178Quilting22

5 AUTUMNcreate a colorful QUILTERS COZY INSPIRING THROWS, HALLOWEEN US NOW PROJECTS & MORE ISSUE 178 | OCTOBER 2022 Plus MAKE BASTING EASY AllPeopleQuilt.com WITH POOL NOODLES (REALLY!)

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Letter from the Editor OCTOBER 2022 The October issue of American stitching, or gaining inspiration for Patchwork & Quilting® magazine quilt designs from international travel. signals the arrival of fall, my favorite Some have been quilting for decades season. I love the changing of the and others are newer to sewing. All verdant leaves to golden yellow, fiery will inspire you to look at things a orange, and deep crimson; visits to the little differently. apple orchard for warm cider donuts; and wrapping up in a cozy quilt to My least favorite part of the quilting read. The cover quilt, Golden Oak, process is basting, mostly because it page 42, by Krisanne Watkins, is a feels cumbersome. But after seeing beautiful homage to the rich colors of in Ask the Editors, page 10, that I can autumn. simplify the process with three pool noodles, I may change my mind. Step- The arrival of fall also means we by-step, how-to photos showcase an start spending more time indoors than easy, cost-effective way to baste a quilt out. For me, that means more time for of any size. making. Over the years, in addition to quilting, I’ve experimented with cross- And I will have more time for stitching, jewelry beading, knitting, making now as I am stepping away and fabric dyeing. Some of these crafts from my full-time job as editor of are becoming popular again. In fact, American Patchwork & Quilting things I did 40 years ago are trending. magazine. After 15 years as part of an Anyone else do macrame in the 1970s? editorial team, the last five as editor, I want to spend more time with my In Meet the Makers, page 17, we family. In the next issue you’ll see feature five creative people who share Quilt Sampler® magazine editor Doris a love of designing innovative fabric Brunnette on this page. Like me, she projects. It may be incorporating has dabbled in a variety of creative vintage blocks into new quilts, layering endeavors over the years and, also fabrics to make a base for sashiko like me, quilting has remained her constant. Jody Sanders Editor PS: A reader recently introduced herself to me when I was out with my family. She was so kind, and my family thought it was funny that someone recognized me. If you see me out and about, please say hello. I love talking about magazines and quilts! search: American Patchwork & Quilting @allpeoplequilt AllPeopleQuilt.com 1

Contents OCTOBER 2022 28 SEW IN STYLE: Sewing Machine 34 TINY TRACKS Cover by Lindsay Mayland by Darlene Zimmerman 42 GOLDEN OAK 48 STAR GAZER by Krisanne Watkins by Leila Gardunia 54 FRENCH COUNTRYSIDE 60 WARM GLOW by Renée Nanneman by Jerome Thomas 2 APQ • October 2022

VOL. 30 NO. 5 ISSUE 178 68 A CUT ABOVE 74 BREATHING ROOM by Anita Grossman Solomon by Valerie Langue 80 SCRAPPY CHECKERBOARD 86 SPOOKTACULAR collector Jody Sanders by Allison Harris In This Issue 17 MEET THE MAKERS ON THE COVER: Golden Oak, page 42 1 LETTER FROM THE EDITOR Get to know five creators who approach designing with fabric DESIGNER 6 NOW TRENDING from differing perspectives. Krisanne Watkins Discover what’s popular online. 92 BACK TO BASICS PHOTOGRAPHER 8 TIPS FROM OUR READERS 96 SEW & TELL Adam Albright Acquire helpful sewing hacks. Revel in Corinne Sovey's quilted tribute to Halloween. PHOTO STYLIST 10 ASK THE EDITORS Kate Malo Learn an easy way to baste. AllPeopleQuilt.com 3 12 FROM THE CRAFTS LAB See products and books we love.

Coming Soon Piece a cozy throw pillow. Editor DORIS BRUNNETTE, JODY SANDERS Contributing Writers MARNY CREVELING-BUCK, Associate Editor DIANE TOMLINSON MARIA CHARBONNEAUX, ANGIE INGLE Make seasonal Product Editor LINDSAY MAYLAND Contributing Quilt Testers COLLEEN TAUKE, NANCY EARLL favorites! Art Director ELIZABETH STUMBO Contributing Copy Editor MARY HELEN SCHILTZ Administrative Assistant ASHLEY JACOBS Contributing Technical Editors DEBRA FINAN, LISA FLYR, WALL HANGINGS, JESSICA SCHUNKE THROWS & MORE Contributing Designer ANGIE HAUPERT HOOGENSEN Contributing Illustrator CHRIS NEUBAUER 20 Contributing Stylists SONJA CARMON, LACEY HOWARD, CAROL LINNAN, KATE MALO, LESLIE POYZER, JENI WRIGHT EXCLUSIVE PROJECTS CRAFTS GROUP ADVERTISING & BUSINESS DEVELOPMENT Editor DORIS BRUNNETTE Senior Vice President & General Manager TIM FISHER +TIPS FOR THE Associate Editor DIANE TOMLINSON Senior Vice President, Publisher MARK JOSEPHSON CARE AND Audience Insights Manager LINDSAY MAYLAND Sales Promotion Manager BETHANY PETERSON Design Director KIMBERLY MORGAN METZ [email protected] CLEANING OF Art Director ELIZABETH STUMBO YOUR TOOLS Senior Graphic Designer ALISON GAMM MEREDITH PREMIUM PUBLISHING Administrative Assistant ASHLEY JACOBS Vice President & General Manager JEREMY BILOON TRY A NEW Vice President, Group Editorial Director STEPHEN ORR TECHNIQUE: EDITORIAL ADMINISTRATION Director, Editorial Operations & Finance GREG KAYKO → IMPROV PIECING Editorial Director JILL WAAGE → PRAIRIE POINTS Executive Creative Director MICHAEL D. BELKNAP Executive Directors, Business Development & Partnerships → QUILT AS YOU GO Assistant Managing Editor JENNIFER SPEER RAMUNDT MEGAN PEARLMAN, NINA REED Better Homes & Gardens® Copy Chief ANGELA K. RENKOSKI Senior Director, Brand Marketing JEAN KENNEDY TWO SIMPLE BLOCKS, Senior Copy Editors ERIKA BJORKLUND, MADELAINE JEROUSEK- Associate Director, Brand Marketing KATHERINE BARNET ONE STUNNING QUILT SMITH, MARTHA COLOFF LONG Lead Business Office Assistant GABRIELLE RENSLOW FINANCIAL ADMINISTRATION FALL 2022 Director, Premedia Services AMY TINCHER-DURIK Associate Business Director JENNA BATES AllPeopleQuilt.com Director, Quality JOSEPH KOHLER Business Manager LISA CARLSON Director, Photo Studio REESE STRICKLAND On Sale August 5 Photo Studio Set Construction Manager DAVE DECARLO CIRCULATION Senior Stylist and Producer JOSEPH WANEK Consumer Marketing Manager ED LICHINSKY The latest issue of Quilts & Stylist BREANNA GHAZALI More™ magazine, Fall 2022, Studio Manager HOLLY RAIBIKIS ADVERTISING OPERATIONS showcases 20 exclusive projects, Studios Coordinator TERRI CHARTER 1716 Locust St., Des Moines, IA 50309-3023 including a trick-or-treat bag Premedia Trafficking Supervisor GREG FAIRHOLM Associate Production Director PATRICK MCGOWAN and autumn-inspired throw Premedia Imaging Specialist DON ATKINSON Production Manager APRIL GROSS quilts. You are sure to find a Color Quality Analyst BEN ANDERSON new favorite! You'll also find tips DOTDASH MEREDITH on how to care for your tools to President, Lifestyle ALYSIA BORSA help them last longer. FOR EDITORIAL QUESTIONS FOR ADVERTISING QUESTIONS The magazine is available at EMAIL: [email protected] PHONE: 515/284-3575 local quilt shops, on newsstands, OR WRITE US AT AMERICAN PATCHWORK & QUILTING, OR WRITE US AT AMERICAN PATCHWORK & QUILTING, or at AllPeopleQuilt.com/shop. 1716 LOCUST ST., LN-204, DES MOINES, IA 50309-3023 1716 LOCUST ST., LN-200, DES MOINES, IA 50309-3023 Find us online: To subscribe, go to AllPeopleQuilt.com/MyAccount. For subscription help, email apqcustserv@cdsfulfillment.com or call 800/677-4876. AllPeopleQuilt.com Subscriber Please Note: Our subscribers list is occasionally made available to carefully selected firms whose products may be of interest to you. search: AllPeopleQuilt If you prefer not to receive information from these companies by mail or by phone, please let us know. Send your request along with your mailing label to Magazine Customer Service, P.O. Box 37508, Boone, IA 50037-0508. Subscription help: For syndication or international licensing requests or reprint and reuse permission, email [email protected]. AllPeopleQuilt.com/myaccount PRINTED IN THE USA [email protected] 800/677-4876 Retailers: To order American Patchwork & Quilting®, Quilt Sampler®, Quilts & More™, and other quilting magazines, email [email protected] or call 866/378-1064. Note to readers: It is permissible to make and publicly display a single finished product of any project in this issue, including for purposes of competitive winnings up to $1,000, so long as visible credit is given to the designer and American Patchwork & Quilting magazine.

