Today's Quilter 21

YOUR FAVOURITE MAGAZINE PACKED WITH PROJECTS, INSPIRATION & EXPERT ADVICE
Discover the legendary story

of the DEAR JANE® QUILT
ISSUE TWENTY ONE
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Create the prettiest 6SULQJ

TS
3D effects
BY
LI
ND EN CELEBRATE THE SEASON
A CL E M
WITH JO AVERY’S BOM
PAULIN NESON
*LYLQJ ëH EXQUISITE EFFECTS
WITH TONAL APPLIQUÉ
gift of a quilt? CLEVER RNERS

LYNNE EDWARDS MBE TRY A NEW TECHNIQUE
SHARES WISE WORDS! WITH PAM LINTOTT
BUST YOUR FABRIC STASH WITH STYLE!
Mandy Shaw’s patriotic project,

Sara Impey’s clever text creations,
and the iconic Jane A. Stickle Quilt 1HZIDåLF 6DUD,PSH\
Workshops in association with
by
Image: Helen McBride Richter – thirty four?

Meet the team
Senior Editor Jenny Fox-Proverbs
Art Editor Sue White
Deputy Editor Fiona Smith
Features Editor Jane Rae
Technical Editor Laura Pritchard
Digital Editor Zoe Williams
Technical Consultant Linda Clements
Group Senior Editor Julie Taylor
Contributors
Jo Avery • Anne Williams • Carolyn Forster
• Pauline Ineson • Lynne Edwards MBE • Mandy Shaw
• Pam & Nicky Lintott • Katriel Costello
• Annelise Brant • Tina Prior
WELCOME!
Photography Immediate Media Photo Studio As I give the project pages for this issue a final check before they go to press,
unless otherwise stated.
I’m struck by how “fabric-centric” many of the designs are. For most quilts
Write to us we’re required to cut hundreds of small fabric pieces. However, the projects
Today’s Quilter, Immediate Media, Tower House,
Fairfax Street, Bristol, BS1 3BN
this month employ larger pieces, putting the print and palette of each fabric
or email: todaysquilter@immediate.co.uk centre stage. We all have fabric in our stash that we want to remain intact, so
our cover star design by Carolyn Forster might be just the project for us.
ADVERTISING Carolyn selected gorgeous vintage-style florals for her hexagons; I’m sure you
Call: 0117 300 8206
Senior Advertising Manager Penny Stokes have something equally as striking in your own collection. Pam Lintott’s
Client Partnership Manager Beckie Pring
Senior Sales Executive Tiffany Jackson Seventh Heaven quilt is also the perfect way to showcase a fabric, either using
a Dessert Roll as Pam has, or cutting generous strips from yardage. Give your
MARKETING AND CIRCULATION
Newstrade Marketing Manager Janine Smith fabric the chance to shine this month.
Export Marketing Manager Rebecca Richer
Direct Marketing Executive Lily Nguyen
By the way, if you haven’t heard about World Craft Week on the 3rd-9th
PRODUCTION
Production Coordinator Lizzie Ayre of April, pop over to www.worldcraftweek.com to get your free digital
Production Manager Rose Griffiths/Louisa Molter
Production Director Sarah Powell
project magazine and find out how you can get involved!
LICENSING
Director of International Licensing & Syndication Tim Hudson
PUBLISHING
Publisher (Sewing Portfolio) Liz Taylor
liz.taylor@immediate.co.uk
Chief Executive Officer Tom Bureau
Managing Director, Bristol Andy Marshall Jenny Fox-Proverbs Senior Editor
Printed and bound by William Gibbons
Distributed in the UK by Frontline
BUYING PS We love to hear from you - keep in touch online, by email or by post.
Paul Torre • Karen Flannigan • Corinne Mellerup
Todaysquilter Todaysquilter Todaysquilter Todaysquilter
SUBSCRIPTIONS
Call 0844 249 0223 or subscribe online at
buysubscriptions.com www.todaysquilter.com
Supersizing their fabric this issue…

Immediate Media Company Bristol Limited (company number
05715415) is registered in England and Wales. The registered
office of Immediate Media Company Bristol Limited is at Vineyard
House, 44 Brook Green, London W6 7BT. All information
contained in this magazine is for information only and is, as far as
we are aware, correct at the time of going to press. Immediate
Media Company Bristol Limited cannot accept any responsibility
for errors or inaccuracies in such information. Readers are advised
to contact manufacturers and retailers directly with regard to the
price of products/services referred to in this magazine. If you
submit unsolicited material to us, you automatically grant
Immediate Media Company Bristol Limited a licence to publish
your submission in whole or in part in all editions of the magazine,
including licensed editions worldwide and in any physical or digital
format throughout the world. Any material you submit is sent at
your risk. Although every care is taken, neither Immediate Media
Company Bristol Limited nor its employees agents or Pam & Nicky Lintott Carolyn Forster Mandy Shaw
subcontractors shall be liable for loss or damage. DELICIOUS DESSERT VINTAGE STYLE FLYING THE FLAG
Immediate Media Company Limited is

If you have never tried a Carolyn’s choice of fabric The Union Jack has never
working to ensure that all of its paper is Dessert Roll pre-cut before, always inspires us, and this looked so good (page 62)!
sourced from well managed forests. This then we highly recommend it month we’re especially Giving it her own inimitable
magazine can be recycled, for use in
newspapers and packaging. Please remove any gifts, samples or (page 76). It’s like double smitten with the beautiful twist, Mandy adds flower
wrapping and dispose of it at your local collection point. helpings of Jelly Roll – yum! florals on page 22. power to spread the love.
62
Make a quilt on
a patriotic theme
34
Enjoy the
exquisite
detail of this
starry quilt
22
Celebrate gorgeous florals
and super-sized hexies in
this vintage-inspired quilt
HAPPENING NOW WORKSHOPS

07 INSPIRED BY… Vacation planning 20 SHOW & TELL
Show off your latest quilt creations
13 FRESH PICKS to us and to other readers!
18 DIARY DATES 29 FROM THE DESK OF

LYNNE EDWARDS MBE
GREAT READS Lynne shares her tips for staying
inspired when making quilts as gifts
42 THE JANE A. STICKLE QUILT 55 ESSENTIAL GUIDE

Jane Rae delves into the fascinating history Expert Linda Clements shows you
of this legendary heritage quilt how to create 3D floral accents from
Prairie Points in leftover fabrics
72 QUILT AS DESIRED
Text-based quilts by Sara Impey 83 BLOCK OF THE MONTH
DON’T MISS AN ISSUE! A month in the country: glorious
Make sure you receive every issue of Today’s Quilter 98 EASTER CELEBRATION birdsong inspires Jo Avery’s spring-
with a free trial subscription – for the latest quilting The story behind a set of cathedral banners themed blackbird blocks
news straight to your favourite device. See page 32.
WWW.FACEBOOK.COM/TODAYSQUILTER WWW.TWITTER.COM/TODAYSQUILTER WWW.INSTAGRAM.COM/TODAYSQUILTER
4
T
SEN I A L G
76
ES U
ID
TH
E
Create this
heavenly
quilt
55
BY
S
T
LI
ND EN
A CL E M
83 Meet Mr & Mrs Blackbird

in Jo Avery’s latest BOM
13
Fresh picks:
All the latest
quilting news
47 Recreate our Cathedral

Window cushion PROJECTS PLUS
22 VINTAGE FLORAL GARDEN 03 WELCOME
Revel in the bursts of colour and Meet the Editor, Jenny Fox-Proverbs
retro fabric of this dazzling quilt
12 FREE GIFT
34 STILL WATERS Don’t miss quilts by Pam & Nicky
Immerse yourself in crisp stars Lintott inside this issue’s supplement
and captivating quilt patterns
32 SUBSCRIPTION OFFERS
47 CATHEDRAL WINDOWS Try our free trial of our digital
Practise appliqué and echo quilting subscription!
with this inspiring cushion
87 TEMPLATES For the projects
45
MEASUREMENTS NOTE
Brenda wrote the story
behind the Stickle quilt
62 RULE BRITANNIA
Love Mandy Shaw’s charming and
chintzy, dotty quilt
97 DIRECTORY
A handy guide to suppliers used
Either metric or imperial measurements (sometimes
both) are included in each project, as per the designer’s 76 SEVENTH HEAVEN 99 NEXT ISSUE
preference. Converting measurements could interfere Refresh your bedroom in style A sneak peek at what’s in issue 22
with cutting accuracy. Follow the same units of
measurement throughout; do not mix metric and
imperial. Read the instructions all the way through
before cutting any fabric. Always make a test block
before embarking on a large project. WWW.PINTEREST.COM/TODAYSQUILTER WWW.TODAYSQUILTER.COM
5
and still more ….
Join Judi Mendelssohn and Lynne
11–19 September 2017
Edwards on the high seas and dry land!
Coach trip to the European Patchwork
Meeting in Alsace, France. Coach
13–17 August 2017 leaves Newport, South Wales, pick ups
Rednal, Birmingham, great follow on to the Festival of Quilts. along M4 and Folkestone, overnight
Fantastic sewing break, lots of friends, loads of fun. stops in Reims, five nights in the
charming town of Ribeauville with
daily visits to the European Patchwork
Meeting in Sainte-Marie-aux-Mines,
21 December 2017 – 6 January 2018
overnight stay on last night at the
In conjunction with Japan Journeys on the Fred Olsen gorgeous Chateau de Cocove.
Balmoral cruise liner.
Quilting Cruise to Madeira and the Canary Islands.
Fantastic on board workshops with Lynne and Judi. A new
and wonderful way to spend Christmas and the New Year.
P&Q Tours Ltd. Flat 4 Pershore Hall, Station Road, Pershore, Worcs WR10 2BT
Tel: 01386 561968 | judi@pandqtours.co.uk | www.pandqtours.co.uk
The Bramble Patch

Britain’s premier destination for patchwork, quilting & fabric arts
the quilter’s quilt shop…

fabricɾwaddingɾhaberdasheryɾtoolsɾkitsɾbooksɾclasses &
For advertising opportunities call workshopsɾlong-arm quilting serviceɾexhibitions & eventsɾConservatory
Coffee Shopɾ”Box of Delights” monthly quilters’ subscription box
Tiffany Jackson on 0117 300 8203 or email
tiffany.jackson@immediate.co.uk www.bramblepatchonline.com
West Street, Weedon, Northamptonshire, NN7 4QUɾ01327 342212
INSPIRED BY…
Holiday planning
Organic
appliqué creates
energy and
movement
T H E Q U I LT
SUNDANCE
World-renowned quilter Rita Verroca is known for her heritage-inspired patterns using
PHOTOGRAPH: RITA VERROCA
traditional hand appliqué and hand quilting techniques. Her playful arrangements keep
Explore Rita’s sensational your eye dancing and draw you in to the lush scenery they depict. In Sundance, above,
work and find quilt blooms and birds, pineapples and pomegranates bask in the warm glow of the summer
patterns for your own
masterpiece at www. sun. Rita’s work is taking its own trip this spring, visiting the Nadelwelt international
ritaverrocaquilts.com needlecraft show in Karlsruhe, Germany from 5th-7th May (www.nadel-welt.de).
Join us at www.todaysquilter.com 7
I N S P I R E D BY l h ol i d ay pl a n n i n g
Curate a well-
travelled stash
with global
prints
TH E FA B R I C
MARRAKESCH
PHOTOGRAPH: GÜTERMANN CREATIV
Revel in the hustle and bustle of Morocco’s lively city with Gütermann Ring a Roses’ new
For more info on
where to buy the fabric collection. Ornamental prints express the vibrant scents, intricate architecture and
Marrakesch stories of the city, evoking strong feelings of wanderlust within us. The dusky pink of the
collection, email medina under the hot North-African sun, inky midnight blue and soft desert beige create
gutermann@
stockistenquiries. a colour palette balanced between the chaos and the calm. Mix large rosettes and paisleys
co.uk with small-scale tile prints to conjure up a quilt full of sugar and spice.
8 Join us at www.todaysquilter.com
Add coastal
charm with
shades of blue,
cream and
red
THE SHOP
HOME ESSENTIALS
PHOTOGRAPH: HOME ESSENTIALS
Oh we do like to be beside the seaside, and at the first sight of a sunny

weekend, that’s where we’ll be headed. In the meantime, invite the British
The watercolour Lorraine seascape into your home with a spectrum of nautical shades, bold stripes
Kelly Jasmin Cushion and watercolour florals from Home Essentials. Their range includes all
uses nautical colours in a
feminine way, £10, www. sorts, from kitchen accessories to curtains, so you can simply add some
homeessentials.co.uk subtle driftwood accents, or fully embrace beach-hut chic.
Stitch
something
sweet with
a handful of
scraps
THE BOOK
TILDA’S SPRING IDEAS

Sometimes all the vacation we need is a few hours undisturbed in our sewing room.
For a book rich with sewing ideas, turn to Tilda, whose “Ideas” books come in Spring,
Summer, Winter and Seaside varieties. We’re head over heels for this little bug from
PHOTOGRAPH: TILDA
The Tilda “Ideas” Tilda’s Spring Ideas, which first caught our eye on Sewing Quarter recently. If you are
books are available
from www. planning a holiday, this little chap in a plant pot would make a perfect thank you for
sewingquarter.com neighbours who have watered the plants. We might just make a whole garden of them!
QUILTS UK 2017 The UK’s
MALVERN
No.1 Show
For The
Quilting
OPEN COMPETITIVE QUILT SHOW Enthusiast
At: Severn Hall, Three Counties Showground, Malvern, Worcestershire, WR13 6NW
Thursday 18th to Sunday 21st May 2017
10am - 5pm (4.30pm Sunday)
2017 Theme:
GARDENER’S WORLD
1st Prize: A Janome Sewing Machine sponsored by Sew Creative Sewing Centre Ltd (www.sewcreative.co.uk)
Lots of other categories to choose from and lots of awards & prizes to be won!
CLOSING DATE FOR ENTRIES: 3rd MARCH 2017
❋ Shop with all our quality exhibitors offering you the latest in quilting supplies ● Advance Tickets :
Available until 5th May 2017
❋ FULL WORKSHOP PROGRAMME Download a list from our website or telephone us Adults: £7.00
Senior Citizens: £6.00
❋ MEET THE EXPERTS Demonstration of patchwork and quilting techniques Children (8-16): £2.00
● Entrance at the Door:
❋ FABULOUS TROPHIES & AWARDS Overall Champion wins a Bernina sewing Adults: £9.00
machine kindly sponsored by Frank Nutt Sewing Machines Senior Citizens: £8.00
Children (8-16): £4.00
❋ FACILITIES Restaurants, indoor picnic area with fabulous views of the Malvern Hills, Tel: 01406 372600 / 01406 372601
*Credit / debit card bookings are subject to a 50p
disabled access & free parking booking fee per transaction
All Enquiries: Grosvenor Shows Ltd, 282 High Road, Whaplode, Spalding, Lincolnshire, PE12 6TG Special Ticket Offer:
Tel: 01406 372600 / 01406 372601 e-mail: grosvenorshows@btconnect.com Order Your Quilts UK Advance Tickets & then
Save 50% on Tickets for Malvern Autumn.
i.e. Adults: £4.00, Seniors: £3.50
(Discount Applies to ‘On the Door’ Prices)
Find Us on Facebook www.facebook.com/grosvenor
SPRINGFIELDS QUILT SHOW

SPALDING 2017
Friday 2nd to Saturday 3rd JUNE 2017
10.00am - 4.30pm (4.00pm Sunday)
FEATURE DISPLAYS All displays are subject
to change
Springfields Events Centre, Camelgate, Spalding, Lincs. PE12 6ET ❋ HEBRIDEAN LANDSCAPES by Effie Galletly
Left: ‘Through the Window Brightly’ ❋ LET’S COLOUR THE WORLD by Brazilian Textile Artists
by Meg Kenny (Irish Patchwork Soc.) ❋ WILD ATLANTIC WAY by Irish Patchwork Society
Below: ‘Summer Garden’ by
Karen Lane
❋ PAISLEY RENAISSANCE by Sandie Lush
❋ QUILTING MY GUILTY PLEASURE by Diane Abram
❋ THE FABRIC & FIBRE OF NATURE by Karen Lane
❋ AN ONGOING JOURNEY by Annelize Littlefair
❋ MADE IN CORNWALL by Cornish Members of
South West Quilters
❋ SOUTH WEST QUILTERS’ CHALLENGE:
UP, UP AND AWAY
Above Left: ‘Dew’ by Katia ● Advance Tickets*:
Laquila (Brazilian Textile Artist) Available until 19th May 2017
Adults: £5.00
Left: ‘The Breath of Life’ by
Natalia Manley Senior Citizens: £4.00
Children (8-16): £1.00
Patchwork & Quilting Suppliers Stands ● Entrance at the Door:
Workshops Available Adults: £6.00
Participate in our numerous workshops by quilting experts.
❋ FREE CAR PARKING ❋ DISABLED ACCESS ❋ RESTAURANT Telephone for a list or download from the website.
Senior Citizens: £5.00
Children (8-16): £2.00
ENQUIRIES: Grosvenor Shows Ltd, 282 High Road, Whaplode, Spalding, Lincolnshire PE12 6TG Tel: 01406 372600 / 01406 372601
*Credit / debit card bookings are subject to a 50p
Tel: 01406 372600 & 01406 372601 Fax: 01406 372602 Website: www.grosvenorshows.co.uk booking fee per transaction
)éæ 6XSSOHPHQW
60-DEGREE
TRIANGLES
Pam & Nicky Lintott guide us through projects that
demonstrate the versatility of the humble equilateral triangle.
LET US
KNOW!
Drop us a line
– an email,
letter, tweet
or Facebook
post – letting
us know about
CLICK
your quilting.
Whether it’s
a new project,
treasured
HERE FOR
heirloom, YOUR FREE
favourite
fabric or GIFT!
imaginative
mood board,
we’d love
to see what
you’ve been
up to and hear
your stories!
Clever new rulers

THE 60-DEGREE TRIANGLE is one of the most such as these from
versatile shapes in a quilter’s arsenal of techniques. Creative Grids mean
As well as creating a quilt that demonstrates the faster and more
accurate cutting and
striking effect of simple equilateral triangles, it piecing – what joy!
can also be used to form diamonds, hexagons and
tumbling blocks, to name just a few. Pam and Nicky
Lintott have explored these ideas in a number of beautiful
quilts over the years, and were keen to share their findings
with Today’s Quilter readers!
We visited Pam at her shop, The Quilt Room, to look through
the many quilt designs she has. Laying out all the quilts to view
together, it soon became apparent that as always fabric choice and
placement also play a huge role in achieving the desired effects.
The dark and light fabric in the Tumbling Blocks quilt gives the
most striking 3D result, while Hexagon Garden uses colour value
to pick out the hexagons, making the triangles less obvious at first
glance. The possibilities are too numerous to count, so best just
dive in and start creating! To buy your own triangle ruler at a
discounted rate, turn to page 42 of the supplement!
WRITE TO US Today’s Quilter, Immediate Media, Tower House, Fairfax Street, Bristol, BS1 3BN. EMAIL: todaysquilter@immediate.co.uk

$çëHODWHVWTXLOWLQJQHZV
FRESH PICKS
This month is all about escapism, with quilting retreats at home and abroad, ocean-
inspired fabrics and a life-affirming colour of the year… enjoy!
T R E AT Y O U R S E L F !
The Ultimate
Collection by Tula
Pink from Aurifil
The Ultimate Collection
comes in a custom, gold-
embossed case and contains
forty-five small spools of
50wt thread hand-selected
by Tula Pink. The threads
are in stunning shades and
coordinate particularly well
with Tula’s fabric collections,
but would be a marvellous
addition to any sewing room.
£156 www.aurifil.com/the-
ultimate-collection
C R E AT I V I T Y & S C H O O L S
Sign here
Would you like to see more

creative subjects being
taught as part of the national
curriculum? Join in with
ALL THE FUN OF THE CIRCUS
The Campaign for Creativity
by stitching your signature
and bringing it to one of
the forthcoming Knitting NEW FABRIC!
& Stitching Shows or The Add some circus fun to your spring projects with this new range from Tilda, reminiscent
Festival of Quilts. A signature of circus life. Revel in motifs of elephants, the Big Top, flowers and animal motifs in
cloth will be presented to the flamboyant colours such as fresh blue, red, turquoise and green. Circus is available by the
Education Secretary. Sign metre, at £16.80, and in fat quarters and fabric bundles. To complement the range there
online at www.change.org are Elephant and Giraffe Kits and patterns for quilts. groves@stockistenquiries.co.uk
FRESH PICKS l q u i l t i ng n e ws
MAG N ETIC APPE AL
Pin Caddy
This new Magnetic Pin Caddy

from Clover has a clever
centre groove that makes
picking up pins really easy
and the cover makes for safe
and easy storage too. Simply
hover the caddy over the
pins to scoop them up. The
caddies can be neatly stacked
on top of one another to allow
for further storage.
£18.99
For stockist information, email
clover@stockistenquiries.co.uk
SPRING BOUQUET
Tulips & Daffodils

Treat yourself to these two
gorgeous, spring blooms-
themed mugs from Emma
Bridgewater, hand-decorated
at her factory in the UK.
Perfect for serving up a
OUT & ABOUT
refreshing cuppa for yourself
and a friend taking a well-
THE STORY BEHIND THE QUILT

earned coffee break from a
creative project. Set of two
half-pint mugs, £39.95
This year’s travelling exhibition from The Quilters’ Guild Collection to be showcased www.emmabridgewater.co.uk
at the Spring Knitting & Stitching Show in Edinburgh is a real celebration of family
heirlooms and treasured objects. The theme – Family Connections – explores the detailed
family provenance associated with selected pieces, and allows the visitor to delve into the
past by exploring the lives of historic quilt makers. Don’t miss the chance to see some
gorgeous quilts curated from The Quilters’ Guild’s extensive collection of heritage pieces.
See Diary Dates on page 18 for more details. The Spring Knitting & Stitching Show runs
from 27th-30th April at The Royal Highland Centre, Edinburgh, for more info, visit
www.theknittingandstitchingshow.com/edinburgh
FURTHER AFIELD
International Quilt
Study Centre & Museum
The International Quilt Study Centre & Museum
in Nebraska is exhibiting Log Cabins by Luke
Haynes, a collection of 50 Log Cabin quilts that
all share the same materials and size, but each has
a unique graphic arrangement. The environment-
like installation occupies a space that integrates
quilts, sculpture and architecture and is a
real departure from the traditional exhibition
approach. Designer Luke Haynes experiments
with quilting while exploring art and architecture
across the world. Until 29th April. For more info,
visit www.quiltstudy.org
FA B R I C F I N D S
Forest Talk
Cathy Nordstrom’s second
collection for Andover Fabrics
takes a leaf out of nature’s
book and captures the spirit of
woodland creatures as well as the
colours and fruits of the forest.
www.makoweruk.com
Q U I LT E R ’ S G A D G E T S
THIMBLES & BIAS BARS

