½in 4½in square
2½in 2½in
square square
Layout Diagram Block C Layout Diagram Block D
the edges. Sew the two pieces together.

Press the seam open. Take the next strip
(1½in x 3½in) and sew this across the top
order, until you have four borders around
one corner of your original centre square.
Repeat steps 6–8 to make a total of
10 Make the B blocks in the same way
you made your A blocks. The B
blocks will have only three borders. Make
of the pieced unit, perpendicular to the eleven A blocks. a total of ten B Blocks.
seam, creating an ‘L’ shape around the
square (Fig 1). BLOCK B BLOCK C
8 Continue to add your strips to the side

and then the top of the block in size
9 Pull a mix of fabric strips for Block B,
referring to the Layout Diagram above
to pick out the correct sizes.
11 Pull a mix of fabric strips for Block C,
referring to the Layout diagram for
Block C to pick out the correct sizes.
CRAFTBOUND
12 Make the C blocks in the same way

you made your A and B blocks. Your
C blocks will have three borders. Make a Layout Diagram
total of ten C Blocks.
BLOCK D QUILTING AND FINISHING
13 Pull a mix of fabric strips for Block D,

Block D to pick out the correct sizes.
17 Cut your backing fabric in half and
remove the selvedges. Sew together
and trim to 54in x 62in. Make a quilt
Buy the kit!
sandwich by placing the backing fabric See this project demonstrated live on
14 Make the D blocks in the same way

you made your other blocks. Your D
blocks will have four borders. Make a
right side down, the batting on top, then
the quilt top centrally and right side up.
Baste the layers together.
air 16 December 2018
8am–12noon
total of eleven D Blocks.
PIECING THE QUILT TOP 18 Quilt as desired. Lorna quilted
straight lines vertically and Q Catch up with the show on
15 Lay out your finished blocks, rotating

them as shown to achieve the larger
horizontally across the quilt. youtube.com/sewingquarter
Log Cabin pattern. Sew together the
blocks in seven rows of six, pressing
seams to one side, and alternating seam
Press the seams open. Fold in half Laura Pritchard
When Laura’s not tech
direction with each row. lengthways, WST, then press.
editing for Today’s Quilter,
[QW ECP ƂPF JGT YJKRRKPI
16 Match up the seams of the rows,

pinning at each seam intersection,
and then sew the rows together to
20 Sew the binding to the right side of
the quilt, creating a neat mitre in each
corner. Fold the binding over to the back
WRSWKNVUKPJGTUGYKPITQQO
dimplestitch.
wordpress.com
lauradimplestitch
complete the quilt top. and hand stitch in place to finish.
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Print back issues only. *The website and phone number shown are for UK orders.
TEMPLATES
All the templates you’ll
need from issue 68…

Template C
ACTUAL SIZE

Template B
ACTUAL SIZE
Thank you for making this project from Love Patchwork & Quilting. The copyright for these templates belongs to the designer of the project. They work hard to create projects for
you to enjoy, so please don’t re-sell or distribute their work without permission. Please do not make any part of the templates or instructions available to others through your website
or a third party website, or copy it multiple times without our permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.
Template A
ACTUAL SIZE
BLOCK OF THE MONTH

Template A
ACTUAL SIZE
RAINBOW TWIST
Template 2
ACTUAL SIZE
RAINBOW TWIST
Template 1
ACTUAL SIZE
CHEVRON MINI
Template A
ACTUAL SIZE
8
2
BEE BUNTING
Letter ‘H’
ENLARGE 200% 7 5 1 4 6
7 3 6
4 1 5
BEE BUNTING
Letter ‘A’
ENLARGE 200%
13
7 5
6
1
4
BEE BUNTING
3 10 11
Letter ‘P’ 12 8 2
ENLARGE 200%
14
6A
BEE BUNTING
1A Letter ‘Y’ Section A
2A
3A 4A
5A
ENLARGE 200%
2B 1B 3B
BEE BUNTING
Letter ‘Y’ Section B
ENLARGE 200%
4B
12A
8A 3A 2A BEE BUNTING
Letter ‘B’ Section A
4A
11A 9A 10A
1A ENLARGE 200%
6A
7A 5A
7B 5B
6B
11B 1B 9B 10B BEE BUNTING