introducing RBD Batiks are ethically sourced and made with the highest quality fabric. Each hand-dyed print is designed and develped by cultivating relationships with true batik artisians in Indonesia. Tjaps (“chops”) are created by hand Elementals are beautiful blenders. Hand-dyes are created by using thin strips of copper formed These small scale, typically scrunching or folding the fabric by into florals, geometrics and other geometric Tjap prints complement hand before applying the dye. This motifs. larger Tjap prints and hand-dyes. time-honored craft adds color, depth and a gorgeous painterly look. Follow us for tutorials on YouTube | www.rileyblakedesigns.com ©2022 Christensen Wholesale™ All Rights Reserved

Now Trending @allpeoplequilt ALLPEOPLEQUILT.COM search: American Patchwork & Quilting FALL QUILTS Sew Along Decorate for the Join the staff and readers of season with quilts Quilts & More™ magazine that showcase in making a mini seasonal autumnal motifs quilt. The sew-along, which and colors. includes tips, videos, and AllPeopleQuilt a photo contest, runs from .com/193 August 19 to September 15. Get the details here: AllPeopleQuilt.com/194. More Online SPOOKY STYLE SET THE TABLE GET SCRAPPY Turn your home into a haunted Delight guests with fall- or Use scraps of all sizes to make house with easy projects. AllPeopleQuilt.com/195 Halloween-theme runners. quilts that have character. AllPeopleQuilt.com/196 AllPeopleQuilt.com/197 6 APQ • October 2022

SEE IT IN ACTION AT accuquilt.com / readysetgo

Tips from Our Readers WHY DIDN’T I THINK OF THAT? I have a hard time deciding how to quilt When I have a lot of triangle-squares my projects. To help with this, I take a to trim, I mark the correct 45° angle on picture of the quilt with my iPad and my acrylic ruler with painters tape. This use the mark-up feature to draw on the lets me quickly line up the stitching line photo the designs I have in mind. If I make a mistake, I just click “undo” and correctly and trim the two sides. try again. When I am satisfied with a design, I click “done” and the mark-up JOYCE HARVEY is saved for reference when quilting. Seattle, Washington EDNA MOORE St. George, Utah When I need to rip out a seam, I place the section under the presser foot of my sewing machine to hold it in place. This leaves both my hands free to perform this unpleasant task. ARLENE HOVE Westby, Montana This year, along with my annual photo book of our family adventures and activities, I assembled a second photo book of all my quilting projects. For each quilt I made, I added a picture of the quilt and information on who I gave it to and for what event. SHANNON WINCHESTER Tualatin, Oregon For more of At 84 years old, I struggled to thread our favorite the needle on my sewing machine. reader tips, visit I discovered that if I place a piece of AllPeopleQuilt white paper behind the needle, I can .com/tips. see the needle eye, which has helped me so much! SHARON JONES Preston, Connecticut Share Your Tips! Email your original tip, name, and address to [email protected]. For each tip we publish in the magazine, we’ll send a gift handpicked by our editors. 8 APQ • October 2022

Hideaway (TB 259) • 63\"x63\" • Moda Boxed Kit Available© 2022 moda fabrics • all rights reserved I first became smitten with the color navy my first summer on Nantucket, a tiny little island off the coast of Cape Cod. I traveled across the country to this beautiful little island to work on a sailboat and have an adventure. From the first moment I stepped off the ferry it was love at first sight. The colors, the smells, the beautiful flowers that grew everywhere I looked. My love of coastal design, simplicity, antique quilts, and every shade of blue began that summer and 20 years later it’s still going strong. There’s just nothing like a Nantucket Summer. Fabric, Precuts, Patterns and Boxed Kit Now Available!

Q Ask the Editors Basting is my BASTING QUILTS least favorite step of the quiltmaking 1 process. My Lay your backing fabric right side down on a flat surface. biggest challenge Place a pool noodle on the top edge. Holding the backing fabric against the noodle, give the noodle a half turn. Use is getting the flower head pins to secure the fabric edge to the pool noodle. backing smooth and the quilt top 4 straight when layering the quilt sandwich. Any advice? Ana Jenkins MADISON, WISCONSIN You’re not alone! Repeat steps 1 and 2 with your quilt top right side up and a Basting causes issues third pool noodle. for many quilters. 7 Using pool noodles is an effective and easy method. We hope you’ll give it a try! Ask Us Anything! Submit a question by emailing [email protected]. RED NOODLE: backing fabric YELLOW NOODLE: batting GREEN NOODLE: Place the quilt top pool noodle on the unrolled edges of quilt top backing and batting layers. Unroll until the quilt top noodle reaches the batting noodle, smoothing layers as needed. 10 APQ • October 2022

23 Slowly roll the pool noodle along the backing fabric, stopping Repeat steps 1 and 2 with batting and a second pool noodle. to straighten or smooth the fabric as needed. Pin the fabric bottom edge to the noodle. 56 Place the backing pool noodle on flat surface. Unroll about Place the batting pool noodle on the backing fabric unrolled 36 inches, smoothing as needed. If you are spray-basting, edge. Unroll until the batting noodle reaches the backing spray the backing fabric according to manufacturer’s noodle, smoothing layers as needed. If you are spray-basting, directions. spray the batting. 8 9 See this basting method in action at AllPeopleQuilt .com/198. If pin-basting, pin layers. Continue unrolling layers and TIP: If your quilt is larger than the length of a pool noodle, basting until the entire quilt has been basted. use a PVC connector (found at hardware stores) to attach two pool noodles together. AllPeopleQuilt.com 11

