Today’s Quilter Issue 87, 2022

QUILTING STYLES l miniature quilts Image by Anne Williams TOP TIPS FOR MAKING MINIS Above, ‘A not necessarily quick to make. Patchwork and ■ Mostly, you just need basic sewing Hundred Acres’ appliqué examples can contain as many elements supplies, but if you do catch the mini- by Roberta as a full-size quilt, and working with teeny pieces making bug, there are a few items you may Le Poidevin, is not everyone’s cup of tea. So if you haven’t find handy, such as: a set of small square UK: Miniature made a mini before, for your first attempt it’s best rulers with 1/8in markings – 2½in, 3½in and Quilts winner not to be too ambitious about how small you go. 4½in will be most useful; a small pair at The Festival But who knows, you might love it and relish the of scissors; a small rotating cutting mat of Quilts 2014. challenge. If you’re ready to give it a go, there are – 8in square is ideal. This wholecloth some handy tips to get you started in the panel, is made from right, and you will find an inspiring pattern, ■ You may find fabrics like Liberty’s Tana computer- Little Beauty, which you can find on page 53 Lawn, fine cottons or fine silks give better printed cotton of this issue. results as your seams will be less bulky. If and features using prints, small-scale designs work best. a fused abaca paper binding ■ Use fine thread, e.g. 80-weight or 100-weight, and fine hand or machine THE FESTIVAL OF QUILTS needles. For piecing, this will help with accuracy and for appliqué your stitches will 18–21 August 2022 all but disappear. If you would like to enter the Festival competition, the deadline ■ Before you start, press your fabrics. Using for entries is 27 June 2022. spray starch will keep the fabric crisp and help to prevent shifting while you sew. Miniature Quilts is just one of 17 different categories to choose from. You will find details about the requirements for each ■ Take care when measuring and cutting category and the online entry form on the Festival website. out as accuracy is even more important when working with small pieces. www.thefestivalofquilts.co.uk ■ A standard ¼in seam is fine but be precise – in a small block with small patches, a slight difference in seam allowances will be magnified. ■ You might prefer to press your seams open as pressing to one side can cause slight size variations when working with small pieces. Pressing open can also reduce bulk. ■ Foundation paper piecing is great for making blocks with small pieces and odd angles so can be ideal for making minis. Using a permanent foundation, such as lightweight interfacing or fine calico, means you won’t have to worry about removing the base material, and may mean you won’t need to add a layer of wadding either (see below). ■ Use a thin wadding, or you could use a layer or two of fabric instead if you want a really flat look. ■ Narrow binding looks best on a miniature quilt – use strips no wider than 2in (cut) for a double-fold binding. ■ Adding triangular hanging pockets at the top corners before you add the binding is a neat way to build in the option to hang your mini – just pop the ends of a piece of dowel into the pockets and you’re good to go. Join us at www.gathered.how/todaysquilter 51



MINIATURE QUILT 53 LITTLE BEAUTY Create a striking yet delicate showstopper in shades of fuchsia and raspberry against crystal clear white. Designed by KUMIKO FRYDL Join us at www.gathered.how/todaysquilter

MINIATURE QUILT You will need LITTLE BEAUTY n Pink batik fabrics – Several 41/2in x 44in pieces BEHIND THE PROJECT n White fabric – 18in x 44in RADIATING CHARM n Backing fabric – 14in x 14in n Batting – 13in x 13in Create a gorgeous miniature quilt while honing your paper piecing, machine n Tracing paper or thin white paper piecing and stippling techniques. To find out more about Miniature Quilts and the 15 inspirational projects in it by Kumiko Frydl, turn to the end of for the foundation papers this project. Assembling the blocks 54 1Copy thirty-two (32) foundation papers for Part A and twenty-four (24) foundation papers for Part B, adding 1/4in around each one. Sew fabrics onto the foundation papers for Parts A and B. Use the white fabric for the uneven numbers and pink for the even numbers. 2From the white fabric, cut sixteen (16) 1/4in x 3in strips, remembering to add a 1/4in seam allowance around each piece. Sew a Part A piece onto either side of each of these strips to make one (1) Band 3 and repeat to assemble a total of sixteen (16) Band 3s (Fig 1). 3Trace twenty-four (24) Piece 1 quarter circle inserts for Block 1 and Block 2, onto the white fabric, adding a 1/4in seam allowance around each piece and cut out. Trace four (4) of Block 1 Piece 2 shapes adding a 1/4in seam allowance around each piece. Attach one (1) Piece 1 to each Part B and add one of these to the four (4) corners of each Piece 2 to make four (4) of Block 1 (Fig 2). 4Cut eight (8) of Piece 3 from the white fabric, adding a 1/4in seam allowance around each piece. Add a Part B/Piece 1 to the corner of each Piece 3 to make eight Block 2s as shown in Fig 3. Star blocks 5Use the templates for Part C and, adding a 1/4in seam allowances to each piece, assemble thirteen (13) Star blocks by hand. These blocks will be where the Band 3s cross. The corner blocks will be trimmed when the panel is assembled. 6Remove the foundation papers. Join us at www.gathered.how/todaysquilter

Finished size IMPORTANT Please read through the n 113/4in x 113/4in whole pattern before cutting any fabric, as measurement Notes given do not include seams n Foundation templates and sizes allowances! are given without seam allowance. Add 1/4in around each foundation template and each piece. Part C Part C Block 2 Block 2 Fig 1 Part A Block 2 Part C Block 1 Part C Block 2 Part C 1 1 Part B Part C 2 Part C Block 1 Block 1 Part C 11 Block 2 Part C Block 1 Part C Block 2 Block 2 Block 2 Part C Part C Part C Fig 4 Fig 2 3 1 Quilting and finishing and a length of approximately 53in from the white fabric. 8Draw on the quilting pattern using a washable marker pen 12Turn back 1/4in along the long for fabric (find these along with the edges of the white strip and templates in the Templates section). press. Sandwich the quilt top with the backing material and the batting. 13Draw a ⁵⁄₁₆in line from the long Tack the three (3) layers together. edge of the pink strip. Place the white strip along this line and 9Quilt using free-motion quilting. appliqué the two (2) edges together. Fig 3 10Cut one (1) strip to a width of 14With right sides together, align 13/4in, including seam allowance, the pink and white border strip Assembling the panel and a length of approximately 53in along the edges of the panel and sew from the pink fabric. with a 1/4in seam allowance, forming 7Referring to Fig 4, arrange the mitred corners. Turn to the back and different sections to create the 11Cut one (1) strip to a width of Slip Stitch. panel and sew them together. Trim 3/4in, including seam allowance, the corners of the panel. 55 Join us at www.gathered.how/todaysquilter

