McCall’s Quilting

Color Your World: Top Tips for Vibrant Quilts March/April 2023 Grow a Quilt Garden Fill Your Home with Flower Quilts Sew from Your Stash: Scarlet Garden 3 Scrap Quilts Trails by Marie Fuselier + QUILTINGDAILY.COM Create Dimensional Décor with Petal Pillows

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March/April 2023 Vol. 30, No. 2 C tents 4 Editor’s Letter Special Interest On the virtues of slowly growing. 38 Forever Flowers and Beyond 6 Contributors Make an art quilt using fussy cuts and basic patchwork techniques. Our colorful, creative quilt designers. 65 Warm Up Cool Down 8 Fresh Picks Explore how color can change the look of your quilts. Great new items to help you plan, cut, sew, and quilt. 68 I Love This Quilt: Rainbow Road 10 McQ&A A favorite quilt pattern gets another fresh The staff recount the beginning of new look. their quilting journeys. Quilt Basics 79 Index Find Quilt Basics for this issue at Everything in the issue, all at once. QuiltingDaily.com/quilt-basics-and-lessons 2 McCall’s Quilting March/April 2023

Patterns 12 46 12 Cider Mill 72 Two dynamic blocks make one great quilt. 20 Petal Pillow Give your home decor a pop of color, dimension, and style. 26 Whoopsie Daisy Lovely flowers bloom and grow, bloom and grow forever. 32 Scarlet Garden Trails Hexies and handwork in a classic red-and-white palette. 42 Sketchbook A quick, cool, modern throw ready for your creative vision. 46 Daisy Dreams Delicate details elevate this gorgeous quilt to heirloom status. 56 Mardi Gras Magic Colorful strips and fun techniques make magic together. 60 Matchstick Stars Let’s get happily scrappy to sew this one-block wonder. 72 Zigzag Fantasy Celebrate the coming of spring with this refreshing design. QuiltingDaily.com March/April 2023 McCall’s Quilting 3

From the Editor THE BEST OF AMERICAN QUILTING With the coming of spring comes the promise of new growth. Slowly but EDITORIAL surely, the winter snow melts into the ground, and tiny green shoots make EDITORIAL DIRECTOR Denise McKenna their way up through the earth to grow into a fabulous, fantastical variety of flowers, those eternal sources of color, joy, and inspiration. It happens EDITOR Gigi Levsen bit by bit, each plant growing imperceptibly each day—but the progress is CONTRIBUTING EDITORS Eileen Fowler remarkable when looking at the difference between a flower in bloom and the tiny sprout from which it grew. I find it much like quiltmaking, with Tracy Mooney each small step, many of them slow, repetitive, or requiring particular care, Valerie Uland a vital part of creating something beautiful. ADMINISTRATIVE ASSISTANT Megan Reece Whether I have patches to cut, lots of pieces to sew or press, a daunting, CREATIVE large top to quilt, or I’m just looking at my materials to plan the course of a GRAPHIC DESIGNER Chris Davis project, I try to focus on that one step completely to get the most out of my work and my intentions. I’m not literally smelling flowers, but I am trying PHOTOGRAPHER Molly Stevenson to slow down enough to consider my actions during each step and how CONTRIBUTING STYLIST Emily Smoot they’ll impact my project. BUSINESS And since it’s the time of year when the flowers start blooming, it’s a great DIRECTOR OF CONTENT Vivika Hansen DeNegre time for your creativity to bloom along with them! We encourage you to take the time to stop and smell the flowers (so to speak) with gorgeous quilt CREATIVE DIRECTOR Kerry Jackson projects from this issue—many of which are inspired by colorful florals of ACCOUNT EXECUTIVE Lisa Buelow all sorts. Not only do these quilts bloom with color and beauty, but each will give you a chance to grow your technical skills, your creativity, your [email protected] breadth of quilting experience, and your body of work. CHIEF EXECUTIVE DIRECTOR Jeff Litvack Take Daisy Dreams by Susan Geddes, for example, a beautifully scrappy CHIEF SALES OFFICER Farrell McManus project with lots of delicate hand-appliquéd details (which could easily be done by machine, if you prefer). Or Scarlet Garden Trails by Marie CHIEF CONTENT OFFICER Kate Lee Butler Fuselier, which she made both by hand and machine—including the subtle CHIEF MARKETING OFFICER Kim Greenlee embroidery accents in the appliquéd posies. VP, STRATEGY Andrew Flowers Jen Daly’s contribution, Whoopsie Daisy, is a cheerful, charming quilt NEWSSTAND SALES Ron Murray featuring two dynamic flower blocks sewn up in every color of the rainbow. Another terrific two-block floral-inspired pattern is Cassie Harms’ Cider [email protected] Mill, with its sweet flowery prints in bright spring colors. And speaking of color, you’ll find it all over the uniquely wonderful big blocks in Natalie McCall’s Quilting Vol. 30, #2 (ISSN 1072-8295), published bimonth- Crabtree’s Matchstick Stars, and brightening the world in the awesome, ly by Peak Media Properties, LLC, dba Golden Peak Media, 500 easy-to-sew Mardi Gras Magic designed by Preeti Harris. Golden Ridge Rd., Suite 100, Golden, CO 80401-9552. Periodicals’ postage paid at Golden, CO 80401 and additional mailing ofwces. Just as flowers grow in a garden and improve it, these quilt patterns will promote your growth as a quilter, especially if you slow down and savor EDITORIAL COMMENTS OR CONCERNS: every step of the process. [email protected] McCall’s Quilting, 500 Golden Ridge Rd., Suite 100, Golden, CO 80401 Happy quilting! BACK ISSUES: QuiltingDaily.com/go/mccalls-issues Gigi SUBSCRIPTIONS: To subscribe to McCall’s Quilting, renew your subscription or change the address of your current subscription, contact: McCall’s Quilting, PO Box 37869, Boone, IA 50037-0869 1-800-944-0736 (U.S.), 1-386-597-4387 (Int'l). Email: [email protected] SHOPS: If you are interested in carrying this magazine in your store, email [email protected]. ERRATA: Visit QuiltingDaily.com/errata if you suspect a problem Reproduction in whole or in part in any language without written permission from McCall’s Quilting is prohibited. No one may copy, reprint or distribute any of the patterns or material in this magazine for commercial use without written permission of McCall’s Quilting. Templates and patterns may be photocopied as necessary to make quilts for personal use only. Quilts made from any element of a McCall’s Quilting pattern may be publicly displayed at quilt shows or donated to charity with credit given to the designer and McCall’s Quilting magazine. POSTMASTER: Send address changes to: McCall’s Quilting, PO Box 37869, Boone, IA 50037-0869. Copyright ©2022 Golden Peak Media VISIT US ON THE WEB: QuiltingDaily.com Quilt Basics, the instructions for things you use often in quiltmaking, are available online. If you need help with a technique in any of the projects in this issue, scan this icon with your phone camera, or go to QuiltingDaily.com/quilt-basics-and-lessons. 4 McCall’s Quilting March/April 2023