1 From the Crafts Lab 1. HEXAGON RULER BOX WOOLIES 3 PRODUCTS & BOOKS WE LOVE Me & My Stitches and Yellow Creek Quilt Designs have I love that the 2 teamed up to supply stitchers bobbin top with kits and patterns for snaps down to 4 eight small wool projects keep thread and a hexagon-shape box to secure and showcase a finished project. protected from The box, which measures 5¼\" dirt and dust.Ó in diameter, can hold one of the finished designs or can be Lindsay Mayland used as storage for thread or small tools. PRODUCT EDITOR $15 each wool kit and display box; meandmystitches.com 5 2. STUDIO SCRAP BAG Stock up on wool scraps with a bag of assorted remnants in six colorways. Each bag contains about ½ yard of hand-dyed wool from Sue Spargo. $42; suespargo.com 3. FLOSS BOBBINS Avoid tangles and kinks in stored embroidery floss by wrapping it around clear bobbins from The Gypsy Quilter. Each bobbin holds two skeins. The bobbins interlock for convenient storage. $5.48 for package of 6; fatquartershop.com 4. QUILT BLOCK STATIONERY SET Add a quilty touch to your correspondence with a set featuring quilt block designs on four foldable blank cards, four flat blank cards, and a 60-sheet notepad. Eight envelopes also are included. $12.50; etsy.com/shop/ kalissageorgia 5. PATCHWORK GHOST T-SHIRT Declare your love of sewing with a T-shirt featuring a quilty ghost designed by artist Kristen Perreault. The unisex shirt comes in three colors. $22; kperreaultcreates.com 12



From the Crafts Lab PRODUCTS & BOOKS WE LOVE 6 7 6. GRUUVY LET’S JAM 8 45° RULER To see Cut triangles, diamonds, 9 projects made trapezoids, and more with a 14 APQ ¥ October 2022 slotted acrylic ruler. The slots with this allow you to quickly cut a product, visit strip up to 3×23\" in half-inch AllPeopleQuilt increments. Measurements are marked on both sides of the .com/199. ruler so you can flip it to make secondary cuts in the opposite It's fun to turn my direction. favorite cotton $29; sewingbysarah.com prints into vinyl with this coating!Ó 7. HEAT N BOND LIQUID VINYL Elizabeth Stumbo Coat fabric with a clear, nontoxic gel to create a ART DIRECTOR laminatelike material. One coat makes fabric water- and 10 stain-resistant; multiple coats make it waterproof. Treated fabric remains flexible, can be machine-sewn, and wipes clean with a damp cloth. $12.99 for 8.68 ounces; thermoweb.com 8. MAGNETIC PINCUSHION WITH BOBBIN RING Store pins and bobbins in a multipurpose tool from Prym Love. The magnetic pincushion in the center has a groove that makes it easy for you to grasp your pins. The outside ring can hold up to 30 bobbins. The pieces are detachable if you wish to use them separately. $16.79; handicraft.com 9. THE BIG BOOK OF LITTLE SPARKS CREATIVITY JOURNAL Ignite your creativity with 30 exercises, including thought- provoking questions, activities, and lessons, from author Carrie Bloomston. The book also features Carrie’s artwork and fabric designs. $22.95; ctpub.com 10. SCRAP-BASKET KNOCKOUTS Author Kim Brackett shares 12 quilt designs that use scraps in strips and squares. Each design comes with an alternate block arrangement so you can choose your favorite way to showcase leftover fabrics. $26.99; shopmartingale.com





MMaEEkTeTrHsE LAURA PRESTON TIGHE FLANAGANFIVE CREATORS WITH DIVERSE STYLES KATHY METELICA CRAY AND POINTS OF VIEW—A PATCHWORK HOLLYANNE KNIGHTGURU, AN INNOVATIVE EDUCATOR, A DIANA LI FITZGERALD TALENTED TRAVELER, A PASSIONATE HISTORIAN, AND A TECHNIQUE MIX MASTER—ARE MAKING WAVES IN THE CRAFTING INDUSTRY. WRITTEN BY Maria V. Charbonneaux AllPeopleQuilt.com 17

TIGHE FLANAGAN Handmade by Tighe Flanagan Quilting’s geometry and creativity offer an outlet for a pattern designer and teacher with a patchwork of interests. PHOTOS BY Tighe Flanagan If it’s not obvious at first how one 1 of Tighe Flanagan’s colorful and elaborately intricate patchwork quilts came together, he’ll celebrate that win—but not before he shares how it’s done and the origins of the geometric patterns that make up the design. “It makes me smile when people are wondering about the construction because it’s something I spend so much time thinking about and doing,” says Tighe, a Washington, D.C.-based maker. In search of an analog distraction, Tighe made his first quilt—a thousand pyramids design—in 2016. The process struck a chord. “I didn't really think about being a beginner and all those bias edges,\" he says. \"But I got my template, I cut my fabrics, and I 1. Tighe Flanagan 2 used paper piecing to achieve the intricate patchwork of Seffarine Stars, which was inspired by Moroccan zellige. 2. Tighe loves the challenge of creating units where precision is key. He has come a long way since learning how to sew pillows and curtains on his mother’s Singer Featherweight. 18 APQ • October 2022

3 Personal Style5 4 5. The fat quarter-friendly Alhambra Rosette, a pattern 3. Inspired by the Alhambra palace in based on traditional Islamic Granada, Spain, the Alhambra Leaf quilt geometry, is ready to be showcases curved piecing. 4. Tighe assembled. prefers to press seams open with a Violet Craft Seam Roller. Q. How would you describe your quilt style? sewed them together. And a lightbulb Ò I didn’t invent the A. My style is definitely went off where it was like, Oh, saturated color. I would patchwork has a lot to do with grids circle or the square or the hope that people are and shapes that come together.” star or anything like that. drawn to my work because I just enjoy experimenting of the joyful color, but also With an academic background with how those shapes because of an appreciation in visual arts and Middle Eastern come together and play for the amount of studies, Tighe found inspiration for with each other.” patchwork that goes into quilt designs in the decorative arts it. I don’t shy away from he admired during his frequent work The classes Tighe teaches seams. I do like an overall travels to the region. For a deeper emphasize precision and focus repeat pattern. I think that understanding of the shapes used, heavily on building skills and is probably because I like he began studying Moroccan zellige, confidence. As he names new a lot of traditional quilting or mosaic tilework, and Islamic quilts and develops patterns and and quilt patterns. geometry through a community called accompanying acrylic templates, he Art of Islamic Pattern. takes great care to include attribution Q. How do color and and historical context so quilters can pattern play a role in your “I would spend hours and learn more. quilts? hours making exact geometric A. I’ve always preferred constructions,” Tighe says. “Even “These objects are expressions solids in general, and I though textiles are fluid, unlike that we make at home, but I also think one of the reasons ceramic or wood, I still wanted to like them to be in conversation with is I like the patchwork be as faithful as possible to that the world around us and what we’re to do the heavy lifting. If geometry. Initially I used methods interested in,” he says. “We don’t exist I’m investing all the time like paper piecing to give me in a vacuum.” and doing some small more control. But now I get that patchwork, a lot of seams, control using traditional assembly Learn more about Tighe Flanagan’s or a different design, I want techniques—accurate cutting, work at tigheflanagan.com and on that to be the pattern. grain of fabric, and prewashing and Instagram @tigheflanagan. starching my fabrics. It just takes a Q. How do you showcase few years to get really confident in your personal style quarter-inch seams.” through the garments you create? A. In my fashion fabrics, I am drawn more toward prints, especially florals. They are fabrics I would probably veer away from if I were making patchwork. In that way, it’s fun where I get to shop for fabric that I wouldn't typically shop for if I were just making a patchwork quilt. AllPeopleQuilt.com 19