PROJECT l little beauty GET THE BOOK... For a small quilt, this beautiful design Featuring 15 miniature quilts, each on a different theme including ornate truly packs a sweet roses, whimsical pineapples, a stunning beach scene and a Wedgwood- punch and allows you to demonstrate inspired pattern in blue and white, Kumiko Frydl demonstrates her a variety of skills! knowledge and talent in this book. Each project has detailed step-by-step instructions, diagrams and close-up photographs of the finished piece. Miniature Quilts by Kumiko Frydl ISBN: 9781782217091 £12.99 www.searchpress.com 56 Join us at www.gathered.how/todaysquilter



Useful guide to quilting goodies! DIRECTORY Find the fabrics, accessories and more that you want from this month’s issue! SHOPPING BOOKS ACCESSORIES English Paper Piecing Workshop www.searchpress.com Clover thimbles www.clover-m .com FABRIC COLLECTIONS Hemline machine needles Ki-Mama roves stockisten uiries.co.uk www.robertkau man.com Sew Easy Diamond Templates Mary Ann’s Gift roves stockisten uiries.co.uk moda abrics.com Trimits kit and accessories Petit Sophila roves stockisten uiries.co.uk www.robertkau man.com Vlieseline 278 Soya Mix New Beginnings www.vlieseline.com www.anbo.co.uk 58 Join us at www.gathered.how/todaysquilter

ESSENTIAL GUIDE Exploring Single Shape Appliqué A single appliqué shape might sound restrictive but if you choose the right shape and use it imaginatively, some interesting designs can be created “Some exciting contemporary designs can be achieved by using just a repeating appliqué shape and in this Essential Guide we explore some methods to produce original ideas.” – Lin Clements Join us at www.gathered.how/todaysquilter 59

ESSENTIAL GUIDE l single shape appliqué CHOOSING A SHAPE MAXIMISING VARIATION I ’ve chosen two shapes – a leaf like petals. Another dimension that and a feather – to create pieces could be introduced is piecing the When choosing a shape for a design of work with a modern edge. shapes and I show an example of this there are a surprising number of variations you can achieve for that There are diagrams and stitched with the leaf shape. single shape and some of the stitched examples show this sort of variation. samples that I think will give you a As well as two shapes, I’ve also Any shape you choose can be varied in size, either in the overall size or good idea of what can be achieved chosen two methods of appliqué, by just one dimension, as shown by the symmetrical leaf shape in Fig 1. with a single shape. I set myself the which are described in this article. For an asymmetrical shape such as a feather, you can reflect (flip) the constraint of not changing the outline n Turned-edge appliqué works shape vertically or horizontally and also rotate it 180 degrees, to create of the shapes, but I did allow for the particularly well with a leaf or the different shapes shown in Fig 2. A template simply has to be flipped shapes to be enlarged or reduced or oval shape, especially if a glue over to make a reversed version. flipped (reversed). Of course, there pen is used. Fig 1 Changing shape by reduction are other shapes you could try, such as n Fusible web appliqué with a ovals, squares, triangles and various machine straight stitch or hand polygons. You might also choose to blanket stitch edge could be used vary the shapes, for example changing for the leaf and feather shape. You smooth ovals into irregular ovals, to could also edge the shapes with look like true pebbles, or widening freestyle machine stitching. some of the leaf shapes to look more Original shape Whole shape reduced Original shape reduced in height Fig 2 Changing shape by reflection, rotation or reduction Original shape Rotate 180¡ Reflect vertical The organic nature of designs created with a feather shape can look most Reflect horizontal attractive. The points of the feathers create a pleasingly ragged edge to this Reduce 75% shaggy chrysanthemum. I used three blender fabrics (Moda Grunge) in pink shades, but you could use more colours or patterned fabrics. The three sizes of templates are given in the Templates section. I added some extra colour to the base of each petal by using Shiva Paintstiks. The petal appliqués were fixed in place with fusible web. Rather than edge the appliqués, I worked a diagonal grid of quilting over the appliquéd area. French knots were added to emphasize the flower centre. At present this sample is 16in square but it could be made bigger by enlarging the templates or by adding borders 60 Join us at www.gathered.how/todaysquilter

ESSENTIAL GUIDE l single shape appliqué USING TURNED-EDGE APPLIQUÉ This method is a traditional one and can be used for any shape. Smooth shape Fig 3 Turning the seam over on a smooth shape 1Cut the shape from fabric, including a seam allowance of B about a 1/4in all round (Fig 3 shows an oval shape). The easiest way to do this if using a template made from thin Fabric WS card is to pin the template to the wrong side (WS) of the fabric and cut out the allowance by eye. You could also use a Thin card or freezer paper template, using an iron to fuse it to the fabric. freezer paper template 2With sharp scissors, clip into the seam allowance on C Apply dots of glue or liquid starch tight curves. Begin to turn the seam allowance over, on seam and press seam over using the point of an iron to press it into place. Before pressing, you could use small spots of glue pen to fix the D seam in place, or paint liquid starch on the seam. Work all round the shape in this way. Remove template and press again 3When the hem is pressed under, remove the template and press again. Now stitch the motif to the background using matching thread and tiny stitches and press. Pointed shape Fig 4 Turning the seam over on a pointed shape 1If turning the seam on a pointed shape, such A B as a leaf (Fig 4A), use the same method as Fabric WS described above, but begin by turning over the pointed ends, as shown in Fig 4B – this will Template protect the point. 2Now begin to press the seam over one curved C D edge of the template, forming little tucks if needed (Fig 4C). Make sure the end folds meet at the template points. 3Repeat on the other curved edge, again Points of the making sure the folds at each end meet the template template points, and then press well (Fig 4D). are here USING FUSIBLE WEB APPLIQUÉ This method can be easier than turned-edge Fig 5 Using fusible web B appliqué but usually needs to be edged in some A way. No seam allowance is needed. 1Use fusible web to back the fabric you are Fusible web fused to Appliqué using for the appliqué, ensuring the fabric back of appliqué fabric motif patch is larger than the appliqué motif (Fig 5A). Shape drawn on web paper 2Draw the motif on the paper side of the fusible C web. Note: if the shape is asymmetrical, D reverse (flip) the template before drawing (Fig 5B). Cut out the shape (Fig 5C). Peel off Appliqué the paper and fuse the appliqué motif onto the shape (RS) background fabric (Fig 5D). 3The motif can be further secured by edge Appliqué fused to background stitching with hand or machine stitches. For projects that won’t get a lot of use or won’t be washed you could leave the edges unstitched. Join us at www.gathered.how/todaysquilter 61