Contributors Natalie Crabtree Jen Daly Marie Fuselier Natalie started her quilting journey in Jen is a quilt designer, author, and Etsy Marie enjoys designing traditional and 2014 and has never looked back. She loves shop owner who lives in New Hampshire. contemporary quilts, rarely making the same quilt twice. Teaching others to make fabric, color, and all things quilts. jendalyquilts.com Instagram: @njcrabtree quilts is her favorite thing to do. Susan Geddes Cassie Harms Preeti Harris Formerly the art director of Quilters Cassie Harms is a full-time quilter Born and raised in India, Preeti learned how Newsletter, Susan enjoys designing based out of Michigan. She specializes to thread her machine in 2012 and made her in custom designs, memory quilts, and first quilt in 2013. She loves bright colors and and making quilts for family, donations, and publication. social media content creation. enjoys improvisational piecing. cassieharmsdesigns.com sewpreetiquilts.blogspot.com Joanie Holton Judith Sandstrom Born and raised in Minnesota, As a long time designer and quilter, Joanie comes from a family of Judith has had over 100 published quilt designs. She has demonstrated products sewists and makers. for manufacturers and taught quilting Instagram: @joanielholton classes on cruise ships. also featuring Christine Barnes Christine is an author and creator dedicated to helping quilters learn how understanding and using color theory concepts can elevate their work. christinebarnes.com 6 McCall’s Quilting March/April 2023

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Fresh Picks •trends • tools • cool stu Famoré Rotary Cutter Handle After a year in development, Famoré has released its signature rotary cutter handle to work with its sharp, long-lasting blades—though it will work with any standard 45mm rotary cutter blade as well. The innovative feature on this handle is the screw and nut mechanism for attaching the blade designed with ball bearings, which significantly cuts down on friction; you don’t have to press down hard to cut through multiple layers of fabric, lessening hand fatigue. It’s currently available in an aqua/yellow colorway, with new color combinations expected to roll out later. famorecutlery.com Quilter’s Color Wheel Carry-All This sturdy, roomy tote not only has perfectly sized inner pockets for your cutting mat, rulers, and project essentials, but it also has plenty of space for extra fabric, templates, tools, books, and everyday essentials. The outside of the carry-all is bold and stylish, featuring a beautiful large color wheel and a variety of color theory lessons to reference on one side; the other side has reference charts for figuring backing yardage, how to sew on binding, and more essential quilting basics. You’ll be able to fit, organize, and transport everything you’ll need for one or more projects, all while indulging in your love of color, style, and practicality. ctpub.com Sparrow 30s by EverSewn This entry-level sewing machine has a slew of useful features that would satisfy even the most experienced quilters who require a lot from their tools. It comes equipped with an extensive 310-stitch library with decorative stitches up to 7mm wide and two alphabets. The integrated memory function allows multiple stitch combinations to be saved. It also features needle up/down programming, push- button thread cutting, 9 presser feet, included extension table, an LCD display screen with intuitive button adjustments, and much more. The stylish aqua color with bronze accents makes this versatile machine an instant classic. eversewn.com Scrappiness is Happiness by Lori Holt What’s better than making a stunning, colorful quilt? Making one with fabric you already have! This lovely book shares a whopping 32 quilt patterns in Lori’s signature sunny style, all just waiting for you to sew them up with your unique, personalized selection of scrap fabrics. Each quilt features a different block for lots of variety, and the book is sprinkled with Lori’s expert tips for making the various projects. Think of your fabric scraps as seeds that will grow into gorgeous, vibrant quilts! itssewemma.com 8 McCall’s Quilting March/April 2023

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McQ&A We asked the sta : Where did you learn to quilt? Tracy Mooney Editor of Quiltmaker and Quick + Easy Quilts I wanted to learn to quilt from the time I was four years old, but I only had garment makers in my family, so I didn’t have anyone to teach me. When I was pregnant with my first child in the early 90s, I had to go on bed rest. I watched e Great American Quilt with Penny Morris and Quilt in a Day with Eleanor Burns, both on PBS. My sister gave me a few yards of fabric and purchased the book Quilts! Quilts!! Quilts!!!: e Complete Guide to Quiltmaking by Diana McClun and Laura Nownes for me. Slowly but surely, I started making blocks by hand. Without those shows on PBS, I would not have learned proper techniques for making quilts, as it was years before I discovered quilt shops! Vivika DeNegre Content Director My approach to learning to quilt was through fits and starts . . . growing up, my neighbor was an amazing quilter and even owned a quilt shop. When I needed to make a gift for  a friend’s wedding, she loaned me a Quilt in a Day log cabin book by Eleanor Burns. Just like Eleanor, I ripped the fabric and tossed the leftovers over my shoulders! That quilt was well-loved, and is still in use after nearly 35 years. Eventually, I learned to use rotary cutters and stitch accurate quarter-inch seams by watching Alex Anderson on TV and through trial and error. And I am still trying to reach the quilting expertise of that neighbor whose work continues to inspire me! Kristine Lundblad Managing Editor of Quilting Arts My best friend was pregnant in the late ’80s, and I thought making her a baby quilt would be a nice gift. I found a class at a local shop; a “quilt in a day”-style class that seemed up my alley. And—are you ready—we TORE the strips; we did not use rotary cutters and mats! I finished the top in the class, learned how to make a quilt sandwich, and tied it together—I think I used yarn! The binding was the backing flipped to the front. I went on to make several quilts with this same pattern. Yes, I was making quilts and giving them as gifts, but I felt something was missing. Later, I took a mystery quilt class—the kind where you don’t know the final pattern/block arrangement, you just sew blocks and then put them together at a later point and the pattern is revealed in an ‘aha’ moment—and THAT was the spark that started my enthusiasm for quilting. It was fascinating to discover the role value played in a quilt, much more than color does! This led me to dig deeper into how to make a successful quilt, and that has been the challenging, satisfying journey for me in the years since those early quilts. 10 McCall’s Quilting March/April 2023

QuiltingDaily.com Vanessa Lyma Executive Producer of Quilting Daily Do you remember the show Family Matters, with that character, Steve Urkel? As a kid, I saw an episode that centered around an heirloom family quilt, one that had been passed down from Antebellum days. Maybe because we moved so much as a Navy family, I fell in love with the idea of a tangible piece of family history like that, something you could carry with you. Flash forward to college, where I met my friend, Ann. She came from a quilting family in Appalachia, the kind of family that had a handmade heirloom quilt on every bed. She offered to teach me to quilt. Over multiple bottles of wine and lots of laughs and now many years, I’ve learned to quilt from her. She had no idea what kind of fire she was starting! Valeire Uland Editor of Love of Quilting My Grandmother Lois was very talented in garment design and sewing; she made high-fashion wardrobe pieces and my mother’s and others’ wedding dresses. For my 17th birthday, she gifted me a previously-loved turquoise Singer Stylist sewing machine—a much-desired acquisition—which opened up a world of possibilities for me! I started sewing garments, but just before my wedding, I happened upon a pattern for a wedding ring quilt. I pored over the tips and techniques in the brochure and enjoyed the fun of selecting fabrics and the challenge of piecing them together (as well as the fact that the finished product need not fit a body!). From then on, I continued to learn quilting from every book I could find, and I’m still amazed and intrigued to learn and discover ways we can express our unique creativity through making quilts! Eileen Fowler Associate Editor While I was in college, I found a sheet set printed to look like a quilt. I layered the flat sheet with batting and another flat sheet, whipstitched the edges, then tied it with yarn. It was the best I could do without instructions. Many years later, my sister signed us both up for an intensive quilting class at a local fabric store. Our instructor had us choose patterns from Quilts! Quilts!! Quilts!!!: e Complete Guide to Quiltmaking by Diana McClun and Laura Nownes. There were probably six classes altogether, each focusing on the various quilting skills needed—from selecting fabrics to finishing. Our projects were far from perfect, but we haven’t stopped quilting! Gigi Levsen Editor of McCall’s Quilting While I have a lot of sewing experience, it was all garment sewing—first with my mom and sister, then in college, as I pursued a degree in fashion design. After a period of not sewing much at all, I wanted to get back into it, but I wasn’t interested in making something to wear and customizing the pattern to fit me. I had the idea that making a quilt would be just the thing to satisfy my sewing itch so I got a quilting book from the library and used that to learn about the process and make my first quilt. I was immediately hooked and started learning as much as I could, both from books and online, and started building all the skills I’d need to make any quilt I wanted. Since then, I have always had at least one quilt project (often many more) in progress, going on 15 years! March/April 2023 McCall’s Quilting 11