HOLLYANNE KNIGHT String & Story Education and empowerment are at the heart of one maker’s mission. PHOTOS BY Klara Cu When HollyAnne Knight first 1 witnessed free-motion quilting, she 23 immediately felt a pull she describes as magnetic. And she was surprised 4 to discover so many other quilters were hesitant about it. 1. In String & Story’s digital Longarm Prep course, students become comfortable quilting on a long-arm machine. 2. HollyAnne Knight displays her Lanterns of Hope, “I was shocked by how many a design that “has come to symbolize light in the darkness,” she says. 3. HollyAnne people around me were like, no, no, frequently demonstrates free-motion quilting in live YouTube sessions. 4. The Free that’s too hard,” HollyAnne says. Motion Quilting Academy focuses on how to quilt with a domestic sewing machine. Fortunately, HollyAnne wasn’t deterred, and soon was stitching artful and intricate designs with her home machine. If she could learn, she realized, surely others could too, especially with encouragement and good instruction. It was then that String & Story’s educational mission was born. Since its first iteration in 2017, HollyAnne’s comprehensive digital Free Motion Quilting Academy has helped more than 2,200 “quilting rockstars” from all over the world advance from beginner to intermediate level over the course of 12 weeks using prerecorded lessons, live-stream Q&A sessions, and a private Facebook group. Best of all, the program allows quilters to learn the technique on their own machines in their own spaces, “debunking not only this myth of free-motion quilting being something that is better left to the professionals, but also debunking this myth that quilting has to be taught in person,” HollyAnne says. At first she sewed while hugging a tripod so students could have a close-up view of her work. Now she 20 APQ • October 2022

ÒYou already have the 5 6 skills and the moxie and the determination and the creativity to learn these new skills. You already are a 'rockstar.' We're just finessing that together.” provides multiple angles that have Brick & Mortar 7 added to the experience. Anyone SHOP PHOTOS BY HollyAnne Knight who has enrolled in the academy 5. String & Story on Main quilt shop is located on the town green in gets lifetime access to the videos and Duluth, Georgia, a community of about 30,000 near Atlanta. 6. The Facebook group so they can continue classroom is in the center of the retail space. 7. While many shop classes to find support beyond the 12 weeks. are conducted remotely, some are offered in person. She has expanded her offerings Q. What has it been like to expand your digital presence to with a Longarm Prep course for those in-person classes at String & Story on Main? who want to learn how to use a long- A. Being able to come and touch the fabric and be on the machine arm quilting machine, an Intro to FMQ and do this in person without a screen barrier is really special. We’re mini course, and several workshops. also bringing in bag making and garment classes for the first time Her course on T-shirt quilts is a because shop associate Darcy Struble is a phenomenal seamstress. throwback to the beginning of her quilting journey: HollyAnne’s first quilt Q. What makes downtown Duluth a great location for your shop? was a T-shirt quilt for her mom and A. The city has created a town square atmosphere and wants to be in the early days of her business she a destination for the arts. I really see String & Story playing a part made custom T-shirt quilts. in that. My students can bring their families to the shop and find something for everyone within walking distance. HollyAnne has surrounded herself with a team that helps her stay in Q. What is ahead for Sting & Story? her “zone of genius”—teaching and A. I’m really excited to introduce Duluth to quilting and quilting content creation. She also helps other to Duluth. A lot of our local classes are entry level so folks in our entrepreneurs find success. community can begin to fall in love with this art and craft that I love. I’m also excited about getting to bring my “quilting rockstars,” “It turned into another opportunity hopefully from around the world, to Duluth and have events for them. to serve and collaborate with, and And I’m even looking ahead to Quiltcon coming to Atlanta next year. especially uplift, women, which is just such a joy,” she says. “I love that AllPeopleQuilt.com 21 I get to do that on both ends of my business, as someone who's a service provider and also a business owner.” Learn more about HollyAnne Knight’s work at stringandstory.com, mainstreet .stringandstory.com, and on Instagram @stringandstory.

LAURA PRESTON Vacilando Studios Years of travel inspire “ A quilt is not just something you a collection of modern quilts and accessories. create that's going to hang on a wall and not do anything. It's going to keep you PHOTOS BY Laura Preston warm, and you wrap up in it when you're sick. It has that nostalgic feeling that really resonates with people.” Laura Preston set out in 2013 on what 1 3 was supposed to be a year of travel in 2 4 an Airstream trailer with her boyfriend (now husband), knowing she was embarking on the adventure of a lifetime. What she didn’t know was that the journey would last 61/2 years and bring her to quilting. A painter by training, she searched for an artistic medium that would travel well and stumbled on quilting, particularly modern quilting. “I didn't realize that quilts could look like that,” Laura says. “They’re art on fabric, and you can use them once you finish them. The first one I made turned out terribly. But I was determined to make another one and actually design it and figure out what I was doing. After that I totally fell in love with it. I haven’t really stopped designing quilts ever since.” 1. Quilts from Laura Preston’s Thailand collection were inspired by a 2019 trip she took to that country. 2. Laura stands draped in the Copenhagen quilt from her Lowlands collection. 3. Pillows from her Pacific Northwest collection were informed by the driftwood logs, lakes, blackberries, and sea stacks of that region. 4. Laura now can create in a second Airstream trailer that she and her husband outfitted with plenty of work space. 22 APQ • October 2022

On the road, the Airstream’s Travel5 dinette table doubled as her surface for cutting, sewing, and pressing. 67 She basted quilts on picnic tables at campgrounds. “I look back on those 5. Laura is committed to sustainability and encourages the Vacilando times, and I'm like, how did I do it?” Studios’ makers to create mini quilts from their scraps. 6. After climbing she says. “It was small, but I didn’t 300 steps to the Temple of the Golden Mount, also known as Wat Saket, know any different.” in Bangkok, Thailand, Laura was captivated by a terra-cotta tile floor outside a coffee shop. 7. She used her photo of the tile floor to create the While a nomadic lifestyle might Bangkok pillow, part of the Thailand collection. not have provided ideal conditions for quilting, the beautiful landscapes Q. How have your travels influenced your designs? they saw provided Laura with endless A. All our collections were inspired by places I have visited that had design inspiration that’s now reflected a profound impact on me. I always take a lot of pictures when I travel. in her Vacilando Studios’ heirloom I can refer to them and pick design elements and create a color and minimalistic quilt collections. palette that feels very much like a place. It’s a fun exercise in design The abstract shapes and cool colors and color. The two collections that I’ve done around international of the Pacific Northwest collection destinations—Thailand and Lowlands, inspired by Belgium, were inspired by that region’s water Amsterdam, and Copenhagen—came from specific times I went to and landscape. The curved shapes those places. and warm colors of the Balance collection come from the high deserts Q. What tips do you have for creating while traveling? of California and West Texas. A. When you get that hit of inspiration, make all the notes then so you don’t forget about it. For me, it was really easy to stay inspired As Laura’s Instagram following while I was traveling because there was just constant newness. It grew and she began collaborating was new sights, new sounds, new places, new things to explore. with West Elm, demand for her made- That’s what fuels my creativity. And practically, staying organized to-order quilts soared. She recruited with your tools and materials goes a long way. Little bins are helpful. a team of quilters to help her with In such a small space, you always have to put things away. If you production from their home studios leave things out, it’s just a hot mess. around the country. Q. How do you find inspiration now that you’ve been in one place In 2019, the couple planted roots for three years? in a home without wheels in San A. It’s been kind of hard to figure out what inspiration looks like Marcos, Texas, and Laura now has when your backyard isn’t different every week. Instead, we’ve been a home studio. However, vacilando, doing more intentional travel. It’s been nice to have more focus time a Spanish term she first saw in John to be in a place and notice things. But just walking, exploring where Steinbeck’s 1962 book Travels with I live, also has been inspiring. Charley: In Search of America, still feels fitting for her studio's name. AllPeopleQuilt.com 23 Steinbeck, she says, describes vacilando as a traveler who doesn't know exactly where she's going or how she's going to get there, but still has direction. The trip is the point, not the destination. Learn more about Laura Preston’s work at vacilandostudios.com and on Instagram @vacilandostudios.