ESSENTIAL GUIDE l single shape appliqué DESIGNS TO TRY On the next few pages I’ve given some ideas to try, showing details of how I made some of them. There are also diagrams showing some variations. Many of the designs would make great cushions but you could adapt them to form quilt blocks or longer designs for table runners. LEAF Fig 6 Simple pieced background A A The leaf shape is easy and surprisingly Sew on the leaf appliqués versatile, with several examples shown. Piece two fabrics together You could start with the simple but elegant design shown in Fig 6 and Fig 7 Variations on a theme in the photo below. I began with two pieces of background fabric sewn together – one about 5in x 16in and the other about 11in x 16in. The leaves could be prepared with fusible web or turned-edge appliqué and are positioned along the seam. Variations to this design are suggested in Fig 7. Fig 8 shows a combination design you might try, and the design can be photocopied from this page and enlarged if you wish. It would look good in fusible web appliqué with brightly coloured felts. The design is made up of some flower shapes (see motifs with Fig 8) using mostly leaf/ petal shapes in three sizes, plus a few ovals, some random circles and leaf sprays to fill in where needed. Fig 8 Creating a floral background The appliqué on this potential cushion project is easy, as it uses just a single leaf shape. A quick fusible web method was used to attach the shapes to the simple pieced background. Hand Blanket Stitch was chosen as an edging, worked in a thread to match the appliqué so it barely shows. The centre stem is a line of Backstitches, whipped to create a thicker look. A narrow border was added in a dark fabric. You could make a set of these cushions, varying the leaf arrangement, as suggested in Fig 7 62 Join us at www.gathered.how/todaysquilter

ESSENTIAL GUIDE l single shape appliqué PIECED LEAF A design with pieced leaves is shown in the stitched sample below. Five different pieced strips were prepared for the sample. 1Sew together two different strips Fig 9 Creating pieced appliqués Fig 10 Making a stem 15in long x 11/2in high, to make WS a strip 21/2in high. Press the seam A open. This is long enough for four Freezer (4) leaves. Draw templates (excluding paper Crease strip along centre seam allowance) on freezer paper and cut out. Fuse a leaf centrally on the RS Pieced appliqué B wrong side of the pieced strip as in including seam Fig 9. Draw round the shape. Leave allowance Press sides to centre the freezer paper in place and draw an approximate 1/4in seam allowance all Fig 11 Positioning the stems C round. Repeat with more leaves and then cut out the shapes including seam Press in half allowance. For the design below you will need twenty (20) leaves. Fig 12 Adding the leaves 2Prepare the appliqués using a turned-edge method. Remove the paper when the shapes are well pressed. Make stems from strips cut 3/4in wide x about 10in long per stem. Fold each stem as in Fig 10, to cover raw edges so the stem is just over 1/8in (5mm) wide when pressed. Position and stitch the stems into place as in Fig 11, using tiny stitches around the edge in a matching thread colour. If accurate positioning is needed, see Troubleshooting for advice. 3Now add the leaves, positioning them as desired (Fig 12). Pin the leaves in place and then stitch them using tiny stitches around the edge. Press the finished work. Note: pins can get in the way of stitching the appliqués, so if this is the case for you, try a few dots of glue stick on the back of each appliqué. This will hold the pieces in place as you stitch them into position. This leaf design is pieced to create 63 a two-tone leaf. This effect is easily created by sewing different strips of fabric into pairs, as shown in Fig 9. The leaves are prepared with turned-edge appliqué. Each of the four (4) curved motifs are the same (rotated 90 degrees), with five (5) different leaves made from strips of ten (10) different green fabrics. This sample uses a single background fabric that was cut 16in square Join us at www.gathered.how/todaysquilter

ESSENTIAL GUIDE l single shape appliqué FEATHER little different when it was reflected or to the layout. In Fig 14 the design is rotated. In Fig 13B, the use of large, used in a row, and this long format I love the feather/wave/petal shape medium and small sizes (L, M, S) can would be ideal for a table runner. as it’s versatile and can create many be seen, with some shapes reflected modern and organic designs – see (denoted by the letter r) to create a The feather shape can produce the chrysanthemum on page 60. The design with movement. In the stitched many different designs and is combined shapes can be made to sample the whole design was rotated especially good at creating flow and look like foliage. My feather shape 180 degrees and some changes made movement. The chrysanthemum in Fig 13A below isn’t symmetrical design shown in Fig 15 uses three because I wanted the shape to look a sizes of the shape, some of which are reflected to create a flower that Fig 13 Varying shapes to create a design radiates out from the centre in multiple directions (shown by green AB arrows). If you don’t use a drawing programme, you could cut shapes S Sr from paper and arrange them into M Mr a pleasing design. Numbering each M Lr petal will help with placement Lr on the background fabric. See L Troubleshooting for more advice. Lr L Fig 15 Creating movement Lr L Mr L LM MS Fig 14 Using the design in a long format This design uses a feather shape for Join us at www.gathered.how/todaysquilter the appliqué. The size of the shape was varied, reducing the original shape by 75% and 50%. The three sizes are given in the Templates section. The shapes are also reflected where needed, to create the two sides of the feather (just flip the templates over). A central stem (shaft) was made by folding a strip of fabric to hide the raw edges (see Fig 10). Fusible web was used for the appliqué (an easy way to deal with all the spiky points), but you could use a turned-edge method. The edges of the appliqué were secured by machine stitching using a freehand style. This sample is about 16in square 64

