The Quiltmaker

Quiltmaker
Expand Your Skills: 4 Pretty Paper Piecing Patterns
November/December ‘19
Quilts of
Christmas
Past &
Present(s)
Nine-Patch
Wreaths
p. 32
NEW Gift Ideas

for the quilters
you love
Quilty Gifts, p. 78
QuiltingCompany.com
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in my quilting skills. The event is very aptly named!”
Find your qXLOWLQJFRQÀGHQFHDWDQHGXFDWLRQDOHYHQWQHDU\RX$OOORQJDUPTXLOWHUVRIDOOVNLOOOHYHOVDUHZHOFRPH,WLV
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table of contents
Quilts of Christmas Past,

Present, and Future
16 Christmas Cactus intermediate
A vintage quilt top is finished by
Jennifer Strauser
32 Nine-Patch Wreaths easy

Abigail Dolinger makes a quilt with
retro appeal
40 Holiday Windmills easy

Showcase your quilting with Diane
Harris’ pre-cut friendly quilt
44 Bear-y Christmas
challenging
Make a delightful tree skirt using
Mary Hertel’s charming paper-pieced
bear
48 Spruce and Berry Coasters

intermediate
Give a set of modern coasters using
10 16 this design by Sherri Cifaldi-Morrill
60 Christmas in Evergreen
intermediate
Piecing and appliqué commingle in
this design by Terri Vanden Bosch
patterns
10 Fleur intermediate
Pam Boswell gets fancy with this
twist on a traditional Snails Trail
26 Hawaiian Holiday intermediate

This paper-pieced beauty by Wendy
Sheppard is fun to make
26 32 56 Grandma’s Lace easy

Elaine Theriault made this quilt
to see her mom’s doilies every day
66 Twilight Forest challenging

Geraldine Wilkins’ winter forest is a
sight to behold
72 Crystal Clear easy

Grab a jellyroll and make this
easy-to-piece quilt
40
2 Quiltmaker • November/December ’19
meet the designers
16 Jennifer Strauser
32 Abigail Dolinger
48 Sheri Cifaldi-Morrill
features
24 Rule Your Quilt
Angela Huffman shows us how
to do more with crosshatching
using rulers
54 Modern Musings
Vivika DeNegre explores the
modern quilting movement
78 Quilty Gifts
Gift ideas for your quilting friends
86 Extra! Extra!
Do you follow us online? If not, you
may have missed some of these
free patterns and tutorials
44 48
departments
5 From the Editor
6 Sew to Speak
8 Find Your Inspiration
39 Creative Spark
80 Basic Lessons
87 Addicted to Scraps
Templates, quilting motifs, and

appliqué patterns are on the
pattern sheet.
56 60
66 72
Quiltmaker #190 • QuiltingCompany.com 3
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from the editor
Holiday Happenings
The year is coming to a close and the holidays are upon us. Are you
ready to finish up the year with some last-minute projects? From vin-
tage to modern, we have got fun in our pages. Let’s get started!
If you love vintage designs, we have a few to get you excited.
Grandma’s Lace by Elaine Theriault uses heirloom crocheted doilies
(but you can use store-bought if you prefer) so you can see and enjoy
those family memories every day. Christmas Cactus was an unfinished
quilt top that was completed by Jennifer Strauser. In her designer
profile, she offers tips for finishing these neglected vintage quilt tops.
Nine-Patch Wreaths by Abigail Dolinger has a delightful retro feel,
though it is made with current fabrics.
If you are looking for a small project that can be made quickly, Spruce
and Berry Coasters by Sheri Cifaldi-Morrill is a quick gift with modern
flair. Bear-y Christmas, the latest design from Mary Hertel, is a fabu-
lous tree skirt featuring paper pieced bears. If you love it, don’t miss
Mary’s sister design in the November/December 2019 issue of McCall’s
Quilting magazine. Christmas in Evergreen is a sweet quilt by Terri
Vanden Bosch that reminds me of a favorite Hallmark movie.
Twilight Forest by Geraldine Wilkins is a delightful forest scene that
you will enjoy all winter long. Crystal Clear is 2½" strip friendly—time
to finally break into that jellyroll and have some fun!
Happy Holidays and Happy Quilting!

ssew to speak
Frosty Friends Dinosaur Games

My 90-year-old mother made me the most adorable Frosty My friend, Fran Flavelle, and I made Dinosaur Games from
Friends placemats from Quiltmaker November/December ‘18. Quiltmaker March/April ’11 for her granddaughter who was
I typically decorate with lavenders and purples, so she even born this past April. We used a mix of turned-edge and fusible
used these colors and they turned out beautifully. They are applique to assemble the quilt. This pattern was a great
also reversible for the springtime, with lavender prints as the opportunity for using our colorful scraps!
backing.
Evelyn Kidd • Ottawa, Ontario
Shelley J. Peterson • Boise, Idaho
Modern Happy Camper

Mandala In August 2017 my
When I saw the daughter informed me
pattern Modern that she and her husband
Mandala in bought a camper. The
Quiltmaker May/ next day I received an
June ‘19, I knew it would be a great project to get my mind on issue of Quiltmaker
a creative track. I even challenged a friend so that we would Magazine with Terri's first
have motivation to finish. The pattern was straightforward and Happy Camper block. I
I was able to use fabrics from my stash. The pattern took me a thought it was an omen for me to make my daughter a quilt
week and I really love the end result! for her camper. When I learned five more blocks would be
coming, I was elated. I worked on them all through 2018 and
Colette Click • Arab, Alabama finally finished the quilt the first of 2019. It was truly a labor of
love and my daughter loves it.
Linda Lubecki • Washington, Missouri

share your projects!
We love to see quilts made from our patterns! Send us your digital images for publication consideration in Sew to Speak. Please send clear,
focused images with adequate lighting. Digital photo requirements can be found at QuiltingCompany.com. Include a photo of the entire quilt
and a close-up of any interesting details. Include your full name and complete contact information, the name of the pattern, the size of the quilt,
a short note about why you made the quilt, any awards received and any other details our readers might enjoy.
Email to: sewtospeak@peakmediaproperties.com.

inspirations
find your inspiration

Notions, gifts, books, and gotta-haves for you and your quilty friends
Wire Frame Ruby Ruler

Cosmetic Case Kit When you hold the
With a secure zipper Ruby Ruler™ to your
closure and simple eyes as you look at
piecing, the Wire Frame the fabrics you have pulled for your quilt, the color is stripped
Cosmetic Case from Zakka away and you just see the value of the fabric. Sort fabrics
Workshop is ideal for that into dark and light values, and your quilt design is suddenly
special print or bit of elevated. We love it because it is also a 5" acrylic cutting ruler.
improvisational scrap piecing with quilted accents you've been No single-use tool here—fussy cut, trim, and square up your
saving! This 8” wide x 6¼” tall x 4¾” deep bag is the ideal blocks, half square triangles, and other pieced units to 5"
size for purse or travel. The kit includes the pattern, one 7” x square and smaller.
2” internal wire frame set, and one 16” white zipper to make wisecrafthandmade.com
the case.
zakkaworkshop.com
Wild Wool and Star Storm

Colorful Cotton Quilt Pattern
Quilts If you have always
Mix cotton and wool dreamed of making
with abandon! Erica an intriguing star quilt but worried about the level of difficulty,
Kaprow has designed three eccentric, bright, and whimsical it's time to consider the Star Storm quilt pattern by Victoria
wool and cotton wall hangings full of vines, houses, floral pat- Findlay Wolfe. Easy strip-piecing, large-scale paper pattern
terns and plenty of decorative embroidery accents in her new templates, and Victoria's clear instructions result in a quilt that
book Wild Wool & Colorful Cotton Quilts. She provides clear stitches up in no time. Now, that's a star of a pattern!
instructions and fun ways to mix and match patterns, so that vfwquilts.com
you can create your own wonderful designs!
ctpub.com

Intermediate
Finished Size: 84” x 84”
Finished Blocks: 9”
Fleur
materials
Fabric yardage assumes 42” usable
width of fabric (WOF) unless other-
wise noted.
Cream Print
2⅞ yards for blocks and bands
Black Metallic Print
3 yards for blocks and border 1
Green Metallic Print
⅜ yard for blocks
Cream Leaf Print
1¾ yards for blocks
Red Print
⅞ yard for blocks
Black Holiday Print
⅝ yard for blocks
Red Holiday Print
1⅜ yards for border 2
Backing 8¼ yards
Batting 92” x 92”
Quilt designed and made by Pam Boswell. Machine quilted by Teresa Laughlin.
Fabric: Cardinal Song for Moda Fabrics.
Pam Boswell
Lake Charles, LA
Facebook.com/sassysouthernquilts
Instagram: @SassySouthernQuilts

Colors spin round and round. Sew the Four-Patches and patches
cutting together as shown to make
Patches are lettered in order of use.
Measurements include ¼˝ seam
1 About This Quilt
A classic Snails Trail block gets
an elegant and colorful twist in this
blocks W–Z in the colors and
quantities shown.
allowances. Border strips will be
pieced and cut to exact length need- design by Pam Boswell. Watch color
ed. You may want to make them placement carefully as you sew the D C D
longer to allow for piecing variations. blocks together to ensure the colors B A B
Cut foundation patches at least 1˝ line up correctly.
C A A C
larger than the corresponding foun-
dation area.
= cut in half once diagonally
2 Making the Units, Sections,
and Blocks
Sew a black 15⁄8" strip and a cream D
B A
C
B
D
= cut in half twice diagonally
15⁄8" strip together to make a band.
Cream Print
Make 6 bands. Cut the bands at 15 ⁄8"
6 strips 1⅝” x WOF for bands increments to make 128 units total.
48 squares 5¾” cut to make Band Make 6
192 triangles (C) 1⅝”
48 squares 3½”cut to make
192 triangles (A)
64 squares 3⅛” cut to make Block W
128 triangles (B) Make 14
Black Metallic Print Unit
18 strips 2½” x WOF for border 1 Cut 128
D C D
and binding
6 strips 1⅝” x WOF for bands Sew 2 units together as shown to B A B
16 squares 5¾” cut to make make a Four-Patch. Make 64 Four-
C A A C
64 triangles (C) Patches total.
14 squares 5⅜” cut to make B A B
28 triangles (D) D D
C
16 squares 3½”cut to make
64 triangles (A) Four-Patch
32 squares 3⅛” cut to make Make 64
64 triangles (B)
Green Metallic Print
32 squares 3⅛” cut to make
64 triangles (B)
Cream Leaf Print
64 squares 5⅜” cut to make Block X
128 triangles (D) Make 14
Red Print
32 squares 5⅜” cut to make
D C D D C D
64 triangles (D)
Black Holiday Print B A B B A B
18 squares 5⅜” cut to make C A A C C A A C
36 triangles (D)
Red Holiday Print B A B B A B
9 strips 4½” x WOF for border 2 D C D D C D
Block Y Block Z
Make 18 Make 18

3 Assembling the Quilt
Center
Refer to the Assembly Diagram. Sew
4 Adding the Borders
Refer to “Borders” in Basic
Lessons. Join black border 1 strips
8 blocks together, watching orienta- and cut to sizes shown in Assembly
tion and block placement, to make a Diagram. Matching centers and
row as shown. Make 8 rows. Sew the ends, sew border 1 side strips to
rows together. quilt; repeat to add top and bottom
strips. In similar manner, add bor-
der 2.
4½˝ x 84½˝
2½˝ x 76½˝
Row 1
Make 1
Row 2
Make 3
Row 3
Make 3
Row 2
2½˝ x 72½˝
4½˝ x 76½˝
Row 3
Row 2
Row 3
Row 4
Make 1
Assembly

5 Quilting and Finishing
Layer and baste together the
backing, batting, and quilt top.
Quilt the Holly Ribbon Quilting
motif over the quilt surface.
Bind the quilt.
Quilting Placement
Arrows indicate direction

for continuous-line
machine quilting.
Holly Ribbon
Quilting
14 Quiltmaker • November/December ’19 This line should measure 2".