4B Letter ‘B’ Section B
3B
8B 2B ENLARGE 200%
12B
8 1 6 7
10
BEE BUNTING
Letter ‘E’
ENLARGE 200%
10A
6A 4A 3A
BEE BUNTING
Left Bee, Section A
1A 8A
9A 5A ENLARGE 200%
7A 2A
9B
5B
B
11B
10
7B
15B 4B 1B 2B 3B BEE BUNTING

8B Left Bee, Section B
14B
13 1
B 2B 6B
ENLARGE 200%
16B
10A
3A 6A
BEE BUNTING 4A
Right Bee, Section A
ENLARGE 200% 8A 1A 5A 9A
2A 7A
9B
5B
10
11B
B
7B
BEE BUNTING 2B 1B 4B
3B 15B
Right Bee, Section B 8B
14B
ENLARGE 200%
B
B
6B
13
12
16B
5
SNUGGLE BUNNY
Left Ear
3 ENLARGE 200%
2
SNUGGLE BUNNY
Nose
ENLARGE 200%
5
3
2
SNUGGLE BUNNY
Eye
ENLARGE 200%
SNUGGLE BUNNY
Right Ear
ENLARGE 200%
Courthouse Steps
LITTLE
HILLS
BY KAREN LEWIS
B LO C K 5
B LO C K 5
APPLIQUÉ CURVES
YOU WILL NEED 3 Pin a print curve on top of a white square,

right sides up, aligning the bottom edges
8 For the finished quilt, make seven Little
Hills blocks in total, referring to the You
Will Need list for overall fabric quantities.
To make one (1) block: and centring the print piece. Make two from dark blue fabric, three from
Q Print fabric: 2½in x 22½in green fabric and two from yellow fabric.
Q White fabric: 2½in x 22½in
Q One (1) copy of the Curve
template
4 Baste the curve in place approx. ¼in
inside the edges of the print fabric,
using a contrasting coloured thread. Stitch
in place using needle turn appliqué. Tie a
To make total blocks for final quilt: knot in the end of your thread and bring
Q Dark blue print: 5in x 22½in the needle through from the back of the
Q Green print: 7½in x 22½in white fabric at the bottom.
Q Yellow print: 5in x 22½in
Q White fabric: / yd
FINISHED SIZE
5 Turning the raw edge of the motif under
1
/8in with the point of your needle as
you go, sew in place using small slip
Q One block: 6in square stitches all the way around. When you get
(once sewn into quilt) to a curved area work your stitches closer
Q Quilt: 66in square together using the needle point to turn
the fabric in a smooth line.
6 Trim away the white fabric underneath the

sewn curve, leaving a ¼in seam allowance.
Repeat steps 3–6 with all nine squares.
Karen Lewis
Karen spends her days
screen printing beautiful
PIECING THE BLOCK fabric and stitching up
TO MAKE THE ENTIRE QUILT striking, modern quilts
Q Dark blue print: 1yd
Q Green print: 1yd
Q Light blue print: ¾yd
7 Sew the blocks together in three rows of
three. Sew the rows together and trim the
block to 6½in square to finish.
karenlewistextiles.com
karenlewistextiles
Q Yellow print: ¾yd

Q Pink print: ¼yd
Q Purple print: one (1) fat eighth
Q White solid: 6½yds
NOTES
Q Press seams open unless
Q For templates, see p87.
FABRICS USED
Print fabrics are from the Blueberry Park
3 collection by Karen Lewis Textiles for
Robert Kaufman.
CUTTING OUT
1 From the print fabric cut:

Q Nine (9) pieces using the Curve
template as a guide.
2 From the white fabric cut:

Q Nine (9) 2½in squares. Quilt Layout Diagram
D
THE LAST WOR
Frost and fauna

This month, rainbow-obsessed, colour-loving Kate
Basti has stepped out of her comfort zone to curate
a tranquil bundle that celebrates the beauty of winter
As a child, I loved winter. I couldn’t get print called Nzinga in Marzipan by BasicGrey
enough of it. I’d play for hours in the snow, for Moda, and I’m thrilled with its resemblance
sledding down our dangerously steep hills to chopped wood.
and building snow forts until my mother Moving on to winter greys, I immediately
begged me to come inside and warm up. think of Tracks in Grey by Andie Hanna for
As an adult, I dread winter, but there’s one Robert Kaufman with its tiny bird footprints.
aspect, perhaps winter’s only saving grace, Cat Scratch in Grey by Gingiber for Moda has
that I can appreciate now that I’m older: the a wonderful shattered ice vibe, and Braids in
beauty. Is there anything more magical than Silver by Kim Andersson for Windham Fabrics
walking outside late at night, in the moonlight, reminds me of delicate tendrils of frost.
after the snow has fallen? The earth is quiet, Rounding out the greys, I choose an old
and the fresh snow alights the world with its favourite, Caterpillar Dots in Grey by Rifle
seemingly glittering glow. It is the absolute Paper Co. for Cotton+Steel. To provide a bit
definition of tranquillity, and it is, perhaps, of contrast, I pull a few black prints. Kitten
Mother Nature’s finest moment. Lines in Black and Spinning Wheel in Black,
This month, I want to capture that beauty both by Gingiber for Moda, are great
and tranquillity in a fabric bundle. I’ll admit a additions, and lastly, I choose Carolina
neutral palette isn’t my usual cup of tea – I’m a Gingham ¼" in Black by Robert Kaufman,
rainbow-obsessed, colour-loving quilter! But because gingham is always a good idea.
as an artist, it’s important to step outside of Finally, I bring in a few earthy browns and
the comfort zone on occasion, so here we go! greens, perfectly reminiscent of tall, lanky
Normally, I would choose a hero print from evergreens. Essex Yarn-Dyed Linens in
which to build my bundle, but this time Espresso and Nutmeg by Robert Kaufman
around, I don’t want (or need) one print to provide a bit of yummy texture, and Snowfall
speak louder than the rest. I want a cohesive, in Taupe by Kate and Birdie for Moda adds a
earthy palette with a few prints that take a cue subtle snowy touch, as its name alludes.
from nature. So I begin building my bundle by Kaleidoscope in Pine by Alison Glass for
colour and start with snowy whites and Andover Fabrics and Check Yo’self in Pine
low-volumes. First, I pull Night Sky in White by Fresh by Tula Pink for FreeSpirit Fabrics both
Rae Ritchie for Dear Stella, a starry print that’s provide the perfect shade of green.
equally reminiscent of falling snow. Another And there we have it: a subtle nod to the
obvious choice is Sprinkle in Stardust by beauty of winter without ever having to step
Cotton+Steel. Next, I stumble upon a fantastic out into the frozen world. Just the way I like it.
Kate's winter bundle needs no

hero print – the combination of quiltwithkate.com
fabrics work in perfect harmony! katebasti
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CELESTIAL
QUILT
Foundation Paper Piece a set of striking blocks in a
spectrum of shades, and twist and turn to make a
stunning circular Flying Geese design
BY LYNNE GOLDSWORTHY
CELESTIAL QUILT
YOU WILL NEED

Q Nine (9) light prints: one
(1) fat eighth of each
Q Nine (9) dark prints: one
(1) fat quarter of each
Q Background fabric
(white) 6½yds
Q Binding fabric: 5/8yd
Q Thirty six (36) copies
each of Template A
(part 1 and 2) and
Template B (part 1 and 2)
Q One copy each of
Templates C–G
FINISHED SIZE
Q 72in square
NOTES ARRANGE YOUR FPP

QSeam allowances are ¼in,
BLOCKS IN A GRADUAL
QPress seams open, unless RAINBOW SPECTRUM
QPress all fabrics well QWhen cutting using a FABRICS USED
before cutting. ‘reverse’ template, flip the Print fabrics are from the
QFPP = Foundation template over, with the Foundation collection by
Paper Piecing. printed side down. Sassafras Lane Designs for
QWOF = width of fabric. QLynne used Vlieseline Cotton Windham Fabrics.
QShorten your stitch length Mix 80–20 Batting.
to 1.5 for FPP. QLynne used Aurifil 50wt CUTTING OUT
QFPP templates A and B
include seam allowances
around the outer edges
thread for piecing and 40wt
thread for quilting (aurifil.com)
QPrint fabrics supplied by
1 Sort the fabrics into nine
pairs, with one light and one
dark print in each pair. The light
only. Templates C–G include Fat Quarter Shop fabrics will form the centre rings
seam allowances. (fatquartershop.com) of each block, while the dark
CELESTIAL QUILT
fabrics will form the outer rings