ESSENTIAL GUIDE l single shape appliqué EXPLORING SINGLE SHAPE APPLIQUÉ – TROUBLESHOOTING A single shape can create many attractive designs with a modern flavour. Here are answers to some questions about making successful appliqué designs. Help! I’d like to try a design with a repeating motif, but what’s the best way of positioning the individual shapes so they look the same? Try this... For these sorts of one-shape appliqué designs 2Take your initial full-size drawing and copy it onto positioning can be crucial, especially if you want to tracing paper using a thick pen (Fig 16B). For a larger replicate your initial drawing accurately. I’ve found that design you may have to stick several A4 sheets of tracing the best way to place appliqués is to use tracing paper. paper together. Mark corresponding guidelines on the tracing. Place the tracing on the background fabric, using 1Cut the background fabric slightly larger than needed masking tape to stick it in place at the top of the design and press it. Mark guidelines using a removable marker (Fig 16C). You can now begin to place the appliqués, (Fig 16A), for example, the design’s outer edge, centre lines sliding them into position under the tracing (Fig 16D). and 11/2in squares in corners, where a stem starts. When all of the pieces are in place, they can be pinned or spot glued with a glue pen before sewing. Fig 16 Positioning appliqués using a tracing guide ABCD Marking guidelines on Copy the design onto Stick the tracing onto Slide the appliqués into the background fabric tracing paper the fabric place under the tracing Help! I have trouble creating sharp points on an appliqué shape. Fig 17 Rounding off sharp points Do you have any tips on this? Sharp-pointed shape Points rounded off Try this... Sharp points can be a C For turned-edge appliqué, reduce problem, so here are some ways to deal the bulk of the seam allowance to with them. about 1/8in. A Avoid the problem altogether at the D Use freezer paper for the template. drawing stage by blunting or rounding Fusing it in place temporarily will keep off the sharp point − see Fig 17. it steady and make it easier to turn the B Keep the sharp points but use seam over the edge of the paper. Using fusible web appliqué, which avoids starch as you turn the seam will also having a seam. give a firmer edge. About the designer and includes everything she has learnt working with the industry’s best designers. For Today’s Quilter, Linda is Linda Clements is a leading technical quilting expert, working with the team to select practical and creative editor and writer who, for 25 years, has worked on techniques. She will then go in-depth, exploring the many fabric and craft titles for David & Charles and methods, taking them from the basic premise to their full other leading craft publishers. technical and creative potential. You can cut out and keep this section to build your own bespoke technical handbook. Among the many quilters who have trusted Linda to ensure their books are both accurate and reader friendly, EG NEXT ISSUE: MARINER'S COMPASS are Lynne Edwards MBE, Susan Briscoe, Pam & Nicky Lintott, Pauline Ineson, Mandy Shaw and Lynette Next month we look at the construction of the Anderson. Linda’s own book, The Quilter’s Bible, is the Mariner’s Compass block and describe two designs must-have guide to patchwork, quilting and appliqué, you could make Join us at www.gathered.how/todaysquilter 65

SEEBPEAFIFGROESR3TIE2SC2SF7OUOPEARYT,P8DORS8IERULTAEBS2AICS0LYEC2ISOR!2VI.UEBRENEXT MONTH ISSUE 88 ON SALE 12th of May 2022 GROWN FROM SCRAPS No matter how small the piece of fabric, you can still use it to make this crumb quilt featuring appliqué blooms STUNNING STONE! Your Gift Create your own Set in Stone piece Curvy quilting with expert guidance from template Lynne Edwards MBE CELEBRATION OF SANDERSON! Marking 160 years of Sanderson art, this fabric collection is perfectly shown off in our quilt *Please note, gift and contents may be subject to change Let your skills blossom! Kena Tangi Dorsey gives top tips for incorporating beautiful and bold African fabrics into your quilts • Master the Mariner’s Compass block with Lin Clements 66 Join us at www.gathered.how/todaysquilter

FRAME QUILT PROJECT CARIAD MAWR Create a traditional quilt that’s steeped in history with a design that’s sure to make a generous dent in your stash! Designed and made by CAROLYN FORSTER Quilted by THE QUILT ROOM DORKING Join us at www.gathered.how/todaysquilter 67