Hemline has designed a range of specialist thimbles just for quilters to make your hand-
stitching more comfortable and to give the very best results. Those clever folk at Hemline
really have thought of everything.
First up is The Non-Slip Quilter’s Thimble (top left), which is made from high
quality plated nickel. It has a recessed top and raised rim to prevent the needle from
slipping and to help guide the needle and pierce the fabric accurately and easily. Available
in small, medium, large and extra large to ensure you find the perfect fit (£1.55 each).
The Quilter’s Comfortable Thimble (pictured, above) covers the full length of the
finger and has a wide band of elastic for extra flexibility and open side vents that allow
the finger to breathe. One size fits all (£2.39). The Quilter’s Thumb Thimble is used
by quilters to improve the thumb’s natural leverage and that all-important pushing power
when dealing with multilayers or tougher fabrics. One size fits all (£1.29).
More handy gadgets designed with quilters in mind include the Sew Easy Quilter’s
Bias Bar. These nifty bias bars are easy to use and great for making appliqué details in
your quilt creations such as delicate stems, vines and basket handles as well as stained glass
and Celtic designs. You will also find them useful for creating tricky straps in dressmaking
and handles in bag-making. We recommend watching the Sew Easy Quilter’s Bias Bar
demo online on YouTube before getting started. Each pack contains different widths
including ¼in, ⅜in and ½in, and each bar is 12in long (£5.25 per pack).
For stockist information email groves@stockistenquiries.co.uk

For further ideas, inspiration and practical help on using these gadgets, visit the YouTube
channel www.youtube.com/user/Hemlineinternational
G R E E N S PAC E
This year’s colour

Every year Pantone, the world-renowned
authority on colour, chooses a hue that reflects
the global culture, moods and prevailing
attitudes. This year’s choice is focusing on new
beginnings and they have chosen Greenery,
which they describe as “a life-affirming shade,
an omnipresent hue”. Specifically, this shade of
green is “a fresh and zesty yellow-green shade
that evokes the first days of spring”. Visit the
website to see ten colour palettes with enticing
names, such as Forest Floor and Fathomless
they’re sure to inspire your next quilt project.
www.pantone.com
T H E Q U I LT E R ’ S L I B R A R Y
Drawstring Poolside Tote by
Fish Bags Noodlehead
This month’s new books
Teach Me to
Machine Quilt
Pat Sloan
The third book in Pat’s Teach
Me series. Pat guides us through
simple and fun practice projects,
including an easy appliqué design.
Martingdale
£24.99
www.roundhousegroup.co.uk
Waves Quilt based

on Lily’s Quilt ‘Out
On The Ocean’ Zip Totes
P AT T E R N P E R F E C T
Modern Machine
UNDERWATER
Quilting
Catherine Redford
Make sure you are getting the best
Underwater by Elizabeth Olwen for Cloud9 Fabrics is inspired by a love of the ocean quilting results using a domestic
and all that lies beneath its surface. In cool pink, blue and citron, Elizabeth’s signature, machine and your walking foot
pattern-rich mix of designs is perfect for all sorts of summer projects. We love the fun with this book.
Fons & Porter
Drawstring Fish Bags, which are available as a free pattern download. To view the £16.99
collection, visit www.cloud9fabrics.com www.sewandso.com
S E W I N G R E T R E AT S
Just Hands-on-TV
We couldn’t agree more with the sentiment shared by Just Hands-on-TV Founder,
Valerie Nesbitt: “We can all make time for sewing, but sewing with friends is very
special. A little me time.” Join Valerie, Jennie Rayment and other expert tutors for
some uninterrupted sewing in three great locations this autumn. From October
7th & 8th there’s a weekend Patchwork and Quilting retreat at the DeVere Hotel
in Denham Grove with tutors Valerie Nesbitt, Sarah Soward and Pauline Bolt, the
retreat is priced £325. In October, on the 14th & 15th, enjoy a weekend Textile and
Quilting retreat at the Aztec Hotel and Spa in Bristol with tutors Kathleen Laurel
Sage and Hilary Beattie, cost £395. Or how about a seven-day overseas sewing break
in November, from the 10th to 17th, at the 4-star db Seabank Resort + Spa in Malta
with tutors Valerie Nesbitt and Jennie Rayment? Cost £1,095. For info, visit, www.
justhands-on.tv/events/retreats and for info on the Malta retreat, call 01473 633 506
or visit www.arenatravel.com/our-holidays/stitchtopia/maltese-quilting-retreat
T H E Q U I LT E R ’ S L I B R A R Y
This month’s new books
Patchwork Quilted Bags

Totes, Purses &
Accessories
Reiko Washizawa
If you like zakka-style projects,
then you’ll love this book. Includes
full-sized quilting patterns and step-
by-step instructions for 19 different
projects, along with techniques for
assembling the perfect blocks.
Tuttle Publishing
£11.99
www.searchpress.com
Sidmouth Quilt
OUT AND ABOUT
THREADS: CELEBRATING QUILTS The Bible Sampler Quilt

Are you heading to The Quilters’ Guild AGM in Torquay or perhaps you fancy a spring
– 96 Classic Quilt Blocks
outing? If so, don’t miss the opportunity to see quilts old and new at Torre Abbey Historic
Inspired by the Bible
House and Gardens in Torquay. The Threads exhibition explores quilts and coverlets from Laurie Aaron Hird
The Quilters’ Guild Collection, including the popular Sidmouth Quilt (a tribute quilt was The author of the Farmer’s Wife
featured in TQ issue 15), Context by Sara Impey, “And now the weather” by Laura Kemshall Quilt book series brings us a beautiful
collection of 96 blocks inspired by
and many more. It’s a great opportunity for Quilters’ Guild members from all over the Bible verses. A CD complete with
country to travel to Torquay and see pieces from their own collection, as well as to celebrate PDF block templates for several
patchwork and quilting at the annual conference. Guild members attending the AGM are alternative quilt sizes is included.
Krause Publications
entitled to a 50% discount off the ticket price. 25th March-4th June £18.99
www.torre-abbey.org.uk/visit www.sewandso.co.uk
FA B R I C F I N D S
Home Grown
We love this quirky range
from Makower featuring
farm animals, chooks and veg
straight from the allotment.
It’s perfect for quilters who
enjoy some country living.
www.makoweruk.com
:KDWWRVæDQGGRQRZ
DIARY DATES
Treat yourself to a wonderful day out at an inspiring quilting or textile
exhibition. See what’s on around the country with our handy listings guide
Q U I LT I N G E X H I B I T I O N S
As Good as it Gets:
Exquisite Welsh Quilts
from 1921-1939
Until 4th November, Wales
An exhibition showcasing
one of the most important
periods in Welsh quilting
and featuring quilts from
a number of collectors
highlighting the work of
Welsh quilters, who worked
under the sponsorship of
The Rural Industries Bureau
(RIB) in Wales. During the
time of its sponsorship, some
of the finest Welsh quilts ever
made for the luxury markets
of London were created.
The Welsh Quilt Centre, Right, Ystrad Mynach Biennial Exhibition
The Town Hall, High Street, Above top, Garstang Patchwork Quilters
Lampeter, SA48 7BB Above, Oxnam Quilters Quilt Show
www.welshquilts.com
for details. There’s also A combined exhibition British Quilt and
Threads: Celebrating a charity raffle with first prize by The Pennyloaf Stitch Village
Creativity in Historic of a double bed quilt. Patchers and The 7th-9th April, Staffordshire
Swiss Cottage Library, 88 Avenue The show offers a variety
and Contemporary Road, London, NW3 3HA
Caister Stitchers
Quilts 1st-2nd April, Great Yarmouth of traders to cater for your
Monday-Thursday 10:00-20:00
Until 4th June, Devon Friday & Saturday 10:00-17:00 There will be a raffle, crafting needs, quilt and
Don’t miss this (closed Good Friday) refreshments, quilts for sale embroidery exhibits and
Admission: Free and traders. Proceeds to workshops run by
opportunity to see quilts lqexhibition2017@gmail.com
old and new at Torre Abbey Macmillan Cancer Support. inspirational crafters.
www.londonquilters.org.uk Uttoxeter Racecourse,
The Village Hall, Main Road,
Historic House and Gardens Fleggburgh, Great Yarmouth, Staffordshire, ST14 8BD
in Torquay. The Threads Patchwork, Pattern NR29 3AG 10:00-16:30 (Sun 10:00-16:00)
exhibition explores quilts and 10:00-16:00 www.quiltandstitchvillage.com
and Print Exhibition Admission: £2 (children free)
coverlets from The Quilters’ 30th March-30th April,
For more information contact
Guild Collection, including North Yorkshire
Linda Futter on 01493 721288
Wye Knots Patchwork
the popular Sidmouth Quilt, An exhibition of heritage (lindastitches@live.co.uk) or and Quilting Show
Context by Sara Impey, “And quilts in collaboration with Maureen Scott maureenscott222 20th-22nd April, Wales
now the weather” by Laura The Quilters’ Guild at which @icloud.com Mystery gift stall.
Monmouth Shire Hall, NP25 3DY
Kemshall and many more. visitors can view a stunning
10:00-16:00
Torre Abbey, The King’s Drive, array of 18th, 19th and 20th Waltham Patchwork Disabled access, no entry fee
Torquay, TQ2 5JE century quilts from The Friends “Quilts in the
www.torre-abbey.org.uk/visit
Guild’s historic collection. Church” Garstang Patchwork
The exhibition explores 7th-8th April, Chelmsford
London Calling – Quilts, sales tables, trader Quilters Biennial
Quilts at the Library: developments and changes Exhibition
in technology, constructions “The Charmed Fish”,
an exhibition by 21st-23rd April, Lancashire
and fashionable fabrics in tombola, refreshments and
London Quilters Local quilt shops will have
patchwork and quilting. raffle, including a quilt, in
Until 15th April, London
trading stands. Raffle quilt
Accompanying the exhibition aid of Action for Pulmonary
More than 60 quilts of “Geese Lightning” and many
will be a series of lectures and Fibrosis and in memory of
other prizes for raffle tickets.
all sizes and styles, traditional practical workshops. Kath Goddard. The Village Hall, Bilsborrow,
and contemporary. There’ll The Garden Rooms at Tennants United Reformed Church, Main PR3 0RE (on the A6, north of
Leyburn, The Auction Centre, Street, Little Waltham, CM3 3NT Preston, Lancashire)
be many exhibition quilts 10:00-16:00
North Yorkshire, DL8 5SG 10:00-16:00 daily, refreshments
for sale plus sales tables with 09:00-17:00 Admission: £2 will be available
a range of quilts, cushions Admission: Free Limited parking but free public Admission: Adults £3, free for
For info, email info@ car park on Brook Hill, just a short accompanied children under 16.
and other needlecrafts.
tennantsgardenrooms.com walk away The Village Hall has a large car
Mini-workshops most
or call 01969 621146 park, which is free, and disabled
Saturdays, check website access throughout
D I A RY DAT E S l wh at ’s o n
Contact the secretary on 01253 Ammonite Quilters

854380, or go to the Quilter’s
Quarters Shop in Longridge. See
Quilt Show
website garstangpq.weebly.com 6th May, North Yorkshire
Display of quilts, raffle,
Crystal Quilters’ Show tombola and fabric stall,
– an Exhibition of plus tea, coffee and cakes.
10:00-15:00
Members’ Work Admission: £2
22nd April, West Midlands
Sleights Village Hall, near Whitby,
Light refreshments, sales North Yorkshire, YO22 5BT
table, trade table, disabled
access, free parking. Heather Quilters
St James’ Church Hall, Belfry
Drive, Wollaston, Stourbridge,
Pearl Exhibition
6th-7th May, Surrey
West Midlands, DY8 3SE
10:00-16:30 An exhibition of work
Admission: £3 by Heather Quilters. Traders,
demonstrations, charity raffle
Ystrad Mynach quilt and tombola. Plus
Quilters Biennial Project Linus, the charity
Exhibition that makes quilts and
28th April-1st May, Mid Glamorgan blankets for critically
Traders, stalls and raffle. ill children, will be there.
Llancaiach Fawr Manor House, Tringham Hall, Benner Lane,
Nelson, Mid Glamorgan, West End, Woking, GU24 9JP
CF46 6ER Saturday 10:00-17:00 Quilty Pleasures Exhibition Raffle Quilt
10:00–16:00 Sunday 10:00-16:00
Admission: £2 or free if taking Admission: £3, accompanied
a tour of the manor house. husbands and children free visit the website www. I N T E R N AT I O N A L
Disabled access and Free parking and disabled access theknittingandstitchingshow.
refreshments. Contact: Yvette Ness on 01483 com/edinburgh
Contact: Jenny Benjamin 762995, or email yvette@
11th International
on 02920 861783 foxcedar.co.uk
The Textures of Craft Prague Patchwork
6th May, London Meeting
Oxnam Quilters TEXTILES 31st March–2nd April, Prague
Kaffe Fassett is the keynote
Quilt Show speaker at The Textures of This year’s show is truly
29th April-1st May, Scotland Kaffe Fassett international, featuring quilts
Craft, the conference of the
The main raffle prize Exhibition at Standen from SAQA, South Korea,
Heritage Crafts Association.
will be a double quilt made House & Garden the Norwegian group Art
Hear from makers, browse
by the members and Until 23rd April, West Sussex Quilt STING, the Middle
the Instant Gallery, celebrate
long-arm quilted by Kay Standen is an Arts and Eastern duo from Israel –
the best crafts people in the
Bell, the Borderline Quilter. Crafts family home with Shoshi Rimer and Bella
country and find out more
A mini raffle of bags and Morris & Co interiors, set Kaplan – and individual
about the Heritage Crafts
cushions will take place in a beautiful hillside garden galleries from European
Association’s research into
each day. Plus sales table in East Grinstead. This textile artists.
endangered crafts from www.praguepatchworkmeeting.
and a de-stash table. exhibition celebrates the work
Oxnam Village Hall, Jedburgh, The Radcliffe Red List. com
of Kaffe Fassett and features Royal Society of Medicine,
Scottish Borders, TD8 6RF
textile designs from different 1 Wimpole Street, London,
10:00-16:00 Saturday and
Monday points in his career. W1G 0AE Verona Tessile
Check the website below for 10:00-16.30 24th–30th April, Italy
12:00-16:00 Sunday
Admission: £2 opening times Admission: £25 for HCA Display of textile art
The Village Hall has disabled www.nationaltrust.org.uk/ members, £30 for non-members exhibited in museums
access and free parking standen-house-and-garden Bookings at: heritagecrafts.
org.uk/the-texture-of-craft-
and churches in Verona.
Contact 01750 76258 The exhibition is free but normal
www.veronatessile.it/en
admission charges to the property conference
apply (free for National Trust For more information go to:
Quilty Pleasures – an members); entry to the exhibition www.heritagecrafts.org.uk Moscow International
exhibition of work by is by timed ticket Quilt Festival
Kilham Quilters World Textile Day 20th-23rd April, Russia
29thApril-1st May, www.quiltfest.ru
The Spring Knitting South
East Yorkshire & Stitching Show 6th May, Wickham
This is a biennial event 27th-30th April, Edinburgh Themed around colour, AQS Spring Paducah
and this year’s group The event offers hundreds you can enjoy presentations, Quilt Show
challenge is to make a Project 26th-29th April, USA
of workshops, demonstrations show and tell, and the fair
Linus Quilt, which will be and interactive features, Paducah in Kentucky
trade market filled with
displayed as part of the curated galleries showcasing becomes “Quilt City”
tempting goodies from
exhibition before being the work of leading textile as thousands arrive for
around the world – a must
donated. The exhibition will artists and groups from all a celebration of quilting. Visit
for textile enthusiasts.
showcase a variety of items over the world, and hundreds Wickham Centre, Mill Lane, the National Quilt Museum.
Wickham, PO17 5AL www.quilt-show.com/paducah-
made by Kilham Quilters. of specialist craft companies
All Saints’ Church and Village Hall, www.worldtextileday.co.uk quilt-show
selling essential supplies.
Kilham, Nr Driffield, YO25 4RG The Royal Highland Centre,
10.00-16.00 each day Ingliston, Edinburgh, EH28 8NB
Admission: £3 Thursday 10:00-19.00 LET US KNOW!
Disabled access and free parking
Contact 07787 955898 or email
Friday & Saturday 10:00-17.30 Drop us an email to TodaysQuilter@immediate.co.uk
Sunday 10:00-17:00 telling us about your upcoming quilting events
jenawalker@btinternet.com For ticket prices and info,
Sponsored by
Join in and be part of our community
SHOW & TELL

The only thing better than putting the finishing touches to your latest quilt
WRITE TO US
Today’s Quilter,
Immediate Media, Tower
House, Fairfax Street,
Bristol BS1 3BN
EMAIL: todaysquilter@
immediate.co.uk
is showing it off! So let’s see what you’ve been up to this month…
3éRMHFW RI Stunning
ëHPRQë stashbuster
Here’s a picture of a quilt I made,
Stunning Strings, the scrapbusting
project from issue 14. It’s made mostly
from stash leftover fabrics from my first
sampler quilt. It was a very quick quilt
to make using foundation piecing; I
made it in a few weeks and finished
just in time for this last winter.
June Salter, via email
How lovely to hear that your quilt was
created from stash leftovers from your first
quilt, June – it looks stunning.
Dresden delight
This is the chequered Dresden quilt my in-laws when I gave it to them for
I made inspired by the preview photo Christmas. I love the magazine because
for the quilt in Today’s Quilter issue it provides more complex articles and
16. I couldn’t wait for the instructions projects, rather than those suitable for
so mine is a little different – it has no beginners. We all need to learn but we
sashing, but I included triangles at also need something to aspire to.
the corner of each block and worked Linda Willment, via Facebook
out the border corners differently. We’re glad you find the magazine inspiring
I’m really pleased with it – as were Linda, your Dresden plate design is lovely.
Japanese
inspired
This is the wall hanging
WIN: The project of I’ve just finished, it was
the month will get a inspired by your Essential
Westalee Ruler Guide to Japanese folded
Foot and Sampler patchwork in issue 16.
PR IZE
Template Set. WORTH I did it all by hand and
Create a wide variety of £120 finished just in time for
designs on your domestic Christmas. I haven’t done
machine at home with Foot for their specific machine any patchwork for a few
the Westalee Ruler Foot and make, plus Sampler Template years and your magazine technique in the booklet
template set, now available Set 1, which includes six has been a big inspiration that came with issue 18.
from The Cotton Patch. templates, worth £120 from in me getting started again. Eileen Bluett, via email
Each issue, one lucky winner The Cotton Patch. I’m looking forward to It’s great to hear that you’re
will receive a Westalee Ruler www.cottonpatch.co.uk attempting the projects getting back into patchwork and
on the Cathedral Window quilting again, Eileen.
TROUBLESHOOTER
TUNE IN!
Watch on Freeview channel 78,
on air every day 8am-12pm,
or via the website
www.sewingquarter.com The pretty
Sewing Qu
Youtube.com/sewingquarter arter studio
This month, we chatted to dynamic designer and teacher Angela Attwood, to find out more
about her love of geometric designs and her passion for sewing
How did you get much as it does. I also love the What can viewers expect to see
into crafting? precision required in piecing. It’s from you on Sewing Quarter?
“I’ve always felt really quite wonderful that given the “I hope to bring honest, well
comfortable making recipe of a quilt block, we can all make explained, good sewing and quilting
and designing, and something bespoke because of our knowledge and tips, alongside
always just had a individual choices along the way.” beautiful design and inspiration.”
go, sometimes out
of necessity. When I Do you have a favourite quilting Tell us what excites you about
bought my first house, I purchased an technique and why? this new channel dedicated to
old Singer sewing machine and made “Much of my textile artwork involves quilting and sewing?
full length lined curtains, covers for a free-motion embroidery and appliqué, “Sadly, not everyone has a friendly
second-hand sofa and even a duvet set!” and these disciplines are reflected in quilting store on their doorstep, or
my quilting too. Free-motion work local classes or groups to attend, so
What do you love about quilting? is like your handwriting in a way I’m most excited about reaching such
“I initially started patchwork and that it’s unique to you and I like all a wide audience. The atmosphere and
quilting purely to learn about quilting sorts of appliqué techniques, as I find energy at Sewing Quarter is incredible.
techniques to feed into my textile layers add a depth of interest. Last It’s a pretty special and unique thing
artwork, an interest in bag-making/ year I became a Westalee Quilting to be part of – talented and passionate
design and the mysterious ‘world Ruler demonstrator and immediately designer-makers, spreading our love for
of wadding’! I never imagined that fell in love with stitching out stitch and design, hopefully inspiring
patchwork would appeal to me as wonderful geometric patterns.” and educating others to have a go too!”
D I D YO U K N OW ?
FREE
CUSTOM-CUT GIFT!*
FABRIC
If you love fabric as much as we do,
then you’ll be excited to hear you can
now buy custom-cut fabric by the
half-metre on Sewing Quarter. With
a variety of gorgeous fabrics to choose FREE GIFT!
from, including Tilda and Makower,
SEWING KIT
prices start from £3.25 per 0.5m. From
plain fabric to fabulous patterns and
prints, check out the great selection Launched on Freeview 78, Sewing
available at www.sewingquarter.com! Quarter is run by a dedicated team who
are as passionate about quilting as you
are. Buyers have travelled the world to
find must-have fabrics and accessories
for your kit. To welcome you on board,
with your first purchase with Sewing
Quarter over £10 (excl P&P), you get
this fabulous FREE sewing kit worth
£14.99 (T&Cs apply*).
* Offer available while stocks last
HEXAGON PROJECT
VINTAGE FLORAL
GARDEN
Gorgeous bursts of colour on oversized
hexagons arranged in fabulous florals
dazzle in this vintage-inspired
quilt. This is one project grandma
will definitely love!
Designed and made by CAROLYN FORSTER