KATHY METELICA CRAY A stitcher learns all she can about a quilt’s past and shares it with other lovers of antique textiles. PHOTOS BY Kathy Metelica Cray and Tara Miller A golf course and pool are nice, but PHOTO BY Siobhan Fergerson1 Kathy Metelica Cray prefers to spend 23 her retirement in the company of antique quilts and the people who 1. Kathy Metelica Cray’s extensive collection includes antique quilts and her “blended” love them. quilts. 2. Kathy enjoys sharing her knowledge of antique quilts with guilds and other groups. 3. She used reproduction and antique fabrics from an era similar to a large Today, if Kathy is not researching orphan block to give the orphan block a home in a blended quilt. and writing about an antique quilt’s past, lecturing about New England textiles, teaching a workshop on a traditional technique, or playing matchmaker for a quilt in need of the right buyer, she’s connecting with like-minded people through the Florida Quilt Study Group, which she resurrected in 2018, or the American Quilt Study Group. Though Kathy began quilting almost 40 years ago as a creative outlet from a career in corporate sales, she attributes her current passion to an annual seminar of the American Quilt Study Group that she attended in 2002 on behalf of her company. There she met an amazing community of museum curators, authors, lecturers, and others who shared stories and research and introduced her to the allure of antique quilts. An active member ever since, she returned to the organization’s board of directors this year. At home in Ormond Beach, Florida, where she lives with her husband, John, and two cats, Kathy also spends hours at her Featherweight so that her collection of antique orphan blocks may finally fulfill their destinies 24 APQ • October 2022

“ When I started listening to the papers and the research and the stories and seeing so many incredible antique quilts, it changed how I stitched. It changed how I looked at everything. I became totally immersed in it. The American Quilt Study Group totally changed my life.” 4 Community PHOTO BY John Grampsas 4. A postage stamp quilt 6 from the 1880s is one of 5 about 75 antique quilts in Kathy’s collection. 5. The Florida Quilt Study Group gathers periodically in what she calls “blended\" quilts— to learn about antique quilts. quilts that combine new and old 6. A display at an FQSG fabrics. meeting provides members with additional resources. “I don’t take the blocks apart,” Kathy says. “I try to find out whatever Q. How does the Florida Quilt Study Group connect quilters? I can [about them]. When you collect A. Today the Florida Quilt Study Group meets twice a year at antique blocks, in most instances you Miss D’s Quilt Shop in Palatka, Florida. We get about 30 to 50 don’t know where they came from. people, and we learn from each other. We bring antique quilt But to me, they were meant to go into textiles, and you share the story of the quilt, if you have it. We also a quilt, and they never got there. So have a Facebook page that expands our reach beyond Florida. The my job is to take every orphan block group is near and dear to my heart because it created a place for me out there and put it together [with here in Florida. others in a quilt].” Q. What are your tips for finding community with other quilters Thanks to the pandemic, she and historians? estimates she now has made close to A. Going to the American Quilt Study Group annual seminar is big. 50 blended quilts. Each one is a labor There also are virtual AQSG study centers for members once a year of love and a chance to honor the where you can listen to them talk about quilts. And if that is ringing original maker, even if unknown. In your bell, there are other organizations you can join, like the Quilt 2021, a selection of 20 quilts from her Alliance, which has virtual Textile Talks. There are also study groups Blended Quilts collection was on view throughout the United States, a lot of them headed up by people at the New England Quilt Museum. from AQSG. The one thing we all have in common is that we love antique quilts and want to know more about them. “I now can say I love the process. It’s no longer hurry up and get it AllPeopleQuilt.com 25 done,” Kathy says. “If it takes me two years, it’s OK. I want it to be right, not perfect. I love just sitting behind the Featherweight or just doing the handwork now. It isn’t chain-piece like crazy and get it done. It’s the process and the discovery of the piece that I’m working on.” To learn more about Kathy Metelica Cray’s work, visit kathycray.com.

DIANA LI FITZGERALD Banjoflannel A former researcher now demonstrates her findings through sewing patterns, booklets, and classes. PHOTOS BY Diana Li Fitzgerald A scientist by training and work 1 ÒWhatever your favorite fabrics, put experience, Diana Li Fitzgerald is 2 no stranger to experimentation and them all together and just try it. When you quality control. Her innate drive to put the stitching on top, it's very cohesive.” test and tweak helped her navigate a recent career pivot to pattern 3 designer and instructor. “I’ve always had a lot of curiosity,” Diana says. “Science kind of breeds that into you. The reason I do my own patterns is because I want to figure it out myself.” Take her signature Patchwork Sashiko method. It started with the hypothesis that she could combine aspects of kawandi, kantha, boro, and sashiko to produce eye-catching and durable textiles that could be made into bags, wallets, and more. 1. Diana Li Fitzgerald’s 4 Patchwork Sashiko process has two steps: machine- basting fabric to keep the pieces in place and hand-stitching straight lines through the basted pieces. 2. Patchwork Sashiko hexagon appliqués provide texture and color on a handmade bag. 3. Diana's first Patchwork Sashiko project, a tote bag, has stood the test of time. 4. Strawberry Named Pouchy and Pumpkin Named Pouchy patterns produce small drawstring bags. 26 APQ • October 2022

5 5. Diana’s Anastasia Bag Tools & Tips7 showcases Patchwork 7. Diana's Patchwork Sashiko Sashiko textiles kits come with instructions, on the flap. 6. This curated fabric pieces, appliquéd pouch and needles, and thread. other accessories are Q. How do you adapt patterns to use your 6 available at banjoflannel Patchwork Sashiko .etsy.com. fabric? A. You have to consider After much trial and error, Diana keep their pieces flat on a table as that the fabric is going to found a method that successfully they hand-stitch. It feels awkward at be a little thicker than a combined the form and function she first, but it’s the best way to ensure standard single layer. So if envisioned—bits of layered fabrics straight stitching lines. To make it a pattern has interfacing in enhanced with loads of slow-stitched easier for newbies, in her Etsy shop it, you may have to adjust texture. Now she shows others how to banjoflannel.etsy.com Diana offers that. But I don’t think get the scrap-friendly look. kits in coordinated color palettes there’s any limitation on that are designed to work with her where you could use it. “In a lab, I would be writing down instructional booklet (see photo 7, everything I'm doing as a protocol so above right). Q. What thread works I can reproduce it,” she says. “I think best for this method? that really helped me make sure this While precision is often necessary A. I don’t use traditional Patchwork Sashiko method was going in both science and sewing, sashiko thread. I use to be reproducible.” Patchwork Sashiko is very forgiving. crochet thread because “When you’re finished, the textile it’s still tightly wound She still has the first project she is more like an overall effect,” she but is a little thicker, and made using the technique—a tote says. “No one’s going to look at your I like the look of it. The bag—and she shows it to students little stitches. So any of those things consequence of that is I in video classes and in person at The that look like mistakes are not really use a needle that has a Bernina Connection quilt shop in mistakes.” little bit bigger eye and is a Phoenix. “I’ve washed it many times,” little sturdier. Diana says. “It’s frayed but it hasn’t Learn more about Diana Li Fitzgerald’s fallen apart; it’s still intact. It’s kind of work at banjoflannel.com and on Q. What are must-have proof, right? It’s proof of the method.” Instagram @banjoflannel. tools for Patchwork Sashiko? Students quickly discover they A. Silicone needle aren’t going to learn a conventional pullers are necessary process. With Diana's method, they for this method. A Clover embroidery needle threader is not as necessary, but I’ve noticed that people appreciate it because it helps get the thick thread through the eye of a needle. AllPeopleQuilt.com 27