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QuiltingDaily.com Cider Mill Dynamic blocks bloom before your eyes. Quilt Designed & Made by Cassie Harms Skill Level Intermediate Finished Size 76\" x 89\" Finished Blocks 15 Block Y 12\" x 12\" 15 Block Z 12\" x 12\" “I absolutely love star block variations,” Cassie said. “Eight-point stars are my favorite to piece. I think they lend themselves to some really great classic looks that can be added to and changed to look really fresh and modern. The spring florals of this particular design brighten up a quilt that I initially had designed to be more traditional in its coloring. You could also make this quilt super scrappy to save money on fabric; it’s a very flexible design that allows quilters to express their creativity. I would love to see how this design would look with a dark background to pop out different patches in the stars. Someone out there—please make this in patriotic colors! I feel like every quilter I know has a preferred palette they love to work with, and this is a design that is truly versatile to match the signature style of any quilter—at any skill level!” March/April 2023 McCall’s Quilting 13

Planning The blocks in the quilt are chock full of triangle-squares and seams, so an ac- curate ¼\" seam allowance is essential to ensure all elements fit together well. Fabric Requirements Fabric yardage assumes 40\" usable width of fabric (WOF) unless otherwise noted. • White solid 2⅝ yds. for blocks and sashes • Pale green print 1⅛ yds. for blocks • Navy small floral 2⅜ yds. for blocks, border 2, and binding • Peach print 1½ yds. for blocks and cornerstones • Medium green print ⅝ yd. for blocks • Rust print 1⅛ yds. for blocks, border 1, and cornerstones • Navy large floral 1⅛ yds. for border 3 • Backing 7½ yds. • Batting 84\" x 97\" NOTE: Fabrics in the quilt shown are from the Blossom by Christopher Thompson, Daisy Fields by Emma McCullough, and Emma by Citrus & Mint Designs collec- tions, all from Riley Blake Designs. Batting: Warm & Natural from the Warm Company. 14 McCall’s Quilting March/April 2023

Cutting Instructions Piecing the Blocks 2 Continuing with the triangle-square Patches are lettered in order of use. Mea- 1 Referring to Triangle-Squares in Quilt technique and referring to Diagram II-A, surements include ¼\" seam allowances. use peach print B’s with navy small Basics and to Diagram I-A, use white floral B’s to make 60 unit 3’s as shown. = cut in half once diagonally solid A’s and pale green print A’s to make 120 unit 1’s as shown. • White solid Unit 1 Unit 3 60 squares 3⅞\" (B) Make 120 Make 60 120 squares 2⅜\" (A) 60 squares 2⅜\" cut to make 120 Diagram I-A Diagram II-A triangles (D) In the same way and referring to Dia- Similarly, referring to Diagram II-B, 60 squares 2\" (C) gram I-B, pair white A’s and navy small make 60 unit 4’s with white and small 49 rectangles 1½\" x 12½\" (F) floral A’s to make 120 unit 2’s as shown. navy floral B’s, 60 unit 5’s with white and medium green print B’s, 60 unit 6’s • Pale green print with pale green and peach B’s, and 60 unit 7’s with pale green and rust 60 squares 3⅞\" (B) print B’s as shown. 60 squares 2⅜\" (A) Unit 2 Unit 4 Unit 5 Unit 6 Unit 7 • Navy small floral Make 120 Make 60 Make 60 Make 60 Make 60 8 strips 2½\" x WOF for border 2 Diagram I-B Diagram II-B 10 strips 2¼\"–2½\"-wide (as preferred) x WOF for binding 60 squares 3⅞\" (B) 60 squares 2⅜\" (A) • Peach print 60 squares 3⅞\" (B) 60 squares 3⅞\" cut to make 120 triangles (E) 10 squares 1½\" (G) • Medium green print 30 squares 3⅞\" (B) 60 squares 2\" (C) • Rust print 8 strips 1½\" x WOF for border 1 30 squares 3⅞\" (B) 60 squares 2⅜\" cut to make 120 triangles (D) 10 squares 1½\" (G) • Navy large floral 9 strips 3½\" x WOF for border 3 QuiltingDaily.com March/April 2023 McCall’s Quilting 15

3 Referring to Diagram III, join 2 unit 1’s, 4 Referring to Diagram IV-A, sew to- In the same way, referring to Dia- gram IV-B, join unit 2’s and patches to 1 white C, and 1 medium green C as gether 1 unit 2, 1 white D, 1 rust D, and make 60 section 3’s as shown, noting it shown to make section 1. Make 60 sec- 1 peach E as shown to make section 2. is mirror image to section 2. tion 1’s. Make 60 section 2’s. Section 3 C D Make 60 Diagram IV-B C ED Section 1 Make 60 Section 2 Make 60 Diagram III Diagram IV-A 16 McCall’s Quilting March/April 2023

5 Referring to Diagram V and not- 7 Sew together 4 section 1’s, 4 section 2’s, 8 Referring to Diagram VIII and watch- ing unit orientation, join 4 unit 3’s 4 section 3’s, and 1 Pinwheel as shown ing section orientation, join 4 sec- as shown to make Pinwheel. Make in Diagram VII to make block Y. Make tion 4’s as shown to make block Z. 15 Pinwheels. 15 block Y’s. Make 15 block Z’s. Pinwheel Block Y Block Z Make 15 Make 15 Make 15 Diagram V Diagram VIII Diagram VII 6 Referring to Diagram VI, join 1 each March/April 2023 McCall’s Quilting 17 unit 4–7 as shown to make section 4. Make 60 section 4’s. Section 4 Make 60 Diagram VI QuiltingDaily.com