Quilted by CHRIS FARRANCE for
THE QUILT ROOM
www.quiltroom.co.uk
HEXAGON PROJECT
VINTAGE FLORAL
GARDEN
You will need
Q Background fabric – 5yds*
Q Hexagon flower centres from bark
cloth – seven (7) 10in squares OR
½yd**
Q Hexagon flower petals from bark
cloth – seven (7) ½yds OR 2½yds
total**
Q Backing fabric – 5yds
Q Batting – 87in x 86in
Q Binding – 20in x WOF
Q Hexagon template (see Templates
section)
Cutting out
1 From the background fabric, cut
as follows:
Q Twenty-two (22) 7½in x WOF
strips, subcut into eighty-eight (88)
hexagons using the template.
Q Three (3) 4in x WOF strips, subcut
into twelve (12) half-hexagons.
2 From the bark cloth for flower

centres, cut seven (7) hexagons.
3 From the bark cloth for flower

petals, cut eleven (11) 7½in x
WOF strips, subcut into forty-two
(42) hexagons; six (6) per flower.
4 Cut the backing fabric into

two (2) lengths and remove the
selvedge. Sew together with right
sides facing along the long edge.
Press seams open.
B E H I N D T H E Q U I LT
5 From the binding fabric, cut
eight (8) 2½in x WOF strips. Join
NEW & VINTAGE FABRICS

together to make a continuous length
with bias joins. Press open. Fold in
“With this quilt I put a new twist on a classic by using large-scale hexagons half along the entire length and press
to create big, bold flowers. The scale of these blooms is great for showcasing with wrong sides together.
the wonderful bark cloth fabric, which I sourced both new and second hand.
The fabrics in the main quilt are from the Outback Wife Collection by
Gertrude Made for Ella Blue Fabrics in Australia. This is a great way to buy
new vintage fabrics, and I think the oversize hexagons really showcase these TECHNICAL TIP
gorgeous prints. For more on cutting and
“The new vintage-style bark cloth works really well with fabrics that are working with large-scale
true vintage, and there are great sources of these original fabrics on eBay. hexagons for machine
piecing, check out Hexagon
The ones I used for the binding were from Suzie’s Vintage and Handmade
Happenings by Carolyn
shop. Keep a look out for vintage fabrics in charity shops and local antique Forster (Landauer
shops too. The main body of the quilt is neutral Essex linen with odd patches Publishing).
of printed linen, very evocative of grain sacks, and it works as a soothing
contrast to the richness of the bark cloth.” – Carolyn Forster
Finished size
Q Approximately 77in x 76in
Notes
Q *This could be from multiple
fabrics. Carolyn used two (2); one
solid and one print.
Q **Allow more fabric if you are fussy
cutting.
Show off your favourite fabrics in this

new take on a Grandmother’s
flower design
TECHNICAL TIP
Accuracy is important as
you will not be sewing into
the seam allowance and you
need to know where to start
and where to stop. Simply
use a sharp pencil and the
marked holes; a small dot is
all you need.
Assembling the quilt

6 Lay out thirteen (13) rows of
hexagons as per the Assembly
Diagram om page 26. To make a
more stable edge, place the hexagons
along the straight edges at the top
and bottom of the quilt with the
straight grain on the outside edge.
Leave
thread
7 Take the first and second

hexagon and place right-sides
together. Then on the uppermost
Mark
dots
tails
hexagon mark the dots using the Stop

template. These are the starting and on dot Wrong side
Fig 1 Fig 2 Fig 3
stopping points of the ¼in seam
allowance (Fig 1).
8 Using a shorter than usual stitch

length for greater control, sew
9 Mark and continue to join the
hexagons together in this way
to complete the row. Press all seams
from one marked point to the next open (Fig 3). Repeat to make all
(Fig 2). Instead of reverse stitching, thirteen (13) rows. Note every other
leave 2in of trailing thread so if row will start and end on a half-
the stitches get pulled they will not hexagon.
come undone. This makes seams less
bulky and allows for more flexibility
when you need to set in the next row
of hexagons.
10 Next, sew the rows together,
starting with the first seam at
one end, and working your way to the Fig 4
other end (Fig 4).
P R OJ E C T l v i nt a ge f l o r al ga rd e n
First seam.
Stop at dot Folded hexagon
Stop at seam
Stop at dot
First hexagon folded
Fig 5 Fig 6 Fig 7
11 Align the sides of the hexagons

for the first seam, and stitch
from dot to dot (Fig 5). This end
13 Stitch right to the edge or
through the seam allowance
on the straight edges at the top and
point will align with the seam of bottom of the quilt. Press the seams
the row beneath. Leave the sewing in alternating directions. When all
machine needle in the work and lift the rows are complete, trim off the
your presser foot. Pivot and align the edges of the hexagons along the sides
next two edges – the previous hexagon to straighten them up (Fig 9).
will need to fold in order to line up the
edges (Fig 6). As you sew along the
row, alternate between pivoting on an
open seam on the top and then on the
14 Layer with the backing fabric,
wrong side up, batting and
quilt top, right side up, and baste
bottom, to keep the edges aligned (Fig ready to quilt. Once the quilting is
7). If you find it hard to pivot, you can complete remove any basting, then
stop at the end of each seam, remove bind and label.
the work from the machine, then line
Fig 8
up the next edges, before continuing.
15 The sample shown here was
quilted with a cross-hatched
12 All these seams can now be

pressed to one side. Carolyn
pressed them in alternating directions
grid at 90-degrees on a machine,
but it can just as easily be done
by hand with big stitch quilting
as she worked along the row (Fig 8). – a fun way of quilting with big
Continue to attach the remaining rows stitches sewn with a large needle
in the same way. and thick thread.
Assembly diagram Fig 9
Trim
Straight grain on outside edges where possible
P R OJ E C T l v i nt a ge f l o r al ga rd e n
Create this
blooming
marvellous quilt
with just pretty
fabrics and
hexagon shapes
Meet the designer
Carolyn Forster has been sewing and making patchwork and quilting for well
over 20 years, plus she has been teaching for many of those years. You can find
her quilts in a range of books published by Landauer Publishing (USA), and
Search Press (UK). She blogs at www.carolynforster.co.uk or you can follow her
stitching inspiration on Instagram. To get in touch with Carolyn about her
classes and talks, you can email her at: carolynforster@hotmail.co.uk
www.carolynforster.co.uk Carolyn Forster Quiltingonthego
Hundreds of beautiful
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novelty and a whole
r
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SPRING SHOWS 2017
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C
hristmas has come for my design. A few months later I was thrilled to
and gone, and another receive a photo of a cushion that my friend Jenny
memory added to the Savage had made using my print as her pattern with
Christmas Past collection. Celtic bias strips for the curved outlines – so clever. I
Through the years one of had been asked several times whether the design was
the main hurdles in our from a quilt I had made, and had dismissed the idea
house was the drawing of with a careless laugh, but Jenny had been inspired
the annual Christmas print, and done just that! So this year, continuing the
which inevitably caused some premise of quilt-based images, I developed a design
tension in the atmosphere from my class in perspective in a more complex
while my husband attempted to deliver the goods on
time. Always worth it, as many collected these A4
printouts through the years and have them in a file “When I say cut and paste, I
or box to keep forever. So how hard it was for me to
take up the challenge these last three Christmases GR PHDQ MXVW ëDW SKRWRFRS\LQJ
and produce something that was acceptable but
inevitably different. My approach, as with my
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quilt-making, was to find something I really felt
comfortable doing and that I would actually want
VWLFNLQJELWVLQSODFHÓ
to make a start on, rather than putting it off in fear
and trepidation. For me, this means beginning with form, far easier to do in drawn lines than in pieced
some technical drawing of a design that could be fabric. Who knows – someone might feel inspired to
a quilt in the future, or had been one in the past. have a go at interpreting it as a quilt like Jenny did,
The first one was of a Christmas wreath in origami- and then, as ever, I can take all the credit…
style folded fabrics – a pattern I have taught for My point here is that it worked out because I
years. A more accurate drawing of the design plus a really wanted to do it. We need to feel confident, or
bit of shading-in, a holly border added via cut and so inspired that we can’t wait to launch ourselves
paste, and a done deed! When I say cut and paste, into the challenge of trying something new.
I do mean just that: photocopying from a book of
Christmas borders, cutting it up and sticking bits in
place around the central wreath. Not high-tech, but
it works for me…
The next year I chose a drawing
from a 1970s Activity
Pad, which was very
Celtic-like, and I used
that as a startin oint
29
F R O M T H E D E S K O F LY N N E E DWA R D S l b e i n sp i r e d
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hen we start a quilt, start. Possibly a visit to a quilt DIY shop and look at the shade-
quite often it’s just shop could be helpful, especially cards for paints. Suggest they pick
because we long to as then they might realise how out a main neutral shade (this
have a go at it – the fabric is much money all this stuff costs! would become the background
singing to us, a design appeals, It might just overwhelm them, of colour for the quilt), then to pick
we want to try a new technique… course: my son when asked if he out a colour that works well with
whatever floats our boat, as the
saying goes. So if the initiation
of a project is not for any of those
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reasons but because it’s a quilt
specifically for someone else, it
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how to start. Of course you want
to make something they love, in would like a quilt once famously the neutral, and then another
the colours that please them and said, “I couldn’t bear all that different shade that complements
will look right in their house. choosing….” One way to solve the choices so far. Once they
I think choosing the colours is this is to ask them to treat the have drawn a ring on each chart
the most important aspect, so quilt as if it was a room where around their chosen colour, or a
getting them to look through they were going to do a makeover, group of several similar shades,
your fabrics and pick out a few with new paintwork, curtains and you have something to work from.
that they like is quite a good furnishings. Get them to go to a You can add more colours as the
quilt develops if you wish, but the
essence will essentially be what
they wanted originally.
The next area to investigate
is what kind of design they
would like. Beware of heaping
them with quilt books to look
through! They probably know
nothing about the craft, and
will inevitably choose a quilt,
probably because they like
the colours, with no idea of
the technique or intricacy of
construction, and you are then
committed to making this huge
and terrifyingly complex piece
that you really have no desire
to do. Remember too that these
days all beds seem to be the size
of football pitches, so if it’s a
quilt for one of those, you need to
like making it – so make sure it’s
a labour of love rather than white
knuckles and gritted teeth. Show
just a few pictures of quilts you
would enjoy making, including
a mix of traditional and more
modern ones, and make sure they
understand that it’s the design
Lynne finished the quilt for Simone, who was very happy with the design and colours of they are looking at, rather than
her gift. the colours or the print.
F R O M T H E D E S K O F LY N N E E DWA R D S l b e i n sp i r e d
Once you have a feel of what Quilter issue 12) and she loves
would please them, beat a hasty it. At least, she says she loves
retreat saying firmly, “OK – leave it, and that’s good enough
it up to me”. Try not to let them for me. A visit for coffee after
get involved. All creative people Christmas meant that I could
dislike art editors, so don’t allow see it in its new home, looking
them to take on this role. I have great on her brass bed. I
seen it several times with my know she would have been
students. They are toiling away prepared to redecorate the
on their masterpieces and an room around the quilt, but
email comes in saying, “I really she didn’t have to – it fitted
don’t like the green” even though in with the room perfectly.
the starting point was this very Seeing a finished quilt
shade. Just make the quilt for its finally presented on a bed or
own sake. Once it’s done, allow hanging on the wall always
the recipient to view it, with the causes me to think, “Wow
proviso that there are several – did I actually make that?”
other people in the queue for Plus, of course, a feeling of
it. You could even suggest they inner amazement that someone sugge o
take it home and try it out on the actually likes it… that when folding a quilt,
rather than working
“Don’ t ruin a relationship because of a bit parallel to the vertical
and horizontal edges,
RIIDåLFÍ \RX HQMR\HG PDNLQJLWDQG the folding should be
on the bias, as the folded
ëDWÐVHQRXJKÓ edges are softer and more
stretchy and less prone to
chosen bed to see whether it suits And now, dear reader, the ace making permanent creases
the room etc. Then, if they’re not tip I promised in my last epistle, in the quilt. This is really
happy, it won’t be because of the sent to me by reader Joan Foxley. thinking out of the box, and
quilt, just that it doesn’t work in She read this in a US magazine for quilters with a lifetime of
that setting, which is fair enough. ten years ago, passed by the folding behind them, goes
Don’t ruin a relationship because American quilter Ann Fahl, who somewhat against the grain
of a bit of fabric – you enjoyed said that it was told to her by a (ho, ho), but with a bit of
making it, and that’s enough. fellow quilter, who got it from practice it seems to me to
By the way, I gave Simone a friend, and so on. Isn’t that be a really good solution,
her completed quilt (see Today’s what we quilters always do? The especially when packing
up a quilt to be sent
to a show. Fold in the
four sides one at a
time and repeat the
process until the quilt
reaches the right size for the
box or storage area it needs to fit.
Great tip. Pass it on!
Lynne's illustrated guide to folding a t
Todaysquilter
Send us your questions for Lynne on
Todaysquilter
Ly n n e
social media or pop them in an email.
Alternatively, put pen to paper and write to: E dwa r d s
The Desk of Lynne Edwards MBE Todaysquilter M BE
c/o Today’s Quilter
Immediate Media, Tower House, TodaysQuilter@
immediate.co.uk
Fairfax Street, Bristol, BS1 3BN
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TEMPLATES PROJECT
STILL WATERS
Immerse yourself in the beautiful detail
of this exquisite quilt, from the crisp
eight-pointed stars to the decorative
quilting patterns that are closely worked
in captivating designs.
Designed by NICHOLE RAMIREZ

Pieced and quilted by KRISTI RYAN
TEMPLATES PROJECT
STILL WATERS
You will need

Q Background fabric – 4¾yds
Q Blue print fabric – 2yds
Q Charcoal print fabric – 1¼yds
Q White print fabric – 1¼yds
Q Grey binding fabric – ½yd
Q Backing fabric – 66in x 90in
Finished size
Q 60in x 72in
Notes
Q In this quilt you will make two
Cutting out
1 From the background fabric,
cut as follows:
Q Nine (9) 4½in strips x WOF
strips. Subcut into seventy-five (75)
squares using the ‘A’ template (for
block 1).
Q Five (5) 6¼in x WOF strips. Subcut
into sixty (60) pieces using the ‘B’
template (for block 1).
Q Eight (8) 2½in x WOF strips.
Subcut into one-hundred-and-
twenty (120) pieces using template
‘F’ (for block 1)
Q Four (4) 2¾in x WOF strips.
Subcut into sixty (60) pieces using
template ‘A’ (for block 2).
Q Eleven (11) 2¾in x WOF strips.
Subcut into two-hundred-and-forty
(240) pieces using template ‘B’ (for
block 2).
Q Four (4) 7⅜in x WOF strips. Subcut
into sixty (60) pieces using template
B E H I N D T H E Q U I LT ‘C’ (for block 2).
STILL WATERS 2 From the blue print fabric,

cut as follows:
“Pond Stars – Still Waters – is a play on Modern Traditionalism. Stars Q Eight (8) 4½in x WOF strips.
are one of my favourite quilting motifs, and it was a lot of fun to play Subcut into one-hundred-and-
with scale and layout to show off the great values of colour in the Pond twenty (120) pieces using the ‘C’
collection by Elizabeth Hartman. They are clean and bright, and really template (for block 1).
lend themselves to updating older motifs. I especially love the big stars Q Four (4) 2½in x WOF strips.
and how they almost seem to interlock with the borders. This quilt is Subcut into sixty (60) pieces using
very easy to put together but looks deceptively hard: my favourite kind the ‘D’ template (for block 1).
of work to do!” – Nichole Ramirez, Robert Kaufman Fabrics Q Four (4) 2⅝in x WOF strips. Subcut
into sixty (60) pieces using the ‘E’
template (for block 1).
Q Four (4) 2¾in x WOF strips.
blocks using templates. There are two
sets of templates; A-F for block 1 and
A-G for block 2. Be sure to use the
right templates for the right block.
Q During construction please refer
to the pictures of the blocks for
assistance.
Fabrics used
Pond by Elizabeth Hartman
for Robert Kaufman Fabrics.
The prints in the Pond Collection are great to
have as quilting basics in your stash, and will
work in a variety of projects
3 From the charcoal print fabric,

cut as follows:
Q Two (2) 2¾in x WOF strips.
Subcut into fifteen (15) pieces using
Q Seven (7) 2⅛in x WOF strips.
template ‘F’ (for block 2).
Q Seven (7) 2⅛in x WOF strips.
template ‘G’ (for block 2).
4 From the white dot fabric,

cut as follows:
Q Eight (8) 2¾in x WOF strips.
template ‘D’ (for block 2).
Q Eight (8) 2¾in x WOF strips.
template ‘E’ (for block 2). Making Block 1 D D

seven (7) 2½in strips.
6 Sew two (2) background ‘F’ pieces
to each side of a blue ‘E’ piece to
make a small Flying Geese unit (Fig 1). Fig 3
Press seams open. Repeat to make

F F sixty (60) small Flying Geese units.
Fig 1
Make 60 7 Sew a small Flying Geese unit to
either side of a background
‘A’ centre square (Fig 2). Press seams
towards the background square.
Repeat to make fifteen (15) units.
A
8 Sew a background ‘D’ square

to each side of thirty (30) small
Flying Geese units. Press seams
Make 15
Fig 4
towards the ‘D’ units (Fig 3).

C C
9 Join two (2) units made in step

8 to either side of a unit made in
step 7 (Fig 4). Press seams open.
B
Repeat this step to make fifteen

Make 15 Make 60
Fig 2 (15) block centres. Fig 5
P R OJ E C T l st ill wat e rs
Fig 8 Fig 9
A A 10 Assemble sixty (60) large

Flying Geese units using
background ‘B’ pieces and blue
B B
‘C’ pieces, as in step 6 (Fig 5).

Press seams open.
11 Stitch one large Flying Geese

unit to either side of your block
centre. Press seams outwards.
D E
Make 60 Make 60
12 Take the remaining thirty (30)

large Flying Geese units and
stitch a background ‘A’ square to Fig 10 Fig 11
A A either side of each one.

B B
13 Sew two (2) units to either side

of the previously constructed
fifteen (15) blocks to complete your F G
Block 1s (Fig 6). Press the seams

open. Your blocks should measure
12½in square. Make 60 Make 60
Making Block 2
Note: This block has the ‘A’ template, (Fig 7). Press seams towards the
which is cut from three different ‘C’ pieces. Set aside.
fabrics. Be sure to keep your different
‘As’ separated.
15 Stitch a background ‘B’ piece
to the end of each white ‘D’
14 Take thirty (30) background

‘C’ pieces. Stitch two (2) to
either side of each charcoal ‘A’ square
piece to make sixty (60) units (Fig 8).
Press seams open if possible.
Block 1 – make 15
Fig 6
16 Stitch a background ‘B’ piece to

the end of each white ‘E’ piece
to make sixty (60) units (Fig 9). Press
C A C
Fig 7 seams open if possible.
17 Stitch a background ‘B’ piece to

the end of each charcoal ‘F’ piece
to make sixty (60) units (Fig 10). Press
seams open if possible.
18 Stitch a background ‘B’ piece

to the end of each charcoal ‘G’
piece to make sixty (60) units (Fig 11).
Press seams open if possible.
19 Place one ‘FB’ and one ‘GB’

unit right sides together aligning
the 45-degree edges (Fig 12). Stitch
Fig 12
the seam, stopping ¼in away from

the inner corner. Press seams open.
The background ‘A’ squares, will
21 Take a ‘DB’ unit and stitch
a blue ‘A’ square to the ‘D’
end. Repeat to make sixty (60) units.
fill in the 90-degree angle created Press seam open. Stitch this unit to
by the two units. Put the ‘A’ square the adjacent side of each pieced unit
right-sides together with one of (Fig 15). These are the corners of
the edges of the pieced unit. Stitch your block.
from the outside edge in towards
the corner, stopping ¼in away from
the edge with the needle in the work
(Fig 13). Pivot and line up the next
22 Sew a background ‘C’ strip
in-between two (2) block
corners (Fig 16). This will create
edge of the square patch with the the top half of the block. Be careful
next edge of the pieced unit. Stitch to match the layout according to the
the seam all the way to the edge. diagram. Repeat to make the bottom
Repeat to make sixty (60) units section of the block. Press seams in
(Fig 14). If possible, press seams towards the ‘C’ piece.
open or press in a manner that will
create the least bulk.
23 Retrieve the fifteen (15)
‘CAC’ units made in step
20 Sew an ‘EB’ unit to one side

of the unit made in step 19.
Press seam open. Repeat with all
14 and sew two halves of the block
to either side (Fig 17). Press seams
toward the ‘C’ pieces. Repeat to
sixty (60) units. make fifteen (15) Block 2s. These
should be 12½in square.
Stop ¼in
from
corner
Make 60
Fig 13 Fig 14 Fig 15 Fig 16
Fig 17 Block 2 – make 15
Assembling the quilt Quilting and finishing variety of designs to suit each
24 Lay out the blocks in six (6)

rows of five (5), starting
with Block 1 and alternating blocks
25 Layer the backing fabric,
right side down, batting
and pieced quilt top, right side
block. Finally, bind to finish.
Remember to add a label with
your name, the date the quilt
(Fig 18). Stitch the blocks together up, and baste using your preferred was finished, and any other
and then join all the rows. Press method. Quilt as desired. The details you would like included,
seams open if possible. sample shown here features a such as fabrics used.
Fig 18
The soft colour

palette of the
fabrics creates a
Meet the fabric designer calm and relaxing
Elizabeth Hartman is a quilter, pattern designer and fan of colour from mood, perfect for
your bedroom
Portland, Oregon. She fell in love with quilt making the first time she tried
it, in 1999, and has been making original and colourful creations ever since.
She finds quilt making the perfect combination of creativity and technical
challenge, all in the service of making a useful object. Self-taught, she’s written
several quilting books, including Modern Patchwork and Patchwork City.
www.ohfransson.com elizabethagh
Q U I LT I N G H E R I TAG E l t h e ja n e st i c k l e q u ilt
REPRODUCED WITH PERMISSION FROM BONNIE ROBOTTOM

© BENNINGTON MUSEUM COLLECTION
Quilting Heritage
THE JANE A.
STICKLE QUILT
This month our features editor, Jane Rae, has been
delving into the history of this legendary quilt, which has
captured the hearts of quilters around the world.
Far Left, The Jane A Stickle Quilt, which is housed in the Bennington
Museum in Vermont, USA; Left, Dear Jane: An Out of Hand Experience
by Bonnie Rowbottom, quilted by Sharon Blackmore, on display at last
year’s International Quilt Festival in Houston; Below, Detail from the
corner of the Jane A Stickle Quilt; the Bennington Museum
©BENNINGTON MUSEUM COLLECTION