28 APQ • October 2022

Sew in Style: SEWING MACHINE COVER Brighten your sewing room and protect your sewing machine from dust with a customizable cover featuring a standout block. DESIGNER Lindsay Mayland PHOTOGRAPHER Carson Downing MATERIALS CUT FABRICS From orange print, cut: Cut pieces in the following order. ▫ 3—21⁄2×42\" binding strips FINISHED SEWING MACHINE ▫ 4—2×151⁄2\" strips Patterns are on Pattern Sheet 1. To ▫ 4—21⁄2\" squares COVER: 191⁄2×301⁄2\" make a template of the pattern, see Make and Use Templates, page 92. From blue print, cut: FINISHED BLOCK: 12\" square ▫ 1—41⁄2\" square Cutting instructions for cover front Yardages and cutting instructions are and back rectangles are listed under ASSEMBLE BLOCK based on 42\" of usable fabric width. “Assemble Cover,” page 32. Measurements include 1⁄4\" seam allowances. Sew with right sides Fabrics are from the Lazy From white print, cut: together unless otherwise stated. Afternoon collection by Zen Chic for ▫ 2—11⁄2×14\" strips Moda Fabrics (modafabrics.com). ▫ 1—11⁄2×8\" strip Press seams in directions indicated by arrows on diagrams. If no direction ▫ 9×21\" piece (fat eighth) white print From blue tone-on-tone, cut: is specified, press seam toward darker (block) ▫ 1—11⁄2×14\" strip fabric. ▫ 2—11⁄2×8\" strips ▫ 9×21\" piece (fat eighth) blue tone- on-tone (block) From yellow print, cut: 1 Sew together white print 11⁄2×14\" ▫ 4—11⁄2×41⁄2\" rectangles strips and blue tone-on-tone ▫ 11⁄2 yards yellow print (block, cover, ▫ 4—11⁄2×31⁄2\" rectangles 11⁄2×14\" strip to make Strip Set A ▫ 4 each of patterns A and A reversed (Diagram 1). Cut strip set into eight backing) 11⁄2\"-wide A segments. From pink print, cut: ▫ 9×21\" piece (fat eighth) pink print ▫ 4 of Pattern B 11/2 \" (block) 11/2 ×14\" ▫ 1⁄2 yard orange print (block, ties, 11/2 ×14\" binding) ▫ 5\" square blue print (block) ▫ 26×37\" batting Strip Set A Diagram 1 AllPeopleQuilt.com 29

2 Sew together blue tone-on- AB 5 Referring to Diagram 5, sew tone 11∕2×8\" strips and white together a yellow print A triangle print 11∕2×8\" strip to make Strip Set B Diagram 3 and a pink print B triangle. Add a (Diagram 2). Cut strip set into four yellow print A reversed triangle to 11∕2\"-wide B segments. make a side unit. The unit should be 41∕2\" square including seam 11/2 \" 4 Referring to Diagram 4, sew a allowances. Repeat to make four side yellow print 11∕2×31∕2\" rectangle to units total. 11/2 ×8\" a Nine-Patch unit. Add a yellow print 11/2 ×8\" 11∕2×41∕2\" rectangle to make a corner A Ar unit. The unit should be 41∕2\" square Strip Set B 11/2 × 41/2 \"including seam allowances. Repeat to BB Diagram 2 make four corner units total. Diagram 5 3 Sew together two A segments 11/2 × 31/2 \" and one B segment to make a 6 Mark a diagonal line on wrong Nine-Patch unit (Diagram 3). The unit Diagram 4 side of orange print 21∕2\" squares. should be 31∕2\" square including seam allowances. Repeat to make four Nine- Patch units total. Let's Celebrate! We’re counting down to the 30th anniversary of American Patchwork & Quilting® magazine! To celebrate, in our six issues between June 2022 and April 2023, we’re turning a block from a past issue into a special project for your sewing room. Sewing Machine Cover uses a block from Blue Sunshine, right, by designer Jane Huisingh. It was published in the April 2001 issue of American Patchwork & Quilting magazine. JOIN THE FUN Participate in our free mystery sampler, Blast from the Past, which features 30 blocks previously published in American Patchwork & Quilting magazine. AllPeopleQuilt.com/200 30 APQ • October 2022

Quilting is about connection, and not just the connection of fabric. It’s an art form that builds and strengthens local communities. Our longarm machines are more than a machine; they are in- novative tools that allows you to do what you already love in a more com- plete and meaningful way! CHECK OUT ALL OUR LONGARM MACHINES AND MORE AT:

7 Referring to Diagram 6, align see “Change the Size,” page 33, to FINISH COVER marked orange print 21⁄2\" squares determine if you need to cut different- with opposite corners of blue print size rectangles to make a cover that 1 Fold an orange print 2×151⁄2\" strip 41⁄2\" square. Sew on marked lines. Trim fits your machine. in half lengthwise with wrong side seam allowances to 1⁄4\". Press open inside. Finger-press fold to crease; attached triangles. Align remaining From yellow print, cut: unfold. Referring to Diagram 9, fold in marked orange print 21⁄2\" squares with ▫ 1—251⁄2×361⁄2\" rectangle (cover back) one short edge 1⁄2\"; press. Fold in long remaining blue print square corners. ▫ 1—181⁄2×191⁄2\" rectangle (cover front) edges to meet at center crease; fold Stitch, trim, and press as before ▫ 2—4×121⁄2\" rectangles (block sides) in half again and press. Topstitch 1⁄8\" to make center unit. The unit still from folded short edge and along long should be 41⁄2\" square including seam 1 Referring to Diagram 8, sew edges to make a tie. The tie should be allowances. yellow print 4×121⁄2\" rectangles 1⁄2×15\". Repeat to make four ties total. to block side edges. Add yellow print 2s1/q2.\" 4s1/q2.\" 181⁄2×191⁄2\" rectangle to top edge to 1/2 \" make cover front. The cover front should be 191⁄2×301⁄2\" including seam 2 ×151/2 \" allowances. Diagram 6 181/2 ×191/2 \" Diagram 9 8 Referring to Diagram 7, lay 2 Arrange ties on cover back 6\" out corner units, side units, from short edges (Diagram 10). and center unit in three rows. Sew Align raw edges; pin. Test placement together pieces in rows. Join rows to on your sewing machine, adjust ties as make block. The block should be 121⁄2\" necessary, and baste in place. square including seam allowances. 6\" 4×121/2 \" Diagram 8 Diagram 7 2 Layer yellow print 251⁄2×361⁄2\" 6\" rectangle right side down, batting, ASSEMBLE COVER and cover front right side up; baste. Diagram 10 The following measurements will result in a cover for a standard-size 3 Quilt as desired. Designer Lindsay 3 Bind with orange print binding sewing machine. Before cutting, Mayland machine-quilted strips. (For details, see Complete horizontal lines 2\" apart. Quilt, page 95.) 4 Trim batting and backing DESIGNER: Lindsay Mayland even with cover front edges to (Instagram @lindsmayland) complete cover. 32 APQ • October 2022

Change the Size To ensure the cover you make will fit your machine, do the math below, referring to Sewing Machine Measurement Diagram. When you have determined the measurements for your particular machine, return to “Assemble Cover,” page 32, and use your measurements to cut yellow print rectangles. Length Height Width Sewing Machine Measurement Diagram BLOCK SIDES COVER FRONT COVER BACK Determine width of 121∕2\"-long Determine cover front Determine cover back block side rectangles. rectangle dimensions. rectangle dimensions. Measure sewing machine FOR WIDTH: FOR WIDTH: length, subtract 12\", divide by 2, Multiply block sides width by 2 and Cover front width and add 1∕2\" = _______ add 111∕2\" = _______ plus 6\" = _______ Example: Example: Example: Machine length = 15\" - 12\" = 3\" Block sides width = 2\" x 2 = 4\" Cover front width = 15 1∕2\" + 6\"= 211∕2\" cover back width 3\" ÷ 2 = 11∕2\" 4\" + 111∕2\" = 151∕2\" cover front width FOR LENGTH: 11∕2\" + 1∕2\" = 2\" block sides width FOR LENGTH: Cover front length Measure sewing machine height, plus 18\" = _______ Each block side rectangle width. Multiply height by 2, add width, would be 2 × 121∕2\". and subtract 111∕2\" = _______ Example: Cover front length = 161∕2\" + 18\" Example: = 341∕2\" cover back length Machine height = 12\" x 2 = 24\" Your cover back rectangle 24\" + 4\" machine width = 28\" would be 211∕2 ×341∕2\". 28\" - 111∕2\" = 161∕2\" cover front length Your cover front rectangle would be 151∕2 ×161∕2\". AllPeopleQuilt.com 33