of each block, as shown in the
Layout Diagram.
3 From each of the dark
prints cut:
QFour (4) 5in squares.
QFour (4) 6½in squares.
2 From each of the light

prints cut:
QFour (4) 3in squares.
Subcut each square on the
diagonal to make two (2)
triangles from each. The smaller
QFour (4) 4in squares. triangles are for Sections 8A
Subcut each square on the and 8B. The larger triangles are
diagonal to make two (2) for Sections 11A and 11B.
triangles from each. The smaller
triangles are for Sections 2A
and 2B. The larger triangles are
for Sections 5A and 5B.
4 From the background
fabric cut:
QEight (8) 2½in x WOF strips.
CITRUS
CARRY-ALL
Transform fruity fabrics into sweet and simple
HSTs to make a patchwork background for a bag
you won’t be putting down this summer!
BY SARA LAWSON
3B
6B
1B
9B
2B
12B
5B
4B
8B
CELESTIAL QUILT
Template B (Part 2)
11B
ACTUAL SIZE
7B
13B
CELESTIAL QUILT
Template B (Part 1)
10B
ACTUAL SIZE
R T2
O PA
I NT
JO
T1
PAR
TO
IN
JO
CELESTIAL QUILT CELESTIAL QUILT

Template F Template D
ACTUAL SIZE ACTUAL SIZE
Thank you for making this project from Love Patchwork &
Quilting. The copyright for these temp ates be ongs to the
designer of the project. They work hard to create projects for
you to enjoy, so p ease don’t re-se or distribute their work
without permission. P ease do not make any part of the
temp ates or instructions avai ab e to others through your
website or a third party website, or copy it mu tip e times
without our permission. Copyright aw protects creative work
and unauthorised copying is illegal. We appreciate your help.

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ISSUE SIXTY EIGHT 2018

Say hello to rich jewel tones

DESIGNS ¢(0}¢" '

Sew satisfying! Quick

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Watch us LIVE, daily. Share your passion! Learn and be inspired

The UK’s ONLY television channel dedicated to Sewing and Quilting.

Photography Immediate Media Photo Studio

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

Caroline Hadley Tiffany Horn Lynne Goldsworthy

RAINBOW TWIST CHEVRON MINI BLOCK OF THE MONTH

44 Foundation Paper Piece bright

6 You deserve as many projects as we

– an FPP quilt and a stylish bag! NEXT MONTH

9 Each month we pick out our fave

30 No time to sew those last-minute

quick presents you can whip up now THE LAST WORD

48 Modern quilter Nydia Kehnle is

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PATCHWORK PIN PALS

DOTS AND DASHES

BOOBOO COLLECTIVE: Architect and

WOODS a full-size quilt in time for

brightening up our Insta feeds! We've

Spring Quilt Festival,

Autumn Quilt Festival, Autumn Quilt Festival,

Tel: 01406 372600/372601 www.grosvenorshows.co.uk

YOU WILL NEED

CUTTING OUT SELECT FABRICS WITH HIGH

2 From Fabric B cut:

3 From Fabric C cut:

4 From Fabric D cut:

Q Thirteen (13) 3in x 8in rectangles.

5 From Fabric E cut:

6 From the backing fabric cut:

7 From the binding fabric cut:

ASSEMBLING THE QUILT

8 Each block contains two fabrics. From

9 Take one Fabric B and one Fabric D

10 Repeat step 9 to make the next three

11 Sew the blocks together in rows,

12 Remove the selvedges from your

+§|'ª |μ$%©} '|

1 The latest issue is

3 All issues download

YOU WILL NEED

FABRICS USED GIVE YOUR QUILT A MODERN

Subcut into fourteen (14) 7½in x 19in

2 From dark red (A) and dark blue (T)

Q Two (2) 7½in x 5in rectangles.

3 From red (B) fabric cut:

Cutting out piecing the curves

8 From mid orange (F) fabric cut:

10 From dark green (K) fabric cut:

DESIGNS ¢(0}¢" '

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