FRAME QUILT PROJECT CARIAD MAWR You will need n Centre square – 1/4yd n Corner squares – 1/2yd n Dividers – 1yd n Binding – 5/8yd – (Total if using the same fabric* for all four bits above: 21/3yds) n Lilac/turquoise fabric (Frame 1) – One (1) 31/2in x 15in strip of each n Gold fabric (Frame 2) – 8in x WOF n Cream fabric (Frame 3) – 15in x WOF n Burgundy fabric (Frame 4) – 15in x WOF n Cream fabric (Frame 5) – 15in x WOF n Light green fabric (Frame 6) – 21in x WOF n Cream fabric (Frame 7) – 21in x WOF BEHIND THE QUILT Cutting out HISTORY & TRADITION 1Cut one (1) 71/2in square piece for the centre square. “This quilt was inspired by a project in the book The Quilts of the British Isles by Janet Rae, published in 1987. The project in question is a scrap quilt made 2Cut five (5) 31/2in x WOF in Wales around 1910. I’ve always loved a Frame or Medallion quilt, and this strips for the corner squares. one seemed so simple and looked like a quick stitch. From this subcut forty-eight (48) 31/2in squares. “In my haste to get started, and due to my erratic maths skills, my version has turned out slightly differently to the original, but that is all part of the fun 3Cut ten (10) 31/2in x WOF strips and charm of being inspired by old quilts. To keep true to the original I used for the dividers. Subcut into two the same fabric* for the centre, corner posts and row dividers, I even used hundred-and-forty-eight (248) 11/2in it for the binding too. Part of the quilt’s charm comes from using scraps, as x 31/2in pieces. each frame alternates between the light and dark fabrics. I’ve used creams for my lights but changed the colours for each alternate frame. 4Cut eight (8) 21/2in x WOF strips for the binding. Join to a “For the Frame, I used treasures from my coveted stash of fabrics by continuous length with a bias join, Lynette Jensen who designed for RJR fabrics under the Thimbleberries press seams open. Press along the brand. This really is a blast from the past as the fabrics haven’t been around length wrong sides together. for a long time. It’s also a snapshot of my fabric-buying over the years. Part of what holds this design together is the constant use of a single fabric 5From your lilac and turquoise starting with the centre square and on, through to the binding. I’ve used fabric, cut two (2) 31/2in x 71/2in a multicoloured print by Cathe Holden from her Flea Market collection. pieces from each for Frame 1. Choose a self-coloured print, small dots or even a plain piece if you want to calm a scrappy quilt down. 6From your gold fabric, cut eight (8) x 31/2in x 61/2in pieces for “Depending on your fabric choices, you will see that by the time you reach Frame 2. Frame 8 and 10, the corners will combine with Frames 7 and 9 to create a large four-patch style block in the corners, which will complement the 7From your cream fabric, for centre square nicely. The quilt is not technically challenging to make, but the Frame 3, cut two (2) 61/2in x WOF insurance of an accurate 1/4in seam allowance while you sew will ensure the strips. Subcut into four (4) 31/2in x rows go together easily. As the rows get longer you’ll find that pinning at the 61/2in pieces and eight (8) 31/2in x 6in start, finish and middle of the row helps.” – Carolyn Forster pieces. 68 Join us at www.gathered.how/todaysquilter

n Dark blue fabric (Frame 8) – 11in x WOF n Cream fabric (Frame 9) – 28in x WOF n Pink/purple fabric (Frame 10) – 28in x WOF n Cream fabric (Frame 11) – 28in x WOF n Dark green fabric (Frame 12) – 30in x WOF n If you choose to use one cream fabric, you will need 22/3yds in total n Backing – 5yds n Batting – 88in x 88in Finished size n 791/2in x 791/2in Notes n WOF = width of fabric. n In each frame, Carolyn used more prints for variety. 8From your burgundy fabric, for 14From your pink/purple fabric, n One (1) 81/2in x WOF strip, subcut Frame 4, cut two (2) 61/2in x WOF for Frame 10, cut four (4) 61/2in into eight (8) 31/2in x 81/2in pieces. strips. Subcut into eight (8) 31/2in x x WOF strips. Subcut into thirty-two 61/2in pieces and eight (8) 31/2in x 51/2in (32) 31/2in x 61/2in pieces and eight Note: If you choose to use one cream pieces. (8) 31/2in x 31/2in pieces. fabric, you will cut as follows: n Fourteen (14) 61/2in x WOF strips 9From your cream fabric, for 15From your cream fabric, for Frame 5, cut two (2) 61/2in x WOF Frame 11, cut four (4) 61/2in x and subcut into: strips. Subcut into twelve (12) 31/2in WOF strips. Subcut into thirty-six – One-hundred (100) 31/2in x 61/2in x 61/2in pieces and eight (8) 31/2in x (36) 31/2in x 61/2in pieces and eight pieces. 5in pieces. (8) 31/2in x 2in pieces. – Eight (8) 31/2in x 6in pieces. n Eight (8) 31/2in x 5in pieces. 10From your light green fabric, 16From your dark green fabric, n Eight (8) 31/2in x 4in pieces. for Frame 6, cut two (2) 61/2in for Frame 12, cut as follows: n Eight (8) 31/2in x 2in pieces. x WOF strips. Subcut into sixteen n Three (3) 61/2in x WOF strips, (16) 31/2in x 61/2in pieces and eight (8) 17Cut the backing fabric into 31/2in x 41/2in pieces. subcut into thirty-two (32) 31/2in x two (2) equal lengths, remove 61/2in pieces. selvedge and join the long sides 11From your cream fabric, for Frame 7, cut three (3) 61/2in x WOF strips. Subcut into twenty (20) 31/2in x 61/2in pieces and eight (8) 31/2in x 4in pieces. 12From your dark blue fabric, for Frame 8, cut three (3) 61/2in x WOF strips. Subcut into twenty-four (24) 31/2in x 61/2in pieces and eight (8) 31/2in x 31/2in pieces. 13From your cream fabric, for Frame 9, cut four (4) 61/2in x WOF strips. Subcut into twenty- eight (28) 31/2in x 6 1/2in pieces and eight (8) 31/2in x 3in pieces. Join us at www.gathered.how/todaysquilter 69

PROJECT l cariad mawr together using a 1/2in seam allowance. Press seam open. Making the quilt 18Stitch the turquoise rectangles to either side of the centre square (Fig 1). Press to the centre. 19Stitch a corner post to each end of the lilac rectangles. Press towards the rectangles. 20Stitch these pieces to the top and bottom of the centre square, making sure the seams at the corners knit together. Press away from the centre (Fig 2). Fig 1 Fig 2 23Stitch a corner post to either 25For Frame 3 (cream fabric) end of the remaining rows. to make each Frame side, use 21For Frame 2 (gold fabric), Press towards the corners. one (1) 31/2in x 61/2in cream rectangle stitch a divider between each and two (2) 31/2in x 6in rectangles, pair of rectangles. Press seams 24Stitch these pieces to the placing the shorter ones at the ends towards the dividers. top and bottom of the quilt of each row. Stitch the dividers (Fig 4). Press away from the centre. between the rectangles and press as 22Stitch one each of these to before (Fig 5). the sides of the quilt (Fig 3). Press towards the centre. Shorter pieces Fig 3 Fig 5 70 26Stitch two (2) of these rows to the sides of the quilt, pressing as before. 27Stitch corner posts to each end of the remaining two rows, press as before. Stitch these to Fig 4 the quilt. Press as before. Join us at www.gathered.how/todaysquilter