Assembling the Quilt Top 10 Refer to Borders in Quilt Basics. Quilting and Finishing NOTE: Refer to Assembly Diagram for fol- Join rust border 1 strips and cut to 11 Layer, baste, and quilt. Cassie ma- lowing steps, watching block placement. sizes shown in Assembly Diagram. Matching centers and ends, sew bor- chine quilted an allover floral and leaf 9 Sew 6 block rows of 5 blocks and der 1 side strips to quilt; repeat to add top and bottom strips. Add navy small motif. Bind the quilt. 4 white F’s each as shown. Sew 5 sash floral border 2 and navy large floral rows using 5 white F’s, 2 rust G’s, and border 3 in the same way. 2 peach G’s as shown, watching color placement of the G’s. Join block rows 3½\" x 76½\" alternately with sash rows to complete quilt center. 2½\" x 70½\" 1½\" x 66½\" 3½\" x 83½\" 2½\" x 79½\" 1½\" x 77½\" Assembly Diagram 18 McCall’s Quilting March/April 2023

Color Your Way The two blocks in Cider Mill work so well together, but you might try playing around with color and value placement to see what different effects you can create. You might even consider making two or more differ- ent colorways of each block to stretch your creativity even further. QuiltingDaily.com March/April 2023 McCall’s Quilting 19

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Petal Pillow Grow gorgeous, dimensional flowers to decorate your home. Quilt Designed & Made by Joanie Holton Skill Level Easy Finished Size 15\" x 15\" NOTE: See end of pattern for templates A–C. “When we moved to our home we Planning were excited to have a three-season porch,” Joanie said. “I wanted to Our pattern is for the pillow with the make some decor for the porch gray print background and green flower. that was fun and bright, like our Joanie fused two different fabrics together backyard. These pillows were with fusible interfacing (a lightweight, inspired by my love of outdoor double-sided variety), then cut out the flower gardens and the work I’ve petal shapes. The petals can then be done to plant new flower beds placed with either print facing up, mak- at our home over the years. I did ing this project e cient, quick, and easy the petals in 3D so they jumped to complete. off the pillows; it gave just the pop of detail I was looking for! Joanie did not use any batting in her I’ve worked with Steam-a-Seam pillow, but feel free to include batting if for other appliqué projects and you’d like to give your pillow a bit more found it worked well to make the structure. Your batting should be a double-sided petals.” minimum of 18\" square, and you could use an 18\" square from a spare fat quarter for the backing. You may wish to layer the backing, batting, and background fabric, then quilt that sandwich before adding the dimensional petals. You might also consider making two petal panels and sewing up a tote bag with them! QuiltingDaily.com March/April 2023 McCall’s Quilting 21

Fabric Requirements Cutting Instructions Fabric yardage assumes 40\" usable width Patches are lettered in order of use. Mea- of fabric (WOF) unless otherwise noted. surements include ¼\" seam allowances. Fabric requirements and pattern instruc- tions are for one pillow. • Green stripe and green floral • Green stripe and green floral Read Step 1 ⅜ yds. each for petal appliqué • Gray print • Gray print 1 square 15½\" (D) 2 rectangles 10¾\" x 15½\" (E) ½ yd. for background and envelope backing • Lightweight double-sided fusible interfacing • 15\" pillow form NOTE: Fabrics in the pillows shown are from the Chambray and Chambray Dots collections, both by Tilda Fabrics. 22 McCall’s Quilting March/April 2023

Making the Pillow Front 1 Place green stripe fabric face down on flat surface; arrange lightweight fusible interfacing on wrong side of stripe fabric, then lay green floral fabric on top, right side up. Use a press cloth and fuse fabrics together. From fused fabrics, cut 5 template A, 14 template B, and 1 template C. Refer- ring to Diagram I, place 5 A’s, stripe side up as shown, on gray print D. Pin in place then stitch around bottom of A’s to secure. Similarly, arrange 5 B’s, floral side up as shown, then 5 more B’s with stripe side facing up as shown. Stitch around center, close to bottom of B’s to secure in place. Fold a small pleat in the bottom of each remaining B and secure pleats with a few small stitches. Arrange pleated B’s around center as shown, floral side up; stitch around center to se- cure in place. Make sure your stitches will be hidden under C when it's placed in the center. Finally, place C in center, stripe side up; stitch close to edge of C to secure and com- plete pillow front. Stitch random lines across C if desired. D Pillow Front Assembling the Pillow Make 1 2 Referring to Diagram II, fold one long edge of gray E ¼\" in as Diagram I shown and press. Fold edge in 1\" and press again; stitch close QuiltingDaily.com to fold to complete envelope backing panel. Make 2 back- ing panels. Place pillow front on flat surface, right side up. Arrange backing panels on top of pillow front, right sides together, overlapped finished edges facing the center, and raw edges aligned. Sew all layers together with ¼\" seam. Clip corners and turn right side out through envelope back- ing. Press edges and insert pillow form. ¼” 1” E E Diagram II March/April 2023 McCall’s Quilting 23

Petal Pillow Template C Petal Pillow Template B Petal Pillow Template A 24 McCall’s Quilting March/April 2023

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26 McCall’s Quilting March/April 2023

Whoopsie Daisy Use your favorite fabrics as seeds and stitch and yourself a fabulous flower garden. Quilt Designed & Made by Jen Daly Skill Level Intermediate Finished Size 64½\" x 76½\" Finished Blocks 18 Block Y 7½\" x 13½\" 17 Block Z 7½\" x 13½\" “I designed this quilt for spring,” Planning brown print for the flower centers. Each Jen said, “but with brighter colors, block uses the same assorted green print it would be perfect for summer, Speaking of quilter’s choice, take a mo- for a matching stem and leaves. If you too! The oversized flowers are the ment to study the photos of Jen’s quilt to want to use fat quarters for the assorted stars of this quilt and provide a note her color placement. Each block Y green prints, you’ll need at least five. Plan great opportunity to use scraps flower uses 2 assorted prints for the pet- your fabric placement before cutting your from your stash to make a color- als and 1 gold print for the flower center; fabric to create a similar look to Jen’s, and ful garden. It’s a simple layout the 2 assorted prints are in the same col- keep matched sets of patches together with only two repeated and or family. Each block Z flower also uses 2 until you sew the blocks. alternated blocks, but the varying assorted prints in the same color family heights add movement, and the for the petals, plus a gold print and the bright prints make it so cheerful. I can imagine this quilt being suc- cessful in any color palette—quil- ter’s choice!” QuiltingDaily.com March/April 2023 McCall’s Quilting 27