A Quilting Phenomenon Bennington Museum
Made in 1863 during the American Civil War by The quilt permanently resides at the Bennington
Jane A Blakely Stickle (1817-1896), this sampler Museum in Vermont. Every year it goes on display
quilt is made up of 169 miniature blocks. Its for a full month so that quilters can experience
DEAR JANE® (DEAR JANE IS THE TRADEMARK OF BRENDA PAPADAKIS AND IS USED WITH PERMISSION.)
allure has yielded close to 140,000 sales of Brenda the impact of this stunning sampler up close and
Papadakis’ book Dear Jane: The Two Hundred personal, and this year it will be on display from
Twenty-Five Patterns from the 1863 Jane A. Stickle 2 September through to 9 October. Brought to
Quilt and the Dear Jane the museum 60 years
Board on Pinterest has
over 25,000 followers
“I strongly believe that a ‘real’ ago, the Jane Stickle
Quilt is only shown
displaying tribute quilter’s life is not complete for a short time each
quilts made in every without seeing it in person.” year due to the fragility
colourway imaginable of the fabric. I am
using reproduction Pam Weeks, Binney Family Curator very grateful to the
Civil War fabrics to of the New England Quilt Museum Bennington Museum
batiks, striking red for kindly allowing
and white combinations and even fabric lines by Today’s Quilter to share the following interpretation
Kaffe Fassett and Tula Pink. But what is it about panels for the quilt from recent exhibitions.
the quilt that has piqued the interest of so many?
I spoke to experts from the Bennington Museum The Maker
where the quilt resides – Pam Weeks from the New Jane Stickle was born Jane Blakely on 8 April,
England Quilt Museum and Brenda Papadakis 1817 in Shaftsbury, Vermont. Married to Walter
– and discovered more about this quilting Stickle sometime before 1850, they did not have
phenomenon. As you will learn, it is a fascinating a family of their own. They did, however, take
story of a quilter who, despite the struggles of war, responsibility for at least three other children in
illness and impecunity, produced a quilt of great the area. In an 1860 census, Jane Stickle was listed
beauty and character, which continues to excite as a 43 year-old farmer living alone. She eventually
and unite quilters around the world. reunited with her husband, but during that time
REPRODUCED WITH PERMISSION FROM ELIZABETH ROTH
Above, Baby Jane alone, she lovingly created what is now known pieces. Many of the block patterns are commonly
Blue by Elizabeth as the Jane Stickle Quilt. As a reminder of the seen in quilts from this era, however, many more
Roth, quilted by
Valerie Langue; turbulent times the country was going through, are unique, drafted by a skilled needle worker with
Main, Homage to she carefully embroidered “In War Time 1863” a mastery of geometry.
Jane Stickle and
Mary Evans by
into one corner of the quilt.
Brenda Papadakis. The Design
Both quilts were on
display at last year’s
The Quilt Each block in the quilt is pieced with two fabrics, a
International Quilt Jane Stickle’s hugely ambitious quilt is unique printed calico or even-weave gingham and a plain
Festival in Houston among mid-nineteenth-century American quilts. white cotton. The calicos were carefully arranged
Sampler quilts, comprised of numerous equally by colour in the layout of the quilt. Jane placed
sized blocks each in a different pattern, were fairly a green block in the centre, and chose this block
common during this period. However, each block carefully – the only other green blocks are in the
was typically pieced by a different person, who outermost corners, along with a blue block.
often inscribed their contribution with their name This centre green block is surrounded by others
and sometimes a date, location or short message. pieced in yellow and those in turn by alternating
concentric rounds of colour including purple, pink
and reddish brown calicos. Amazingly, none of the
Amazingly, none of the printed fabrics are used in more than one block.
printed fabrics are used in Each block uses a unique fabric. Jane’s access to
such a wide range of textiles supports the notion
more than one block. Each that at the time it was common practice for women
block uses a unique fabric. to trade fabrics for their sampler quilts.
Jane recycled a linen sheet from her mother,
The small size and sheer quantity of the uniquely Sarah Blakely, for the majority of the quilt’s
patterned blocks in Stickle’s quilt is especially backing; the initials “SB,” are embroidered in tiny
notable. The average size of a quilt block during cross stitches on one of the scallops at the quilt’s
this period was eight to 12 inches square, while back edge, originally intended to identify the
the blocks in the Stickle quilt measure four to five linen’s owner.
inches square, or one quarter the typical scale. www.benningtonmuseum.org
Many of the blocks are intricately pieced, the
individual pieces ranging in size from less than
a quarter of an inch to two inches on a side and
some of the blocks having as many as 35 to 40
Left, An early
indicator of
Jane’s creativity
is this still life
Dear Jane
© BENNINGTON MUSEUM COLLECTION
painting that she Brenda Papadakis is
did as a school girl the author of the Dear
using wallpaper
colours (Gift Jane® book (Dear Jane
of Mrs Louise is the trademark of
Blakely Bump) Brenda Papadakis
and is used with
permission), which
has sold a staggering
140,000 copies.
Brenda has written two other historic quilt

books: Dear Hannah, in the Style of Jane A Stickle
and Susanna Culp 1848. When she saw Jane
Stickle’s quilt in Richard Cleveland and Donna
Bister’s book, Plain and Fancy, she was captivated
REPRODUCED WITH PERMISSION FROM GAY BOMERS

by the geometry of Jane’s blocks. At the time, she
was teaching Amish, Japanese and Baltimore styles
of quilting. With the help of Barbara Brackman’s
publications on block design, she was able to
establish that only 30% of the blocks were based
on traditional designs, the remaining 70% were
unique to Jane and her quilt. In 1992, Brenda and
her grandson Ben travelled to Vermont to examine
the quilt in detail. She spent three mornings tracing
the blocks in the quilt and three afternoons tracing
Jane’s life. In October of that year, she went back to
the museum to trace the triangles and corner kites
of Jane’s quilt.
For five years Brenda travelled to Vermont
studying Jane’s life and her quilt, teaching
REPRODUCED WITH PERMISSION FROM CONNIE DRAKE
techniques for making the quilt and sharing stories

of Jane and her life and times. Brenda’s book, Dear
Jane: The Two Hundred and Twenty-Five Patterns from
the 1863 Jane A Stickle Quilt was published in 1996.
“Jane Stickle’s quilt is more than geometry. It is
non-traditional, creative, innovative, even avant-
DEAR JANE® (DEAR JANE IS THE TRADEMARK OF BRENDA PAPADAKIS AND IS USED WITH PERMISSION.)
Above, Forever Jane
by Gay Bomers, garde if you wish. It is new and exciting, not only
quilted by Tammy in the originality of design but also in composition.
Oberlin; Left, Jane,
My 8 Year Journey
From the smallest shape to the larger blocks and
by Connie Drake. triangles, for me the arrangement is pure melody,”
Both were on says Brenda.
HOMAGE TO JANE STICKLE AND MARY EVANS BY BRENDA PAPADAKIS © BRENDA PAPADAKIS
display at last year’s

International Quilt Speaking to Brenda, 20 years on, her sheer
Festival in Houston delight at discovering the quilt and learning
so much about it is as apparent today as it was
all those years ago. She has had a second career
GET THE researching, teaching and travelling throughout
BOOK
the world and has fostered a network of followers
in over 35 countries that has evolved into a
Brenda’s book, the Dear global community of “Janiacs”. “I feel very blessed
Jane software with twelve to have shared this extraordinary quilt and
lessons for making the quilt, see myself as something of a messenger in a
and acrylic templates are all worldwide quilting bee that is all about unity,
available on her website solidarity and sisterhood.”
www.dearjane.com. And, Her firm belief is that Jane Stickle set about
while you are there, you making her quilt as a means of bringing some
will discover a wealth of sense of order into a world that was fraught with
information about making the quilt and the Dear uncertainty as the American Civil War raged. She
Jane community. We are thrilled to include pictures couldn’t control what was going on in the world
from the book’s 20th Anniversary Exhibition held in but she could take 5,602 fragments of fabric and
Houston last Fall. piece them together to create something that was
beautiful and lasting.
© PAM WEEKS Q U I LT I N G H E R I TAG E l t h e ja n e st i c k l e q u ilt
FURTHER STUDY
Pam Weeks is the Binney Family Tell us about the discoveries you made.
Curator of the New England Quilt “My research, substantially aided by the curatorial
Museum in Lowell Massachusetts. and library staff at the Bennington Museum, revealed
Her research into the Jane Stickle some more details about Jane’s life than previously
quilt, in conjunction with the published. I was concerned about being able to find
Bennington Museum, has provided anything, as I have attempted research on other
invaluable information about middle- and working-class quiltmakers from the
Jane’s personal circumstances and mid-nineteenth century and understood how little
how the quilt came to be. information was available. As a team we found
some important ephemera, including the household
Pam herself started making quilts as a result of the inventory of Jane’s father who died when she was
craft revival inspired by the American bicentennial 13. It documented an above average farmer and
in 1976. Like many of her peers, she made traditional carriage builder’s home with multiple sets of linen
quilts with the limited fabrics available. By the mid- sheets, chairs, dishes and quilts. We learnt that Jane’s
1980s she was designing her own work and developed education was provided for by her father, and we
as an art quilter, heavily influenced by the work of assume she attended one of the academies in the area.
Nancy Crow. “In 1991 I meandered down a different “The listing of the linen sheets was an important
avenue when I took a class on reproducing the antique find, because one of them was used by Jane to back her
quilts I loved but couldn’t afford, and since then I’ve quilt. Tiny cross stitched initials appear on the back of
been hooked on quilt history.” the quilt—‘SB’ for Sarah Blakely, Jane’s mother.
Our features editor, Jane Rae, asked Pam about her “Curator Jamie Franklin made what is probably
current role and her research into Jane Stickle… the most important research finds. It was an article
from the Bennington Banner that reported highlights
Tell us about your role as Binney Family of the county agricultural fair. ‘…Mrs Stickles [sic]
Curator at The New England Quilt Museum. presented…a very extra fine bed quilt. Mrs Stickles is
“I am thrilled to have found the job of a lifetime an invalid lady, having been for a long time confined
at the end of my fifth decade of life. As the Binney to her bed, but her ambition to do something to kill
Family Curator of the New England Quilt Museum, the time induced her to piece this quilt. It contains
I primarily organise and implement the exhibition many thousands of pieces of cloth, no two of which
schedule for our three main galleries. Travelling are exactly alike. Upon one corner is marked in plain
around the country to major quilt exhibits and doing letters, ‘made in the war of 1863.’”
online research for ideas, as well as winnowing The museum notes that ‘A week later, on
exhibition proposals, provides me with more ideas 8 October, the Bennington Banner published a list of
than I have space to use! I am also responsible for our premiums awarded at the fair. In the “Ladies Section”
collection of nearly 500 antique and contemporary it is noted that the “Best patched quilt” was awarded
quilts and related items. We rely on our volunteers for to “Mrs. W. P. Stickles” with a prize of $2, equivalent
support in all of these areas.” to about $40 in today’s money. Though modest in
comparison to her remarkable accomplishment, it is
You’ve become something of an expert on the nice to know that Stickle’s quilt was recognised by her
history of The Jane A. Stickle Quilt. Can you tell contemporaries, and that it continues to inspire.’
us more about your first encounter with the quilt We also unearthed some documents that
and what caught your interest? explained the Stickles’ financial failure that led to
“The Jane A. Stickle Quilt is probably one of the most them becoming wards of the town. Town documents
famous quilts in America, if not the world. It captured revealed that they lived in poverty, “kept” by a David
the hearts and imaginations of quilters around the Buck, who was probably a distant relative.
globe because of Brenda Papadakis’ book Dear Jane,
with its warm and imaginative romanticising of If you could travel back to 1863 and spend some
Jane Blakely Stickle’s story and the making of this time with Jane, what would you ask her?
extraordinary quilt. More than 140,000 copies of the “Did you draw the piecework patterns yourself? Did
book have sold around the world, and very nearly you have children? Where are the rest of your quilts?”
every quilt show I’ve attended has at least one Dear
Jane quilt on exhibit, if not an entire row or mini- And last but not least, have been tempted to
exhibit of many reproductions of the quilt itself. make your own Dear Jane quilt?
“My first viewing of the quilt was like that of “Never!”
most people seeing it for the first time. It is literally
awesome, and that first visit is a form of a pilgrimage;
I strongly believe that a ‘real’ quilter’s life is not Pam is the author of Civil War Quilts, Schiffer Publishing
complete without seeing it in person. The quilt is Ltd (2012). You can discover more about her passion for
a masterwork of piecing and composition and it quilts by visiting her website
was amazing to be invited to do deeper research, to www.pamweeksquilts.com
examine every aspect of it and then to write about it.” www.nequiltmuseum.org/index.html
EMBELLISHED CUSHION
CATHEDRAL
WINDOWS
Recreate the beautiful detail
of a Cathedral Window in a cushion
for your home, using appliqué, echo
quilting and layering.
Designed and made by PAULINE INESON
EMBELLISHED CUSHION
cathedral windows
You will need

Q Background fabric for inner square
and binding – ¾yd
Q Coordinating fabric for appliqué,
behind the windows, and borders
– ½yd
Q Backing fabric – ½yd
Q Contrasting fabric for piping –
one (1) fat quarter
Q Lining fabric – 19in square
Q A4 sheet of double-sided fusible web
Q Medium weight interfacing –
14in square
Q Batting – 19in square
Q 2mm piping cord – 1¾yds
5 Fold your binding fabric in half,

making sure the selvedges are on
top of each other. Cut two (2) strips
each 3¼in x WOF (going across from
selvedges to the folded edge).
Making the
embellished squares
6 Place the four (4) 8in bias cut
background squares right sides
up to form one large square. Using
an easily removable marker, draw a
line on the right side of each of the
squares, 1in from each raw edge.
B E H I N D T H E Q U I LT Write the letter C in the centre
corner of each square, (Fig 2).
CATHEDRAL WINDOWS
“I love this project as it involves two of my favourite sewing techniques –
fabric embellishment and manipulation. What can be done with a strip of
7 Using the template (see Templates
section), mark the design on
each square, within the 1in border,
fabric never fails to amaze me. In creating the Cathedral Windows element, making sure the flower head points
fabric is cut on the bias grain allowing a curve to be formed from a straight towards the outside corner. Use a
edge. This technique can be used on bags, quilts, cushions or whatever light box for this or tape the design
imagination allows! This beautiful cushion is also embellished with raw to a window and place the fabric over
edge appliqué and triple stitching for the stems. ” – Pauline Ineson the top. If your fabric is too dark to
see the design through then you can
use a transfer paper such as Clover
Cutting out Q Two (2) 20in x 4½in strips. Chacopy, Saral or Tracedown.
Q Two (2) 2in x 5in rectangles.
four (4) 8in squares on the bias.
The easiest way to do this is to cut
Q One (1) 2in x 11in rectangle.
out an 8in square from thin card or

template plastic, place this on a single
layer of your fabric so the straight
3 From the piping fabric, cut
four (4) strips each 1¾in x
13in, making sure the long edges
TECHNICAL TIP
If you use transfer paper,
place the carbon paper face
sides of the template are on the bias are parallel to the straight grain. down on the right side of
of the fabric, and the diagonal is the fabric and the design on
top. Trace over the design
parallel to the selvedge (Fig 1).
4 From the backing fabric, cut
two (2) 18in x 14in rectangles,
with a tracer pen or similar
tool. Make sure you test
2 From the coordinating fabric,

cut as follows, with the long
edges parallel to the straight grain:
making sure the 18in edges are
parallel to the straight grain.
it out on a scrap of fabric
beforehand.
Q Two (2) 13in x 4½in strips.
P R OJ E C T l c ath edral w i n d o ws
Q Tear away stabiliser

Q Easily removable fabric marker
Q Transfer paper – optional
Q Template plastic or thin card –
optional
Q Three (3) buttons for the back
Q Cushion pad – 18in square
Finished size
Q 18in square
Fabrics used
Q Makower Scandi 2 Mistletoe
and two shades of Makower
Linen Texture.
Selvedge
Parallel
to selvedge
Fig 1
Fig 2 Fig 3 Fig 4
8 Trace the appliqué shapes on

to the backing paper side of the
fusible web. If you are using a fusible
9 Rough cut the fusible web around
the lines you have drawn. If you
are using a fusible web with two
11 Peel off the backing paper
(score it with a pin first to
make this easier) and then place the
web that has two backing papers, backing papers then peel off the shapes, fusible side down, on to the
such as Steam-A-Seam, then first one that is on the back (the piece right side of the four 8in squares,
peel back one of the backing papers that wasn’t drawn on). following the template for placement.
at the corner to determine which Iron in place.
backing paper the web is attached
to. This is the side you need to draw
on. Draw four (4) flower head shapes,
10 Place the appliqué shapes,
fusible side down on to the
wrong side of your chosen appliqué 12 Place a piece of tear away
stabiliser underneath each
four (4) flower bases and eight (8) fabric (Fig 3). Iron in place and then square and sew around the edges
leaves on to the backing paper. cut them out on the lines (Fig 4). of the appliqué shapes with a thread
edge at the top, place marks 2½in

and 5½in down the line, as shown in
Fig 7. Pin the two squares together
along the line you marked. Beginning
at the top raw edge, sew down the line
with a straight stitch length 2.0, to the
first mark (2½in away) securing the
beginning and end.
16 Change to a basting stitch,

length 5, and sew from the
end of the partial seam to the next
Fig 5 Fig 6 mark (3in away). Do not secure this
stitching as it will be removed later.
2½in mark
17 Change your stitch back to
length 2.0 and sew on the line
from the end of the basting stitching
to the bottom raw edge (2½in away),
securing the beginning and end,
Basting (Fig 8). Repeat steps 14-17 for the
stitches remaining two squares. Press the
seams open.
5½in mark
18 Place one of the 2in x 5in

rectangles of coordinating
fabric, right side down over the seam
Fig 7 Fig 8 allowances on one pair of squares,
making sure that it is in the centre.
to match the appliqué shapes. Joining the squares There should be 1½in of the seam
Pauline used a small blanket stitch
for this, but you could use a zigzag
or satin stitch instead. Make sure
14 The squares are joined with
a 1in seam allowance. Turn
all four squares right side up and
showing from the raw edge at the
top and bottom and the sides of the
contrasting fabric should align with
that the stitch takes a wide enough arrange them to form the finished the raw edges of the seam allowances.
bite into the appliqué to secure the large square, making sure the flower
edge properly. heads of the appliqué designs are all
pointing towards the outside corners,
as shown in Fig 6.
19 Sew the side edges of the
contrasting fabric to the seam
13 Select a triple straight stitch

and sew the stems in a thread
allowances only, approx. ¼in from
the raw edge (do not sew through
to the front of the square), see Fig 9.
that contrasts with the background.
If you don’t have this stitch, then
sew two rows of straight stitching on
15 Bring the top two squares
together, right sides facing
with the right hand square on top of
Repeat for the other pair of squares.
Trim the seam allowances above and
top of each other, as shown in Fig 5. the left hand square. Draw a line 1in below the contrasting fabric to ½in,
Tear away the stabiliser around the away from the raw edge on the right. as shown in Fig 10.
edges of the design. Along this line, beginning at the raw
20 Place the two top squares

and the two bottom squares,
right sides together, making sure
the centres are on top of each other.
Place the centre edges on the right
hand side. Draw a line 1in from the
raw edge on the right. Along this
line, beginning at the top edge,
mark 2½in, 5½in, 8½in and 11½in
(Fig 11A and 11B).
Fig 9
2½in
5½in
8½in
11½in
Fig 11A
Fig 11B
21 Setting your machine to

straight stitch length 2.0 and
beginning at the top raw edge, sew
mark (3in away). Do not secure this
stitching as it will be removed later. 24 Change to a basting stitch,
end of the last stitching to the next
down the line as far as the first mark
(2½in away), remembering to secure 23 On your sewing machine,
change your stitch back to
mark (3in away).
the beginning and the end. length 2.0 and sew on the line from
the end of the basting stitching up 25 Change your stitch back to
length 2.0 and sew on the line
22 Change to a basting stitch,

end of the partial seam to the next
until the next mark, (3in away), going
over the centre seam and securing the
beginning and end.
from the end of the basting stitching
to the raw edge at the bottom, (2½in
away), securing the beginning and
end (Fig 12). Press the seam open.
Trim to ½in 26 Place the 2in x 11in rectangle

of coordinating fabric, right
side down over the seam allowances
making sure that it is in the centre.
There should be 1½in of the seam
showing from the raw edge at the
top and bottom and the sides of the
contrasting fabric should align with
the raw edges of the seam allowances.
Trim to ½in Sew the side edges of the contrasting
Fig 10 fabric to the seam allowances only,
Trim to ½in
Basting
stitches
Basting
stitches
Trim to ½in
Fig 12 Fig 13A
approx. ¼in from the raw edge (do the piped strip to ½in away from
not sew through to the front of the the edge of the piping cord.
square). Trim the seam allowances
TECHNICAL TIP
above and below the contrasting fabric
to ½in (Fig 13A and 13B). Remove
the basting stitches.
29 Pin the piping strip to the top
edge of the square, aligning
the raw edges at the sides, top and
Before adding the second
two piping strips to the
sides, check that the two
bottom. The piping cord will be a little lengths you have attached
Finishing the longer than the edge. Machine baste are lying nice and flat and
cushion top this in place using the same settings are not stretched or wiggly.
You may need to hold each
27 Iron a 14in square of
interfacing to the wrong side
of the cushion top. Turn your piece
as those used in step 28. Repeat for
the opposite edge of the square with
a second strip of piping.
end of the piping cord
inside the fabric and pull
slightly to make
of fabric over so that the right side is it straight.
facing up and trim it to a 13in square.
Make sure that the raw edges around
the outside are all 6½in away from the
30 Now sew the two piping strips
to the sides, overlapping the
corners. Check that they are lying flat
centre seamlines. and then trim the ends of the piping
28 Cut four (4) 14in lengths of