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Designer Spotlight
Jennifer Strauser
Design Process: Quilting a

Vintage Quilt Top
A professional quilter and quilt Inspired by the Unfinished Planning the Quilting
teacher, Jennifer Strauser loves finish- I enjoy working with vintage quilt After finding the top, I evaluate the
ing long abandoned vintage quilt tops. tops. I feel like I’m rescuing lost tops condition of the fabric and the original
Here she talks a bit about the process and making them enjoyable again. I’ve seams. If a quilt is very fragile, I will
of quilting these often challenging done several for clients. I love con- use a layer of muslin between the bat-
projects, tips for getting them to lay sidering the feelings of the piecer as I ting and the top. That way, as the top
flat, and the joy she feels when she finish a long-lost quilt. I hope that my fabric wears away, the batting won’t
presents the finished quilt to its owner. lost tops get finished and loved some leak out, and the quilt will still be use-
day, even if it isn’t by my family. able.
Her Roots When I am planning the quilting
Playing Favorites design, I consider a number of issues.
I grew up in Connecticut, and spent
Many times an antique top isn’t fin-
a lot of time on the beach and with My favorite vintage quilt that I finished ished because it was a needy top.
my grandmother. She taught me to was an ocean waves quilt that the Often they are not well made, with lots
embroider, knit, and clean up the owner knew had been made around of fullness issues that cause the top to
beach. My mother sewed her own the turn of the 20th century. It had not lay flat.
clothes a lot when I was young. I never been languishing in closets for almost
developed the ability to sew clothing, 100 years! The owner brought it to a First, I treat the top with some spray
but I did manage to break her sewing quilt guild meeting, and was told it starch and steam while it is on my
machine every time I touched it. We absolutely had to be finished by hand, longarm, which can tighten it up and
have some antique quilt blocks, but but she didn't know anyone who did reduce the fullness dramatically. When
we don’t know who made them. They that kind of work. I offered my ser- the top is as close to flat as I’m going
go back past my great-grandmother. vices, and in the end she has a lovely to get it, I decide how to quilt it. I take
finished quilt that she will enjoy for the condition of the top into consid-
Now I live in Metuchen, New Jersey,
many years. eration when deciding on the quilting
with my husband, two children, my
pattern.
mother, and a collection of three black
dogs in an assortment of sizes.
Photos courtesy of Jennifer Strauser.

If there is a lot of fullness, I want to My next favorite part is when I unwrap Combining scrappy designs and
avoid crossing over my stitching lines. the quilted piece with my client, and using up my stash are two of my all
I will choose a more open pattern, that they get weepy. There are a lot of time favorite goals while quilting. I’m
leaves areas for the fullness to go. I emotions wrapped up in old quilt tops. always amazed that I can pull a whole
will also suggest wool batting, that will quilt worth of fabric out of my bins
make the fullness look intentional. and not make a dent in the scrap pile.
Still Smitten with Quilting
Pro tip: Does your border look ruffled? Visit Jennifer's website,
Piano keys are my favorite—they suck The quilting bug bit me in 1999, when dizzyquilter.com for more information
that extra fullness up. I started watching Simply Quilts with about Jennifer and her quilts.
Alex Anderson. Much like the TV show,
I explored all kinds of techniques and
Getting in the Zone styles. I love everything about quilt-
I love when I get into the flow. When I ing; the feel of the fabric in my hands,
finally relax and feel like I’m doing my watching the little pieces of fabric I cut
best work on the quilt, I can block out out turn into beautiful quilts, even the
everything else in the world. Until my smell of the fabric. Creating texture
kids sneak up behind me and startle through quilting makes my heart sing.
me!

Intermediate
Christmas Cactus
materials
wise noted.
White
5⅝ yards for blocks and binding
Green
4 yards for blocks and border
Red
2¼ yards for blocks and border
Backing 7¾ yards
Template plastic
cutting
pieced and cut to exact length need-
ed. You may want to make them
longer to allow for piecing variations.
White
Maker unknown. Machine quilted by Jennifer Strauser. 10 strips 2½" x WOF
336 template A
336 template B
Green
5 strips 4½" x WOF for border
336 template B
Red
4 strips 4½" x WOF for border
336 template A
The templates are found on the

pattern sheet.

Basic Drunkard’s Path units
combine to create an intriguing
design in this 3-color quilt.
Center
Refer to the Assembly Diagram.
Sew together 12 each units 1
1 About This Quilt

Jennifer acquired this vintage
quilt top through an online estate
and 2 as shown to make row 1.
Make 2 row 1’s. Join 4 unit 2’s,
6 block Y’s, and 5 block Z’s to
Refer to the quilting placement dia-
gram. Quilt the Poinsettia Wreath
Quilting motif in block Z’s and in
sale, and then made it her own with make row 2. Make 7 row 2’s. Sew the border as shown.
beautiful quilting. Practice curved together 4 unit 1’s, 6 block Z’s, and Bind the quilt.
piecing as you make your own con- 5 block Y’s to make row 3. Make
temporary version! 6 row 3’s total.
2 Making the Units and

Blocks
Referring to “Curved Piecing”
Sew the rows together as shown to
make the quilt center.
in Basic Lessons, sew together a

white A and a green B to make
unit 1. Make 336 unit 1’s. In the
4 Adding the Border
Lessons. Join green border strips
same way, make 336 unit 2’s using and cut to size shown in Assembly
red A’s and white B’s. Diagram. Matching centers and
ends, sew green border strips to
sides of quilt. Join red border strips
A A
B B
and cut to size shown in Assembly
Diagram. Matching centers and
Unit 1 Unit 2 ends, sew red border strips to top
Make 336 Make 336 and bottom of quilt.
Quilting Placement
Sew 4 unit 1's together as shown to
make a block Y. Make 72 block Y’s
total. In the same way, make
71 block Z’s total.
Block Y Block Z
Make 72 Make 71
Jennifer Strauser
Metuchen, NJ
dizzyquilter.com

4½˝ x 80½˝
Row 1
Make 2
Row 2
Make 7
Row 3
Make 6
Row 2
Row 3
Row 2
4½˝ x 84½˝
Row 3
Row 2
Row 3
Row 2
Row 3
Row 2
Row 3
Row 2
Row 1
Assembly

color option
Got the blues. Here we cre-
ate a monochromatic palette
using three different shades
of blue for our Drunkards Path
design. There is something
soothing about using a sea of
blue in a quilt.
Poinsettia Wreath Quilting
Arrows indicate direction for Start

continuous-line machine quilting.

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apqs.com
A D V E R T I S E M E N T
Rule Your
By Angela Huffman |
Quilt APQS Educator & Dealer
APQS.com
Branching Off From Traditional Crosshatching

Crosshatching is a traditional design found in the If you are using a longarm machine you’ll hold the ruler
earliest hand quilted masterpieces of yesteryear. If you with your non-dominant hand using gentle downward
think crosshatching is limited to a straight grid or a pressure as you use your dominant hand to guide the
diagonal grid then you will love the variety of designs machine. If you are using a sit-down domestic machine
we will cover in this article! Don’t miss some of the you’ll move the ruler and the quilt sandwich in unison
other variations that can be stitched from a basic under your needle as you guide it against your ma-
crosshatch that you’ll find in the free downloadable chine’s special ruler foot.
student packet linked to below.
End
2
travel in ditch to next
entry point
Travel in ditch to
next entry point
4

entry point

Photos by Kelsey Williams. entry point
1
6
REMEMBER: You must have a ruler made for machine

quilting as they tall enough that they won’t slip under Diagonal Crosshatch: To stitch this traditional design
the needle while it is running. Always use a ruler foot continuously, you’ll notice that you are stitching boxes
on your machine when working with rulers. Longarm upon boxes upon boxes. Start in the bottom corner and
machines also need a ruler base installed. Lower the stitch to the opposite corner. You will use the seam’s
feed dogs for free-motion stitching if you are using a ditch to sneak to the next entry point as shown. If you
domestic sewing machine. are placing
this design
behind
I’ve chosen to use a one-inch grid on all of the designs appliqué
discussed in this article. It isn’t necessary to mark the you’d likely
entire one-inch grid. Instead, mark small hatch lines tack your
along the outside edge of your desired space every stitches and
inch. You’ll use these to align your ruler when stitching. drag your
threads out
across the
TIP: Stitch in the ditch first to stabilize the space before
appliqué
stitching your motifs in order to keep things stable and
square.