Fabric Requirements Cutting Instructions • Assorted green prints Fabric yardage assumes 40\" usable width Patches are lettered in order of use. Mea- cut 18 sets of: of fabric (WOF) unless otherwise noted. surements include ¼\" seam allowances. 2 matching squares 3½\" (C) • Assorted bright prints • Assorted bright prints* 1 matching rectangle 2\" x 8\" (E) 1⅝ yds. total for blocks cut a total of: and cut 17 sets of: 18 squares 3½\" (C) for block Y • White print 2 matching squares 3½\" (C) and cut 17 sets of: 1 matching rectangle 2\" x 6½\" (G) 4¼ yds. for blocks, sashes, and border 4 matching squares 3½\" (C) for block Z • Assorted gold prints • Assorted green prints and cut 18 sets of: 2 matching rectangles 2¾\" x 3½\" (A) cut a total of: 1¼ yds. total for blocks for block Y 18 rectangles 2\" x 8\" (E) • Assorted gold prints and cut 17 sets of: 4 matching squares 2\" (D) for block Z and cut 17 sets of: ⅝ yd. total for blocks • White print 4 matching squares 2\" (D) • Brown print 8 strips 2\" x WOF for border • Brown print 1 fat eighth* for block Z 36 rectangles 3½\" x 5\" (F) 70 squares 3½\" (C) 17 squares 2\" (D) • Red print 30 rectangles 2\" x 14\" (H) 46 rectangles 2\" x 8\" (E) • Red print 1 fat quarter** for cornerstones 412 squares 2\" (D) 108 squares 1¼\" (B) 24 squares 2\" (D) • Blue print • Blue print ¾ yd. for binding 8 strips 2¼\"–2½\" (as preferred) x WOF • Backing for binding 5⅛ yds. *Read Planning. • Batting 73\" x 85\" *fat eighth = 9\" x 20\" **fat quarter = 18\" x 20\" NOTE: Fabrics in the quilt shown are from the Prairie collection by Lori Holt, and Bee Basics, both for Riley Blake Designs. 28 McCall’s Quilting March/April 2023

Piecing the Blocks 2 Referring to Diagram II-A and con- 3 Referring to Diagram III, join 2 match- 1 Referring to Stitch-and-Flip in Quilt tinuing with the stitch-and-flip tech- ing unit 1’s, 1 unit 2, and assorted gold nique, join white D’s to each corner of print E as shown. Use the stitch-and- Basics and to Diagram I-A, join white assorted bright C as shown to make flip method to sew white C’s to top print B’s to two corners of assorted unit 3. Make 17 sets of 4 matching corners of joined E/units as shown to bright print A as shown to make unit 1, unit 3’s total. make section. Make 18 sections total. paying close attention to orienta- tion of A. Make 18 sets of 2 matching D E unit 1’s total. C U1 Unit 2 A D B CC Unit 1 Unit 3 Section Make 18 sets Make 17 sets Make 18 of 2 matching of 4 matching Diagram III Diagram I-A Diagram II-A Using the same technique and refer- Use the stitch-and-flip technique, as- ring to Diagram I-B, join white B’s to sorted green print C’s, and white D’s to two corners of assorted bright C as make 35 sets of 2 matching unit 4’s as shown to make unit 2. Make 18 unit 2’s shown in Diagram II-B. total. C Unit 4 B Make 35 sets of 2 matching Unit 2 Make 18 Diagram II-B Diagram I-B March/April 2023 McCall’s Quilting 29 QuiltingDaily.com

4 Referring to Diagram IV, sew together 5 Referring to Diagram V, join 4 match- Assembling the Quilt Top 1 section, 2 matching unit 4’s, 1 corre- ing unit 3’s, 4 matching bright print D’s, NOTE: Refer to Assembly Diagram for fol- sponding green print E, 1 white E, and 4 matching gold print D’s, 1 brown lowing steps, watching block placement. 2 white F’s as shown to make block Y. print D, 2 matching unit 4’s, 1 corre- Make 18 block Y’s total. sponding green print G and 2 white C’s 6 Join 7 blocks alternately with 6 white H’s as shown to make block Z. Make E 17 block Z’s total. as shown to make a block row. Make 5 block rows total. Make 4 sash rows F D of 7 white E’s and 6 red print D’s each E D as shown. Join block rows alternately D with sash rows as shown to complete Block Y quilt center. Make 18 total C Diagram IV G 7 Refer to Borders in Quilt Basics. Join Block Z white border strips and cut to sizes Make 17 total shown in Assembly Diagram. Match- ing centers and ends, sew border side Diagram V strips to quilt; repeat to add top and bottom strips. Quilting and Finishing 8 Layer, baste, and quilt. Jen machine quilted allover Baptist fans. Bind the quilt. Color Play! Using Moonlit Garden by Patty Sloniger for Andover Fabrics, we doubled the size of the blocks and used the extra triangle-square units made from the D patch stitch-and-flip corners to make a cute little blooming bud and some pin- wheel stars to pair with our big flowers. To make your own double-size blocks you'll need to cut the patches at: A: 5\" x 6½\" B: 2\" C: 6½\" D: 3½\" E: 3½\" x 15½\" F: 6½\" x 9½\" G: 3½\" x 12½\" Follow the written instructions to sew your double-size blocks. When you sew the stitch-and-flip corners with the D patches, sew another line ½\" from the original lines. Cut between the sewn lines to create the stitch-and-flip cor- ner and a triangle-square unit. Trim all D patch triangle-squares from unit 3's and 4's to 2¾\". Trim the large C patch triangle-squares from sections to 5¾\"; join 3\" stitch-and-flip squares to one corner of each to make the little bud block. Visit us at QuiltingDaily.com to get the background fabric patch sizes to make an adorable baby quilt. 30 McCall’s Quilting March/April 2023

2\" x 65\" H H ED 2\" x 74\" QuiltingDaily.com Assembly Diagram March/April 2023 McCall’s Quilting 31

32 McCall’s Quilting March/April 2023

Scarlet Garden Trails A classic pattern, a classic palette, an instant classic for you and your family. Quilt Designed & Made by Marie Fuselier Skill Level Intermediate Finished Size 67⅜\" x 67⅜\" Finished Blocks 13 Block X 10⅛\" x 10⅛\" 6 Block Y 10⅛\" x 10⅛\" 6 Block Z 10⅛\" x 10⅛\" NOTE: See end of pattern for template A. “Don’t you love red and white Planning quilts?” asked Marie. “I had such fun making this quilt; it Marie used fat quarters for the assorted Study the quilt photos closely and note reminds me of a special friend red prints in the blocks—one fat quarter the fabric placement. There are a total who gave me the template used will make two hexagon posy blocks, of 13 block X—6 sets of 2 matching in the project. My first challenge and two fat quarters will make six tulip and 1 unique block using 7 red print was learning how to handpiece blocks. Assorted whites were used for fat quarters. Block Y and block Z are the hexagon posy. After making the posy centers and solid white for the identical except for the assorted red print a couple by hand, I decided to background and sashes. If you choose not placement; there are 6 of each using a make them by machine. I added to use fat quarters, you will need a total of total of 4 fat quarters. The hand- and hand embroidery to the center of 1⅞ yards of assorted red prints. machine-embroidered details on block X some posies and used decorative are subtle but add extra style and pizzazz; machine stitches for some. The Read our English paper piecing sidebar do likewise if you wish. embroidery is optional but adds for more information and best practices a special touch.” for preparing and joining the A template hexagons by hand. QuiltingDaily.com March/April 2023 McCall’s Quilting 33