2mm piping cord. Finger press
cord level with the fabric ends, as
shown in Fig 14. 32 For the circle in the centre,
draw a 1½in circle on the
backing paper of a piece of double-
one of the fabric piping strips you
cut out in half, wrong sides together.
Wrap the fabric strip around the cord
31 Pin the two shorter border
strips to the side edges of the
square, making sure that the border
sided fusible web. Rough cut this out
and iron, web side down, to the wrong
side of a scrap of coordinating fabric.
so that the cord sits in the fold and fits exactly at each end. Leaving your (If you are using a fusible web that has
there is a little of the cord poking out piping or zipper foot on, move your two backing papers, don’t forget to
from either end of the fabric strip. needle back to the centre position so remove the first one before ironing
Use either a piping foot or zipper foot you will be sewing right next to the it to your fabric.)
and move the needle over slightly, edge of the piping and select a straight
away from the piping, so that the
stitching line will not be right next to
the piping. Doing this will prevent this
stitch, length 2.5. Sew the fabric
pieces together with a ½in seam.
Iron the seam allowances towards the
33 Cut the fabric and web on the
line, remove the backing paper
and place the circle in the centre of the
line of stitching from showing when outside edges (so you end up with less square. Check that it is exactly in the
the piping has been inserted. On your bulk). Pin and sew the remaining two centre and then iron it into position.
machine, lengthen your stitch to 3.5 border strips to the top and bottom in Appliqué the circle to the background
and sew to the end of the strip. Trim the same way. as you did for the other appliqué
Fig 13B Fig 14 Fig 15
Making the backs

40 Along one 18in edge of each
of the two backs, iron 1½in
to the wrong side and then 1½in
again to make a double folded hem.
Topstitch along the folded hem edge.
41 On one of the backs, on

the double hem, sew three
buttonholes, an equal distance apart
and the size that fits your buttons.
Fig 16 Fig 17
shapes. Don’t forget to place tear away You can use a zigzag stitch length 0,
42 Place the back with the
buttonholes wrong side up
on a cutting mat. Place the back
stabiliser underneath, this will help width 1.5 for this, with one swing of without buttonholes on top, wrong
your appliqué stitches form better. the needle piercing the folded edge of side up so the hems are in the centre,
the window and the other swing of the on top of each other. Lay the cushion
34 Pin a 19in square of batting

and a 19in square of lining
fabric to the wrong side of the
needle sewing into the background or
you could hand sew these in place, if
you prefer (Fig 17).
top over the backs, right side up so the
hems are in the centre underneath.
Trim the backs to the same size as the
cushion top. To quilt, use a thread cushion front at the sides. Stitch layers
that matches your background fabric,
set your machine to a straight stitch,
length 3 and use a walking foot if you
37 Change your thread to the one
you used for triple stitching the
stems and then straight stitch around
together ¼in from the edge.
Binding the edges

have one. Stitch in the ditch of the
seams above and below the windows
and then, using a piping or zipper foot,
the edges of all the appliqué shapes
and on top of the stems. 43 Using the binding strips you
cut out earlier, join them with
a diagonal seam. Iron the strip in half
stitch in the ditch of the piping seam
(the side that is next to the border). 38 Using an easily removable
pen marker, on the right side
of each small square, draw a line from
lengthways with wrong sides together.
Pin the binding to the side edges
of the cushion with all raw edges
35 Fold back the window edges

and iron the fold to make a
crease line. Using an easily removable
the base of the flower to the centre.
Place a layer of tear away stabiliser
underneath and sew a decorative
matching. Using a walking foot if you
have one, sew the binding around the
sides of the cushion with ½in seam.
fabric marker, draw along this crease stitch. Using an easily removable You can either sew the four sides
line (see Fig 15). Machine stitch along marker pen, draw the echo quilting individually or sew the binding all the
this line, all the way around the oval, lines around the appliqué shapes way around, mitreing the corners and
as shown in Fig 16. and stems and then stitch over the joining the binding ends. Turn the
line with a thread that matches your folded edge of the binding to the back
background fabric, as shown in Fig 17.
36 Fold down the edges of the oval
to the background. Machine or
of the cushion and hand sew in place.
hand sew in place (at the midpoint of

the folded edge) to the background. 39 Next, trim all of the layers
to an 18in square. 44 Sew on the three buttons and
insert the cushion pad.
Covered buttons and

an envelope-style
opening make a
practical cover for
this cushion. Use the
same fabric for the
back as that used for
the centre square
Meet the designer

Award-winning designer, author and teacher Pauline Ineson truly
loves sharing her artisan sewing techniques. She’s created some
beautiful projects including quilts, bags, and pillows to name just
a few and has instructional DVDs available for both the Heirloom
and Floral Dimensions quilts, and has recently completed a DVD
on Machine Quilting.
www.paulineineson.co.uk @paulineinesonsewing
ESSENTIAL GUIDE
Creating 3D Flower Accents
Last month we looked at prairie points and their effective use as edgings and within patchwork
blocks. This month, we explore how these handy little pieces might be used to create 3D floral
accents on our work.
Bring interest and a fabulous

tactile quality to your work
by using 3D flowers created
with prairie points
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ESSENTIAL GUIDE l f l oral a c c e nt s
FOLDED FABRIC ACCENTS

F olding fabric to use as three-
dimensional accents is fun,
creative and great for using up fabric
for your work, and in this article we
will focus on two methods to create
flowers and roundels.
We will also re-cap briefly the
methods for making prairie points.
Refer to last month’s Essential Guide
scraps. There are many methods Q Gathered prairie points. for much more on prairie points.
you could use to create 3D accents Q Double-fold prairie points.
SIMPLE PRAIRIE POINTS

H ere’s a quick recap for making a
single prairie point.
Fig 1 Making a simple prairie point
1 Fold a square of fabric across a

diagonal, wrong sides together, and
press (Fig 1).
2 Fold this triangle in half diagonally

and then press firmly with a hot steam
iron. Fig 2
Making a simple
*DëHUHG 3UDLULH 3RLQW )ORZHU prairie point
gathered
It’s fun to use simple prairie points as three-dimensional accents. These can flower
be added to patchwork or used to create small items such as brooches.
A
1 Make simple (or double-fold) prairies – the more “petals” you use, the
bigger the central hole will be. Using a strong thread, doubled, work a
gathering stitch about ¼in from the base of each triangle (Fig 2A).
2 Pull up the thread and secure. You can work on individual triangles
(Fig 2B) or string triangles all in a line (Fig 2C). Gather the thread
tightly or loosely as desired. B
3 Cover the gathered centre of the flower with a circle of felt or fabric, glued
or stitched in place (Fig 2D).
A patchwork
block can be
enhanced by
the addition of a
gathered prairie
flower. For the
centre of this
Dresden plate
block, double-
fold prairies
were used in
two rounds, with C
Markal Paintstik
colours along
the centre fold
of the prairies
to create extra
colour peeping
through
CREATING FLOWER CENTRES

The centre of the flower or roundel can be created in many ways, and you can
use them in combination too. Here are some suggestions.
Felt Yoyo
This is one of the quickest ways as it A yoyo makes an attractive centre to
doesn’t fray. Simply cut a circle big a fabric flower, adding to the three-
enough to cover the raw ends of the dimensional look of the final piece.
gathers and glue or sew in place.
)DåLF Even a single gathered prairie point
Button A fabric circle can be made by can be used as an accent. A brooch pin
sewn to the back of the prairie point
Choose a button large enough to turning a ¼in seam allowance under turns it into a stylish little lapel brooch
cover the centre. The button can all round, and then sewing it to adorned with a metal button
be sewn on the flower, sandwiching the flower. You could also sew two
it to the background fabric, or you circles right sides together using a
could sew a circle of felt in place first ¼in seam. Snip a slit through just
and sew the button onto that and the backing fabric, turn the circle 1
through to the base fabric. through to the right side, press and
then attach to the flower.
TECHNICAL TIP
If making a brooch,
gather the prairie and sew
the button in place with
matching thread. Glue
or sew a small piece of
matching felt to the back to
create a neat finish.
A collection of gathered
prairie point flowers with
different centres – felt,
a button, a yoyo and fabric
MAKING DOUBLE-FOLD PRAIRIE POINTS

Here’s a quick re-cap for making Fig 3 Making a double-fold prairie point
a double-fold prairie point.
1 Fold a square of fabric in half

across the width, wrong sides
together, and press (Fig 3A). Fold
in half the other way and just finger
A
press to mark the centre point.
2 Fold the top left corner down to

the centre and press. Repeat with
the top right corner and firmly press B
Overlapping double-fold prairie points
make an attractive brooch, shown here
with a steam iron (Fig 3B). with a fabric-covered button centre
Fig 4 Making a folded prairie point flower
Prairie Point Roundel

Another type of 3D flower can be
created with double-fold (or single)
prairie points folded in at the two
side points. These units are great
for a textural accent to work. They
are flatter than gathered prairies
A B
but make very attractive flowers if
built up in “rounds”. You can add
as many rounds as you like.
1 Make double-fold prairies (or

single ones) − even numbers look
good. Fold over the side points on
each triangle and press. A small rub
of glue stick will stick them down.
C
2 Arrange four prairies as shown

in Fig 4A, and then add another
four, angled at about 45 degrees
(Fig 4B). Make sure that these
units cover the raw ends of the Fig 5 Prairies in three rounds
TECHNICAL TIP
units below. Lightly glue and then I prefer to use a little glue
sew the units into a circle. to fix the units in place, and
then add stitching later to
further secure them. A glue
3 Cover the empty centre of the

flower in a style of your choice,
making sure all raw ends are
stick works fine, but only
use a small smear of glue
and sew in place quickly
covered (Fig 4C). You could use afterwards as, when the
a circle of felt or hemmed fabric, glue dries it makes the
fabric quite thick and
stitched in place, or a large button,
difficult to sew through.
yoyo or other decoration. You can
build up as many rounds as you
like, and place the units as you
desire − they might copy the angle Prairie points with folded side
of the previous round, or be placed points can be used in a circular,
in the gaps (Fig 5). layered arrangement to adorn plain
fabric, as here, or in the centre of a
patchwork block. You can build up as
many “rounds” as you like (see also
Troubleshooting for further advice)
3D FLOWER ACCENTS
– TROUBLESHOOTING
Here are answers to some questions about creating 3D flower accents.
HELP! Should I use a specific as in Fig 6B). Use a slight smear the work. Add the centre to finish
thread for working of glue stick on the back of each the arrangement (Fig 6D).
gathering stitches? unit in turn to fix them in place,
Try this… You don’t need a special

thread, just one that won’t snap
adjusting them as needed to fit
inside the marked square. 4 The glue will allow you to take
the work and use a matching
thread to sew the centre and the
easily. I tend to use a polyester
thread and use it doubled. Take the
thread you plan to use, double it
3 Now glue and position the next
round, checking that the sloping
“shoulders” of a unit cover the raw
prairie units in place more securely.
Work tiny slip stitches around the
edge of the centre first. Now add
and then try to break it by pulling edges of the unit underneath (Fig tiny stitches in a few places along
very firmly. If it doesn’t break it 6C). Use the creased centre cross the centre of each unit. This should
will be fine to use. You could use a as a guide. Repeat this to add the be sufficient to hold everything
linen thread, which is normally very inner round. When you are sure firmly in place.
strong, but going to the trouble of everything is as you want it, press
finding this thread each time could
become a chore. The colour of the Fig 6 Building up rounds from the outside inwards
thread used is irrelevant, as it won’t
show on the finished piece.
HELP! When making prairie

point flowers my “petals”
often end up looking uneven and
A B
I get raw edges showing. How can
I avoid this?
Try this… If you plan to have

several “rounds” then it can be
difficult to keep them neat. They
need to overlap each other well
enough to cover raw ends but not so C D
much that the effect of each unit is

lost. Try this stepped approach.
About the designer learnt working with the industry’s
1 In the centre of the background

fabric or block, crease an
intersecting cross to denote the
Linda Clements is a leading
technical quilting expert, editor
and writer who, for 25 years, has
best designers. For Today’s Quilter,
Linda is working with the team
to select practical and creative
centre. Place the first four units worked on many fabric and craft techniques. She will then go
for the inner circle, lining them titles for David & Charles and in-depth, exploring the methods,
other leading craft publishers. taking them from the basic premise
up with the creases (Fig 6A).
Among the many quilters who to their full technical and creative
Carefully add the next round of
have trusted Linda to ensure their potential. You can cut out and
units and then the third round. books are both accurate and reader keep this section to build your own
When all are in place measure friendly are Lynne Edwards MBE, bespoke technical handbook.
the total width and height that the Susan Briscoe, Pam & Nicky
units take up. Using a ruler and Lintott, Pauline Ineson, Mandy ESSENTIAL GUIDE
needle mark a square to this size, Shaw and Lynette Anderson. NEXT ISSUE:
by creasing the fabric (shown by Linda’s own book, The Quilter’s FLYING GEESE: We look
the dashed blue box). Bible, is the must-have guide to at methods of making
patchwork, quilting and appliqué, Flying Geese blocks
and includes everything she has
2 Now remove the inner rounds,
leaving just the outer round,
get the
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WEEKEND PROJECT
RULE
BRITANNIA
Clusters of sweet pink rosebuds
against a sky blue background
overlaid with stripes of red and white
dotty fabric make this chintzy quilt
on a patriotic theme easy to
fall in love with.
Designed and made by MANDY SHAW

www.dandeliondesigns.co.uk
WEEKEND PROJECT
rule britannia
You will need

Q Main fabric, blue floral – 1⅝yds
Q Red spot fabric for borders, binding
and appliqué heart – 1yd
Q White dot fabric – 1yd
Q Plain red fabric – ¼yd
Q Red floral fabric – ⅜yd
Q Bondaweb – 15in x 30in
Q Ric rac for heart and outside edge
– 8yds
Q Non-iron interfacing for the heart
– 15in square
Cutting out
1 From the white dot fabric, cut
as follows:
Q Twelve (12) 1½in x WOF strips.
Q Four (4) 2in x WOF strips.
2 From the red floral fabric, cut

four (4) 2½in x WOF strips.
3 From the plain red fabric, cut

four (4) 1½in x WOF strips.
4 From the red spot fabric, cut

as follows:
Q Six (6) 2½in x WOF strips.
Q One (1) 15in square.
5 Cut the blue floral fabric into

four (4) 20in x 28in rectangles.
Place two (2) rectangles right sides
together and cut in half diagonally.
Repeat with the other two (2)
rectangles, but cut the diagonal
the opposite way (Fig 1). This is
very important.

6 Sew two (2) 1½in white dot strips
to either side of a 2½in red floral
strip. Press the seams open. Repeat
to make three (3) more strip units as
shown in Fig 2.
7 Sew a 1½in white dot strip to one
side of the 1½in plain red strip.
Sew a 2in white dot strip to the other
side of the plain red strip (Fig 3).
Press seams open and repeat three
CHOOSING FABRICS (3) more times.
“This is a fun and easy pop art quilt, which is great for teenagers, kids or the
young at heart. It is easy enough for anyone to make as long as they can cut
and sew in a straight line! It is not a true representation of a Union Jack and
it looks great in all colours and bold prints.” – Mandy Shaw
8 Sew the strip of fabric you have
just made to one half-rectangle
triangle. Place this triangle in the
middle of the strip with the strip
overhanging each end. Note: it is
P R OJ E C T l r ul e b r it a n n i a

Finished size
Q Approx. 56in x 63in
Notes
Q Wash and press your fabrics
before you begin.
very important that the narrow white

dot fabric is on the right hand side of
the strip each time so that they will
all point anti-clockwise (Fig 4). This
will appear confusing when you come
to cut it, so take your time. Carefully
trim the strip square with the edge of
the triangle as shown.
9 Sew the remaining half-rectangle

triangle to the other side of the
strip as shown in Fig 5. Repeat
with the remaining half-rectangle
triangles and strips to make the four
corners of the Union Jack. Trim each
to 24in x 27½in if necessary, making
sure that the stripes end on the top
and bottom edges and line up with
the corners. Fig 1 Fig 5
10 Join two (2) pieced rectangles

to either side of a white and
red floral strip made in step 6.
Cut Cut
Repeat with the other two rectangles

paying attention to unit rotation,
press well. Trim strips in line with
the rectangles.
Make 2 Make 2
Fig 2
11 Join the remaining red and

white strips together to make
one long length. Stitch this long strip
Fig 6
between the two rows that you made Make 4
Fig 3
Make 4
Fig 4
Trim Trim
Narrow strip Narrow strip
on right on right
Trim Trim
previously (Fig 6). Press. Trim the

quilt edges square if necessary.
12 Stitch the 2½in border strips

into one length. Measure the
length of your quilt through the
centre and cut two (2) strips to this
length. Stitch to the sides of the quilt
and press. Measure the width of your
quilt top through the centre and cut
two border strips to this size. Stitch
the final two strips to the top and
bottom of the quilt (Fig 7). Press.
Fig 7
Adding the appliqué

13 Trace the heart onto the
interfacing. Place the 15in
square of white dotty fabric wrong
sides to the interfacing and sew with a
small stitch on the marked line all the
way around. Fold fabric in half, mark
the heart and cut out with a scant
seam allowance. Cut a 2in slit in the
Fusible webbing middle of the interfacing and turn the
heart the right way out. Smooth out
1 To appliqué the shape you will

need to trace the design onto
the smooth side of your fusible
iron will go to the smooth side
of the webbing. The rough side
will be facing the fabric. It is at
the seams with the end of a spoon.
Press. Tack the ric rac all the way
around the outside edge of the heart
webbing. this stage that it is very easy to on the wrong side so only half of the
glue the shapes to the iron – so humps of the ric rac show on the right
2 Cut around the outside

of the shape roughly, not on
be careful! side. Start and finish in the “v” of the
heart tucking under the ends.
the line.
4 Carefully cut out the shapes
on the line. Peel off the
14 Place the heart over the centre
3 Iron the fusible webbing with

the design drawn on, onto
the wrong side of your chosen
backing paper. Position the shape
on the fabric and iron it in place.
Finish by blanket stitching in
of the quilt and pin and tack in
place. Attach the heart to the quilt by
sewing on the very edge of the heart.
fabric. The smooth side of the place either by hand or machine.
15 Appliqué the banner and words

using fusible webbing.
Quilting and finishing

Preparation is a very important part
of the quilt-making process. If you
rush this part results won’t be as good.
“Quilting makes the quilt”, as they say
so we need to be careful not to spoil
any of your lovely work at this stage.
16 Prepare the quilt for layering

by pressing all the seams and
cutting off any stray threads. Cut a
piece of backing fabric and a piece
of cotton wadding at least 2in bigger
all around than the quilt top.
17 Lay the backing fabric on a flat

surface, wrong side facing you
and smooth it out. Secure flat with
some sticky tape or masking tape.
18 Lay the batting on top and

smooth it out flat. Place the
quilt front on top, smooth it out and
thread. Quilt around the outside of
the heart and the outside of your
letters. If you are a fan of machine
corner and stop the same distance
from the end as your seam allowance.
This is very important.
pin with safety pins every three inches. quilting you can quilt the top in your
19 Mandy uses a combination of

favourite stitch.
22 Pull the work away from the
machine and fold the binding
hand and machine quilting on
her quilts. Once the quilt is layered
up, “stabilise” the quilt by sewing
20 Before you bind, tack on the
wide ric rac to the right side
of the quilt so that the humps of the
up and away from you towards the
north, so that it is aligned with the
edge of the quilt. It must be straight.
around all the strips in the ditch, ric rac are to the outside edge. Place
and along all those long borders with
a matching thread or an invisible
the ric rac to the top, bottom and then
the sides, the corners will lay on top
of each other. When you sew on the
23 Holding the corner, fold the
binding back down, south,
aligning it with the raw edge. The
binding only half the humps will show, folded corner must be square. Pin and
creating a nice effect. sew over the fold continuing down
the next edge. Repeat with the other
TECHNICAL TIP
YLI Invisible Thread
21 For your binding, cut 2½in
wide strips across the width
of the fabric. Join them together
corners. When you return to the
starting point, turn under ¼in of the
beginning of the binding, place the
comes in smoke and clear
and a large reel will last for and then fold these in half lengthways end of the binding in to the fold, trim
ages. Other types can snag and press. Lay the binding along to size and then sew right over the top.
on the reel and not be one side, matching the raw edges. The binding will now fold over to the
as effective. Start 3in from the beginning of your back where you can slip stitch it in
binding, and sew using a generous place. The corners will miraculously
¼in seam. Stitch until you reach one mitre for you on their own.
Red and white polka