A D V E R T I S E M E N T
before restarting the line on the opposite side of the Curved Crosshatch: This design uses a curved or
appliqué. Depending on the size of the block you are arched ruler on a horizontal grid. When the arch you
working with, you may need to grab a longer ruler are working with hits a seam, just travel down the seam
than you anticipate, as you will need one that can span to complete each arch. The design diagram is in your
the diagonal distance without needing to reposition free student bundle, too.
the ruler.
Start
Basketweave
1. Red
2. Green
Combo Crosshatch: This one reminds me a bit of a

1950’s diner booth! I like to start by stitching the
horizontal grid first followed by the diagonal cross-
hatch path from above.
Curved Crosshatch With a Gutter: This is my favorite

way to use curved crosshatching. You begin by making
the first two arches on two sides of your square.
Then, your remaining arches will stop when they meet
up with those original stitching lines, leaving a gutter of
negative space between the curved crosshatching and
the seam.
Online Bonus! I have other designs I think you’ll enjoy

which include double and triple crosshatching along
Angela Huffman is an APQS educator and dealer who is with more curved crosshatching. You’ll find worksheets
located in Louisville, Kentucky where she operates the APQS and diagrams in your free downloadable student
Louisville Store and her Quilted Joy quilting studio and machine bundle, which you can access at https://bit.ly/2VIo3nT
quilting training center. Contact Angela at angela@apqs.com.
Intermediate
materials
wise noted.
White Print
2 yards for blocks
Assorted Prints
2⅜ yards total for blocks and
cornerstones
White Solid
4⅞ yards for blocks and sashes
Black Print
2⅝ yards for blocks
Gold Print ¾ yard for binding
Backing 5¼ yards
(Although fabric amounts are ad-

equate for foundation piecing, you
may need more if you cut very gener-
ous patches.)
Quilt
il designed
d i d andd made d byb Wendyd Sheppard.
h d
Machine quilted by Darlene Szabo of Sew Graceful Quilting.
Fabric: Romance by Whistler Studios for Windham Fabrics.
Wendy Sheppard
Dumfries, VA
wendysheppard.net

cutting Tropical prints create a quilt
with aloha spirit! 3 Assembling the Quilt Top
Sew 8 blocks and 7 white A’s
Measurements include ¼˝ seam al-
lowances. Cut foundation patches at
1 About This Quilt
Engaging secondary patterns
emerge when these simple blocks
together as shown to make a row.
Make 10 rows. Sew 8 white A’s and
7 assorted B’s together as shown to
least 1˝ larger than the correspond-
ing foundation area. are set together with sashes. When make a sash. Make 9 sashes. Sew the
piecing the sections, be sure to rows and sashes together, alternat-
use matching patches for the areas ing.
White Print
foundation patches
numbered 2 and 6 if you wish to
duplicate the look of Wendy’s quilt. Carefully remove the foundation
Assorted Prints
papers.
2
63 squares 1½˝ (B) Making the Sections and
Cut 80 matching sets of 4: Blocks
foundation patches
Make 160 paper copies of the foun-
White Solid
dation section.
142 rectangles 1½˝ x 7½˝ (A)
foundation patches Refer to “Foundation Piecing” in
Black Print Basic Lessons, and the foundation
foundation patches sections for color placement. Piece
Gold Print the sections in numerical order,
8 strips 2½˝ x WOF for binding pressing and trimming after each
patch addition. Sew 2 matching sec-
The foundations are found on the tions together as shown to make a
pattern sheet. block. Make 80 blocks total.
Section Block
Make 80 sets Make 80
of 2 matching

A
A B
Assembly

Finishing Touch
Refer to the quilting placement dia- Darlene used an edge-to-edge pattern to
finish Wendy’s quilt. We thought it would
gram. Quilt the Tulip Twist Quilting
be interesting to see how a block pattern
motif over the quilt surface.
would accentuate the design. The Winter
Bind the quilt. Wonderland quilting motif is an airy loop
design that can be adjusted to fit any
quilt block.
Go to QuiltingCompany.com to
download the Winter Wonderland
Quilting motif.
Quilting Placement
Tulip Twist
Quilting
Alternate Quilting Placement Diagram
Winter Wonderland Quilting

se
e r ever .
th ck
e r n s are shed blo
t
Pat the fini
of n
This line should measure 2". y S ectio 7
da
a n Holi whit
e
aii
Haw
6
r
colo
5
e
whit
4
k
blac
ance
3
e
whit
w
color option
A ll o
Feeling Blue. We wondered

Seam
what would happen if we

used cool blues and whites to
create a wintry color scheme.
The pattern was fun to make
2 and I couldn’t be happier with
r
colo the results!
Tracy Mooney • QM Editor
1
e
whit
Sewn by: Tracy Mooney. Fabric: Boho Beach for Banyan Batiks.

Designer Spotlight
Abigail Dolinger
Bicentennial Inspiration
The quilting revival during the their quilting frames. I made several posts have craft consignment shops,
bicentennial in 1976 was all the bed-size quilts while in high school, so I found a market for baby quilts and
inspiration Abigail Dolinger needed one from polyester double knit fabric. wall quilts. Several of the craft shop
to start quilting. The wife of an Army managers encouraged me to teach
After graduating from college, I mar-
chaplain, she found quilting to be so quilting classes as well. Typically, I
ried Ran Dolinger, and we moved to
much more than a hobby over the designed and wrote instructions for
Dallas, Texas, for his seminary train-
years. It was a way to make friends, the projects I taught.
ing. During those early years of our
a way to make money, and a creative
marriage, I dabbled in several crafts Upon retirement from active Army
outlet that kept her family warm. Join
and hobbies while taking care of our service, we built a home in Lillington,
us as we learn more about this busy
young children. Soon after seminary NC. When choosing a house plan, we
quilter.
training, Ran was commissioned as hunted for a large studio space to hold
an Army Chaplain, and we began my longarm quilting machine as well
A Quilter and the Army Life changing our address every 2 or 3 as sewing desk, quilting magazines
years, serving stateside as well as in and books, notions, and burgeoning
I grew up in Culpeper, Virginia, at the Germany. fabric collection. I am blessed to have
foot of the Blue Ridge Mountains. My the area above our kitchen and our
wonderfully creative mother and sev- Throughout our 30-year Army career,
I found quilting to be a great hobby garage. We have four grown children
eral 4-H leaders taught me to sew my and five grandchildren who love snug-
own clothing. In 1976, when our coun- and cottage industry for me, as well as
a way to reach out in friendship to my gling under warm quilts. I’ve passed
try celebrated its bicentennial, there my quilting skills to our daughter
was a resurgence of interest in colonial neighbors. Many young women, in the
absence of quilting relatives, learned Trinity, and occasionally the grandchil-
crafts; that is when the quilting bug dren are persuaded to work alongside
bit me. To fuel my interest, my grand- quiltmaking skills from me. Most Army
us in the sewing room.
mothers pulled bags of dressmaking
scraps out of closets and brushed off
Rockets Red Glare* appeared in McCall’s

Quilting July/August 2016 Migration Photo courtesy of Abigail Dolinger.

The Quilting Vocation Is there anything our readers would Abigail's Top Tips
enjoy learning about you? • Take classes, read books, and learn
I can cheerfully spend 4–6 hours
per day sewing, but I usually don’t I like to read, play the piano, and take from many quilters. Incorporate
have that luxury. I really like Scott walks, but usually quilting takes all of the tips that work for you into your
Flanagan’s comment on a recent my spare time. Our property boasts quiltmaking repertoire.
Quilting Company Podcast (A Man a small lake that is home to fourteen • My mother-in-law advised me to
With A Plan, June 19, 2019) “Quilting ducks. They, along with ten chickens, purchase quality rather than quan-
is my vocation/avocation.” I am a provide us with daily entertainment. tity because that is the best value.
quilter! I am blessed that my husband Who knew feathered friends had so
supports my obsession. He believes it much individual personality? • Purchase the nicest machine with
is laudable to be really good at some- the features you value, saving up
thing and has accepted that my field for a more expensive machine
of expertise is quilting. My Evolution of Style if necessary. I value the IDT
(Integrated Dual Feed) of a Pfaff
I like to earn money quilting to reim- My early quilts are machine-pieced,
as well as the needle-down feature
burse the family budget for the money hand-quilted, and traditional in style
and free-motion quilting capabili-
I spend on quilting supplies. Selling made with traditional techniques.
ties.
quilted items, longarming for custom- About 20 years ago, while stationed
ers, speaking at guilds, and designing at Fort Leavenworth, Kansas, I learned • Buy quilt shop quality 100% cot-
for magazines does that for me. hand appliqué, machine appliqué ton fabrics in colors and prints you
techniques, and machine quilting. I love. Shop the sales for what you
purchased my longarm in 2006 with need and what you will use, rather
a plan to quilt for myself, friends, and than purchasing fabric that is inex-
customers. As a result, I rarely hand pensive. If you never end up using
quilt these days. I follow several blogs the inexpensive fabric, it wasn't a
by modern quilters and enjoy looking good value for your money.
at displays of modern quilts. While • Purchase quality thread that yields
I don’t consider myself exclusively a an even interlocking stitch; my
modern quilt maker, I try to incorpo- machine loves Aurifil in the top and
rate some of the contemporary ideas Superior's So Fine in the bobbin.
of design in my quilts. For example,
the rich, muted jewel tones have given Visit Abigail's website,
way to brighter colors. Straight set abyquilts.wordpress.com
quilt blocks often give way to alter- for more information about Abigail
nate grid frameworks. and her quilts.
Black Forest Christmas* appeared in Best *A digital pattern is available for purchase
Christmas Quilts from Quilters Newsletter 2016 at QuiltingCompany.com

Easy
Nine-Patch Wreaths
materials
wise noted.
Red Print
1⅝ yards total for blocks
Cream Tone-on-tone
2½ yards for blocks and sashes
Assorted Light Green Prints
1¾ yards total for blocks
Assorted Dark Green Prints
1¾ yards total for blocks
Medium Green Print
1¼ yards for border 2
Backing 5¼ yards
Quilt designed and made by Abigail Dolinger.

Fabric: Jubilee Holiday by Amanda Murphy for Benartex.
Abigail Dolinger
Lillington, NC
abyquilts.wordpress.com

Round and round we go! Refer to “Stitch-and-Flip” in Basic
cutting Lessons. Use light green A and
1 About This Quilt
Make a festive wreath quilt that
will last all year! Easy stitch-and-flip
2 dark green B’s to make unit 3 as
shown. Make 20 unit 3’s total.
allowances. Border strips will be B A B
pieced and cut to exact length need- units are sewn log cabin style to
ed. You may want to make them make this pretty design. Abigail used
longer to allow for piecing variations. a festive collection of holiday fabrics
Unit 3
to make her wreaths, but you can
Stitch & Flip
Red Print
make this design in any color com- Make 20
8 strips 2½” x WOF for binding bination.
Similarly, use dark green A’s and
2
5 strips 1½” x WOF for bands Making the Units, Sections, light green B’s to make 20 unit 4’s
11 squares 2⅞” (F) and Blocks
128 squares 2½” (D)
total.
Sew 2 red strips and 1 cream strip A
Cream Tone-on-tone B B
together as shown to make band A.
4 strips 1½” x WOF for bands
11 squares 2⅞” (F) Make 2 bands. Cut the bands at 11 ⁄2"
67 rectangles 2½” x 11½” (E) increments to make 40 unit 1’s Unit 4
84 squares 2½” (D) total. Stitch & Flip
Assorted Light Green Prints 1½” Make 20
Band A Make 2
20 rectangles 2½” x 9½” (C)

20 rectangles 2½” x 5½” (H) In the same way, make units 5–6 in
40 squares 2½” (D) the colors and quantities shown.
20 rectangles 1½” x 11½” (J)
20 rectangles 1½” x 9½” (I)
20 rectangles 1½” x 5½” (A) D D D D
Unit 1 C C
20 rectangles 1½” x 3½” (G)
40 squares 1½” (B) Cut 40 Unit 5 Unit 6
Assorted Dark Green Prints Stitch & Flip Stitch & Flip
In the same manner, join 2 cream
20 rectangles 2½” x 9½” (C) Make 20 Make 20
strips and 1 red strip together as
20 rectangles 2½” x 5½” (H)
40 squares 2½” (D)
shown to make band B. Cut the
20 rectangles 1½” x 11½” (J) bands at 11⁄2" increments to make Using the same technique, join
20 rectangles 1½” x 9½” (I) 20 unit 2’s total. 2 red D’s to 1 cream E as shown,
20 rectangles 1½” x 5½” (A) 1½” watching direction of stitched line,
Band B Make 1
20 rectangles 1½” x 3½” (G) to make unit 7. Make 49 unit 7’s