PROJECT l cariad mawr 28For Frame 4 (burgundy 32For Frame 12 (green fabric), in an all-over design that can be fabric), arrange as before when laying out the rectangles quilted on a sewing machine at placing the larger rectangles in the the longest ones now go at either home. To hand-quilt, use Amish row with the shorter ones at the ends end of each row. Stitch and press waves, or simply outline quilt around of each row. as before. all the frames. 29Stitch as before, pinning to 33When the top is complete, 34Once quilted, remove the make sure the rows fit. layer and baste ready for basting and trim to bind. quilting. This project was quilted 30For Frame 5 (cream fabric), 71 stitch as before. When it comes to pinning the rows to the quilt, you will see that when the row is right sides together, the dividers will line up with those in the last but one row. Pin either side of the dividers, perpendicular to the seam, and stitch the rows. You will be able to use this method to line up the dividers now on all subsequent rows. Stitch and press as before. 31Lay out Frames 6-11 and sew in the same way as previous rows. Join us at www.gathered.how/todaysquilter

PROJECT l cariad mawr Meet the designer Dive into your stash to sew this traditional design frame by frame Carolyn Forster has been sewing, making patchwork and quilting for well over 20 years, and teaching for many of those years. You can find her quilts in a range of books published by Landauer Publishing (USA), and Search Press (UK). She blogs at www.carolynforster.co.uk or you can follow her stitching inspiration on Instagram. To get in touch with Carolyn about her classes and talks, you can email her at: [email protected] www.carolynforster.co.uk Carolyn Forster Quiltingonthego 72 Join us at www.gathered.how/todaysquilter

Primrose Hill BLOCK OF THE MONTH NO.9 DELICATESSEN Designed and made by NICOLA DODD Join us at www.gathered.how/todaysquilter 73

BLOCK OF THE MONTH l primrose hill Delicatessen You will need Making the upper floors volume print piece, again press n Taupe print fabric (upper towards the taupe. walls) – One (1) fat quarter 1To make the upper floors, cut the n Low volume print fabric following: 3Sew these two (2) sections n One (1) 3½in x 8½in and one together, taking care with the (windows) – One (1) fat placement and, again, pressing quarter (1) 3in x 8½in low volume print towards the taupe. Trim the end and pieces for the windows. cut three (3) 2½in sections (Fig 1). n Contrast taupe print n One (1) 1½in x 8½in and five (5) (roof ) – Two (2) 1½in x 2in x 8½in taupe print pieces for Fig 1 the wall. 21in strips n One (1) 1in x 12½in cream print n Taupe solid fabric piece for the cornice. (ground floor) – One (1) 2First make a strip-set for the 1½in x 21in strip windows – join the 1½in x 8½in n Yellow print fabric taupe print piece to the 3in x 8½in low (awning) – One (1) 1½in x volume print piece, press towards the taupe. Then join the 2in x 8½in taupe 21in strip print piece to the 3½in x 8½in low n Contrast yellow print (shop front) – Two (2) 1½in x 21in strips n Cream print fabric (cornices) – Two (2) 1in x 21in strips n Raspberry print fabric (door) – One (1) 2½in x 3½in piece n Background fabric (awning and sky) – Two (2) 1½in x 21in strips Finished size n 12½in x 18½in Notes n Cutting is listed under each unit heading. Set aside any scraps for future blocks. n The door placement in this block should mirror that of the Bookshop block from Issue 86. 4Re-join the three (3) window sections, alternating them with Fig 2 74 Join us at www.gathered.how/todaysquilter

BLOCK OF THE MONTH l primrose hill four (4) 2in x 8½in taupe print pieces, n One (1) 1½in x 7in and three (3) 15Join the chimney to the sky, pressing towards the taupe (Fig 2). 1in x 4½in contrast yellow print pressing towards the chimney. pieces. Set aside until you assemble the block 5Join the 1in x 12½in cream cornice (Fig 7). piece to the top, pressing towards n Two (2) 1½in x 4½in taupe solid the cream. pieces for the walls. Fig 7 Making the awning 11Join the 1½in x 2½in low 16Join an attic window to each side volume print piece to the one (1) of the 1½in x 4½in contrast 6To make the awning, cut the 2½in x 3½in raspberry print piece, taupe print piece, pressing away from following: pressing towards the door, next add the windows. Then sew a 1½in x 2½in n One (1) 1½in x 16in strip and a 1in x 4½in contrast yellow piece to contrast taupe print piece to each end, each side, pressing away from the door pressing towards the taupe. one (1) 1½in x 3in piece of yellow this time (Fig 5). print. 17Join the 1½in x 12½in contrast n Two (2) 1in x 3in pieces of taupe Fig 5 taupe print piece to the top of solid. the window unit, pressing away from n One (1) 1½in x 16in background 12To make the shop window, join the windows (Fig 8). strip. the 1½in x 7in contrast yellow n One (1) 1in x 12½in cream print print piece to the bottom of the 3½in x Fig 8 piece for the cornice. 7in low volume print piece and then the remaining 1in x 4½in contrast Assembling the block 7First, make a strip set – join the yellow piece to the left side, pressing 1½in x 16in yellow print strip to away from the window (Fig 6). 18Join the awning to the top of the the 1½in x 16in background strip, shop front, pressing towards the pressing the seam open. Trim the end Fig 6 awning, or open if preferred, then add and cut five (5) 3in sections (Fig 3). the upper floors and the roof, pressing 13Join the door to the right of the away from the upper floors. Fig 3 window, then add a 1½in x 4½in taupe solid piece to each side, 19Finally, add the chimney, 8Rotate the sections and join them pressing away from the window. making sure it’s on the opposite together, alternating the yellow side to the door. Your block should print with the background, then join Making the roof measure 12½in x 18½in (Fig 9). the 1½in x 3in yellow print piece to the end, again pressing the seams 14To make the roof, cut: Fig 9 open (Fig 4). n One (1) 1½in x 2in taupe print piece for the chimney. Fig 4 Make 1 n One (1) 1½in x 12½in, one (1) 9Add a 1in x 3in taupe solid piece 1½in x 4½in and two (2) 1½in x to each end, pressing away from 2½in contrast taupe print pieces the awning. Then trim the awning for the roof tiles. unit to 2½in wide, before joining the n Two (2) 1½in x 2½in low volume 1in x 12½in cream print piece to the print pieces for the attic windows. top. Your awning should measure n One (1) 1½in x 11in piece of 3in x 12½in (Fig 4). Make one (1). background for the sky. Making the shopfront 10To make the shopfront, cut: n One (1) 3½in x 7in and one (1) 1½in x 2½in low volume print pieces. Join us at www.gathered.how/todaysquilter 75