dots with floral
fabrics make this
Meet the designer charming quilt as
Designer, author and TV personality, Mandy Shaw calls herself “A Maker patriotic as pretty
of All Things Lovely”. Her deep love of sewing is infectious, and the quirky,
quilted and appliquéd designs that pour out of her studio have long been
delighting quilters and stitchers around the world. Mixing traditional skills
such as redwork with quick, quirky techniques to make life easier are part of
Mandy’s trademark approach.
www.dandeliondesigns.co.uk
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Q U I LT A S D E S I R E D l sa r a i m p e y
quilt as desired
SARA IMPEY
This issue Anne Williams talks to Sara Impey to find out more
about her superlative text-based quilts.
Opposite, No Exit, 2013, 89cm square. In this calico wholecloth the circular guidelines were
stitched first then the letters were free-motion quilted; Left, Stitch is Rich, 2011, 26cm x 61cm.
The background has been pieced using hand-dyed cotton fabric; Below, Social Fabric, 2014.
118cm square. Here the lettering reflects on the fabric – a found length of antique mattress cloth
Sara Impey has won several prizes for not really inspired by traditional designs in my
her wonderful text-based quilts. Her work, except in the most general sense like an
work is often shown in prestigious textile interest in repeated pattern.”
exhibitions, and she has pieces in the
PHOTOGRAPHS: NO EXIT © KEVIN MEADS, ART VAN GO; STITCH IS RICH © SARA IMPEY; SOCIAL FABRIC © MICHAEL WICKS
Victoria & Albert Museum Collection When did you start incorporating machine-
and The Quilters’ Guild Collection. I was stitched lettering in your work?
delighted to have the opportunity to chat to Sara about her “I started incorporating text in my quilts about
specialist technique of machine-stitched lettering. a decade ago. I had seen others use it and how
it drew people in, and using it in my own work
When did you start quilting? appealed to me. The text is integral to the design
“I made my first quilt in 1971 at the age of 17, it of my quilts – it needs both to relate to and to add
was a hexagon bedspread top (unquilted) made something extra to the work. It does take a certain
from my mother’s dressmaking scraps. I had never amount of confidence to write your own material,
even seen a patchwork quilt, but I found stitching but I trained as a journalist so feel comfortable
the patches over papers easy, very creative and so about communicating my ideas through the
enjoyable. I’m self-taught and it was many years written, or stitched, word. I don’t see the point
before I learnt how to do the quilting and how to of stitching someone else’s text onto fabric.”
bind a quilt – skills I picked up as I went along.”
What are the sources for your texts and how
Are you interested in the history of quilting do you develop the written word for quilting?
and do historical quilts influence your own “I don’t really know where some of my ideas come
quilting designs? from. I think you just need to make yourself open
“Yes I am. I belong to The Quilters’ Guild and receptive to things going on around you. I
Specialist Group, the British Quilt Study Group, don’t consider my work to be political, but current
which promotes research into all aspects of affairs might spark something, and I do like to
Britain’s quilting heritage, and have been to some think that my quilts have contemporary relevance.
of their conferences. I also have several books on Sometimes one idea leads to another and I might
quilting history. Although we use today’s tools and even quilt text on the hoof if the design allows it,
techniques, contemporary quiltmakers are keeping which can be very exciting. Also, I’m very familiar
alive a rich and special heritage of women’s craft with what I can do with the techniques I use, so
and I like to feel part of this continuum. But I’m I’m attuned to designs that will work.”
Above,TextinTextile
Art bySaraImpey,
Batsford,2013,
rrp£19.99,www.
pavilionbooks.com
Left,BitterPills,2012,
detail.Acotton
wholeclothinwhichthe
gridstructurehasbeen
stitchedbeforedensely
free-motionquiltingthe
Above, Blue Sky Thinking, 2013, 127cm square. The hand- and machine- “bitterpills”and
pieced background has been free-motion stitched in a “grid” of speech phrasescommenting
bubbles that reads like a political address, full of meaningless platitudes on modern-day life
that have become part and parcel of modern discourse
Is the text the starting point for the other But once all this preliminary work has been done
design aspects of your quilts? the fun part of free-motion quilting the lettering
“Sometimes, but it’s hard to disentangle which can begin. In my earlier text-based pieces, such as
comes first: the text or the design. The content the piece on the cover of Text in Textile Art, I made
of the text often determines the patterns, such paper templates for the letters so I could blank out
as squares, rectangles, parallel lines or speech those areas and densely quilt around them. In my
bubbles. But if I need a finished overall size for more recent pieces the lettering has been stitched
an exhibition, the text is written to accommodate freehand, without marking, so the text is in my
that. Colour choices always come last.” own sewing-machine handwriting.”
What are your preferred fabrics and do How do you baste your quilt sandwich?
you have a favourite type of wadding? “I use safety pins. On a small piece I use ordinary
“I’m not particular about the type of material, pins for speed and I’m prepared to suffer the
but as the contrast between fabric and thread is consequences – some of them fall out and my
especially important in my work I avoid prints fingers are constantly pricked!”
PHOTOGRAPHY: BLUE SKY THINKING © KEVIN MEADS, ART VAN GO; BITTER PILLS © MICHAEL WICKS
with ‘fussy’ backgrounds and generally stick to
plain fabrics, quite often calico. Usually the fabric
is new, but I have used old cloth. For example, Ò, NæS PRVW VDPSOHVØ DQG ,
in Social Fabric (on page 73), the found cloth
inspired the idea for the text, so the material and NæSD GHWDLOHG UHFèG RIHYHU\
the message are intertwined. I use felt rather than
wadding because it is so dense. My quilts are
SLHFH,PDNHÓ
intensively machine quilted all over and I want
the piece to retain its shape and not buckle.” What type of sewing machine do you use?
“I use a Bernina domestic sewing machine. I’ve never
How do you mark the quilting designs onto used a hoop when quilting – my quilts are so densely
the quilt top? quilted before I start stitching the text that the layers
“I mark light fabrics with ordinary pencil and dark are held in position and don’t tend to slip around. I
ones with a quilters’ silver pencil. Before layering, don’t use quilting gloves or any other gizmos either.”
I draw a matrix of squares or rectangles or parallel
lines, using my large collection of different-sized Which threads do you like to use?
rulers, constantly checking that the lines remain “Mostly I use Gütermann Polyester Sew-All as it
parallel and the right angles are true. I sometimes gives a lovely finish. Polyester is finer and stronger
make cardboard templates for the circles, but than cotton – and you don’t get a build-up of lint. It’s
only when I have raided the kitchen cupboard and also easier to deal with the thread ends; I just snip the
failed to find a bowl or plate the right size. After thread flush with the backing fabric. Contrast with
layering, I machine quilt along these guidelines. the fabric is often more important than the actual
This is my least favourite part of the whole process. shade of the thread as the text has to be legible.
Above, Pessimists’ Party, 2014, length 4.5m. Forty-four mini quilts have
been free-motion stitched with phrases of empty rhetoric and phrases from
everyday life and then linked to create a chain; Left, Between the Lines,
2014, detail. Free-motion lettering done on wadded calico “tapes” give
more freedom than a fixed surface area. The tapes are then joined into a
trellis-like structure
Sometimes I pick the thread when I’m standing in

front of the spools in the fabric shop. As I do dense
quilting I often go for colours that are available on
big spools, which limits the choice even further!”
Do you make samples and/or keep notes of

the things you try?
“I make a lot of samples to test things out. It will
be apparent to me very quickly if something isn’t
going to work and I won’t have wasted too much
time or materials. I keep most samples, even those
of ideas I’ve abandoned as you never know when Sara’s top tips
they might be useful. I also keep a detailed record Sara offers some inspiring ideas
of every piece I make. My documentation includes on how to incorporate quilted
the fabrics and threads used, the order in which lettering in your work
PHOTOGRAPHY: PESSIMISTS’ PARTY © KEVIN MEADS, ART VAN GO; BETWEEN THE LINES © MICHAEL WICKS
I did things, notes on what worked, problems I

encountered and how I resolved them, and how Start with something small as it can be disheartening
long the piece took to make. It’s important to jot to tackle something you won’t finish. You can see the
everything down before you forget! I find this results of small pieces immediately, which allows you
information a useful reference.” to try things out to see what you do and don’t like. SARA’S IMAGE BY PAULA DAY PHOTOGRAPHY; ANGELA’S IMAGE BY DAVID CAWKWELL
Has entering competitions and exhibiting Think about the size and style of the letters. It’s easier
pushed you to progress your work? to work with upper case letters as they are all the same
“Definitely. I belong to the pan-European group height, so fit within grids and between parallel lines.
called Quilt Art, Anglia Textile Works and a small
local artists’ collective called Blackwater Polytechnic. Also think about the spacing of the letters and words.
Through these groups I feel a constant pressure You can place letters and words closer together than
(in a good way!) to up my game. Having private you might expect. Leaving large gaps between lines of
goals, such as getting quilts selected for particular text creates a stripe-like design.
exhibitions, is also a strong motivating factor.”
If you want your text to be legible consider the
contrast between fabric and thread. You need to use
You can see more of Sara’s work on her website: light thread on dark fabric or vice versa – mid-tone
www.saraimpey.com fabrics are best avoided.
When quilting lettering you do need to be neat and

Join us next issue when we catch accurate, and first attempts at free-motion quilting
up with textile artist and teacher, can be disastrous. Don’t let this put you off! With
Angela Daymond. perseverance you can improve and produce good work.
PRE-CUT PROJECT
SEVENTH
HEAVEN
Refresh your bedroom with an eye-catching
design of elongated hexagons. The big, bold
shapes have a soothing effect, with curvy
feather quilting adding contrast. A pieced
border resembling an ornate line of bunting
completes this heavenly quilt.
Designed and made by PAM & NICKY LINTOTT

Quilted by THE QUILT ROOM
www.quiltroom.co.uk
PRE-CUT PROJECT
seventh heaven
You will need

Q One (1) Dessert Roll OR twenty
(20) 5in strips cut across WOF
Q Background fabric – 3yds
Q Binding fabric – ½yd
Finished size
Q 58½in x 76½in
Sorting the strips

1 From the Dessert Roll 5in strips,
sort as follows:
Q Thirteen (13) strips for the
rectangles.
Q Seven (7) strips for the border.
Cutting out
2 From the thirteen (13) Dessert
Roll strips allocated for the
rectangles, cut each strip into four (4)
5in x 9½in rectangles to make a total
of fifty-two (52). You need forty-nine
(49), so three (3) are spare.
3 From the seven (7) strips

allocated for the border, cut each
strip into eight (8) 5in squares. You
need fifty-two (52) squares, so four
(4) are spare.

as follows:
Q One (1) 5in strip across the width
of the fabric and subcut four (4)
5in squares for the corners. The
rest of the strip is spare.
Q Thirteen (13) 2¾in strips across
the width of the fabric and subcut
each strip into fifteen (15) 2¾in
squares to make one-hundred-and-
B E H I N D T H E Q U I LT ninety-five (195) squares.
Q Refold the fabric lengthways and
SEVENTH HEAVEN
cut fifteen (15) 2¾in strips down
the length of the fabric.
“We created this design using flip over corners, which we love. Simply mark – Set ten (10) aside for the sashing
the square with a fold just before sewing and, with the help of lots of chain and border strips.
piecing, the quilt speeds together in no time. The choice of background – Subcut five (5) strips into 2¾in
fabric plays a big part in this design and we chose some country fabrics on a squares. You will get twenty-two
light background for our quilt. Try a selection of bright fabrics set against a (22) from each lengthways strip
dark background to create a totally different effect. With seven blocks across to make one-hundred-and-ten
and seven blocks down, this was one of our easiest quilts to name! We used a (110). Add these to the one-
Dessert Roll, which is a roll of 20 5in wide strips cut across the width of the hundred-and-ninety-five (195)
fabric. Alternatively, you could dip into your fabric leftovers as this quilt is a already cut. You need three-
great opportunity to do a bit of stashbusting!” – Pam & Nicky Lintott hundred (300) in total, so five (5)
are spare.
P R OJ E C T l se ve nt h h e a v e n

seven (7) 2½in strips across the
width of the fabric.
Making the blocks

6 Draw a diagonal line from corner
to corner on the wrong side of a
2¾in background square or mark the
diagonal line with a fold (Fig 1).
Fig 1 Fig 2 Fig 3
7 With right sides together, lay a

marked square on a corner of one
of the 5in x 9½in rectangles, aligning
the outer edges. Sew across the
diagonal, using the marked diagonal
line as the stitching line (Fig 2).
8 Flip the square over and press

towards the outside of the block.
At this point, you would normally
trim the excess fabric from the Fig 4 Fig 5 Make 49 Fig 6 Make 52
flipped over corner, but do not
trim the Dessert Roll rectangle.
Although this creates a little
more bulk, it will help keep your
9 Repeat and sew three other
background squares on the
remaining three corners (Fig 4). 12 Sew seven (7) rectangles
together to form one vertical
patchwork in shape. However, if you row, pinning the centre points to
find the darker fabric shows through
the light corner fabric, it may be
necessary to trim the fabric beneath
10 Make forty-nine (49)
rectangles with flip over
corners on all four (4) corners,
ensure a perfect match. Press. Repeat
to make seven (7) vertical rows.
as well. Do not trim the Dessert

Roll fabric until you have pressed
as shown in Fig 5.
13 Measure the length of the
vertical rows, which should be
the flipped over corner and you can
see that it is sewn on accurately. If
it is not sewn on perfectly then it is
11 Using the same technique sew
two (2) flip over corners, as
shown in Fig 6, on to a 5in square.
approximately 63½in, and trim eight
(8) sashing and border strips to that
measurement. It is important that all
much better to leave the rectangle Repeat to make fifty-two (52) eight (8) sashing and border strips
fabric uncut (Fig 3). squares with two flip over corners. are cut to the same length.
P R OJ E C T l se ve n t h h e av e n
Fig 7
Fig 8
14 Sew a sashing strip to both

sides of the first row and to the
right of all the other rows, pinning
and easing if necessary. Sew the rows
together and press (Fig 7). Fig 9
15 Measure the horizontal width

across the quilt and trim the
two (2) remaining border strips to
that measurement. Pin and sew to Fig 10
the top and bottom of the quilt

(Fig 8). Press.
Adding the borders

16 Sew fifteen (15) of the squares
made in step 11 together to
form a side border. Repeat to make
the other side border (Fig 9).
17 Sew eleven (11) squares

together and sew two (2) 5in
background squares to both ends to
make the top border. Repeat to make
the bottom border (Fig 10).
18 Sew the side borders on first,

pinning and easing where
necessary. Press.
19 Sew the top and bottom

borders on, pinning and easing
where necessary (Fig 11).
20 Your quilt is now complete.

Quilt as desired, then bind
and add a label to finish. Fig 11
P R OJ E C T l se ve nt h h e a v e n
Show off pretty

fabrics in this
striking design
Meet the designers
Pam and Nicky Lintott own The Quilt Room based in Dorking, Surrey,
where they have a shop in a 15th-century inn, plus a studio where they
operate an efficient mail order business and a long-arm quilting service
using their two Gammill Statler Stitchers. They have written several books
on Jelly Roll quilts and other pre-cuts (published by David & Charles).
www.quiltroom.co.uk thequiltroom @thequiltroom
Exclusive offer from
We’re part of the Immediate Media group, and we’re a specialist TV channel dedicated to
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$0RQëLQëH&RXQWU\
BLOCK OF THE MONTH N0. 7
BLACKBIRDS
Designed and made by
JO AVERY
B
irds and birdsong are very host of our other Shangri La Farm
much in evidence at this feathered friends, from goldfinch
time of year, with the dawn to a bullfinch. This month’s block
chorus one of the nicest ways to features blackbirds among sprigs of
start the day. The humble blackbird fresh spring leaves. The trees come
has a special place in my heart. into leaf at different times, with the
When a movement catches my eye hawthorn among the first. But as
through the window of my sewing that was going to be a difficult shape
room, it’s often a little blackbird to appliqué I chose rowan and birch,
hopping around on the grass outside. which follow close behind. Poor Mrs
Something about the compact black Blackbird always seems a little drab
shape with its bright yellow beak against her dramatic husband – and
against the green background is apparently she doesn’t sing much
so appealing to my eye. Apparently, either – but I bet she is a great wife
FK LV D Jonathan does not share my love of in many other ways!
7KH KDQGVRPH JROGàQUL/D)DUP
UHJXODUYLVLWèWR6KD
QJ blackbirds as it turns out he hasn’t
taken a single photo of one! So Jo x
instead we’re treating you to a whole mybearpaw.com mybearpaw
$PDOHEXçàQFK
WILDLIFE PHOTOGRAPHS BY JONATHAN AVERY
)RONDUWVW\OHEODFNELUGEORFN %LUFKWUæLQVXQOLJKW
83
BLOCK OF THE MONTH
BLACKBIRDS
You will need

For the main block:
Q Background fabric – 13in square
Q A scrap of dark green fabric for
the stems – 5in x 7in
Q Assorted green fabrics for leaves –
13in x 16in total
Q Black fabric for blackbird –
3in x 5in
Q Embroidery thread in black
and yellow
For the variation block:

Q Background fabric – 13in square
Q Assorted green fabrics for leaves
and stems – 9in x 14in in total
Fig 1
“Warm pinks and refreshing greens make the

perfect backdrop for the dramatic blackbird in
this spring-themed block.”
Fig 2
Cutting out one quarter at a time, rotating the

Using the templates (see Templates pattern and using the folded lines
section), cut out the following: as a guide. Using the Mr Blackbird
1 From your dark green fabric, cut

out four (4) stems.
pattern trace the bird shape on to
the centre of the fabric square.
2 From the green fabrics, cut out

thirty-six (36) rowan leaves. 5 Begin by appliquéing the stems.
Snip into the seam allowance by
⅛in along the concave curves of each Fig 3
3 From the black fabric, cut out

one (1) Mr Blackbird.
stem piece and pin or tack in place
(Fig 1). Turn under the raw edge
using a in seam and stitch down
Making the block using a tiny neat slip stitch, close to
4 First trace the pattern on to

your background square using a
pencil or erasable ink pen. Fold your
the folded edge, and using matching
thread (Fig 2).
fabric square in half twice to mark

a centre cross guideline. Trace the
leaf pattern onto your fabric square
6 Stitch down your leaves in the
same way (no need to snip seam
allowance). Try this method for Fig 4
BLOCK OF THE MONTH l bl a c k b ird s
Q Brown fabric for blackbird –

3in x 5in
Q Embroidery thread in black,
brown and ecru
Finished size
12½in square (12in once pieced
into project)
Notes
Q Make one of each block for the
quilt, or two of the same design,
KW
if you prefer.
$KHURQLQáLJ &ORVHXS GHW
DLO R
Q Grading your leaves from light to IURPDURZD I D åDQFK
dark along the stem like we have QWUæ
gives a lovely effect.
WILDLIFE PHOTOGRAPHS BY JONATHAN AVERY

TECHNICAL TIP
7 Once all your stems and leaves
are applied, as shown in Fig 6
start on the Mr Blackbird. Pin
To see the pattern lines
through your fabric, tape in place and snip the concave
it to a window, to your curves. Stitch down as before
computer screen with the using matching thread.
Fig 5 brightness turned up, or go
over the pattern lines with a
thicker pen. The pattern is
a guide and doesn’t need to
be too accurate.
8 Using black embroidery thread
and backstitch, stitch the bird’s
legs (Fig 7). Refer to the photo of
the completed block (see left) as a
positional guide.
preparing leaves for appliqué: lay

the fabric leaf, right side down, on
9 Outline the beak using yellow
thread and a small backstitch,
then fill with satin stitch (Fig 8).
Fig 6
to a piece of leather or similar thick Using the yellow thread again,
textile such as oilcloth. Draw your sew a ring of small backstitches
seam allowance using a straight- to outline the eye. If necessary
edged tracing wheel (Fig 3). This (depending on how dark your
will give you a pressed edge to make fabric is) fill with satin stitch
turning fabric under much easier and black thread. Press and
(Fig 4 and Fig 5). then trim to a 12½in block.
Machine edge appliqué

Fig 7
If hand stitching isn’t your thing, feel free to raw-edge appliqué these
blocks using your machine and the instructions below:
Q Using the inner broken lines on your templates trace leaves and
blackbirds on to the paper side of some fusible web.
Q Press fusible web, paper side up, on to the wrong side of your fabric.
Q Cut out the shape and peel away the paper. Place on top of the right side
of the background square, matching with the pattern, and the fusible web
facing the background fabric. Press to adhere the shape to the background.
Q When all shapes are fixed in place sew a neat top stitch, blanket stitch
or satin stitch close to the edge all around each shape.
Fig 8
A different view
MRS BLACKBIRD
V A R I AT I O N B L O C K a pencil or erasable ink pen. Fold neat slip stitch, close to the folded
your fabric square in half twice for edge, and matching thread.
Cutting out a centre cross guideline. Trace the
Using the templates (see Templates
section), cut out the following pieces:
leaf pattern onto your fabric square
one quarter at a time, rotating the
pattern and using the folded lines
5 Stitch down your leaves in the
same way (no need to snip seam
allowance). See main block for tips
1 From your green fabric, cut out

four (4) stems and twenty (20)
as a guide. Using the Mrs Blackbird
pattern, trace the bird shape on to
on preparing leaves for appliqué.
birch leaves. the centre of the fabric square.

6 Once all your stems and leaves are
applied start on Mrs Blackbird.
2 From the brown fabric, cut out

one (1) Mrs Blackbird. 4 Begin by appliquéing your stems.
Snip into the seam allowance by
⅛in along the concave curves of each
Pin in place and snip the concave
curves. Stitch down as before using
matching thread (Fig 1).
Making the block stem piece before pinning in place.
3 First trace your pattern on to

your background square using
Turn under the raw edge using in
seam and stitch down using a tiny 7 Using black embroidery thread
and backstitch, stitch the bird’s
legs. Outline the beak using black
thread and a small backstitch, then
fill with satin stitch to make this
detail stand out. Using the ecru
thread again sew a ring of small
backstitches to outline the blackbird’s
eye, fill with satin stitch and black
thread. Using the brown thread and a
backstitch, sew the leaf stems (Fig 2).
Press with a steam iron and then trim
Fig 1 Fig 2
to a 12½in block.
TE M P L ATE S
All the templates you’ll
need from issue 21...
CATHEDRAL
WINDOWS
EMBELLISHMENT TEMPLATE
ACTUAL SIZE
FLOWER
HEAD
FLOWER
BASE
LEAF
Thank you for making this project from Today’s Quilter. The copyright for these templates belongs to the designer of the project. They work hard to create projects
for you to enjoy, so please don’t re-sell or distribute without permission. Please do not make any part of the templates or instructions available to others through your website
or a third party website, or copy it multiple times without permission. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help.
T O DAY ’ S Q U I LT E R l t e m pl at e s
STILL WATERS
BLOCK 1 TEMPLATES
ACTUAL SIZE
E
(Block 1)
F
(Block 1)
A
D
(Block 1)
(Block 1)
D OW N LOA D
T H ES E T EM P L AT ES
F UL L S I Z E
Visit our blog:
www.todaysquilter.com
today!
B
(Block 1)
C
(Block 1)
STILL WATERS
BLOCK 2 TEMPLATES
ACTUAL SIZE
Includes seam allowances
F
(Block 2)
B
(Block 2)
G
(Block 2)
A
(Block 2)
D OWNLOAD
T HE S E TE M P L ATE S
FULL SIZE
Visit our blog:
today!
D
(Block 2)
C
(Block 2)
E
(Block 2)
RULE BRITANNIA
APPLIQUÉ TEMPLATES
ENLARGE BY 200%
PLEASE NOTE: Appliqué templates DO NOT include seam

allowances.
BANNER
Place on fold of fabric to form a full heart
HEART
VINTAGE FLORAL
GARDEN
HEXAGON TEMPLATE
ENLARGE BY 200%
Includes seam allowances
BOM
APPLIQUÉ PATTERNS
ENLARGE BY 200%
HEXAGON
MR BLACKBIRD
PATTERN
Centre Line
ROWAN LEAF
PATTERN
D OWNLOAD
Centre Line
TH E S E TE M P L ATE S
FULL SIZE
Visit our blog:
today!
BOM
APPLIQUÉ PATTERNS AND TEMPLATES
ENLARGE BY 200%
MRS BLACKBIRD Centre Line

PATTERN
Centre Line
BIRCH
LEAF
ROWAN
LEAF
BIRCH LEAF
PATTERN
ROWAN STEM
BIRCH STEM
D OW N LOA D
MR BLACKBIRD
T H ES E T EM P L AT E S
F UL L S I Z E
Visit our blog:
MRS BLACKBIRD
today!
PURPLE-PIXIE
FABRIC & CRAFT
We have moved! Visit our
new bigger shop! More
fabric, more space, more
choice. A lovely day out in
the Garden of England. PAULINE’S PATCHWORK
The Hop Farm Family Park, Pauline’s patchwork is a family run business offering quality
Maidstone Road, Paddock cotton craft fabrics. We run a wide selection of patchwork,
Wood, Kent TN12 6PY. quilting and textile workshops. Our business also provides a
FREE Parking. long arm quilting service, offering bespoke edge 2 edge
purple-pixie.co.uk quilting designs
paulinespatchwork.co.uk 01305 261022
FIND US ON
FACEBOOK
COAST AND COUNTRY HOMETOWN 28 Queens Road HORNCASTLE SEWING