English Paper Piecing Fabric Requirements Cutting Instructions Make card stock templates for A by Fabric yardage assumes 40\" usable width Patches are lettered in order of use. Mea- tracing directly on the stitch line. Pin of fabric (WOF) unless otherwise noted. surements include ¼\" seam allowances. card stock template to wrong side of fabric and trim excess fabric, leaving a • 11 Assorted red prints • 11 assorted red prints generous ¼\" seam allowance. Fold fabric over first edge of template, 1 fat quarter* each for blocks cut from each of 6 fat quarters: then miter corner and fold fabric over adjacent edge, holding securely in • Assorted white-on-white prints 12 template A place. Pull thread through miter, leav- ing a short tail with no knot (Fig. 1). ⅜ yd. total for hexagons cut from 1 fat quarter: DO NOT stitch through paper, only fabric. Backstitch to secure and repeat • White solid 6 template A on all corners of the hexie. When all hexies are prepared as 3⅛ yd. for bands, blocks, sashes, and cut from each of 4 fat quarters: described, they’re ready to be whip- border 1 stitched together. Beginning with cen- 12 squares 3⅛\" (C) ter and 1 side hexie, place right sides • Dark red tonal 12 squares 2¾\" (D) together and whipstitch with small stitches, catching just a few threads ⅜ yd. for bands and cornerstones • Assorted white-on-white prints on each hexie (Fig. 2). Position the next side hexie and • Red floral cut a total of: whipstitch to 1 side of adjoining hexie (Fig. 3). Complete set-in seam by 1⅞ yds. for border 2 and binding 13 template A whipstitching remaining folded edges together, and continue joining hexies • Template plastic • White solid in the same way to complete a unit. • Cardstock • Red embroidery floss (optional) 11 strips 1⅝\" x WOF for bands and Fig. 1 • Backing border 1 Fig. 2 4⅝ yds. 13 squares 11⅛\" (B) 48 squares 3⅛\" (C) Fig. 3 • Batting 40 rectangles 1⅝\" x 10⅝\" (G) 48 rectangles 1⅝\" x 5\" (E) 76\" x 76\" *fat quarter = 18\" x 20\" • Dark red tonal NOTE: Fabrics in the quilt shown are from 4 strips 1⅝\" x WOF for bands the designer’s personal stash of fabric, 28 squares 1⅝\" (F) except the print in border 2 and binding which is from The Flower Farm collection • Red floral by Bunny Hill Designs for Moda Fabrics. 7 strips 5½\" x WOF for border 2 8 strips 2¼\"–2½\"-wide (as preferred) x WOF for binding Batting: Warm & White from The Warm Company 34 McCall’s Quilting March/April 2023

Piecing the Blocks 2 Referring to Diagram II, join 1 white 4 Referring to Triangle-Squares in Quilt 1 Referring to English Paper Piecing and 1 dark red tonal 1⅝\" x WOF strips Basics and to Diagram IV-A, use 1 set as shown to make band. Make 4 bands of 12 matching assorted red print C’s sidebar and to Diagram I, prepare and cut into segments 1⅝\"-wide to with white C’s to make 24 unit 2’s as 1 set of 6 matching A’s from assorted make 96 unit 1’s as shown. shown. red prints and 1 assorted white- on-white print A for English paper 1⅝\" Unit 2 piecing; join prepared A’s as shown. 1⅝\" x WOF Make 24 Fold white solid B in half vertically and Diagram IV-A horizontally and lightly finger press Unit 1 Band the folds. Using folds as a guide, center Cut 96 Make 4 Using the same technique and refer- joined A’s to B as shown, and appliqué ring to Diagram IV-B, use remaining in place using hand or machine blan- Diagram II sets of matching red C’s with white C’s ket stitch. Add hand or machine em- to make 24 each of units 3–5 as shown. broidery to center white A if desired. 3 Referring to Diagram III, join 2 unit 1’s Center and trim B to 10⅝\" square to complete block X. Make 6 sets of 2 to make Four-Patch as shown. Make 48 matching block X’s plus 1 additional Four-Patches. block X, for a total of 13 block X’s. AA Four-Patch Unit 3 Unit 4 Unit 5 B Make 48 Make 24 Make 24 Make 24 Diagram III Diagram IV-B Block X March/April 2023 McCall’s Quilting 35 Make 6 sets of 2 matching plus 1 additional Trim to 10⅝\" x 10⅝\" Diagram I Blanket Stitch QuiltingDaily.com

5 Join 1 Four-Patch, 2 unit 2’s, and 1 6 Referring to Diagram VI-A, join 2 sec- In a similar manner and referring to Diagram VI-B, make 6 block Z’s using corresponding red D as shown in tion 1’s, 2 section 2’s, 4 white E’s, and section 3’s, section 4’s, white E’s, and Diagram V-A to make section 1. 1 dark red F as shown to make block Y. dark red F’s as shown. Make 12 section 1’s. Make 6 block Y’s. E EF Section 1 Block Z Make 12 Make 6 Diagram V-A Diagram VI-B Similarly, referring to Diagram V-B Block Y and using corresponding sets of units Make 6 and D’s, make 12 section 2’s, 12 sec- Diagram VI-A tion 3’s, and 12 section 4’s as shown. Section 2 Section 3 Section 4 Make 12 Make 12 Make 12 Diagram V-B Scarlet Garden Trails Template A 36 McCall’s Quilting March/April 2023

Assembling the Quilt Top 8 Refer to Borders in Quilt Basics. Join Quilting and Finishing NOTE: Refer to Assembly Diagram for white border 1 strips and cut to sizes 9 Layer, baste, and quilt. Marie ma- following steps, watching block placement. shown in Assembly Diagram. Match- ing centers and ends, sew border 1 chine quilted blossoms and leaves in 7 Make 5 block rows of 5 blocks and side strips to quilt; repeat to add top block X’s and gently curving motifs to and bottom strips. Repeat to add red complement the piecing in blocks Y 4 white G’s each as shown. Make floral border 2. and Z. Bind the quilt. 4 sash rows of 5 white G’s and 4 dark red F’s each as shown. Join block rows alternately with sash rows to complete quilt center. 5½\" x 67⅞\" 1⅝\" x 57⅞\" G GF 5½\" x 57⅞\" 1⅝\" x 55⅝\" QuiltingDaily.com Assembly Diagram March/April 2023 McCall’s Quilting 37

Forever Flowers and Beyond BY GIGI LEVSEN You don’t need an arsenal of art supplies and unusual tech- niques to make an art quilt. Specific fabric selection and fussy cutting can make the fabric do the heavy lifting on a quilt design —all you have to do is sew the patches together! I designed Forever Flowers because I was interested in making a pictorial quilt that used traditional piecing techniques. It looks like a vase of fresh flowers sitting on a table, but it is made with simple rotary-cut patches and straight seams. The trick is to choose prints and fabrics that contribute to the illusion that your quilt is a picture. The most important step in making this pattern is choosing your fabrics. Cut- ting each patch with a specific print and purpose in mind is what makes the pattern look like a vase of flowers rather than a series of rectangles, squares, and half-square triangles. The fabrics you choose for the background are just as important as the floral fussy cuts of the bouquet since they provide au- thenticity to the image as a whole. 38 McCall’s Quilting March/April 2023