40 squares 1½” (B) total.
Medium Green Print D
D E
8 strips 4½” x WOF for border 2
Unit 7
Stitch & Flip
Unit 2 Make 49
Cut 20
Sew 2 unit 1’s and 1 unit 2 together Refer to “Triangle-Squares” in Basic

as shown to make a Nine-Patch. Lessons. Pair cream F’s and red F’s
Make 20 Nine-Patches total. to make 22 unit 8’s total.
Unit 8
Make 22
Nine-Patch
Make 20

Sew Nine-Patch, 2 unit 3’s and
matching G’s, 2 unit 5’s and
matching H’s, matching I’s and
Center
Finishing Touch
matching J’s together as shown. Sew 2 block Y’s, 2 block Z’s, and Abigail chose a fun retro quilt design to
Using stitch-and-flip method, add 5 unit 7’s together, watching place- finish her quilt. An alternate option is to
4 cream D's to corners to make a ment of blocks as shown, to make quilt a motif that fits within the blocks.
block Y. Make 10 block Y’s total. a row. Make 5 rows. Join 5 red D’s The Winter Wonderland quilting motif is
J and 4 unit 7’s alternating to make a made up of different sized loops to fill
sash. Make 6 sashes. Sew the rows the square. The magic of this design is
Unit 5 you can shrink or stretch it to fit any size
and sashes together, alternating.
Unit 3 block!
I H G 4 Adding the Borders
Lessons. Sew together 5 E’s and
Go to QuiltingCompany.com to
download the Winter Wonderland
6 unit 8’s alternating to make Quilting motif.
pieced side border 1. Make 2. Join
4 E’s and 5 unit 8’s, alternating.
Add white D's as shown to make
D D pieced top/bottom border 1. Make 2.
Matching centers, seams, and ends,
sew pieced border 1 side strips to
quilt; repeat to add top and bottom
strips.
D D
Join medium green border 2 strips
and cut to sizes shown in Assembly
ends, sew medium green border 2
side strips to quilt; repeat to add top
and bottom strips.
Block Y
backing, batting, and quilt top. Alternate Quilting Placement Diagram
Make 10
Refer to the quilting placement
diagram. Quilt concentric ovals
Similarly, join the Nine-Patches,
and squares connected by lines and
2 unit 4’s and matching G’s,
asterisks over the quilt surface.
2 unit 6’s and matching H’s,
matching I’s, matching J’s, and Bind the quilt.
4 cream D's together as shown to
make a block Z. Make 10 block Z’s
total.
Unit 6
Unit 4
Winter Wonderland Quilting
Block Z
Make 10
Quilting Placement

4½˝ x 66½˝
D E
Sash D Unit 7 D
Make 6
Unit 7
Unit 7
Row 1
Make 3
E
Sash
Row 2
Make2
Sash
4½˝ x 71½˝
Row 1
Sash
Row 2
Sash
Row 1
Sash
Assembly

Creative
SPARK
color option
Retro Sweet. Using holiday
fabrics gives this design a distinct Randomize Feature in EQ8
“wreath” look, but what happens This quilt design isn’t just for Christ-
when you use other fabrics? I mas! Try out new colorways for a totally
chose Farm Girl Vintage by Lori different look. EQ8’s Randomize tool is
Holt for Riley Blake to create a great way to experiment with fun color
a quilt reminiscent of yester- combinations.
year.
Tracy Mooney • QM Editor
Sewn by: Tracy Mooney. Fabric: Farm Girl Vintage by

Lori Holt for Riley Blake.

E - C U T
PR d l y
f r i e n

Easy
Holiday
Windmills
materials
wise noted.
Assorted Solids
2¼ yards total for blocks
Taupe Solid
2¾ yards for blocks and border
White Solid
1⅞ yards for blocks
Dark Pink Solid
¾ yard for binding
Backing 5½ yards
Quilt designed and made by Diane Harris. Machine quilted by Julie Lechner.
Fabric: Diane used fabrics from her collection.
Diane Harris
Bladen, NE
stashbandit.net

cutting Put your own spin on this
striking design. 3 Assembling the Quilt
Center
1 About This Quilt
Bright colors create spinning
pinwheels on a bold two-color back-
6 blocks together as shown to make
a row. Make 8 rows. Turning every
other row upside down, sew the
ed. You may want to make them ground. Simple to piece with plenty rows together.
longer to allow for piecing variations. of negative space for your quilting
Assorted Solids
to really shine, this design is await-
ing your personal twist. 4 Adding the Borders
Lessons. Join taupe border strips
Cut 192 matching sets of: This design is pre-cut friendly! Use a and cut to sizes shown in Assembly
4 rectangles 1½” x 2½” (A) package of 10" squares or 21⁄2" strips
Taupe Solid
for the assorted solids if you like! ends, sew border side strips to quilt;
8 strips 2½” x WOF for border
repeat to add top and bottom strips.
48 rectangles 2½” x 7½” (B)
48 rectangles 2½” x 5½” (C)
48 rectangles 2½” x 3½” (D)
2 Making the Blocks
Sew A’s, B’s, C’s, and D’s
together in the colors and quanti- 5 Quilting and Finishing
144 rectangles 1½” x 2½” (A) ties shown to make a block. Make backing, batting, and quilt top.
White Solid
48 blocks total.
48 rectangles 2½” x 7½” (B) Refer to the Quilting Placement
48 rectangles 2½” x 5½” (C) diagram. Quilt the center motif.
B A A
48 rectangles 2½” x 3½” (D) A
For best results quilt a filler, such
48 rectangles 1½” x 2½” (A) C A A
Dark Pink Solid A AA as a stipple, to finish the space sur-
rounding it. Quilt feathers in the
9 strips 2½” x WOF for binding D D
colored patches, arcs in the taupe
C patches, and swirls in the border.
B Bind the quilt.
Block
Make 48
Quilting Placement

2½˝ x 64½˝
Row
Make 6
Row
Row
Row
2½˝ x 80½˝
Row
Row
Row
Row
Assembly
color option
Blue Moons For a monochro-
matic twist, choose shades of
blue and purple for the scrappy
pinwheels. Add light blue and
dark blue to the blocks for a
HUE-tiful quilt!

Challenging
Finished Blocks: 7½” x 15"
Bear-y Christmas!
Quilt designed and made by Mary Hertel. Fabric: Mary used fabric from her collection.
materials cutting Mary Hertel

Fabric yardage assumes 42” usable Patches are lettered in order of use. Oshkosh, WI
width of fabric (WOF) unless other- Measurements include ¼˝ seam al- madebymarney.com
wise noted. lowances. Cut foundation patches at
White ing foundation area.
¾ yard for blocks = cut in half twice diagonally
Blue
1⅝ yards for blocks and White
background foundation patches
Red Blue
⅛ yard for blocks 1 square 15½” (B)
Red Stripe 1 square 11⅞” cut to make
5 ⁄ 8 yard for binding 4 triangles (A)
Backing 1 yard foundation patches
Batting 34” x 34” Red
Buttons 4 black ⅛” foundation patches
Red Stripe
(Although fabric amounts are ad- 1 square 20” for bias binding
may need more if you cut very gener- The foundations and template are
ous patches.) found on the pattern sheet.

This polar bear quartet
makes a cheery tree skirt you’ll use
for years to come.
Sew the sections 1–8 together
as shown to make a block. Make
4 blocks.
1 About This Quilt

Foundation piecing makes it
possible to piece these realistic bear
Quilt a small meander over the quilt
surface.
blocks easily and accurately.
2 Making the Sections and

Blocks
Make 4 paper copies each of founda-
tion sections 1–8.
Refer to “Foundation Piecing” in
Basic Lessons, and to the founda-
tion sections for color placement. Block
Piece the sections in numerical Make 4
order, pressing and trimming after
each patch addition.
3 Assembling the Quilt Top
Sew patches and blocks into 3 rows.
Section 1 Quilting Placement
Make 4 Sew the rows together.
Carefully remove the foundation Refer to the Cutting and Button

papers. Placement Diagram. Hand stitch a
Section 2 Section 3 button eye on each bear.
Make 4 Make 4
Fold quilt top in half vertically and
horizontally to find center, using
A A the 4” circle template, trace a circle
Section 4 in the center of the tree skirt. Refer-
Make 4
ring to Cutting and Button Place-
ment Diagram, carefully cut out
Section 5 circle and straight line from quilt
Make 4 B edge to the circle as shown.
Referring to “Bias Binding” in Basic
Lessons, cut bias binding strips
from buffalo plaid square. Bind the
Section 6 tree skirt.
Make 4
Assembly Diagram
Section 7
Make 4
Section 8
Make 4
Cutting and Button Placement Diagram

Don't Miss This!
If you love Mary Hertel’s tree skirt,
don’t miss her Little Red Truck
version in the Nov/Dec issue of
McCall’s Quilting Magazine. We
love M designs because
they finis t the same size,
m ng it easy mix and match
tterns!
Sewn by: Tracy Mooney.
Fabric: Shadow Play Flannel color option
for Maywood Studio.
Brown Bear, Brown Bear.
When I saw Mary’s sweet tree
skirt, I thought it would be fun to
make a bear pillow. I made my
bear brown, like the bears we
have here in Colorado.
Tracy Mooney • QM Associate Edit
Bear-y Christmas
4” circle

Designer Spotlight
Sheri Cifaldi-Morrill
Designing a Beautiful
World I loved ALL types of arts and crafts Making the world more beautiful
From the time Sheri Cifaldi-Morrill was growing up. I learned about jewelry,
I have twenty years of experience
a little girl, she was always a maker. So weaving, bookmaking, pretty much
leading creative teams to create
it is really no surprise that she made a anything! My family was supportive,
award-winning identities, products,
career of encouraging people to sur- but I was the only one into art, design,
and environments. I have worked in
round themselves with beauty and to and crafting. All of my electives in high
small design studios, a “dot com”
experience the process of creating. school were art classes. I even had
startup, and the exhibit department
Join us as we learn more about this the opportunity to spend a summer
at a children’s museum. In 2018, after
modern quilt designer and how her at a pre-college residential program
almost 14 years leading the exhibit
talent evolved. at Wesleyan University that allowed
department at a children’s museum,
me to intensively study all types of
I decided to leave to concentrate on
art. I had the same art teacher for
building my business, Whole Circle
She's crafty! four years and when it was time to
Studio.
I grew up in Connecticut and still live apply for college, he encouraged me
to look into graphic design programs. I founded Whole Circle Studio, LLC
here with my husband, Jason, and our
I graduated from the University of in January of 2015. The business
recently adopted 4-year-old yellow
Connecticut with a Bachelor of Fine specializes in the design of custom
Lab mix, Casey.
Arts in Graphic Design. modern quilts, quilt patterns, and
licensed products. As part of my busi-
ness, I also teach quilting techniques
throughout the country, and lecture
about my process and quilts.
My personal and business mission is to
enhance people’s lives through beauti-
ful, meaningful design as well as to
empower and inspire others to enjoy
the process of making.
Big Island Sunset Photos courtesy of Sheri Cifaldi-Morrill. Sew Speedy