CRAFTS & QUILTS We have a whole world of Craig-y-Don CENTRE
Cornwall's specialist fabrics to tempt you at Llandudno A friendly welcome for fabric
Patchwork Shop stocking Hometown, 62 High Street Conwy, North Wales crafters. Fabric, haberdashery,
beautiful books, linens, Rochester, ME1 1JY LL30 1AZ wadding and notions.
magazines, patterns & fabrics. 01634 838880 thequiltingbeecyd@gmail.com 01507 524596
coastandcountrycrafts.co.uk hometownrochester.co.uk 01492 878599 thesewstore.co.uk
TEMPTATIONS RICKY TIMS CHALK HILL THE QUILT SANCTUARY

Everythingyouneedfor Long awaited return visit to BLUE FABRICS Professional Long Arm
PatchworkandQuilting. Patchwork Parade, 15th July Supplier of patchwork fabrics, Quilting Service, including
Hundredsofqualitycotton 2017. (Venue Middleton threads, waddings and a selection of fabrics and
fabrics,wadding,haberdashery, Arena). Tickets on sale now notions. See you on Facebook! wadding. Gwynedd, Wales.
BrotherSewingMachines. from Patchwork Parade. 01903 230008 01341 250809 / 07402 919194
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A. COATES LAPP-ELISA.COM CREATIVE CRAFTS HAZEL’S FABRIC CRAFT

Domestic & Industrial Quilters paradise in Creative Crafts is an West Calder. Patchwork &
Repairs & Service all makes Sweden welcomes you to independent arts & crafts Quilting supplies and
& models. New Machine shop Scandinavian design shop bursting to the seams workshops. Open Fri &
sales: Pfaff, Brother, Janome, patchwork patterns and with everything you need Sat 9.30am–4.30pm, Sun
Silver & Frister + Rossmann. lots more! for your hobby. 10am–2pm.
01890750349 lapp-elisa@telia.com 01962 856266 hazelsfabriccraft.co.uk
Useful guide to quilting goodies!
DIRECTORY
Find the fabrics, accessories and more that you want from this month’s issue.
SHOPPING
Tilda Circus
groves@stockistenquiries.co.uk
ACCESSORIES
Underwater
Clover Magnetic Pin Caddy
cloud9fabrics.com
clover@stockistenquiries.co.uk
Hemline Thimbles and Bias Bars

groves@stockistenquiries.co.uk
BOOKS
Search Press
The Ultimate Collection by Tula Pink www.searchpress.com
www.aurifil.com 0189 251 0850
Sew and So
FABRIC COLLECTIONS www.sewandso.co.uk
0800 013 0150
Forest Talk, Home Grown
www.makoweruk.com
Roundhouse Group
0149 157 9727 www.roundhousegroup.co.uk
0127 360 3717
Pond
www.robertkaufman.com
I N S P I R AT I O N l b a c k st o r y
PHOTOGRAPH © PETER BACKHOUSE

Right, One of the four Christ is Risen banners hanging in the
vaulted sanctuary; Above, a warm palette of silk fabric with
mirror embellishments helped to create a radiant effect
EASTER CELEBRATION
The team:
Georgina Chapman led a team made
up of Helen Allan, Jean Ferris,
Elspeth Leishman, Liz Murray, The combined skills of an artist and a team of quilters created these cathedral banners
Amelia Little, Anne Scott, Muriel
S
Thornburn, Maggie Warren and t Giles’ Cathedral is at the heart of given the scale and internal constraints of
Mary Wilson. Edinburgh’s Old Town, situated on the working in such an historic building. “At the
Royal Mile. Every year, at Easter, four time the lighting was much dimmer and the
resplendent banners measuring over 20 feet stonework was almost black. By using a warm
Advice long and entitled Christ is Risen, hang from palette of orange, yellow and neutral colours
Are you perhaps thinking the pillars supporting the vaulted sanctuary. in silk we were able to create luminosity. We
of embarking on a similar They were designed by Sheana Stephen embellished the hangings with small mirrors
project? Sheana and Ashton and made by members of Thistle that added even more radiance as they moved
Georgina would be more Quilters, guided by a familiar name on the and reflected the light.” The design that was
than happy to share their Scottish quilting scene, Georgina Chapman. chosen symbolises the rising of the sun and
experiences of what it’s In 2007, realising that the existing felt the rising of The Son of God.
like to work on a project of banners had deteriorated to such an extent Translating Sheana’s designs into fabric
this scale. You can contact that they would not survive another year of was a complex process guided by Georgina
Sheana through her website display, the Cathedral looked for volunteers and a volunteer team of skilled quilters. The
www.sheanastephen.co.uk and within its congregation to create something experience of working together on the project
Georgina through Today’s new. Sheana, who is an artist jeweller, stepped has given everyone a real sense of achievement
Quilter (TodaysQuilter@ forward together with Jean Ferris, a keen and pride knowing that their work is enjoyed
immediate.co.uk). quilter, and they have worked as a team ever by the congregation and visitors from around
since. Sheana drew on her experience of the world. Their creative efforts were further
To find our more about the helping with theatre sets from her younger recognised in 2009 when The Saltire Society
historic St Giles’ Cathedral, years with the Civil Service Drama Club and granted the project their Commendation in
visit their website: set about creating a design that would work Arts & Crafts in Architecture.
www.stgilescathedral.org.uk
Do you have a quilt with a tale to tell? Let us know, and you could be featured on the Back Story page! Email
todaysquilter@immediate.co.uk or write to Today’s Quilter, Tower House, Fairfax St, Bristol, BS1 3BN
98
NEXT
ISSUE
On Sale
27th April
COLOUR ME HAPPY!
Use Kaffe Fassett fabrics HOME SWEET HOME
to create Linda Clements’ Find a spot in your home
spring-fresh quilt! for Mandy Shaw’s pretty
appliqué quilt
JELLY ROLL CREATION

Make a heirloom-
worthy quilt with
the Lintotts
(QKDQFH \RXU KRPH ZLë FUHDWLYH TXLOWV

Lynne Edwards MBE shares a unique lesson in binding • Meet Angela
Contents subject to change
Daymond and discover her intricate kantha designs • Try FPP with expert
Kerry Green • Jen Jones showcases quilts from a major Welsh exhibition
FREE! Set of 10 indispensable binding quilts – a quilting essential!
Issue 22 on sale 27th April
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6LYZ ]HSPK MYVT Z[ -LI [V Z[ 4HYJO brothersewing.co.uk

CREATIVE TRIANGLES
Master versatile 60-degree triangles for expert results
By Pam & Nicky Lintott
INCLUDES
5 FULLY
ILLUSTRATED
PROJECTS
JOIN A MASTERCLASS
BY PAM & NICKY LINTOTT
Create triangles, diamonds,
hexagons and tumbling blocks
Learn techniques using
clever rulers for accurate results
Make five unique quilts
from start to finish
WELCOME
I’m definitely having a “back to school” moment
inspired by this supplement. Transported through
time to my old maths class, I can still see
Mr McGregor patiently trying to impart the wisdom
of the protractor to a room full of restless teenagers.
Maybe if he had used examples as striking as the
quilts in this supplement my concentration and
test scores would have been different! With the
guidance of Pam & Nicky Lintott, the subject of
the 60-degree triangle is far more enthralling. It’s
amazing how versatile and surprising this simple
equilateral shape really is. The addition of clever
rulers to help us achieve the kind of accuracy so
tricky with templates and standard rulers mean that
we can spend less time measuring and more time
choosing the perfect fabric for each project. Maybe
going back to school isn’t so bad when we’re creating
quilts as beautiful as these. Enjoy!
Jenny Fox-Proverbs
Senior Editor
Senior Editor Jenny Fox-Proverbs Art Editor Sue White Deputy Editor Fiona Smith
Technical Editor Laura Pritchard Designers Tina Prior, Annelise Brant Freelance Katriel Costello
Advertising Manager Penny Stokes Editorial Production Coordinator Lizzie Ayre
Printed in the UK. Presented with Issue 21 of Today’s Quilter magazine.
© Immediate Media Co. Not to be sold separately.
To subscribe to Today’s Quilter call 01604 828744 or go to www.buysubscriptions.com
Todaysquilter Todaysquilter Todaysquilter Todaysquilter www.todaysquilter.com
INTRODUCTION
Do we love our 60-degree triangle? You bet we do!
Over the years we have turned to the Triangle Ruler time and again, it never fails to assist
and inspire us. Here, we have given you five of our favourite quilt designs, which use the
8½in 60-degree Triangle Ruler. As always, we use our favourite brand, Creative Grids.
They are totally accurate with lovely fine lines, and they have a built-in non-slip facility
so always stay in place without slipping. With the quilts featured here, there is no need
for lots of instruction as each pattern shows clearly how to use the ruler. It is one of those
tools you can’t imagine not having in your tool kit. We have also featured a couple of quilts
from our new book, Jelly Roll Quilts in a Weekend, to be published in May 2017. Take a
sneak preview on page 42 with our quilt, Honeycomb, which uses the 8½in triangle and
another, Picnic Time, which uses the large 12½in 60-degree triangle.
Pam and Nicky Lintott
8 14
06 TECHNIQUES 14 HEXAGON GARDEN

Discover all the hints and tips you’ll need Revel in this gorgeous combo of large
to get started with 60-degree triangles, the hexagons inset with smaller hexies made
shape that creates quilt classics from a Jelly Roll of chintzy floral prints
08 ROCK ‘N’ ROLL 20 HEXAGON STAR

Make a visually striking quilt using Create a stunning centrepiece with a six-
60-degree triangles that create neat pointed star shape in vivid colours and retro
shapes in light and dark shades patterns against a dramatic background
28
20
42
34
28 TUMBLING BLOCKS 40 READER OFFER

Go bold with a classic quilt that’s playfully Have a sneak preview of Pam & Nicky’s
three-dimensional, 60-degree parallelograms fabulous new book, Jelly Roll Quilts in
are contained within a beautiful blue border a Weekend, and get money off!
34 CARAMEL CREAM 42 SPECIAL DISCOUNT

Snuggle under this delicious-looking quilt Today’s Quilter readers can enjoy
in coffee and cream hues using hexies made a 10% discount off 60-degree Triangle
up of fabric strips Rulers from The Quilt Room
60-DEGREE TRIANGLES
Graduate from squares, rectangles and half-square triangles and venture into fresh quilt patterns with
your new friend, the 60-degree triangle.
Once piecing squares and rectangles with 90-degree What is a 60-degree triangle?
angles has been mastered, often the natural progression As you may remember from geometry classes, all
for a quilter is to attempt triangles. internal angles of a triangle add up to 180-degrees.
Triangles, in particular 60-degrees, open up a new A 60-degree triangle is also known as an equilateral
world of creative quilt patterns, which also include triangle – meaning all three side lengths and corner
diamonds, hexagons and more. These may seem daunting angles are the same; 60-degrees. A protractor can be
if you’re yet to try these new shapes, but you will find used to measure the angles of a triangle for identification
many inspiring patterns of this kind, and techniques and to check accuracy (Fig 1).
on how to achieve them, within this supplement. This very simple shape can be used to create
stunning quilts. Perhaps the most famous being the
traditional Thousand Pyramid quilt (see Pam and
Nicky’s take on this on page 8). You can find the
equilateral triangle within other shapes too. Two (2)
TECHNICAL TIP
60-degree triangles will make a diamond and six (6)
A normal protractor, such
as one found in a school will make a hexagon (Fig 2).
geometry set, is fine for
measuring angles, but if you Cutting 60-degree triangles for patchwork
plan to draft many quilt Like squares and rectangles, 60-degree shapes are
blocks yourself then a larger
easiest to achieve by cutting from strips. First cut your
protractor, or one that shows
all 360-degrees will be fabric into strips the height of the unfinished triangle.
more useful. From there, you can subcut the triangle units.
Fig 3 Cutting 60-degree angles

Fig 1 Measuring a 60-degree angle
A
8
4 60˚ line
7
5
80 90 100
110 60
°
70 80
6
100 70
10 12 6
60 0 1 60 0 1
12 3
50 0 50 0
5
13 7
3in
14 0
14 0
4
0
0
4
4
8
1500
1500
3
3
3
9
160
20
160
20
2
170 180
10
10
180 170
10
1
0
11
0
12
Fig 2 Shapes containing equilateral triangles

10
B
5
60˚ line 9
6 8
60
°
7 7
8
3in 6
9 5
10 4
11
3
12 2
1
TECHNICAL TIP
Where possible, always piece
triangles on the bias edges
as this will keep the straight-
grain on the outside edges
of each row. This will make
it easier to join the rows and
keep your quilt top lying flat.
This can be done with a regular quilting ruler if it includes

60-degree markings. Line up the 60-degree mark with the
strip edge as shown in (Fig 3A), and cut along the ruler edge.
Rotate to cut the second side (Fig 3B). This method does
require concentration, and can be tricky to create a perfect
result each time.
A second technique is to use a template, but this can be
a slow option as the shape needs to first be drawn with a
protractor and ruler, and then marked onto the fabric before
they are cut from card or template plastic. Incorrect drawing
and cutting will lead to inaccurate results.
Specialist rulers
Our preferred method is to use a specialist ruler and this is the
method used to create the patterns throughout this booklet.
These rulers are designed specifically with patchwork in
mind, so they are accurate (a quilter’s favourite word!) and
easy to use. All you need is a rotary cutter and mat. Rulers of
this kind are designed to make triangles in a large range of
sizes, from 1in upwards, so they can be used for a huge range
of projects. Their clear markings show the equivalent fabric
strip width, and they often include a flat point to make it easy
to line the ruler up along the strip. All you need to do is cut
along the sides as you would with a regular quilting ruler.
TECHNICAL TIP
This flat point will also help you to match up your patches For the best and most
for accurate piecing, and will help contain bias edges in precise results, always press
the centre of a row, rather than the edges, which can create fabric well before cutting
distortion. It cuts out bulk in some of the corners too, which strips, so they are nice and
we appreciate when it comes to pressing and quilting. flat. Spray starch can help
make fabric behave. And
Using a specialist ruler can also help reduce fabric wastage remember the old adage:
when used properly; rotating the ruler up and down the fabric measure twice, cut once.
strip will make sure the shapes tessellate to get the most out of
the fabric width.
In addition, a 60-degree ruler doesn’t only make triangles!
With expert guidance from Pam and Nicky, you’ll learn it
also makes light work of cutting parallelogram shapes for
Tumbling Block patterns, and trapezoid half-hexagons too –
a truly versatile tool for your sewing arsenal. Find out more
about these creative techniques on pages 28 and 34.
Buy the rulers

Turn to page 42 for a special discount to buy Pam
and Nicky’s favourite 60-degree triangle rulers.
60-DEGREE TRIANGLES
ROCK ‘N’ ROLL

This project is a great introduction to
working with 60-degree triangles. Neat
pyramids in contrasting shades of light
and dark, and a border of earthy red
make a statement piece.

60-DEGREE TRIANGLES
rock ‘n’ roll
You will need

Q One (1) Dessert Roll OR twenty
(20) 5in strips cut across the width
of the fabric
Q Inner border fabric – ⅜yd
Q Outer border fabric – 1½yards
Q 60-degree triangle or a Multi-Size
45/60 triangle ruler
Finished size
Q 57in x 69in
Sorting the strips

1 Divide the Dessert Roll strips into
ten (10) dark strips and ten (10)
light strips. If some dark strips have to
be allocated as lights that is fine as this
will create a secondary design of larger
darker triangles within the pattern.
Cutting out
2 From the Inner Border fabric, cut
six (6) 2in strips across the width
of the fabric.
3 From the outer Border fabric, cut

seven (7) 6½in strips across the
4 From the binding fabric cut, seven

(7) 2½in strips across the width
of the fabric.
Method
5 Open up one dark Dessert Roll
strip and place it right side up on
the cutting mat. Place the 60-degree
triangle on the left side of the strip
unit as shown in Fig 1, aligning
the 5in line of the triangle with the
bottom of the strip and the cut off top
of the triangle with the top of the strip.
Cut your first triangle.
B E H I N D T H E Q U I LT 6 Rotate the triangle 180 degrees

and cut the second triangle
(Fig 2). Continue to the end of the
ROCK ‘N’ ROLL

strip rotating the triangle and cutting
to make eleven (11) triangles.
“You will find that this quilt looks great no matter what fabrics you choose
to use. We opted for the sophisticated colouring of Japanese taupes for our
quilt, but whatever material you pick, it will look stunning. If you can’t find a
suitable Dessert Roll then delve into your fabric stash, choose 20 fabrics and
7 Repeat with all dark and light
Dessert Roll strips to make eleven
(11) triangles from each 5in Dessert
just cut one 5in strip from each.” – Pam & Nicky Lintott Roll strip. You can layer more than
one strip at a time when cutting,
P R OJ E C T l r o c k ‘ n’ r ol l
but don’t cut too many together as

you will lose accuracy. You will have
one-hundred-and-ten (110) light
triangles and one-hundred-and-ten
(110) dark triangles (Fig 3). You need
one-hundred-and-two (102) of each,
5in line on ruler
so eight (8) of each are spare.
Fig 1
8 Take a dark and a light triangle,

place right sides together and sew
together as shown in Fig 4. Press
5in line on ruler
towards the dark triangle.
9 Take another light triangle and sew

in place as shown in Fig 5. Press
towards the newly added triangle, and
check that you are keeping a straight Fig 2
edge on your row.
Make 102 Make 102

Fig 3 Fig 4 Fig 5
P R OJ E C T l r o c k ‘n’ r ol l
Fig 6 Make 6 Fig 7 Make 6

Fig 8 Fig 9
Trim excess fabric
10 Repeat to sew seventeen (17)

triangles together alternating
light and dark triangles, starting at the
top with a light triangle and finishing
with a light triangle (Fig 6). Press all
seams downwards. Make six (6) of
these rows.
11 Repeat to make a further six (6)

rows starting and finishing with
a dark triangle (Fig 7). Again press all
seams downwards.
12 Take one row starting with

a light triangle and one row
starting with a dark triangle. Rotate
the row starting with a dark triangle at
180 degrees and sew the pair of rows
together as shown in Fig 8, pinning at
every seam intersection. Repeat with
all six pairs of rows. Press as shown.
13 Sew the pairs of rows together

as shown to complete the centre
of your quilt top (Fig 9).
Adding the borders

14 Rotate your quilt top 90 degrees
to the right so the top of the
quilt is now positioned correctly and
has a flat edge.
15 Join your 2in inner border strips

into one continuous length. Fig 10
P R OJ E C T l r o c k ‘n ’ r ol l
Determine the vertical measurement

from top to bottom through the centre
of your quilt top. Cut two side borders
to this measurement. Pin and sew to
the quilt to form a straight edge. Press
and trim the excess fabric, as shown
in Fig 10.
16 Determine the horizontal

measurement from side to
side across the centre of the quilt
top. Cut two inner borders to this
measurement. Sew to the top and
bottom of your quilt and press.
17 Repeat to sew on the outer

borders in the same way. Press
seams towards the borders (Fig 11).
18 Your quilt top is now complete.

Quilt and bind as desired to
finish. Add a label showing your
name, date and any info about the
fabrics used.
TECHNICAL TIP
When you reach the
binding stage, sew a single
row of stitches all around
the edge of your quilt,
through all three layers.
This will hold the layers of
fabric together and make
sure that your binding goes
smoothly.
Fig 11
TRIANGLES & HALF HEXIES
HEXAGON
GARDEN
Cutting triangles from pieced strips creates
the effect of larger hexagonal shapes inset
with smaller hexies. Made from a Jelly
Roll called French General, the chintzy
floral prints in oyster, pearl, red rouge and
woad blue are a feast for the eyes.

TRIANGLES & HALF HEXIES
hexagon garden
You will need

Q One (1) Jelly Roll OR forty (40)
2½in strips cut across the width
of the fabric
Q Border fabric – ½yd
Q 60-degree triangle ruler
Q Backing fabric – 60in square
Q Batting – 60in square
Finished size
Q 51in x 53in
Sorting your strips

1 Divide the Jelly Roll strips into
thirteen (13) sets of three (3) strips.
Each set of three strips will make one
hexagon so you can choose how you
want them to look. We tried to have
two strips of similar colours for the
outside of the hexagon and a light or
dark for the centre strip in each set.
Be guided by what is in your Jelly Roll.
One (1) strip is spare.
Cutting out
2 From your border fabric, cut five
(5) 3½in strips across the width
of the fabric.
3 From the binding fabric, cut six (6)

strips 2½in wide across the width
of the fabric.
Making the blocks

4 Take one set of three (3) strips
and sew them together to form
a strip unit as shown in Fig 1. Press
the seams in one direction. Repeat to
make thirteen (13) strip units.
B E H I N D T H E Q U I LT 5 Working with one strip unit at a

time, take the 60-degree triangle
and place it on the left side of the
HEXAGON GARDEN
strip unit. It is important to place the
triangle as far to the left as possible as
“So many spectacular designs can be created with the 60-degree triangle. To you need to cut nine (9) triangles from
create this quilt, we’ve used just about every inch of a gorgeous French General each strip unit. Align the 6½in line
Jelly Roll. The pattern is created by sewing the triangle units together into half of the triangle with the bottom of the
hexagon units, they are then combined into vertical lines, which means there strip unit and align the cut-off top of
are no set-in seams required to join the hexagons. It is a really simple quilt to the triangle with the top of the strip
make, but you do need a bit of space to lay out the design before sewing it all unit (Fig 2). Cut your first triangle.
together, as you don’t want to make a mistake. You’ll also be working with bias Rotate the 60-degree triangle ruler
edges and, although you need to press regularly, remember that it is gentle and cut the second triangle (Fig 3).
pressing only! We chose the blue floral fabric from the Jelly Roll for the border, Continue to the end of the strip to
which ties it all together beautifully.” – Pam & Nicky Lintott make nine (9) triangles.
P R OJ E C T l h e xago n ga rd e n
TECHNICAL TIP
Make 13 Handle bias edges with
Fig 1 care so as not to stretch the
fabric. When sewing, let
your machine slowly feed
the fabric. When pressing
be sure not to slide the iron
around; place it on and lift
it off again in an up and
down motion.
6½in line on ruler
Fig 2
6½in line on ruler
Make 5 Make 4
Fig 3 Fig 4
6 You will have two (2) different

triangles – five (5) of one and
four (4) of the other. Keep them all
the quilt diagram on page 18 to ensure
you have the correct positioning.
together in one pile (Fig 4).