1 To start, select two background 2 fabrics, a solid and a print (1). I generally choose a solid in a light 3 or pastel color simply because most people paint their walls in a ROTARY CUTTING 4 light color so it makes the image more believable. The background Measurements include G˝ seam print should have a similar color allowances. Align arrows with ground as the solid but with a lengthwise or crosswise grain of fabric. scattered floral print. The solid background will be used on the A 4H˝ B C bottom of the image, and the back- 2H˝ C 2M˝ ground print will surround the bouquet at the top. This will make 2H˝ 2M˝ the bouquet appear larger and fuller, as if the flowers are thinning 4H˝ out toward the top and the wall is visible through the foliage. D 4H˝ E 8H˝ MATERIALS AND CUTTING 2H˝ 6H˝ For the vase, I look for fabric that Requirements are based on 40\" fabric width. reminds me of glass or ceram- QUILT SIZE: 18\" x 18\" ics— though you could get creative with this patch (2). Choose a fabric MATERIALS YDS. CUTTING that contrasts pleasantly with your background color, ideally one with Background Solid ¼ 4 C, 2 D, 2 F a bit of white in it, which will give 5 B, 14 C the impression of the shine and Background Print 1⁄8 1E sparkle of glass or crystal. Prints 2 B, 2 G with a vertical sinuous stripe tend Vase Print ¼ or scrap 3 A, 8 B, 14 C to look very elegant in this applica- 2 strips 2¼\" x 40\" tion, and metallic accents can be F 5H˝ Table Print 1⁄8 1 panel 22\" x 22\" a nice touch also. For the table, a 6H˝ 22\" x 22\" print that looks like wood grain, G 3H˝ Assorted Floral Prints ¼ granite, or marble is ideal (3). 6H˝ Binding* ¼ For your assorted floral prints, you can use a limited palette for Backing 2⁄3 your flowers or every color you can find—because your background Batting fabrics have already been coor- dinated, it will look lovely either *For quilt without envelope pillow case way (4). FOR OPTIONAL ENVELOPE BACK PILLOW CASE Once the supporting fabrics have been selected, cut the patches Assorted Floral Prints scraps 1 A, 12 B, 4 C listed in the Materials and Cut- ting box and shown in the Rotary Cutting diagrams. For the A and B patches, fussy cut flowers from the assorted floral print fabrics; to reduce waste, use the scraps that are left over from the fussy cutting for the C’s. I usually cut more A, B, and C patches than I need because I like having choices. Green Prints 1⁄3 2 panels 11\" x 18½\" QuiltingDaily.com March/April 2023 McCall’s Quilting 39

Draw a diagonal line from corner to cor- 5 6 ner on each of the table print B’s. Join the table print B’s to the E with stitch-and-flip piecing by sewing on the drawn line (5). Trim the seam allowance to ¼˝ and press open. Referring to the Quilt Assembly dia- gram, join the E unit with the F’s and the G’s as shown to construct the bottom half of the composition. It’s much easier to figure out the arrangement of your flower patches when the bottom of the quilt is in one piece. On a design wall or flat surface and referring to the Quilt Assembly diagram, arrange your floral fussy-cut patches in rows, remembering that your background solid and background print fabrics will surround them (6). Pay attention to color placement and try to get a nice, even distribution. The C’s help to break up the composition so it doesn’t look like you have regimented rows of flowers; intersperse them with the B’s until the arrangement pleases you. Join the patches into rows, then join the rows. Join the rows of flowers to the bot- tom half you completed earlier (7). 9 10 40 McCall’s Quilting March/April 2023

78 Mark quilting motifs as desired. Layer the backing, batting, and quilt top; baste. Quilt C A the marked motifs or as desired. You can C bind the quilt to make a wall hanging, or B turn it into a pillowcase, which is what I A did. If you have leftover A’s, B’s, and C’s, you can use them to create a decorative border D for the envelope back if you choose to make a pillowcase (8). FEF I played around with this pattern by mak- G G ing Forever Flowers in multiple colorways B B (9, 10), which made me think of the other design possibilities that this pattern QUILT ASSEMBLY contains. Quilters know that fabric and color choices are the best way I created an abstract black-and-white to personalize any quilt pattern. In this case, fabric selection composition, mainly to illustrate the idea is crucial to making the pattern work. Fortunately, with the that the fabric choices really make the variety of prints and fabrics available today, creative options design work as an image (11). The image become limitless. Simple geometric shapes can become a turns into a study of value and pattern. bursting bouquet or a shady tree when you look at commercial fabrics for what they could become, rather than what they are. Another iteration of the pattern is the tree design (12). Following the same fab- ric selection process as described above, I made an image of a tree in a meadow. The G’s become the foreground, the E becomes a tree trunk, the background becomes a landscape, and the flowers become leaves. The main change I made to the pattern was to do the stitch-and- flip piecing on the G’s as opposed to the E. I also added branches by cutting the F’s and inserting 1˝ strips, which does not change the proportions of the F. I eliminated the A patches and used only B’s and C’s for the leaves of the tree. The same pattern created an entirely different image simply because different fabrics were chosen. 11 12 QuiltingDaily.com March/April 2023 McCall’s Quilting 41

42 McCall’s Quilting March/April 2023

Sketchbook This breezy design is definitely not your mother’s patchwork! Quilt Designed Joanie Holton and Melanie Greseth for Tailormade by Design Made by Vicki Swanson Machine Quilted by Naomi Polzin Skill Level Intermediate Finished Size 57˝ x 71˝ Sketchbook is a home dec accent sure to intrigue visitors and fam- ily alike. Planning Fabric Requirements • Gray solid (piecing, pieced border) This elegant, sophisticated quilt showcas- Fabric yardage assumes 42\" usable width of ⅜ yd. es bold, large-scale prints in a fresh, mod- fabric (WOF) unless otherwise noted. ern way. Fabric strips of various widths • White solid (piecing) are sewn to a large triangle and trimmed • Aqua print (piecing) to create the quilt center. A simple pieced ¼ yd. border finishes the design. 1⅛ yds. • Light green print (binding) • Aqua/green stripe (piecing, pieced border) ¾ yd. ¾ yd. • Backing • Multicolor check (piecing, pieced border) 3⅞ yds. 1¼ yds. • Batting size • Aqua solid (piecing, pieced border) 66˝ x 80˝ ¼ yd. • Cream large floral (piecing) 1⅝ yds. QuiltingDaily.com March/April 2023 McCall’s Quilting 43