The first quilt takes seven years How has your style evolved? Visit Sheri’s website,
Wanting to make a quilt, I bought It’s not so much an evolution since I’m wholecirclestudio.com for more informa-
my first quilt pattern book in 2006. fairly new to quilting, but here is a bit tion about Sheri and her quilts.
There was only one problem—I didn’t about how I approach quilt design:
know how to use a sewing machine. As a trained graphic designer, I
Busy with work, that book sat on my believe that design and content have
shelf for seven years until I needed a a symbiotic relationship. Both need
distraction from a stressful situation to support one another and require a
in my life. My first few quilts I made strong concept to fuel them. All of my
for others—to celebrate the births of designs start with a concept. The con-
babies, weddings, and friends moving tent—research, backstory, color, fabric
into exciting new phases of their lives. selection, and technique—helps shape
I became addicted to quilt making and the design.
then realized that with my graphic
design and technical skills I could
design my own quilts. After sharing What is the best advice you ever
my work with others online and in received about quilting?
quilt guilds, I was asked to share my
patterns. In 2015, I started my busi- Quilting should be fun and about
ness. enjoying the process. Don’t worry
about doing “something wrong”, Shifted Houndstooth Placemats* appeared
especially if you’re new to quilting. in Modern Patchwork Fall 2015
Is there anything our readers would Experiment and see where it goes. It’s
*A digital pattern is available for purchase
enjoy learning about you? just fabric! at QuiltingCompany.com
I enjoy traveling with my husband
as time allows. One of our favorite
places is Hawaii. We’ve been fortunate
enough to visit 4 times.
Bzzzzzz Racing Fade* appeared in Modern Patchwork March/April 2018

Intermediate
Spruce & Berry

Coasters
Quilt designed and made by Sheri Cifaldi-Morrill.

Fabric: Sheri used fabrics from her collection.
materials cutting Sheri Cifaldi-Morrill

Fabric yardage assumes 42” usable Patches are lettered in order of use. Woodbridge, CT
width of fabric (WOF) unless other- Measurements include ¼˝ seam al- wholecirclestudio.com
wise noted. lowances. Cut foundation patches at
Assorted Red and Purple Solids ing foundation area.
⅛ yard total for blocks
White Solid Assorted Red and Purple Solids
⅝ yard for blocks foundation patches
Green Solid White Solid
¼ yard for blocks foundation patches
Silver Solid Green Solid
½ yard for binding foundation patches
Backing ⅜ yard Silver Solid
Batting 9” x 9” 4 strips 2½” x WOF for binding
(Although fabric amounts are ad- The foundations are found on the
equate for foundation piecing, you pattern sheet.
ous patches.)

Sweet berries and
branches are ready to adorn
your holiday table.
1 About This Quilt

Stitch up a quick gift for your
friends with this modern set of
Section 1
Make 4
4 coasters. This design is paper- Section 2
pieced to ensure accuracy with Make 4
such small pieces.
2 Making the Sections and

Blocks
Make 4 paper copies each of the
foundation sections 1–4.
Refer to “Foundation Piecing” in
Basic Lessons and to the foundation
sections for color placement. Piece
each section in numerical order,
pressing and trimming after each
patch addition. Sew the sections Section 3 Section 4
together as shown to make a block. Make 4 Make 4
Make 4 blocks.
Carefully remove the foundation
papers.

backing, batting, and quilt top. Section 1
Section 2
diagram. Quilt the marked lines as
shown.
Bind the coasters.
Section 3
Section 4
Block
Make 4
Quilting Placement

Seam Allowance Seam Allowance
6 white
7 1
white red 3
white
4
1 6 white 2 1
red 5 white 5 white ct ion
Se
green green ers
oast
C
4 e rry
white &B
uce
3 2 Spr 3
white white ction
s Se
s ter
ion2 Co
a
S ect e rry
te rs &B
Co
as
pr uce
rry S
e
&B
uce
Spr 4 2
ion 7 white
ect
te rs S white
oas 8
rr yC 6
Be white green
uce&
Spr 7 green
1 4
red white
6
white
5
10 white
green
9 5 green
white 2 3
white white
1 4
red white
3
white
Patterns are the reverse

of the finished block.
This line should measure 2".

Modern Musings
Explore Improv the Modern Way

by Vivika Hansen DeNegre
When you think of modern improv quilts, what first Elevate your improv
comes to mind? Do you envision a quilt with dissonant So what is the key to working within this sub-genre of
colors and mismatched seams or a variety of random modern quilting? There are probably as many answers
but related blocks? Is it made by one person, or a to that question as there are improv quilters. Studying
group? Is this imaginary quilt something you admire or the best of these quilts, however, can lend some clues.
something you skip over at a quilt show? Notice how incorporating a few design principles
enhances the composition and elevates these improvi-
The truth is, improv quilts have been with us for a very sational quilts to the level of art.
long time. There is a longstanding tradition of improvi-
sation in traditional quiltmaking, and that includes such • Repetition: Using repetition makes a quilt design
disparate examples as elegant Victorian crazy quilts stronger. Bill Volckening noted in a 2016 article for
and the make-do string quilts of depression-era QuiltCon Magazine, “‘Bible Story,’ a strip quilt with
quilters. Many modern quilters look to inspiration from a Nine-Patch center, is representative of the
the great masters of contemporary improv, such as (improv) style. Made by Lucy Mingo of Gee’s Bend
Gwen Marston (who passed away in 2019 at the age of in 1979, it is oddly shaped and wonky, with red,
82) and Nancy Crow. Both of these maverick quilters white, blue, green, and yellow fabrics. The quilt’s
have made a lasting impression on the improv quilt imperfections humanize it, and the improvisational
movement and have encouraged a new generation of approach gives it life.” This quilt uses repeating
quilters to flex their design muscles and learn to work shapes, lines, and color to create a composition
more intuitively. that visually reverberates with joy.
The freedom of moving beyond a grid and creating a

quilt that breaks with tradition can’t be underestimat-
ed. By playing with color, shape, and line without
looking to repeating blocks as the only means to an
end, it is possible to stretch the limits of creativity and
explore the direction your muse takes you.
But with all of the enthusiasm for ditching the rules of

traditional quilting and joining the modern improv
movement, let’s not forget that improvisation does
have its challenges. Like any visual art form, improv is
not random: there needs to be a sense of unity and
purpose in each composition, and it is a good idea to
revisit the elements of design (line, shape, space, color,
value, and texture) as you create your piece. How those
Bible Story • 1979 • by Lucy Mingo, Gee’s Bend, Alabama
elements work together to create a balanced composi- Photo courtesy of Bill Volckening
tion makes all the difference.

• Balance: The placement of the visually ‘heavy’
elements of a quilt makes a difference to how a
quilt is viewed. Kristin Shields’ quilt, “70s Child”,
positions the larger pieces at the bottom where
they act as a pedestal for the smaller pieced
curved blocks and give the overall quilt weight.
• Alignment: Positioning design elements also

creates order and allows those elements to
connect with one another. Note the distribution of
the columns of color in Gwen Marston’s “Strippy”
quilt. Breaking up the small strips with larger
pieces allows for visual connections between the
columns. The predictable columns also use the
principles of balance and repetition.
• Contrast: Contrast helps us see and make sense of

a composition. Light and dark; horizontal and
vertical; gentle curves and sharp angles; – these
are just some of the contrasting components
utilized time and again in Leanne Chahley’s group
70s Child • 39" x 51" • by Kristin Shields
quilt “Smile” that won Best in Show at QuiltCon
2019.
Now it’s time to get to work. Pull out your rotary cutter,
choose a selection of contrasting and complimentary
fabrics, and start making your own improv blocks to
arrange in a quilt!
Smile • 68" x 51½" • by Leanne Chahley and friends Strippy • 49" x 39" • by Gwen Marston
won the Best in Show award at QuiltCon 2019. Photo courtesy of the Modern Quilt Guild
Photo by Melissa van Ruiten

Easy
Grandma’s Lace
materials
wise noted.
Lightweight Denim
3⅝ yards for blocks and border
Navy Print
⅝ yard for binding
Backing 4 yards
Doilies
*37–49 doilies total (approximately
4¼” diameter)
cutting
Lightweight Denim
49 squares 8½” (A)
Quilt designed and made by Elaine Theriault. Navy Print
Fabric: Elaine used fabrics from her collection. 7 strips 2½” x WOF for binding
Doilies
*12 doilies cut in half, approximately
2⅛” x 4¼” (C)
*Read About This Quilt for more

information
Elaine Theriault
Mississauga, ON
crazyquilteronanbike.blogspot.com

Vintage doilies appliquéd
to denim squares give this
cozy throw lots of texture and senti-
Center
Refer to the Quilting Placement dia-
gram. Quilt around the doilies and
quilt small swirls in the background
mental appeal. 7 blocks together as shown, watch- as shown.
ing placement and orientation, to
1 About This Quilt Bind the quilt.

make a row. Make 7 rows. Sew the
Elaine designed this quilt to rows together.
showcase a collection of handmade
doilies she found when helping her
mother clean house. See the “Doily
Fun!” sidebar (page 59) for tips on
4 Adding the Border
Lessons. Join border strips and
finding crocheted doilies to use. cut to sizes shown in Assembly
Elaine used lightweight denim yard- Diagram. Matching centers and
age, but feel free to use upcycled ends, sew border side strips to quilt;
denim squares cut from old blue repeat to add top and bottom strips.
jeans and jackets for your block
backgrounds.
Elaine trimmed her doilies in a
variety sizes for visual interest and
stitched the doilies in place while
free-motion quilting. For ease of
construction, our instructions sug-
gest cutting the doilies in half and
appliquéing the doilies in place.
If you want to recreate the quilt Quilting Placement
exactly, study the photo carefully
and use a design wall to find a pleas-
ing arrangement prior to cutting.
1½˝ x 58½˝
2 Making the Blocks

Fold A in half both ways and
lightly crease the folds. Using the
creases and diagram as guides, posi-
tion a full doily B as shown on A.
Appliqué in place using a machine
straight stitch and thread to match
doily. Repeat to make 25 block Y’s.
A
1½˝ x 56½˝
Block Y
Make 25
In same way, appliqué a cut doily C
on A as shown to make block Z.
Make 24 block Z’s.
Assembly
C
Block Z
Make 24

design option
Change it up!. Once you understand the
technique, feel free to play with the layout of
your blocks. Here we offer two alternate lay-
outs to give you the idea. Have fun making
the design your own!
Doily Fun!
Rather than keep them hidden away
in a box, Elaine wanted to find a
way to honor and display this lovely
collection of doilies.
If you do not have a stash of hand-
made doilies to use—or perhaps
you don’t want to use a family heir-
loom—you have options! Vintage
doilies can often be found at thrift
stores and flea markets. This design
is perfect for damaged and stained
doiles, as you can use them for the
cut doilies.
You can also buy new crocheted
doilies online. Online retailers have
a large selection of doilies in differ-
ent colors and shapes.