9 Select six (6) triangles from each
pile – three (3) of each type –
7 Repeat with the remaining strip

units to make thirteen (13) piles
of triangles.
and lay them out to form a hexagon,
alternating the segments (Fig 5).
The remaining three (3) triangles
in each pile will be used to make the
8 Now is the time when you need

some space as it is best to lay out all
the triangles into hexagons referring to
14th hexagon, the half hexagons, and
used to fill the gaps around the edges
of the quilt.
Fig 5
10 You can make the 14th

hexagon scrappy by choosing
triangles from the remaining
triangles in the piles.
11 Lay out the half-hexagons

as shown in Fig 6. Keep the
triangles for each hexagon together.
12 Once you have decided on the

placement of the hexagons you
can then lay out the vertical rows of
four (4) half hexagons and use the
remaining triangles to fill in the gaps
around the edges as shown in Fig 7.
13 Sew the triangles together in

vertical rows starting with top
left and sewing one row at a time.
Pin at every seam intersection to
ensure a perfect match. Press all
the seams in the first row up and
press all the seams in the second row
down and so on, remembering you
are dealing with bias edges and you
need to press gently.
14 Sew the vertical rows together

making sure to pin at every
seam intersection. Press.
Fig 7
Fig 6
Adding the borders Cut your two side borders to this two borders to this measurement. Sew
15 Rotate your quilt top 90 degrees

so that the flat edge of the quilt
is now on the top (Fig 8). Join your
measurement and then pin and sew to
the quilt to form a straight edge. Press
and trim the excess fabric.
to the top and bottom of your quilt
and press (Fig 9).
border strips into one continuous

length. Determine the vertical
measurement from top to bottom 16 Determine the horizontal
measurement from side to side
17 Your quilt top is now complete.
Quilt and bind as desired. We
used a red fabric for binding as it gives
through the centre of your quilt top. across the centre of the quilt top. Cut good definition at the edge.
Fig 8
Fig 9
60-DEGREE TRIANGLES
HEXAGON
STAR
A six-pointed star shape takes centre
stage in this statement quilt. The star uses
fabrics in vivid colours and retro patterns,
which contrast with a dark background
quilted with rows of ever-decreasing circles
in lime green.

60-DEGREE TRIANGLES
hexagon star
You will need

2½in strips cut across the width
of the fabric
Q 60-degree triangle ruler, which will
measure 8½in triangles
Optional pieced quilt

back
Q Backing fabric – 4¾yds
Q Twelve (12) leftover Jelly Roll strips
Finished size
Q 62in x 76in
Sorting the strips

1 From your Jelly Roll choose the
following:
Q Seven (7) Colour 1 dark strips (red).
Q Seven (7) Colour 2 medium strips
(aqua/blue).
Q Seven (7) Colour 3 medium/light
strips (green).
Q Seven (7) Colour 4 light strips
(yellow/orange).
Q Save the remainder for the optional
pieced back.
Cutting out
four (4) 8½in wide strips across
the width of the fabric. Subcut each
of these into one (1) 8½in x 27½in
rectangle and one (1) 8½in x 9½in
rectangle. You need four (4) of each
rectangles in total.
3 Refold the remainder of the

background fabric and cut the
following lengthways down the fabric:
Q Two (2) 6½in x length of fabric
(approx. 65in).
Q Three (3) 8½in x length of fabric
and subcut these as follows:
B E H I N D T H E Q U I LT – One (1) strip into four (4)
8½in x 14in rectangles.
HEXAGON STAR
– Two (2) strips into four (4)
8½in x 32in rectangles.
“There are some quilts that just make you want to smile and this is one of
them. The colours are bright and joyful and, although it looks complex, the
pieces just fell into place. We just loved the vibrant star set against a black
background. We had 12 strips from our Jelly Roll left over and we did make
4 Take two (2) of the four 8½in x
9½in rectangles and, using the
60-degree triangle as a guide, cut a
a pieced back for this quilt. You don’t have to do this, but we have included 60-degree angle on the right hand side
the instructions just in case. If you don’t opt for a pieced back then we know as shown in Fig 1.
those 12 strips won’t go to waste.” – Pam & Nicky Lintott
P R OJ E C T l h e x a go n st a r
5 Take the remaining two 8½in x

9½in rectangles and, using the
60-degree triangle as a guide, cut a
60-degree angle on the left hand side
as shown in Fig 2.
Fig 1 Fig 2 Fig 3
6 Repeat with the four (4) 8½in x

14in rectangles, the four (4) 8½in
x 27½in rectangles and the four (4)
8½in x 32in rectangles, ensuring you Colour 4
cut two (2) of each with the 60-degree Colour 3

angle on the right and two with the Colour 2
60-degree angle on the left (Fig 3).
Colour 1
Make 7
7 From your piece of binding fabric,

cut seven (7) 2½in strips across the
Fig 4
Making Hexagon A
8 Take one (1) strip each of the
Colours 1, 2, 3 and 4 and sew them
together to form a strip unit as shown
in Fig 4. Press the seams to the darker 8½in line on ruler
Fig 5
fabric. Repeat this step to make seven
(7) strip units.
8½in line on ruler
9 Take one strip unit and place it

on the cutting mat with the dark
Colour 1 strip on the bottom as shown.
Place the 60-degree triangle on the
left side of the strip unit aligning the
8½in line of the triangle with the
bottom of the strip unit and the cut- Fig 6
off top of the triangle with the top of
the strip unit, as shown in Fig 5. Cut
your first triangle.
10 Rotate the 60-degree triangle

and cut the second triangle
(Fig 6). Continue to the end of the Make 4 Make 3
strip to make seven (7) triangles. Fig 7 A Triangles
Colour 1
Colour 2
Colour 3
Colour 4
8½in line Make 4 Make 3

Fig 8 Fig 9 B Triangles
11 You have four (4) triangles with

a Colour 1 base and three (3)
triangles with a Colour 4 base (Fig 7).
Keep the seven triangles together in
one pile as these will form one of the
A hexagons. Repeat with three other
strip units keeping Colour 1 on the
bottom of the strip unit.
Row 1
Making Hexagon B
12 Repeat with the remaining three
strip units, making sure the dark
Colour 1 strip is on the top (Fig 8).
Fig 10 Row 2
Row 3
13 Keep the seven triangles from

each strip unit together in
one pile. These piles will have four
A A
triangles with Colour 4 on the base Row 4
and three triangles with Colour 1 on A

the base (Fig 9). These will make the Row 5
‘B’ hexagons.
B B
Row 6
14 Select one pile of A triangles to

be the centre hexagon and lay
out six (6) triangles to form a hexagon
A
as shown, alternating the segments. Row 7

The seventh triangle from this pile
will not be needed. Do not sew
anything together yet (Fig 10). Row 8
Fig 11
15 Lay out the remaining hexagons

in the position shown in Fig 11
and use the seventh triangle from each
8½in x 32in
pile to form the points of the star. Do 8½in x 27½in

not sew anything together yet.
8½in x 9½in
16 When you are sure everything

is in the correct place, sew the
triangles into horizontal rows, pinning
8½in x 14in
at every seam intersection to ensure a
perfect match.
8½in x 14in
17 Place the background inserts at

the end of each row as shown
in Fig 12 and sew the rows together, 8½in x 9½in
pinning at every seam intersection to
ensure a perfect match.
8½in x 27½in
18 Sew the 6½in background

strips to the top and bottom to
complete the quilt top (Fig 13). 8½in x 32in
Fig 12
Fig 13
Making the optional angle on the right hand side as

pieced back shown in Fig 16. Measure 16½in
19 From your piece of backing

fabric, cut as follows:
Q Two (2) 8½in strips across the
from the left hand side and then
trim to size.
Q Cut the 16½in x 24½in excess
TECHNICAL TIP
width of the fabric. Using the rectangles into 4in x 24½in strips.
Piecing a quilt back also
creates an opportunity 60-degree triangle as shown in Sew them together in a continuous
to add a quilt label to Fig 14, cut nine (9) triangles. length and use for the top and
your work. Try writing or bottom borders.
embroidering information
on one of your cut out
triangles, and then piecing
20 Cut six (6) 24½in strips across
the width of the fabric.
Q Take three (3) and cut a 60-degree 21 Sew the twelve (12) Jelly Roll
strips into three (3) strip units
the quilt back as per the
instructions. angle on the left hand side as using four (4) strips in each (Fig 17).
shown in Fig 15. This can be done We put ours into three different
by using the 60-degree triangle and colourways. Using the 60-degree
a long quilting ruler to extend the triangle, cut six (6) triangles from
line to the length you need. each strip unit (Fig 18).
Q Take three (3) and cut a 60-degree
Spare
8½in line on ruler

Fig 14 Fig 15
Use to cut 16½in Spare

borders
Make 3 Make 6 in each colour Make 9

Cut 8½in line on
Fig 16 Fig 17 Fig 18
ruler
Fig 19
Fig 20
22 Sew six (6) Jelly Roll triangles

and three (3) backing triangles
together to form a larger triangle
(Fig 19). Repeat this step to make
three (3) large triangles.
23 Sew the backing fabric to each

side of the large triangles to
make three (3) rows (Fig 20). Fig 21
24 Sew the rows together and add

the top and bottom borders to
complete the quilt back (Fig 21).
Quilting and finishing

25 Layer the backing, batting and
quilt top and baste using your
preferred method.
26 Quilt as desired. We chose

a simple circle pattern and
started the quilting small and dense at
the top of the quilt. We then increased
the size of the circles by 30 per cent
in each row. We used a pale lime
green quilting thread to accentuate
the quilting pattern and this colour
worked especially well with the yellow
fabric on the quilt back.
27 After quilting, sew the seven (7)

binding strips into a continuous
length and bind to finish.
PARALLELOGRAMS
TUMBLING
BLOCKS
Triangles aren’t the only shapes achievable
with 60-degree angles. Learn to create
parallelograms in this playfully three-
dimensional quilt. With its blocks in pretty
prints cleverly stacked in an attention-
grabbing design, it comes together
surprisingly quickly.
PARALLELOGRAMS
tumbling blocks
You will need

2½in wide strips cut across the
width of the fabric*
Q Light fabric – 1½yds OR sixteen
(16) assorted 3in x WOF strips
Q Border fabric – 1¾yds
Q 60-degree triangle ruler
Sorting your strips

1 Sort the Jelly Roll into sixteen
(16) dark strips and sixteen
(16) medium strips. The eight (8)
remaining can be used for the binding.
Cutting out
2 From the light fabric cut sixteen
(16) 3in wide strips across the
3 From the border fabric cut eleven

(11) 5in strips across the width of
the fabric. Set four (4) strips aside for
the side borders later.
Q Keep the remaining seven (7) strips
folded and subcut each strip into
eight (8) 2½in x 5in rectangles. Still
keeping the folded pairs together,
lay a 60-degree triangle as far to the
right as shown in Fig 1 and, with
the 2½in line at the bottom, cut a
60-degree edge. Your folded pairs
of rectangles will give you twenty-
six (26) with the angle in one
TUMBLING BLOCKS
“Tumbling Blocks is such a traditional design and we love it. This quilt
featured on the front cover of our book Antique to Heirloom Jelly Roll Quilts.
In the book we used an antique quilt for inspiration and replicated it using
a Jelly Roll. The antique quilt we used for this piece belonged to Rachel
Cross of Creative Grids and she very kindly handed it over to us so we could
photograph it. Her antique quilt was absolutely stunning and we really like
the way our quilt turned out. We used quite a clever technique for cutting this
quilt and although there are a lot of seams to piece, it does go together very
easily.” – Pam & Nicky Lintott
P R OJ E C T l t u m bl i n g bl o c k s
Finished size
Q 60in x 64in
Notes
Q *Spare Jelly Roll strips can
be used for binding
direction and twenty-six (26) with

the angle in the other direction
(Fig 2). You will have four (4) spare.
Making the strip pieced

units
4 Sew a dark Jelly Roll strip to both
sides of a 3in light strip to make
unit A. Press seams in one direction.
Repeat to make eight (8) strip units
as in Fig 3.
5 Sew a medium Jelly Roll strip to

both sides of a 3in light strip to
make unit B (Fig 4). Press seams in
2½in line
on ruler
one direction. Repeat to make eight

(8) strip unit Bs.
Make 26 Make 26
6 Lay one unit A on top of one unit

B with right sides together. Align
the top and bottom edges, the seams
Fig 1 Fig 2
should point in opposite directions

and nest together nicely (Fig 5).
Always place unit A on top of unit B.
Make 8
Fig 3 Strip unit A
Make 8
Fig 4 Strip unit B
Fig 5
7 Lay a 60-degree triangle as far to

the left of the strip units as possible
and cut a 60-degree angled edge, as
shown in Fig 6.
8 Using a regular quilting ruler, cut

thirteen (13) 2½in wide segments
across the width of the strip unit as
shown in Fig 7. After every few cuts Fig 6
stop to make sure that you are still

cutting at a 60-degree angle.
2½in
9 You should now have thirteen

(13) segments from strip unit A
and thirteen (13) segments from strip
wide
unit B (Fig 8). Cut across each of the

centre light diamonds at 60 degrees as
shown in Fig 9. Fig 7
10 Keep the twenty-six (26)

medium units, which will make
the right hand side of the tumbling
block, in one pile and the twenty-six
(26) dark units, which will make the
left hand side of the tumbling block,
in another pile.
A B
Fig 8 Fig 9 Fig 10
it right sides together with a medium quilt top. Join two (2) border strips
unit. When you sew the units together together to form one side border and
you will have an overlap at each end two (2) border strips together to form
TECHNICAL TIP
To create a 3D effect in as shown in Fig 10. As you sew, check the other side border. Trim to the
your patchwork, imagine that you are forming straight edges to vertical measurement and then pin
light shining on the quilt your vertical rows. Sew sixteen (16) and sew to both sides of the quilt top
from one direction, in this units together and sew an end piece (Fig 12). Press.
case above. Make sure all
to both ends to complete one row.
your light patches face this
direction, and dark patches
face away from it.
Press seams downwards.
17 The quilt top is now complete.
Prepare the top, batting and
13 Start row 2 with a medium unit.

Sew sixteen (16) units together
and sew an end piece to both ends
backing fabric for quilting. Quilt
as desired and bind to finish.
to complete one row. Press seams
11 Repeat with all sixteen (16)

strip unit As and strip unit Bs
upwards with a steam iron.
to make a total of two-hundred-and-

eight (208) dark units in one pile and
two-hundred-and-eight (208) medium
14 Sew row 1 to row 2, pinning
at every seam intersection to
ensure a perfect match. Press the
units in the other pile. seams as you go along.

12 The quilt is assembled by
sewing the units into vertical
15 Repeat to sew thirteen (13) pairs
of row 1 and row 2 and then sew
the pairs of vertical rows together, as
rows and then sewing the vertical rows shown in Fig 11.
together. Note: if your quilt requires
careful placement of colours you will Adding the borders
need to lay all your blocks out before
sewing the vertical rows together.
Start row one with a dark unit and sew
16 Determine the vertical
measurement from top to
bottom through the centre of your
Fig 11 Fig 12
HALF-HEXAGONS
CARAMEL
CREAM
With its delicious combination of coffee
and cream hues, this quilt is enough to
entice you back to bed in the morning so
you can snuggle under and enjoy that first
reviving cuppa in style.

HALF-HEXAGONS
caramel cream
You will need

Q One (1) Jelly Baby OR twenty (20)
2½in wide strips cut across the
width of the fabric
Q Creative Grids 60-degree triangle,
which measures at least 8in
triangles
Finished size
Q 66in x 76in
Cutting out
as follows:
Q Sixteen (16) 4½in strips across the
Q Re-fold the remaining fabric
lengthways (approx. 70in) and cut two
(2) strips lengthways 6½in wide and
two (2) strips 10½in wide. These will
be trimmed to size later.
2 From the binding fabric, cut seven

(7) 2½in wide strips across the
Making the blocks

3 Pair up the twenty (20) Jelly Roll
strips and sew ten (10) strip units.
Press as shown in Fig 1.
CARAMEL CREAM
“Hexagons always look great and these have the added advantage of being
striped. The quilt takes only twenty (20) 2½in wide strips (sometimes called
a Jelly Baby) plus background fabric and goes together quickly and easily.
We’ve chosen subtle creams to create a sophisticated-looking quilt, but it
would look equally good with bright colours and a coordinating background
fabric – maybe even set against a black background.
“We didn’t use a specialist ruler for cutting our half-hexagons, but you do
need a 60-degree triangle, which you will need to mark with some masking
tape to make sure you are always cutting on the correct lines. We hope you
enjoy this pattern. Have fun.” – Pam & Nicky Lintott
P R OJ E C T l caramel cream
4 Take one of these strip units and

place the 60-degree triangle on
the strip as shown with the 3½in line
along the top and the 8in line along TECHNICAL TIP
the bottom (Fig 2). Mark these lines Fig 1 Make 10 Use a piece of scrap fabric
on your 60-degree triangle with folded in half as a leader
when you start stitching
masking tape to make sure you always
a seam. This will prevent
line up on the correct markings. Cut 3½in line on ruler
the thread and fabric
the first half-hexagon. from bunching up at the
beginning.
5 Rotate the triangle and continue

to cut five (5) half-hexagons from
one strip unit (Fig 3). Fig 2
8½in line on ruler
8½in line on ruler
6 Repeat with all ten (10) strip units

to cut a total of fifty (50) Jelly Roll
half-hexagons (Fig 4).
3½in line on ruler
Fig 3
7 Take a 4½in background strip and

using the same marked triangle,
cut five (5) background half-hexagons 3½in line on ruler
from one strip (Fig 5).
8 Repeat with all sixteen (16) 4½in

background strips to make a total
of eighty (80) background half- Fig 4 Make 50 Fig 5
8½in line on ruler
hexagons. You need seventy-six (76),

so four (4) are spare (Fig 6).
Fig 6 Make 76
Making rows 1 and 2

9 With right sides together, sew
a Jelly Roll half-hexagon to a
background half-hexagon as shown
in Fig 7. When joining strips with
angled cuts there will be an overlap
at each end so check for accuracy.
10 Open and press to the

background half-hexagon
(Fig 8). Repeat to make four (4) units.
11 Sew the four (4) units together

to make one row and sew an
extra background half-hexagon to
complete the row (Fig 9). Repeat
to make another row.
12 Rotate one row 180-degrees

and sew the two rows together
pinning at every seam intersection
to ensure a perfect match (Fig 10).
13 Repeat rows 1 and 2 a total

of four (4) times.
Making rows 3 and 4

14 Sew six (6) background half-
hexagons together with three
(3) Jelly Roll half-hexagons as shown
in Fig 11 to make one row. Press to
the background half-hexagons. Repeat
to make another row.
15 Rotate one row 180-degrees

and sew the two rows together,
pinning at every seam intersection
(Fig 12).
16 Repeat rows 3 and 4 a total

three (3) times.
Make 4 Fig 10
Fig 8 Make 4
Fig 7
Fig 11
Fig 9
Fig 12 Make 3
Fig 13 Fig 14

17 Sew the rows together as shown
in Fig 13 alternating rows 1 and
2 with rows 3 and 4, finishing with
rows 1 and 2. Press.
18 Using a long quilting ruler,

neatly trim to straighten the
uneven side edges.
Adding the borders:

19 Determine the vertical
measurement from top to
bottom through the centre of your
quilt back and trim the 6½in wide side
borders to this size. Pin and sew to the
sides of the quilt. Press.
20 Determine the horizontal

measurement of the quilt and
sew the 10½in wide top and bottom
borders to complete the quilt top, as
shown in Fig 14.
21 Quilt as desired and bind to

finish. We chose a modern
hourglass quilting design, which ran
vertically down the quilt.
BOOK l r e a d e r of fe r
Reader Offer
QUICK
WEEKEND
MAKES
Jelly Roll Quilts in a Weekend, the new
book by popular designers Pam and
Nicky Lintott, features 15 quick and
easy quilt patterns using pre-cut
fabrics to save you time.
L
ove to quilt but have Pam and Nicky are
no time to sew? Jelly Roll experts, having
Imagine creating a written numerous books and
quilt top in a weekend! In hundreds of patterns, and
Pam and Nicky Lintott’s have developed this brand new
new book, Jelly Roll Quilts collection of quilt patterns for
in a Weekend, you’ll find 15 Jelly Roll lovers and quilters
contemporary quilts, which looking for a stunning quilt
use a mix of traditional quilt pattern that comes together
blocks and designs combined in super-fast time.
with very current fabric lines To buy Jelly Roll Quilts
to create beautiful quilts with in a Weekend and many other
a fresh aesthetic. Plus, all Jelly Roll books by Pam and
patterns are easy enough to Nicky Lintott, visit
piece in a weekend! www.quiltroom.com
SPECIAL TODAY’S QUILTER READER OFFER SAVE £5!
To get a copy of Jelly Roll Quilts in a Weekend © 2017 Pam Lintott by

SewandSo, a division of F+W for only £10.99 (RRP £15.99) inc FREE
UK P&P, call 01206 255777, quoting reference IM217.
Offer closes 27 June 2017. Please note this is to pre-order the book,
as it goes on sale in May 2017.
BOOK l r e a d e r of fe r
ORE BOOKS BY PAM & NICKY LINTOTT
RULERS l sp e c i al of fe r
SPECIAL
OFFER!
If you’d like to buy a 60-degree triangle ruler and get started
on the stunning projects in this supplement, you can Honeycomb
receive a 10% discount from www. uiltroom.co.uk Find this pretty design in
Simply quote code TQRULER at checkout? Jelly Roll Quilts in a Weekend.
Discount valid until 31 October 2017.
Creative Grids Non-Slip

60-degree 8½in
Triangle Ruler
(Ref. CGRT60) £15.95
This ruler will make triangles
up to 8in finished size.
Creative Grids Non-Slip

60-degree 12½in
Picnic Time Triangle Ruler
Using the 60-degree 12½in Triangle Ruler, find the (REF. CGRT12560) £18.95
instructions to make this striking design in Pam and This ruler will make triangles
Nicky Lintott’s new book, Jelly Roll Quilts in a Weekend. up to 12in finished size.
“Over the years we have turned to the
triangle ruler time and time again to create
designs. It never fails to assist and inspire us.”
Pam and Nicky Lintott

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