Cutting Instructions Piecing the Quilt Center Patches are lettered in order of use. Mea- NOTE: Refer to Diagram I for following steps. surements include ¼\" seam allowances. 1 Sew aqua/green stripe WOF strip to short side of aqua print • Aqua print 34˝ half-square triangle. Sew aqua/green stripe WOF strip to *1 square 34˝ x 34˝ adjacent short side to make pieced unit. In same manner, add strips to pieced unit up to and including 3rd multicolor check • Aqua/green stripe 45˝ strip. 2 strips 3½˝ x width of fabric (WOF) 2 Finger-press aqua/green stripe 36˝ strip, aqua print trap- **1 strip 2˝ x 51˝, pieced from ezoid, white solid 18˝ strip, and cream large floral 14˝ strip in half. Matching folds and watching placement, sew together 2 WOF strips to form pieced corner. Make 2. Sew to quilt, centering on multicolor check strips. **1 strip 2˝ x 26˝ **1 strip 2˝ x 24˝ 2 strips 1¾˝ x 36˝ 3½˝ x WOF • Multicolor check 5¼˝ x WOF 1¾˝ x WOF 3 strips 5¼˝ x 45˝, pieced from 12½˝ x WOF 4 WOF strips 3 strips 5¼˝ x WOF **1 strip 2˝ x 36˝ ***1 strip 2˝ x 22½˝ **1 strip 2˝ x 21˝ 1¾˝ x WOF **1 strip 2˝ x 10˝ • Aqua solid ***1 strip 2˝ x 31½˝ **2 strips 1¾˝ x WOF 34˝ 1¾˝ x 36˝ • Cream large floral 1 strip 12½˝ x 52˝, pieced from 2 WOF strips 5¼ x WOF 1 strip 12½˝ x WOF 3½˝ x WOF 5¼˝ x 45˝ 1 strip 3½˝ x 44˝, pieced from 2 WOF strips 3½˝ x WOF 5¼˝ x WOF 1 strip 3½˝ x WOF 1¾˝ x WOF See cutting diagram 3¼˝ x 18˝ 2 strips 6˝ x 14˝ 6˝ x 14˝ • Gray solid **2 strips 2˝ x 26˝ 12½˝ x 52˝ 2 strips 1¾˝ x WOF 5¼˝ x 45˝ 3½˝ x 44˝ • White solid 5¼˝ x 45˝ 2 strips 3¼˝ x 18˝ 1¾˝ x WOF See cutting diagram 1¾˝ x 36˝ • Light green print 8 strips 2½˝ x WOF (binding) *See Cutting Diagram, below. **Border strips include extra length for trimming. ***Border strips are cut to exact length. 8¼˝ 3¼˝ x 18˝ 3rd cut 6˝ x 14˝ discard discard 34˝ 8¼˝ Diagram I 2nd cut4th cut 1st cut 34˝ Cutting Diagram 44 McCall’s Quilting March/April 2023

3 Handling bias edges carefully to avoid stretching, mark Assembling the Quilt Top and then trim quilt sides in following manner. Referring to NOTE: Refer to Assembly Diagram for following steps, Diagram II-A and beginning at a center point created by two watching block orientation. strips, draw a series of marks 27˝ from these points. 5 Stitch together multicolor check 2˝ x 21˝ and aqua/ 27˝ green stripe 2˝ x 51˝ strips to make left pieced border. In Diagram II-A similar manner sew together remaining border strips to Draw line joining marks using ruler with 45-degree line make pieced borders. aligned with seams (Diagram II-B). Repeat on opposite side. Trim on marked lines. 6 Measure length through center from raw edge to raw 45˚ angle line edge. Trim side borders to this length and sew to sides, easing to fit if necessary. In similar manner, measure width of quilt through center, including side borders. Trim top and bottom strips to this measurement and sew to top/bottom, easing to fit if necessary. Quilting and Finishing 7 Layer, baste, and quilt. Naomi machine quilted spirals, loops, and stipples within the various strips using aqua thread. Straight lines are quilted in the aqua and gray solid strips in the quilt center. The white solid areas are quilted with curvy lines using white thread. Bind with light green print. 2˝ x 36˝ 2˝ x 26˝ 2˝ x 26˝ 2˝ x 51˝ Diagram II-B 2˝ x 22½˝ 4 To trim top and bottom, refer to Diagram III, fold quilt approximately in half widthwise, and align trimmed sides. Trim 34˝ from fold, trimming through both layers, to create straight edges and square corners. 34˝ 2˝ x 21˝ 2˝ x 26˝ Fold 2˝ x 10˝ 2˝ x 31½˝ 2˝ x 24˝ Assembly Diagram Diagram III March/April 2023 McCall’s Quilting 45 QuiltingDaily.com

46 McCall’s Quilting March/April 2023

Daisy Dreams Delightful daisies adorn this spectacular quilt full of special, delicate details. Quilt Designed & Made by Planning Susan hand appliquéd with the turned- Susan Geddes edge technique, and our templates reflect Take a moment to study Susan’s quilt and that. If you prefer to do raw-edge fusible Skill Level note her fabric selection and placement. appliqué, cut the templates on the solid Challenging Rather than focusing on the color of line to eliminate the seam allowance, and the daisy appliqué, our instructions call prep all fabrics with paper-backed fusible Finished Size out the background colors to make the web before cutting the appliqué patches. 90\" x 90\" various rounds of blocks in the medallion composition. In the center of the quilt, The curving bias strip separating the Finished Blocks the appliqués are on black print back- light quilt center from the dark borders is 32 Block U 7½\" x7½\" grounds. The second round has appliqués also appliquéd by hand. You may wish to 24 Block V 7½\" x 7½\" on medium gray print backgrounds, secure it in place before appliquéing with 16 Block W 7½\" x 7½\" then the third round of blocks has light a few dabs of glue, which can be washed 4 Block X 7½\" x 7½\" gray print backgrounds. The final round out later. Or fuse it down with a bit of 2 Block Y 7½\" x 7½\" of the quilt center has assorted white ½\"-wide double-sided fusible tape, then 2 Block Z 7½\" x 7½\" prints for the block backgrounds. Cut stitch it down by hand or by machine, your background squares first, then according to your preference. NOTE: See end of pattern for appliqué include any of those prints with your as- and trimming templates. sorted black-and-white prints to cut the Susan made the bias binding for the outer daisy appliqués. You’ll notice that Susan curved edge using assorted prints from Susan’s impressive quilt com- included a few darker or lighter back- the quilt—if you prefer to use a single bines several special techniques grounds in each of the block rounds, as fabric for the binding you’ll need 1 yard. to elevate her sweet design into a well as a few cream prints here and there; work of art. The daisy appliqués do the same if you wish. You can then are made with prints in every decide which appliqué print to pair with shade of white, black, and in each background print to get a variety between—with a couple of pink of fabric combinations in your blocks, as daisies that pop. This is the ideal Susan did. pattern for using up a bunch of fabric scraps to make a super special quilt that will become a beloved heirloom. You’ll work with appliqué, bias strip appli- qué, and make a lovely, curved edge in this unique project. QuiltingDaily.com March/April 2023 McCall’s Quilting 47

Fabric Requirements Fabric yardage assumes 40\" usable width of fabric (WOF) unless otherwise noted. • Assorted white prints 2⅛ yds. total for block U • Assorted black-and-white prints* 3⅛ yds. total for appliqué • Assorted light gray prints 1⅝ yds. total for block V • Assorted medium gray prints 1⅛ yds. total for block W • Assorted black prints* 4¾ yds. total for blocks X, Y, Z, patches, and bias binding • Light pink print 1 fat quarter** for block Y and appliqué • Dark pink print 1 fat quarter** for block Z and appliqué • Black-and-white stripe ¾ yd. for inner bias border • Multicolor batik 1 fat eighth*** for bias stems • Template plastic • Backing 8¾ yds. • Batting 98\" x 98\" *Read Planning. **fat quarter = 18\" x 20\" ***fat eighth = 9\" x 20\" NOTE: Fabrics in the quilt shown are from the designer’s personal fabric collection. 48 McCall’s Quilting March/April 2023