Intermediate
Finished Blocks: 10"
Christmas in Evergreen
materials
wise noted.
Cream Batik
⅝ for units and blocks
Red Batik #1
fat eighth* for blocks and appliqué
Green batik #1
⅝ yard for blocks and binding
Red Batik #2
fat quarter* for blocks and appliqué
Green Batik #2
fat eighth* for blocks
Red Batik #3
1 yard for borders
Red Batik #4
fat eighth* for blocks
Green Batik #3
fat quarter* for appliqué
Gray, Black, Brown, White, and
Gold Batiks
scraps for appliqué
Backing 1¼ yards
Paper-Backed Fusible Web
Quilt designed and made by Terri Vanden Bosch. Fabric: Candy Cane Lane for Island Batiks. *fat quarter = 18˝ x 20˝
*fat eighth = 9˝ x 20˝
Terri Vanden Bosch

Doon, IA
lizardcreekquilting.com

cutting Our little red truck brings
home the Christmas tree. 3 Assembling the Quilt Top
Sew 2 blocks together as shown to
Measurements include ¼˝ seam al-
lowances. Border strips will be cut to
1 About This Quilt
Enjoy some easy, fast fusible
appliqué and your holiday scene will
make a row. Make 2 rows. Sew the
rows together.
exact length needed. You may want
to make them longer to allow for
piecing variations.
be finished in no time! Be sure to
use an accurate ¼" seam allowance
when piecing this quilt top so all
Lessons. Cut border 1 strips to
= cut in half once diagonally
the elements fit together well. sizes shown in Assembly Diagram.
Cream Batik Matching centers and ends, sew bor-
2 squares 10⅞” cut
4 triangles (C)
to make
Blocks
Refer to “Triangle-Squares” in
der 1 side strips to quilt; repeat to
add top and bottom strips.
46 squares 2⅞” (A)
Basic Lessons. Pair 2 cream A’s and For each border 2 side strip, sew
Red Batik #1
2 red #1 A’s to make 4 unit 1’s total. together 12 unit 5’s as shown.
2 squares 2⅞” (A)
1 each templates M, K, and P Matching centers and ends, sew
Green Batik #1 pieced border 2 side strips to quilt.
5 strips 2½” x WOF for binding For each pieced border 2 top and
4 squares 2⅞” (A) Unit 1 bottom strip, join 14 unit 5’s as
Red Batik #2 Make 4 shown. Matching centers and ends,
6 squares 2⅞” (A) In the same way, use the remaining sew pieced border 2 top and bottom
1 template F A’s to make units 2—5 in colors and strips to quilt.
Green Batik #2 quantities shown.
8 squares 2⅞” (A) Cut border 3 strips to sizes shown
Red Batik #3 in Assembly Diagram. Matching
4 strips 4½” x WOF for border 3 centers and ends, sew border 3 side
3 strips 2½” x WOF for border 1 Unit 2 Unit 3 strips to quilt; repeat to add top and
26 squares 2⅞” (A) Make 8 Make 12 bottom strips.
Red Batik #4
10 squares 2⅞” cut
20 triangles (B)
to make
Unit 4 Unit 5
4 Appliqué
Fold quilt top in half both ways
and lightly crease the folds. Prepare
Green Batik #3
1 template D Make 16 Make 52 patches D–R for fusible appliqué.
Gray Batik
Sew units and patches together Use the creases and Appliqué
1 each templates G, N, O, and Q
2 template J
as shown to make a block. Make Placement Diagram as guides to
Black Batik 4 blocks total. arrange the patches on the quilt
2 template H top as shown; fuse in place. Refer
B
Brown Batik to close-up detail photo. Use black
2 each templates E and L thread and a machine straight stitch
White Batik to sew close to the edges of the
2 template I patches 2 times as shown.
Gold Batik C
2 template R
Block
Make 4
The appliqué patterns are found on
the pattern sheet.

4½˝ x 36½˝
2½˝ x 24½˝
4½˝ x 28½˝
2½˝ x 20½˝
Assembly
Appliqué Placement

Refer to the Quilting Placement
Diagram. Quilt a small meander
behind the truck, arcs* in the
triangle-squares, holly leaves and
berries in the first border, and quilt
a large double meander in border 3.
Bind the quilt.
Quilting Placement

COLOR YOUR OWN
Challenging
Twilight Forest
materials
wise noted.
Blue Print
7⅝ yards for blocks, sections,
border, and binding
Assorted Prints
3⅛ yards total for blocks and
sections
Assorted Brown Prints
⅜ yard total for sections
Backing 5¾ yards
(Although fabric amounts are ad-

ous patches.)
Quilt designed and made by Geraldine Wilkins.

Fabric: Enchanted Forest by Kathy Engle for Island Batik.
Geraldine Wilkins
Fredericksburg, VA
livingwaterquilter.com

Quilt a colorful forest with Sew the patches and Flying Geese
cutting pretty fabrics. together as shown to make a block.
Make 8 blocks total.
1 About This Quilt
Traditionally-pieced star blocks
twinkle over a forest of foundation-
E
pieced trees in this unique quilt F
longer to allow for piecing variations. design. Geraldine used holiday E
Cut foundation patches at least 1˝ fabrics to create a winter scene, but
larger than the corresponding foun- you can choose fabrics from any
dation area. season to create your own woods.
Blue Print
9 strips 2½” x WOF for binding
2 Making the Blocks and
Sections
Block
Make 8
Refer to “Fast Flying Geese” in
8 squares 10¼” (G) Make paper copies of sections 1–6
Basic Lessons. Use blue A and
8 squares 6¼” (A) in quantities shown.
8 rectangles 5½” x 10½” (H)
4 matching assorted B’s to make
5 rectangles 3⅞” x 10½” (I) 4 Flying Geese 1’s as shown. Repeat Refer to “Foundation Piecing” in
32 squares 3” (E) to make 8 sets of 4 matching Basic Lessons and to the foundation
foundation patches Flying Geese 1’s. sections for color placement. Piece
Assorted Prints the sections in numerical order,
Cut 8 matching sets of: pressing and trimming after each
1 square 3¾” (C) Flying Geese 1 patch addition.
4 squares 3⅜” (B) Make 8 sets
4 squares 1¾” (F) of 4 matching
Cut 8 matching sets of:
1 square 3” (E) In the same way, use 1 assorted C
4 squares 2⅛” (D) and 4 matching assorted D’s to
foundation patches make 4 Flying Geese 2’s. Repeat
Assorted Brown Prints
to make 8 sets of 4 matching
foundation patches
Flying Geese 2’s.
Section 1 Section 2 Section 3
The foundations are found on the Make 7 Make 7 Make 7
pattern sheet.
Flying Geese 2
Make 8 sets
of 4 matching
Section 4 Section 5 Section 6

Make 21 Make 16 Make 21

Center
4½˝ x 68½˝
blocks, blue G, H, and I patches, and G

sections together as shown to make
8 rows. Sew the rows together.
4 Adding the Border

H G
cut to sizes shown in Assembly

ends, sew border side strips to quilt;
Carefully remove the foundation
papers.
4½˝ x 80½˝

Refer to the quilting placement dia-
gram. Quilt in the ditch around the
stars and trees as shown. Quilt curly
vines in the background as shown.
Bind the quilt.
Assembly
Quilting Placement

COLOR YOUR OWN
color option
Forest at Night. When I saw
Geraldine’s design, I had to make
it. I made my version using Grunge
by BasicGrey for Moda to create a
nighttime forest scene.
Anissa Arnold • QM Managing Editor
Sewn by: Anissa Arnold.

Fabric: Grunge by BasicGrey for Moda.

Intermediate
Finished Blocks: 8”, 8” x 16”
Crystal Clear
cutting
Assorted Blue Tone-on-Tone Strips

8 strips 2½” x WOF for binding
20 strips 2½" x WOF total sorted
into 2 strips of each of the
following values for block T’s–X’s:
Light Blue #1
32 template A
Light Blue #2
32 template A
Medium-Light Blue #1
32 template A
Medium-Light Blue #2
32 template A
Medium Blue #1
32 template A
Medium Blue #2
32 template A
Medium-Dark Blue #1
32 template A
Medium-Dark Blue #2
32 template A
Quilt
il designed
d i d andd maded by
b Elaine
l i Theriault.
h i l Dark Blue #1
Fabric: Toscana Delphinium by Deborah Edwards for Northcott. 32 template A
Dark Blue #2
32 template A
materials Light Blue #3 Tone-on-Tone Strips
56 template A
T
White Tone-on-Tone
C U
E -
PR l y
wise noted.
4 squares 8½" (E)
12 rectangles 6½” × 8½” (C)
friend Assorted Blue Tone-on-Tone Strips
28 strips 2½” x WOF for blocks and
8 rectangles 4½” × 8½” (F)
binding 16 rectangles 2½” × 8½” (D)
Light Blue #3 Tone-on-Tone Strips 28 rectangles 2½” × 4½” (B)
3 strips 2½” x WOF for blocks 376 A triangles
White Tone-on-Tone
4¼ yards for background
Backing 4⅛ yards
Template Plastic

Sparkling clear, this mono- Similarly, join light blue #3 A’s and Join 1 Pinwheel, 2 white B’s, and
chromatic quilt begs you to stare white A’s to make 56 unit 11’s. 2 white C’s as shown to make
into the depths within. block Y. Make 6 block Y’s total.
1 About This Quilt

Grab some 2½" strips (you
will need 31 strips total) to make
Unit 11
Make 56
C
B
this delicious quilt. Elaine used an Join 8 unit 1’s and 8 unit 2’s as
shown to make block T. Make
ombré collection of blue hues, but
4 block T’s total. Block Y
any collection will work. You simply
need 2 strips each of 10 different Make 6
colors, and 3 strips of a lighter color
to get the same effect. We give you Join 1 Pinwheel, 2 white B’s, and
a template to cut out the triangles 2 white D’s as shown to make
from the strips to get the right size block Z. Make 8 block Z’s total.
patch.
Block T B
Grab a collection of 2½" strips Make 4
and make this ombré beauty.
D
In the same way, make 4 each
Blocks
Refer to “Triangle-Squares” in Basic
blocks U–X using the units shown.
Block Z
Lessons. Pair 1 medium-light blue Make 8
tone-on-tone #1 A and 1 white tone-
on-tone A to make 1 unit 1. Make
32 unit 1’s total.
A Block U Block V
A
Make 4 Make 4
Unit 1
Make 32
In the same way, make 32 each of
unit's 2–10 in the colors shown.
Unit 2 Unit 3 Block W Block X