34

Tiny Tracks Dig through your scrap bin to piece small Bear's Paw blocks. Choose a singular color for the sashing, border, and binding to tie the project together. DESIGNER Darlene Zimmerman PHOTOGRAPHER Brie Passano AllPeopleQuilt.com 35

MATERIALS From dark blue dot, cut: line. Press open to make two small ▫ 5—21∕2×42\" binding strips triangle-squares. Each small triangle- FINISHED QUILT: 41×481∕2\" ▫ 5—21∕2×42\" strips for border square should be 11∕2\" square including seam allowances. Repeat to make four FINISHED BLOCK: 61∕2\" square ASSEMBLE BLOCKS small triangle-squares total. Measurements include 1∕4\" seam Yardages and cutting instructions are allowances. Sew with right sides 1s7/q8\". based on 42\" of usable fabric width. together unless otherwise stated. Diagram 2 ▫ 21∕2 yards total assorted light prints Press seams in directions indicated by arrows on diagrams. If no direction 5 Referring to Diagram 3, sew (blocks) is specified, press seam toward darker together two small triangle- ▫ 2 yards total assorted dark prints fabric. squares to make Unit A. The unit should be 11∕2×21∕2\" including seam (blocks) 1 Mark a diagonal line on wrong allowances. side of each light print 27∕8\" and ▫ 3∕8 yard white print (blocks) 17∕8\" square. ▫ 1∕8 yard red print (blocks) ▫ 1∕2 yard dark blue arrow print 2 Layer a marked light print Unit A 27∕8\" square atop a dark print Diagram 3 (sashing) 27∕8\" square. Sew together with two seams, stitching 1∕4\" on each side of 6 Referring to Diagram 4, sew ▫ 1∕8 yard brown print (sashing) marked line (Diagram 1). Cut apart together light print 11∕2\" square ▫ 7∕8 yard dark blue dot (border, on marked line. Press open to make and remaining small triangle-squares two large triangle-squares. Each large to make Unit B. The unit should be binding) triangle-square should be 21∕2\" square 11∕2×31∕2\" including seam allowances. including seam allowances. Repeat to ▫ 23∕4 yards backing fabric make 120 large triangle-squares total. 1s1/q2.\" ▫ 49×57\" batting 2s7/q8\". CUT FABRICS Cut pieces in the following order. Diagram 1 Unit B Diagram 4 From assorted light prints, cut: 3 Gather a set of marked light print ▫ 60—27∕8\" squares 17∕8\" squares, one 11∕2\" square from 7 Referring to Diagram 5, sew ▫ 240—17∕8\" squares (120 sets of a second light print, a set of dark print together Unit A and large 17∕8\" squares, and one large triangle- triangle-square. Add Unit B to make 2 matching squares) square. block quarter unit. The unit should ▫ 120—11∕2\" squares be 31∕2\" square including seam allowances. From assorted dark prints, cut: ▫ 60—27∕8\" squares AB ▫ 240—17∕8\" squares (120 sets of 2 matching squares) From white print, cut: ▫ 120—1×31∕2\" rectangles From red print, cut: ▫ 30—1\" squares From dark blue arrow print, cut: 4 Layer a light print 17∕8\" square Diagram 5 ▫ 49—11∕2×7\" sashing rectangles atop a dark print 17∕8\" square. Sew together with two seams, stitching 8 Repeat steps 3-7 to make From brown print, cut: 1∕4\" on each side of marked line 120 block quarter units total. ▫ 20—11∕2\" sashing squares (Diagram 2). Cut apart on marked 36 APQ ¥ October 2022

AllPeopleQuilt.com 37

option 9 Referring to Diagram 6, lay out four block quarter units, four Quilt tester Nancy Earll made 12 block quarter units in white print 1×31∕2\" rectangles, and one various colors, each anchored by a yellow large triangle- red print 1\" square in three rows. Sew square. She joined them into three Tiny Tracks blocks together pieces in rows. Join rows to and added a 2\"-wide finished border to make an 11×25\" make a block. The block should be 7\" table runner. square including seam allowances. Repeat to make 30 blocks total. FABRICS are from the Bee Basics collection by Lori Holt for Riley Blake Designs (rileyblakedesigns.com). 1× 31/2\" 38 APQ • October 2022 1× 31/2\" 1\" sq. Diagram 6 ASSEMBLE QUILT CENTER 1 Referring to Quilt Assembly Diagram, lay out blocks, dark blue arrow print 11∕2×7\" sashing rectangles, and brown print 11∕2\" sashing squares in 11 rows. Sew together pieces in rows. Press seams toward sashing rectangles. 2 Join rows to make quilt center. Press seams toward sashing rows. The quilt center should be 37×441∕2\" including seam allowances. ASSEMBLE AND ADD BORDERS 1 Piece and cut dark blue dot 21∕2×42\" strips for border to make: ▫ 2—21∕2×481∕2\" border strips ▫ 2—21∕2×37\" border strips 2 Sew short border strips to short edges of quilt center. Add long border strips to remaining edges. Press seams toward border.

21/2 × 37\" 11/2 × 7\" 11/2\" sq. 11/2 × 7\" 21/2 × 481/2\" Quilt Assembly Diagram AllPeopleQuilt.com 39

I like to combine FINISH QUILT machine and hand quilting 1 Layer quilt top, batting, and where possible. backing; baste. (For details, see In this quilt, the Complete Quilt, page 95.) small blocks didn't need a 2 Quilt as desired. Designer Darlene lot of quilting. Zimmerman machine-stitched in Simply outline- the ditch along the sashing rows. She quilting them by hand-quilted around the dark half of hand was enough each large triangle-square and hand- to enhance the quilted an interlocking wave in the piecing. border. (See “Editor’s Tips,” below, for hand-quilting best practices.) Darlene Zimmerman 3 Bind with dark blue dot binding DESIGNER strips. (For details, see Complete Quilt.) DESIGNER: Darlene Zimmerman (feedsacklady.com) Editor's Tips HAND QUILTING Tools you should have on hand: a quilting hoop, quilting thread, and a between hand needle in size 8, 9, or 10. For chunky stitches, use perle cotton and a larger-size needle. 1 23 1. Cut an 18\"-long piece of thread. 2. Use running stitches to quilt 3.Wind the thread twice around Thread a needle and knot one through all three layers of the the needle close to the quilt end. A few inches from where you quilt sandwich (Photo 2). top, as if making a French knot want to quilt, insert the threaded (Photo 3). Run needle tip through needle through the quilt top and the quilt top and batting but not batting but not the backing. Bring the backing. Rock the needle the needle back to the surface in tip back up, bringing the needle position to make the first stitch out ½\"–1\" away from stitching. (Photo 1). Tug gently on the thread Tug gently on the thread to pop to pop the knot through the quilt the knot through the quilt top top and embed it in the batting. and embed it in the batting. Clip the thread close to the quilt top, releasing the end to snap below the quilt top surface. 40 APQ ¥ October 2022



Golden Oak Leaves pieced in your favorite fall fabrics and combined in a distinctive setting make a warm fall statement. DESIGNER Krisanne Watkins PHOTOGRAPHER Adam Albright 42 APQ • October 2022