BLOCK OF THE MONTH l primrose hill Post Box You will need n Raspberry print (post box) – One (1) 3½in x 21in strip n Grey-brown fabric (post box) – One (1) 2½in x 21in strip n Blue print fabric (pigeon) – One (1) 1½in x 21in strip n Taupe print (wing) – One (1) 2in x 2½in scrap n Taupe fabric (beak) – One (1) 1in square n Contrast fabric (butterflies) – Two (2) 2½in squares n Ivory fabric (background) – One (1) fat eighth Finished size n 6½in x 18½in Notes n HST = half-square triangle. n RST = right side(s) together. n Cutting is listed under each unit heading. Set aside any scraps for future blocks. Making the post box n Two (2) 2in x 9½in background the top, pressing away from the pieces. aperture this time (Fig 1). 1To make the post box, cut: n One (1) 3½in x 6in, one (1) 2To make the aperture, join a 1in x Fig 1 1½in x 3½in and two (2) 1in x 1¼in raspberry piece to each side 1¼in pieces of raspberry print. of the 1in x 2in grey-brown piece, n One (1) 2½in x 3½in and one (1) pressing towards the aperture. Then add a 1½in x 3½in raspberry piece to 1in x 2in pieces of grey-brown solid. 76 Join us at www.gathered.how/todaysquilter

BLOCK OF THE MONTH l primrose hill 3Join the aperture to the top of the 7Snowball the top left-hand corner rows of two (2) to make a four-patch, 3½in x 6in raspberry piece and the of the 1½in x 3in background piece matching the prints at the centre. 2½in x 3½in grey-brown piece to the with the 1in taupe square (beak). Sew Press the rows away from the HSTs bottom. Then join a 2in x 9½in this unit to the right-hand side of the and the final seam open. Then background piece to each side (Fig 2). pigeon’s body (Fig 4A). snowball the wing tips with the Make one (1). remaining pair of 2in background squares. Make one (1) (Fig 6). Fig 4A Fig 2 8Finally, snowball the pigeon’s back Fig 6 Make 1 with a 3in background square as in Making the pigeon Fig 4B. Make one (1). Assembling the block 4To make the pigeon, cut the Fig 4B 12To assemble the block, you will following: need one (1) 3½in x 6½in, one n One (1) 1½in x 3in piece, one (1) Making the butterfly (1) 3½in square and two (2) 1½in x 3½in background pieces. You will also 1½in x 2½in piece and one (1) 1in 9To make the butterfly, cut four (4) need the 1in x 4½in raspberry piece. square from the blue print strip. 2in background squares. n One (1) 3in square, one (1) 1½ x 13Join a 3½in background square 3in piece and one (1) 1in square 10First make a pair of HSTs – to the right-hand side of the of background. mark a diagonal line on the back butterfly and the 3½in x 6½in of a 2½in print square and pin, RST, background piece to the bottom, 5To make the wing, join the 2in x to a 2½in contrast print square. Stitch pressing towards the background. 2½in taupe print (wing) piece to a ¼in away from both sides of the line the 1½in x 2½in blue piece, pressing and then cut apart along that line. 14Join the 1in x 4½in raspberry towards the wing (Fig 3A). Mark a Press the pair of HSTs open, pressing piece to the bottom of the diagonal line on the back of the 1in the seam open too. Trim both HSTs Pigeon, then a 1½in x 3½in blue square and pin right sides to 2in square (Fig 5). background piece to each side, together, to the right-hand corner of pressing away from the pigeon. the wing. Stitch on the line, flip ‘open’ Fig 5 and press – to snowball the corner – 15Join the pigeon to the top of the trimming away the back pieces, as in 11Join the HSTs to two (2) 2in post box. Press towards the Fig 3B. background squares in two (2) pigeon or open if preferred. Join the butterfly to the top of the pigeon. Press towards the butterfly. Your block should measure 6½in x 18½in. Fig 3A Fig 3B Meet the designer 6Then, join the 1½in x 3in blue Nicola Dodd has been quilting since 2010 after piece – taking care with the chancing upon a quilting website and becoming placement and pressing away from the hooked. Having designed all her working life – as an wing (Fig 3C) – before snowballing architect and as a garden designer – the temptation the bottom right-hand corner with a to start designing quilts was irresistible and she 1in background square. established her pattern company, CakeStand Quilts, in 2015. A regular Today’s Quilter contributor, Nicola now has a successful blog, where she enjoys sharing tutorials, and is a regular contributor to the Moda Bakeshop. www.cakestandquilts.com cakestandquilts @nicolajdodd Fig 3C Join us at www.gathered.how/todaysquilter 77

TODAY’S QUILTER l t e mpl at es TEMPL ATES All the templates you’ll need from issue 87... ESSENTIAL GUIDE APPLIQUÉ TEMPLATES ACTUAL SIZE PLEASE NOTE: Templates DO NOT include seam allowances. CHRYSANTHEMUM PETALS Small Medium Large PIECED LEAF SINGLE LEAF Medium FEATHER Large Small Thank you for making this project from Today’s Quilter. The copyright of the patterns in this magazine are owned by or licensed to Immediate Media Company Bristol Limited and are for readers’ personal use only. Please do not share them online (even for free) or copy them multiple times without our permission. Where selling crafts based on these patterns is permitted (usually only to raise funds for charity), we’ll say so on the page. Copyright law protects creative work and unauthorised copying is illegal. We appreciate your help. 78 Join us at www.gathered.how/todaysquilter