Make 32 Make 32 Make 4 Make 4
Sew together 4 unit 11’s to make a

Unit 4 Unit 5 Pinwheel. Make 14 Pinwheel’s total.
Make 32 Make 32
Unit 6 Unit 7 Pinwheel

Make 32 Make 32 Make 14
Unit 8 Unit 9
Make 32 Make 32 Elaine Theriault
Mississauga, Ontario
crazyquilteronabike.blogspot.com
Unit 10
Make 32

Center
4½˝ x 60½˝
Sew patches and blocks into rows as

shown; join rows.
E

cut to sizes shown in Assembly F
ends, sew border side strips to quilt;

6½˝ x 64½˝

diagram. Quilt swirls in the back-
ground as shown.
Bind the quilt.
Assembly
Quilting Placement
This line should measure 2". Quiltmaker #190 • QuiltingCompany.com 75

COLOR YOUR OWN
3URPRFRGH40$'__ZZZVHZVWHDG\FRP
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selvages) or crosswise (perpendicular to the selvages) grain of
basic lessons fabric, especially the sides that will be on the outside edges of the
quilt block. We indicate lengthwise or crosswise grain with an
arrow on the pattern piece.
Cutting
To find the grainline of your fabric for
Getting Started rotary cutting, hold the fabric with selvages
parallel in front of you. Keeping the selvages
together, slide the edge closest to you to
About our Patterns one side or the other until the fabric hangs Cut
We recommend that you read all of the instructions straight, without wrinkles or folds. Then lay
before starting a project and that you cut and sew one the fabric down on your cutting mat and cut 1
perpendicular to the fold line. Use this cut 2

block before cutting all of your fabric. 3
edge as your straight-of-grain line. 4
Using a rotary cutter, mat and an

5
1 2 3 4 5
Many patches can be cut from strips of
acrylic ruler, cut the shape to the size fabric by rotary cutting. First, cut a strip of
indicated in the cutting list. fabric the width needed. Then, cross-cut strips into patches.
Pressing tabs indicate the direction To cut from a template, place the template face down on the
to press the seam allowances. wrong side of the fabric and trace with a sharp pencil. Reverse (r)
Our patterns list finished block sizes, which are typ- templates should be placed face up on the wrong side of the fabric
ically ½" smaller than unfinished block sizes because before tracing.
they do not include seam allowances. Piecing
Align the cut edges of fabric with the edge
of the presser foot if it is ¼" wide. If not,
Basic Quilting Supplies place masking tape on the throat plate of
your machine ¼" away from the needle to
• Rotary cutter and mat • Darning foot guide you. Sew all the way to the cut edge.
• Acrylic ruler: Many • Pins
shapes and sizes are • Ironing board & iron Appliqué
available; a good one to • Marking pencils/ The instructions give the appliqué technique used by the
start with is 6" x 24" with markers/etc. designer. Fusible appliqué patterns are already reversed. To convert
¼" and 1 ⁄8" markings • Needles between fusible designs and turned-edge, you may need to reverse
• Scissors: A separate pair • Thimble the design. No turn-under allowances are given on appliqué pat-
terns. When positioning patches, leave enough space around the
for paper and fabric • Safety pins
outside edges of the block for trimming and seam allowance.
• Sewing machine • Template plastic
Finger crease the fabric in half lengthwise, crosswise and diago-
• ¼" foot • Thread
nally as needed to form guidelines for placement of the patches.
• Walking foot
Use a tear-away stabilizer on the back to support machine
stitching that is dense (like satin stitching) and to keep the fab-
Preparing Your Fabric ric from tunneling. Choose a stabilizer that matches the weight
We recommend that you pre-wash your fabrics. A shrinkage of the fabric. After the appliqué is complete, gently remove the
factor is included in our yardage computations. stabilizer.
Fusible Appliqué
Techniques Raw-edge appliqué using paper-backed fusible web is a fast and
easy way to appliqué. Add 3 ⁄16" underlap allowance to those edges
Machine Piecing that lie under another.
It is important to cut accurately and to sew exact ¼" seams. Trace the pattern pieces, also drawing the needed underlap
Templates allowances, on the paper side of fusible web leaving at least ½"
between all the pieces. Cut about 3 ⁄16" outside each drawn line.
Trace the patterns on template plastic
and cut out accurately. To eliminate stiffness, try this variation for patches larger
than 1": Cut out the center of the fusible web ¼" inside the drawn
Planning line, making a ring of fusible web.
Measure, mark and cut the binding and Following the manufacturer’s directions, iron the web, paper
border strips before cutting patches from side up, to the wrong side of the fabric. Cut out the shape on
the same fabric. Cut larger patches before the drawn line. Carefully pull away the paper backing. Fuse the
smaller ones. For best use of the fabric, arrange B patches to the background where marked.
B
patches with cutting lines close or touching.
A To finish the raw edges, machine satin stitch with a colored thread,
One or more straight sides of the patch or zigzag or blanket stitch using matching or invisible thread.
should follow the lengthwise (parallel to the B B
Continued on page 82.

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Continued from page 80.
English Paper Piecing Stitch-and-Flip *
With this method, every fabric patch is basted around a stiff Align a patch (* in this example) on a corner of
piece of paper and then the edges of patches are whip stitched a unit or second patch right sides together. Mark a
together. Two templates are needed: one from which to cut the diagonal line on the * patch from corner to corner
papers and one from which to cut the fabric patches. and sew on the marked line. Trim the seam allowance
Use the dashed lines of the pattern to to ¼" as shown. Flip the * patch open and press.
make one plastic template (for papers);
use the solid lines to make another Paper Foundation Piecing
plastic template (for fabric patches). Make paper copies of each foundation. Sew
Using the smaller template, trace and Wrong Side patches in numerical order. Center fabric under 2 1
of Fabric 3
cut one piece of stiff paper for each #1 extending beyond the seam allowances,
patch in the design. Using the larger wrong side of the fabric to the unprinted side of 4
template, trace and cut the number of the paper, and pin in place from the paper side.
fabric patches needed. Baste Turn fabric side up. Using a patch of fabric 2
Center the paper template on the sufficient to cover #2 and its seam allowances, 3
wrong side of the patch; pin together. position the #2 patch right sides together on 4
Fold the first seam allowance over the patch #1 as shown, so that the fabric’s edge
edge of the paper template and hold extends at least ¼" into the #2 area. Pin in 2 1
in place. Baste the seam allowance place. Set a very short stitch length on your 3
through all thicknesses. When you Whipstitch sewing machine (18–20 stitches per inch or 4
reach the end of the seam allowance, 1.5 mm). Turn the assembly paper side up.
fold over the next seam allowance and repeat stitching. Continue in Stitch through the paper and the fabric layers
this manner, making sharp folds at each corner, until all the seam along the printed seam line, beginning and end-
allowances are basted in place. For some shapes, the folding will ing ¼" beyond the ends of the line.
create tails; leave the tails hanging out as shown. Backstitch at the Turn assembly to the fabric side. Trim the
end to secure the stitches. Repeat for each patch. seam allowances to approximately ¼". Press the 4
To assemble the pieces, place patches right sides together. With fabric open to cover #2 and seam allowances.
a single strand of thread, whipstitch the patches together from Repeat this process to complete the blocks or sections.
corner to corner, catching only the folded edges. Repeat to join all Use a rotary cutter and ruler to trim ¼" outside the seam line
patches. When all patches are joined, clip the basting threads and of the foundation, creating a seam allowance. Once all the seams
remove them from each patch. Carefully pull out the paper tem- around a foundation section have been sewn, remove the paper
plates. foundations.
Quarter-Square Triangles
Fast Flying Geese With right sides together and the lighter fabric
Align 2 small squares on opposite on top, pair one square of each color that makes
corners of the large square, right the unit. On the lighter patch, draw a diagonal line
sides together. Draw a diagonal line from corner to corner.
as shown and then stitch ¼" out from Stitch ¼" out from both sides of the line. Cut
both sides of the line. Cut apart on apart on the marked line to make 2 triangle-
the marked line. squares. With the darker fabric up, open out the
With the small squares on top, top patch and press the unit.
open out the small squares and press Cut both triangle-squares in half diagonally as
the unit. On the remaining corner shown. Referring to the diagram, join the appro-
of each of these units, align a small priate halves to make 2 units.
square. Draw a line from corner to corner and sew ¼" out on both
sides of the line. Cut on the marked lines, open the small squares
and press.
Each set of 1 large square and 4 small squares makes 4 Flying Geese.
Borders
These units will finish at the correct size for each pattern. No trim- Squared borders are added first to the sides of the
ming is needed. quilt center, then to the top and bottom. Lay the quilt
top flat on a large table or the floor. Lay both border #1
Triangle-Squares side strips down the vertical center of the quilt top and
smooth carefully into place. Slip a small cutting mat under the
With right sides together and the lighter fabric on top,
quilt top (you’ll need to do this at the top and the bottom) and
pair one square of each color that makes the unit. On the
use a rotary cutter and ruler to trim the border strips to the same
lighter patch, draw a diagonal line from corner to corner.
length as the quilt top. Matching centers and ends, sew the border
Stitch ¼" out from both sides of the line. Cut
side strips to the quilt. Gently press the seam allowances away
apart on the marked line. With the darker fabric up,
from the quilt center. Repeat this process along the horizontal
open out the top patch and press the unit.
center of the quilt, including the newly added borders. Repeat for
A pair of squares will yield 2 units. These units will finish any remaining borders.
at the correct size for each pattern. No trimming is needed. Continued on page 84.