MATERIALS ▫ 150—21⁄8\" squares ▫ 200—13⁄4\" squares FINISHED QUILT: 907⁄8\" square FINISHED BLOCK: 121⁄2\" square From gold leaf print, cut: ▫ 100—13⁄4\" squares Yardages and cutting instructions are based on 42\" of usable fabric width. From small teal print, cut: ▫ 10—21⁄2×42\" binding strips Fabrics are from the Acorn Harvest ▫ 25—33⁄4\" squares collection by Renée Nanneman for Andover Fabrics (andoverfabrics From orange print, cut: .com). ▫ 100—13⁄4×3\" rectangles ▫ 3 yards total assorted medium and From brown stripe, cut: dark prints in gold, brown, green, ▫ 25—3\" squares teal, and rust (blocks) ASSEMBLE LEAF UNITS ▫ 63⁄8 yards solid cream (blocks, Measurements include 1⁄4\" seam allowances. Sew with right sides sashing, setting and corner together unless otherwise stated. triangles) Press seams in directions indicated ▫ 3⁄8 yard gold leaf print (blocks) by arrows on diagrams. If no direction is specified, press seam toward darker ▫ 11⁄8 yards small teal print (blocks, fabric. binding) ▫ 1⁄2 yard orange print (blocks) ▫ 1⁄4 yard brown stripe (blocks) ▫ 81⁄4 yards backing fabric ▫ 99\"-square batting CUT FABRICS 1 Gather a set of medium or dark Cut pieces in the following order. print pieces (two 3\" squares, five 21⁄8\" squares, two 13⁄4×51⁄2\" rectangles, From assorted medium and dark and two 13⁄4\" squares), one solid cream prints, cut 50 sets of: 33⁄4\" square, one solid cream 21⁄8\" ▫ 2—3\" squares square, four solid cream 1 3⁄4\" squares, ▫ 5—21⁄8\" squares and two gold leaf print 13⁄4\" squares. ▫ 2—13⁄4× 51⁄2\" rectangles ▫ 2—1 3⁄4\" squares 2 Use a pencil to mark a diagonal line on wrong side of each From solid cream, cut: medium or dark print 21⁄8\" square and ▫ 3—19\" squares, cutting each two solid cream 13⁄4\" squares. diagonally twice in an X for 3 Layer a marked medium or dark 12 setting triangles total print square atop solid cream ▫ 2—93⁄4\" squares, cutting each in half 21⁄8\" square. Sew together with two diagonally for 4 corner triangles seams, stitching 1⁄4\" on each side of total marked line (Diagram 1). Cut apart on ▫ 4—61⁄4\" squares, cutting each marked line. Press open to make two diagonally twice in an X for triangle-squares. Each triangle-square 16 sashing triangles total should be 13⁄4\" square including seam ▫ 64—4×13\" sashing rectangles allowances. ▫ 24—4\" sashing squares ▫ 50—33⁄4\" squares 2s1/q8\". ▫ 100—3\" squares Diagram 1 AllPeopleQuilt.com 43

4 Referring to Diagram 2, align two 5 Referring to Diagram 4, align a Diagram 5 marked medium or dark print remaining marked medium or squares with opposite corners of solid dark print square with solid cream 6 Align a marked solid cream cream 33∕4\" square. Sew together with corner of a triangle unit. Sew together square with left-hand end of two seams, stitching a scant 1∕4\" on with two seams, stitching a scant 1∕4\" a medium or dark print 13∕4×51∕2\" each side of marked lines. Cut apart on each side of marked line. Cut apart rectangle (Diagram 6; note direction on marked lines to make two triangle on marked line (Diagram 5). Press of marked line). Sew on marked line. units (Diagram 3); press open. open to make two Flying Geese units. Trim seam allowance to 1∕4\". Press open Each unit should be 13∕4×3\" including to make Unit 1. The unit still should be 2s1/q8\". 3s3q/4.\" seam allowances. Repeat to make two 13∕4×51∕2\" including seam allowances. additional Flying Geese units for four Diagram 2 units total. 1s3q/4.\" 13/4×51/2\" 2s1/q8\". Diagram 4 Unit 1 Diagram 6 Diagram 3 44 APQ ¥ October 2022

7 Referring to Diagram 7, repeat 10 Referring to Diagram 10, lay 11 Repeat steps 1–10 to make 50 Step 6 on right-hand end of out two Flying Geese units, A leaf units and 50 B leaf units a medium or dark print 13⁄4×51⁄2\" remaining triangle-square, one total. rectangle to make Unit 2. unmarked solid cream 13⁄4\" square, ASSEMBLE BLOCKS Unit 2, remaining two-patch unit, and 13/4×51/2\" 1s3q/4.\" remaining medium or dark print 3\" 1 Mark a diagonal line on wrong square in three rows. Sew together side of each remaining solid cream Unit 2 pieces in top and bottom rows. Join 21⁄8\" square. Diagram 7 rows to make Leaf Unit B. The unit should be 51⁄2\" square including seam 2 Referring to Assemble Leaf 8 Sew together a medium or dark allowances. Units, steps 4 and 5, page 44, use print 13⁄4\" square and a gold leaf marked solid cream squares and teal print 13⁄4\" square to make a two-patch 13/4\" print 33⁄4\" squares to make 100 teal unit (Diagram 8). The unit should be sq. Flying Geese units (Diagram 11). 13⁄4×3\" including seam allowances. Repeat to make a second two-patch 2 Diagram 11 unit. 3\" AllPeopleQuilt.com 45 1s3q/4.\" sq. 1s3q/4.\" Leaf Unit B Diagram 8 Diagram 10 9 Lay out one unmarked solid cream 13⁄4\" square, one triangle-square, two Flying Geese units, Unit 1, one medium or dark print 3\" square, and one two-patch unit in three rows (Diagram 9; note orientation of two-patch unit). Sew together pieces in top and bottom rows. Join rows to make Leaf Unit A. The unit should be 5 1⁄2\" square including seam allowances. 13/4\" sq. 1 3\" sq. Leaf Unit A Diagram 9

3 Sew together a solid cream 3\" pieces in rows. Join rows to make a ASSEMBLE QUILT TOP square, a teal Flying Geese unit, block. The block should be 13\" square and an orange print 13∕4×3\" rectangle including seam allowances. Repeat to 1 Referring to Quilt Assembly to make a side unit (Diagram 12). The make 25 blocks total. Diagram, lay out blocks and solid unit should be 3×51∕2\" including seam cream sashing triangles, 4×13\" sashing allowances. Repeat to make 100 side AB rectangles, setting triangles, and units total. 4\" sashing squares in 15 diagonal rows. 3\" Sew together pieces in rows. Press 3\" sq. seams toward sashing rectangles. sq. Join rows; press seams away from BA block rows. 13/4 × 3\" Diagram 13 2 Add solid cream corner triangles Diagram 12 to complete quilt top. Press seams toward corner triangles. 4 Referring to Diagram 13, lay out two nonmatching A leaf units, four side units, two nonmatching B leaf units, and one brown stripe 3\" square in three rows. Sew together option Make one Golden Oak block, fussy-cutting a favorite element of a novelty fabric for the center square, and frame it with a 13 ∕4\"-wide finished border for a seasonal accent pillow. FABRICS are from the Hometown Halloween collection by Kimberbell for Maywood Studio (maywoodstudio.com). Free Pattern AllPeopleQu lt.com/201 46 APQ • October 2022

4×13 \" 4×13\" sq.4 \" Quilt Assembly Diagram FINISH QUILT 3 Bind with small teal print binding strips. (For details, see Complete 1 Layer quilt top, batting, and Quilt.) backing; baste. (For details, see Complete Quilt, page 95.) DESIGNER: Krisanne Watkins (quailvalleyquilts.com) 2 Quilt as desired. Carol Lifferth MACHINE QUILTER: Carol Lifferth machine-quilted a swirling leaf design across the quilt top (photo, right). AllPeopleQuilt.com 47

48 APQ • October 2022