TODAY’S QUILTER l t e mpl at es LITTLE BEAUTY UNIT & QUILTING TEMPLATES ACTUAL SIZE PLEASE NOTE: Templates DO NOT include seam allowances. 14 BLOCK 2 12 21 22 121 PART C 3 5 7 9 11 13 3 15 1 17 2 4 6 8 10 12 14 16 31 30 30 31 1 PART B 29 29 28 28 PART A 27 27 26 26 25 25 24 24 23 23 22 22 21 21 20 20 19 19 18 18 17 17 16 16 15 1 15 14 14 13 13 12 12 11 11 10 10 21 17 16 99 4 3 2 15 14 88 77 6 12 66 5 55 1 8 7 13 10 PART A 44 10 11 8 1 9 33 16 14 12 642 22 9 11 PART B 11 7 13 5 17 15 31 BAND 3 13 15 17 5 13 7 11 2 4 68 9 9 14 16 11 7 10 12 1 5 1 10 13 8 3 12 1 6 14 15 4 16 17 2 BLOCK 1 Join us at www.todaysquilter.com 79

TODAY’S QUILTER l t e mpl at es MAKER'S GUIDE WHOLECLOTH QUILTING TEMPLATES ACTUAL SIZE BORDER CORNER 80 Join us at www.gathered.how/todaysquilter

TODAY’S QUILTER l t e mpl at es CENTRE (PATTERN A) DOWNLOAD THESE TEMPLATES FULL SIZE Visit our blog: www.gathered.how/ todaysquilter today! Join us at www.todaysquilter.com 81

TODAY’S QUILTER l t e mpl at es MAYPOLE MEDALLION BLOCK TEMPLATES ENLARGE 200% PLEASE NOTE: Templates include seam allowances. TEMPLATE B TEMPLATE A 1 3 5 2 4 6 TEMPLATE C 3 4 1 2 TEMPLATE D 82 Join us at www.gathered.how/todaysquilter

3 TODAY’S QUILTER l t e mpl at es 6 1 TEMPLATE G2 4 2 97 5 8 10 12 11 TEMPLATE F TEMPLATE G1 DOWNLOAD THESE TEMPLATES FULL SIZE Visit our blog: www.gathered.how/ todaysquilter today! Join us at www.gathered.how/todaysquilter 83

TODAY’S QUILTER l t e mpl at es MAYPOLE MEDALLION BLOCK AND HST TEMPLATES ENLARGE 200% PLEASE NOTE: Templates include seam allowances. TEMPLATE K1 5 3/4 in TEMPLATE K2 TEMPLATE J Join us at www.gathered.how/todaysquilter 84

TODAY’S QUILTER l t e mpl at es TEMPLATE E1 DOWNLOAD THESE TEMPLATES FULL SIZE Visit our blog: www.gathered.how/ todaysquilter today! TEMPLATE E2 TEMPLATE E3 Join us at www.gathered.how/todaysquilter 85

TODAY’S QUILTER l t e mpl at es MAYPOLE MEDALLION BLOCK TEMPLATES ENLARGE 200% PLEASE NOTE: Templates include seam allowances. TEMPLATE H1 DOWNLOAD TEMPLATE H2 THESE TEMPLATES FULL SIZE Visit our blog: www.gathered.how/ todaysquilter today! TEMPLATE I1 TEMPLATE I2 86 Join us at www.gathered.how/todaysquilter

TODAY’S QUILTER l t e mpl at es GILLYFLOWER STEM TEMPLATE ACTUAL SIZE PLEASE NOTE: Templates include seam allowances. 7½in 4in Join us at www.gathered.how/todaysquilter 87

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I N S P I R AT I O N CREATIVE SPACES KAREN LEWIS Anne Williams chats to some of your favourite designers to find out about their creative spaces... What is your creative space like? the next shiny new thing comes along! The My studio is a large room that is part of the ‘inspiration corner’ on my desk is also an house. It’s accessed through double doors from important personal touch. And I do like the kitchen. A large window on the opposite having plants around the room, too. wall provides good natural light but I have some Daylight [Company] lamps as well. My computer What are the best things about desk is in the corner of the window wall. Along having your own creative space? the wall behind this is a large sewing table where My studio is my place of work so it’s I have my sewing machine, a large cutting mat, a wonderful to have a dedicated and small pressing mat, a wire basket containing my unshared space. Mostly the doors are left ‘working’ fabrics and pots containing small tools, open and family can wander in to have a chat, but and a little ‘inspiration corner’ where I showcase when I need to concentrate the doors are closed a few favourite objects. Along the entire length of and everyone knows not to disturb me. It’s also a the remaining wall are cubby-hole storage units joy not having to clear things away at the end of that house my fabrics, sewing notions and books. the day – and knowing that things will stay just I also have handy floating shelves on the walls where I left them. above my desk and sewing table. I don’t have a design wall as such, but the studio’s white walls are perfect for ‘pinning’ things up, such as small pieces of fabrics, blocks or works in progress. Washi tape is excellent for this as it’s easy to remove and doesn’t mark the walls. How have you personalised your space? My wall displays are the main way I personalise my studio. The items change quite frequently so there’s always something new to look at. If it’s something I’m working on, putting it up on the wall gives me a chance to think about how it’s going to develop. Otherwise, anything that appeals to and inspires me goes up, to be replaced when Any top tips for someone creating a sewing Top, Karen’s area? computer desk and If you have room, I recommend having a large the corner of her table that is in effect a self-contained workstation. sewing table – you can So, big enough to accommodate your sewing also see some of her machine, cutting and pressing mats, frequently floating shelves and used sewing supplies and tools, and a small basket wall display of the fabrics being used for your current project. You also need somewhere to store the rest of your Above, Cubby-hole fabrics and other bits and pieces, which can be storage provides a tailored to suit your needs and space. perfect home for fabrics, notions and www.karenlewistextiles.com books Left, Karen at her sewing table Images artist’s own 90 Join us at www.gathered.how/todaysquilter

LOVE Spring Stitching Painterly Blooms collection by LoveCrafts Inspired by dreamy watercolour style floral blooms and rich abstract prints to create a painterly paradise. 3 free patterns LoveCrafts Painterly Blooms - Spring Shop Painterly Blooms collection exclusively at lovecrafts.com FREE delivery + 15% OFF CRAFTLOVE on orders over £25 with this code *terms & conditions apply