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Continued from page 82.
Mitered borders are added by sewing border Curved Piecing ca
ve
n
strips to all sides of the quilt center and then x
Co
Cut patches using a small-bladed rotary cutter to ve
n
mitering each corner. When joining each border
Co
maneuver curves. With right sides together, pin the
strip to the quilt, begin and end stitches ¼" from convex patch to the inside, or concave, curve of the
the quilt top corners and backstitch. Referring to second patch at the middle, the ends and a few places in
the diagrams, fold the quilt right sides together between. Sew with the concave patch on the top, stop-
diagonally at one corner. Flip the seam allowance ping frequently with the needle down to adjust the fabric to lay
toward the quilt top, match seam lines and pin flat under the needle and presser foot. After stitching, press the
through both layers about 3" from the corner. Place seam allowance toward the convex piece.
a ruler along the folded edge of the quilt top, inter-
secting the final stitch in the border seam and extending through Binding
the border strip. Draw a line from the stitch to the outer edge of Baste around the quilt 3⁄16" from the edges. Trim the batting and
the border. Pin together along the pencil line. Sew along the line backing ¼" beyond the edge of the quilt top.
to the edge of the border; backstitch. Trim seam allowances to ¼"; To prepare the binding strips, place the ends of 2
press open. Repeat for all corners. binding strips perpendicular to each other, right sides
together. Stitch diagonally and trim to ¼". In this
Marking way, join all the strips and press the seam allowances open.
Trace the quilting motif on tracing paper. Place tracing paper Cut the beginning of the binding strip at a 45˚ angle. Fold the
under the quilt top with a light source behind. Lightly mark the binding strip in half along the length, wrong sides together, and
design on the quilt top with a hard lead pencil or a marker of your press. Starting in the middle of a side and leaving a 6" tail of bind-
choice. Test any marking product for removability before using it ing loose, align the raw edges of the binding with the
on your quilt. edge of the quilt top. Begin sewing
Straight lines may be “marked” as you quilt by using masking the binding to the quilt using a ¼"
tape that is pulled away after quilting along its edge. seam allowance. Stop ¼" from the
first corner; backstitch. Remove
Backing and Basting the needle from the quilt and ¼”
Make the quilt backing 4"–8" larger than the quilt top. Remove cut the threads.
the selvages to avoid puckers. Usually 2 or 3 lengths must be Fold the binding up, then back down
sewn together; press the seam allowances open. Place the backing even with edge of the quilt. Begin stitch-
wrong side up on a flat surface, stretch slightly and tape or pin in ing ¼" from the binding fold, backstitch
place. Smooth the batting over the backing. Center the quilt top to secure and continue sewing. Repeat
right side up on top of the batting. Pin the layers as necessary to at all corners. When nearing the starting
secure them while basting. point, leave at least 12" of the
Basting for Machine Quilting quilt edge unbound and a 10"
Tops to be machine quilted may be basted to 12" binding tail. Smooth the
with rustproof safety pins. Begin at the center beginning tail over the end-
and place pins 3" to 4" apart, avoiding lines to be ing tail. Following the cut
quilted. edge of the beginning tail,
draw a line on the ending
Basting for Hand Quilting tail at a 45º angle. To add
Beginning in the center of the quilt, baste a seam allowance, draw a cutting line ½" out from the first line;
horizontal and vertical lines 4" to 6" apart. make sure it guides you to cut the binding tail ½"
longer than the first line. Cut on this second line.
Quilting
To join the ends, place them right sides
Quilt in the ditch refers to quilting right
together. Offset the points so
next to the seam line on the side without
the strips match ¼" in from the
seam allowances. Outline quilting refers to
edge and sew. Press the seam
quilting ¼" from the seam line. Echo quilt-
allowances open. Press the section of binding in half and then fin-
ing refers to quilting one or more lines of
ish sewing it to the quilt. Trim away excess backing and batting in
stitching in uniform distances away from
the corners only to eliminate bulk.
a patch.
Fold the binding to the back of the quilt, enclosing
Machine Quilting the extra batting and backing. Blind stitch the bind-
Before machine quilting, bring bobbin thread to the top of the ing fold to the backing, just covering the previous
quilt so it doesn’t get caught as you quilt: lower presser foot, hold line of stitching.
the top thread and take one stitch down and up, lift the presser foot
Bias Binding
to release the thread tension and tug on the top thread to draw a
loop of the bobbin thread to the top of the quilt. Pull the bobbin Bias binding strips are cut at a 45° angle to the grain of the fab-
thread to the top. Lower needle into the same hole created by the ric. They are stretchy and therefore ideal for binding curved edges.
initial stitch, lower the presser foot, and start quilting. A walking Make your first cut by aligning a 45° guideline on your acrylic
foot is used for straight-line or ditch quilting. To free-motion ruler with the cut edge or selvage
quilt, drop (or cover) the feed dogs and use a darning foot. Start of your fabric. Use this new bias
45º
and end quilting lines with ¼" of very short stitches to secure. edge to cut 21 ⁄4" strips for binding.
Refer to “Binding” to finish the
84 Quiltmaker • November/December ’19 binding.
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Holiday Gifts You Still Have Time to Make!

Looking for quick holiday projects to make in a jiffy? Visit the link for some easy projects.
https://bit.ly/2YYpujL
Gifts of the Season Quilt Pattern First Snow

This adorable table runner by Denise Free patterns for embellished house
Russell will make your table instantly blocks? Yes, please! Get 4 blocks from Tina
ready for the holidays. Curran’s First Snow quilt design.
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What do you do with all the
Addicted to Scraps scraps you save? “Use them!”

declares Bonnie. In every issue,
find Bonnie’s ideas for making
by Bonnie Hunter blocks from your leftovers in
Addicted to Scraps.
Every Which Way

I love blocks with lots of motion and this
one has it going on!
This block would make a great alternate
block due to the neutral background and
blank corners. The design seems to float
when you put it next to something else.
To make Every Which Way, refer to “Fast
Flying Geese” in Basic Lessons. Use
red A’s and green B’s to make 4 Flying
Geese as shown.
Sew 1 white C, 2 green C’s, and 1 red C
together as shown to make a unit. Make
4 units.
C
Join a unit, a Flying Geese, and a white D C C
to make a section. Make 4 sections. C
Join 4 sections to complete the block. Flying Geese Unit

Make 4 Make 4
cutting D
Finished Block: 9”
For one block, cut the following:
Red Tone-on-Tone
Section
1 square 4¼” (A)
Make 4
1 square 4¼” cut to make
4 triangles (C)
Green Tone-on-Tone
2 squares 4¼” cut to make 8
triangles (C)
8 squares 2⅜” (B)
White Print
1 square 4¼” cut to make
4 triangles (C)
4 rectangles 3” x 5” (D)
Block Assembly
To learn more about Bonnie and see past blocks, visit

quiltingcompany.com/addicted-to-scraps-quiltmaker.
Post pictures of your projects made with Bonnie’s blocks
using #AddictedToScraps.

Log Cabin Blocks
With a Twist!
Join Kate Colleran in one of her helpful
online workshops where she explores
new techniques that take the traditional
Log Cabin Block and innovate it into a
creative and unique quilt.
3 Online Workshops to choose from!

Log Cabin Blocks For Beginners
Log Cabin Block Variations
Log Cabin Quilts with a Modern Twist
Enroll Now at QuiltingCompany.com/Courses

Building Your Passion Piece by Piece
Experience the home

for all things quilting.
QuiltingCompany.com
blue
blue
3
Seam Allowance
assorted
assorted
blue
blue
1
4
blue
blue
2
blue
blue
3
Seam Allowance
assorted
assorted
blue
blue
4
1
blue
blue
2
Twilight Forest
Pattern page 1 of 3 November/December '19 No. 190
QuiltingCompany.com
This line should measure 2". Copyright 2019
2 3 2 3

blue blue blue blue
blue blue blue blue
1
assorted
assorted
Pattern page 2 of 3
1
assorted
assorted
Twilight Forest
5
brown
blue
Copyright 2019
5
brown
blue
QuiltingCompany.com
Twilight Forest Sections 1 and 4 Twilight Forest Sections 2 and 5
November/December '19 No. 190

2 3
blue blue
blue blue
1
assorted assorted
assorted assorted
1
blue blue
blue blue
3 2
4
brown
blue
Seam Allowance
Twilight Forest Sections 3 and 6
Twilight Forest
QuiltingCompany.com
on 2
e ar- y C h ri stmas Secti
B
Seam Allowance
4 2 3
blue blue blue
4
blue 1
white
2 5
1
blue 1 white y C h ris tm as Section
white Bea r-
3
blue
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blue
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1
blue
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blue 6
3 5 blue
white white
4
blue
2
white
Bear-y Christmas Section 4
Seam Allowance
3 2
blue 1 blue
5 white
blue
4
blue
Bear-y Christmas
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Seam Allowance

Seam Allowance
1
white
2
blue
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white
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blue
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3
Pattern page 2 of 3
6 white
blue 2
white
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white
Bear-y Christmas
4
blue
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blue 8
blue
Copyright 2019
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Seam Allowance
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blue
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red 6
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red
7
blue
Seam Allowance
4
blue
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blue
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white
2
blue
Bear-y Christmas
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Poinsettia Wreath Quilting
Arrows indicate direction for Start

continuous-line machine quilting.
Christmas Cactus
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Arrows indicate direction
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Holly Ribbon
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Fleur
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6 white
7 1
white red 3
white
4
1 6 white 2 1
red 5 white 5 white c t ion
green s Se
green
as ter
Co
4 ce
white S pru
&
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3 2 Be n3
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white white
s Sec
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& Spr white green
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Be 7 green
1 4
red white
6
white
5
10 white
green
9 5 green
white 2 3
white white
1 4
red white
3
white

Berry & Spruce Coasters

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A
Crystal Clear
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Holly
Quilting
G
Images are presented in
reverse for the fusing process.
F
P
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Pattern page 4 of 4

E
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Copyright 2019
Hawaiian Holiday Section
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white
4 5 6
black white color
Seam Allowance
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white
2
color
1
white
Hawaiian Holiday
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32 Nine-Patch Wreaths easy

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66 Twilight Forest challenging

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Frosty Friends Dinosaur Games

Modern Happy Camper

Linda Lubecki • Washington, Missouri

6 Quiltmaker • November/December ’19

ﬁnd your inspiration

Wire Frame Ruby Ruler

Wild Wool and Star Storm

8 Quiltmaker • November/December ’19

Quiltmaker #190 • QuiltingCompany.com 11

12 Quiltmaker • November/December ’19

Quiltmaker #190 • QuiltingCompany.com 13

Arrows indicate direction

14 Quiltmaker • November/December ’19 This line should measure 2".

EASY TO LEARN • EASY TO USE • EASY TO QUILT

Design Process: Quilting a

Photos courtesy of Jennifer Strauser.

16 Quiltmaker • November/December ’19

Quiltmaker #190 • QuiltingCompany.com 17

The templates are found on the

Quiltmaker #190 • QuiltingCompany.com 19

1 About This Quilt

2 Making the Units and

in Basic Lessons, sew together a

20 Quiltmaker • November/December ’19

Quiltmaker #190 • QuiltingCompany.com 21

Poinsettia Wreath Quilting

Arrows indicate direction for Start

22 Quiltmaker • November/December ’19

*Fully warranted to the original owner

Branching Off From Traditional Crosshatching

travel in ditch to next

travel in ditch to next

REMEMBER: You must have a ruler made for machine

24 Quiltmaker • November/December ’19

Combo Crosshatch: This one reminds me a bit of a

Curved Crosshatch With a Gutter: This is my favorite

Online Bonus! I have other designs I think you’ll enjoy

(Although fabric amounts are ad-

26 Quiltmaker • November/December ’19

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28 Quiltmaker • November/December ’19

Alternate Quilting Placement Diagram

Winter Wonderland Quilting