Space

to create
With an extra-large 210mm (8.3”) of working space to the right of the
needle any quilting or large sewing project can be handled easily.

Our Square Feed Drive System (SFDS) ensures smooth uniform

handling on all types of fabric. Packed with useful features and
a huge variety of stitches, Brothers new long-arm range is the
ideal choice.

1100
A powerful and versatile machine to meet demanding
sewing needs from dress making to quilting. Includes
140 stitches, 10 button hole styles, 5 lettering styles
and an automatic thread cutter.

1300
Includes all the great features of the 1100 plus 182
stitches, upper and lower case lettering, fully automatic
thread tension and multi-directional sewing for large
decorative stitches.

1800Q
Includes an extra large wide table,
232 stitches as well as our ICAPs
system to ensure uniform stitching
across varying fabric thicknesses,
and the useful pivot function
allowing the fabric to be turned
while the needle is down

brothersewing.co.uk
A
fter all the excitement
of Christmas and the
New Year, January
often feels dull by comparison.
With daylight hours in short
supply and usually grey, the
aim this issue is to inject some
much-needed colour into
your world.
Classic blocks have been
given a modern makeover
in a vibrant mix of fabrics to
create a stunning collection
of patterns from some of our
favourite designers. Our cover
star, Bridges, epitomises the
brief perfectly. Designer Mandy Monroe breathes new life into
the traditional drunkard’s path block and the result is fabulous
(page 78). Judith Hollies makes a beautiful, bold statement with
her Oriental Clamshells quilt (page 34), and for appliqué fans –
don’t miss Kerry Foster’s Banana Candy quilt (page 15).
If, like us, you were inspired by the interview in our November
issue with Swedish designer Kajsa Kinsella, you’ll be pleased
to see this month she has joined the team. Bringing her unique
style to Popular Patchwork, she has designed two patterns for
practical accessories to pretty-up your work space (page 58).
And finally, celebrated for bringing colour of the literary variety,
Jane Austen’s quilting talents are less widely recognised, and with
2017 marked as her bicentenary, Elizabeth Betts recounts the story
of her own involvement to bring together a community quilt project
to mark the occasion in our feature, Novel Stitching (page 68).
So, wishing you all a happy New Year, it’s now time to make,
create and take some brightly coloured inspiration from the
following pages.

Emma
Follow us on Facebook and Instagram,
and for more patchwork inspiration visit
popularpatchwork.com

JANUARY 2018 3
 10
54

15

Contents
JANUARY 2018

Projects
15 BANANA CANDY
Bright and dandy quilt

22 CLEMENTINE
Gorgeous quilt bursting with zing and zest

28 GRAPHIC CUSHION
Triangles and diamonds

34 ORIENTAL CLAMSHELL
A variation on the drunkard’s path block

54 CUTTING MAT CARRIER

Does what it says on the tin

58 IT’S BEHIND YOU!

A handy organiser for your notions
62 OH-SEW-TIDY
Pretty-up your storage!

66 MYSTERY QUILT
Month 5… we’re nearly home!

74 NOSE DIVING QUILT

Stash busting strip quilt

78 BRIDGES
Simple shapes for modern style
78 44
83 BLOCK OF THE MONTH
Point squares

12

4 JANUARY 2018
 REGULAR

22

Features
46 Q&A
Deborah Kemball tells us about her love
of appliqué

68 NOVEL STITCHING
Celebrating the life of Jane Austen: a
look behind the scenes of a community
quilt project

96 PATCHWORK OF MY LIFE
A glimpse into the world of Jo Avery, and
the inspiration behind her shop, studio,
and collaborations

Regulars
3 EDITOR’S WELCOME
A look at the New Year!

6 NEWS & REVIEWS

All that’s crafty in the world of patchwork

10 SWATCH THIS SPACE

58 A round-up of the latest fabrics

12 TAKE ME HOME
Graphic prints with a pop of colour

20 AT HOME WITH
Alternative styling for your Banana
Candy quilt

42 SHOW & TELL

28 Your latest makes!

44 BOOKSHELF
Crafty books for the New Year

86 WHAT’S ON
34 Find an event near you!

68 88 SUBS
Don’t miss our latest subscription offers

90 HANDY HINTS FOR SUCCESS

Top tips for patchwork

95 COMING NEXT MONTH

What’s in next month’s issue?

98 GIVEAWAYS
Fabulous prizes up for grabs!

JANUARY 2018 5
Coming Soon – Tilda Lemon Tree
New for 2018, the Lemon Tree Collection from Tilda will transport
you to sunlit groves and scented gardens in a feast of vibrant colour.
There are 20 designs in a mix of traditional and contemporary
patterns in 100% high quality cotton. Available by the metre at
110cm width (RRP £14.95) and as FQ packs of five (RRP £21.10),
it’ll be in store in January. The perfect palette for spring makes and
Easter projects with heaps of Mediterranean charm.

groves@stockistenquiries.co.uk

NEWS & REVIEWS

Keeping you in the loop with the latest news from the craft world

FUTURE STARS – TEXTILE

SOCIETY’S STUDENT
BURSARY WINNERS
Congratulations to the winners of The Textile Society’s
Student Bursary Awards! The society supports
internships, apprenticeships, BA or MA final year
projects for UK textile and fashion students. Their
bursaries help pay for materials, research and
prototype creation providing a much-needed spring-
board for students going into the next stage of their
career. Recipients of the 2017 bursary awards include
overall winner Abigail Barnes (graduate of the Royal
College of Art) who used a sumptuous mixture of
leathers, pearls, and silk to create highly embellished
and decorative cloths. The two runners-up were
post-graduates Kita Katona (Heriot-Watt) and Alice
Hebdon (Glasgow School of Art). Applicants for the
2018 bursaries worth up to £1,000 should visit Above left : Zita Katona
www.textilesociety.org.uk/bursaries-awards/ Above right : Alice Hebdon
student-bursary.php. You’ll also be able to read more Right : Overall winner
about this year’s winners. We wish them every success! Abigail Barnes

6 JANUARY 2018
 REGULAR

COMMUNITY FOCUS
THE STORY OF THE ‘STITCHED TOGETHER’
PROJECT
Back in 2013,
military wives from
two barracks in
North Yorkshire
came together in
an initiative called
‘Hand to Market’
devised by the
Army Welfare Service
with support from
Rural Arts North Dionne Swift and CarolAnn Allan.
Yorkshire. The aim CarolAnn says, “I come from a military Each member of the Stitched
was to develop family and know how isolating it can Together project made their own
textile ideas with be whilst partners are away and messenger bag using techniques
the help of textile community is so important.” learnt over two years
artist Dionne Swift
and in the process, foster relationships and build support EXHIBITION
networks away from home. The project, which covered Stitched Together has now
everything from hand dyeing to machine embroidery, culminated in an exhibition at the Green Howards museum in
patchwork and EPP, proved so popular that everyone involved North Yorkshire (named after the Green Howards Regiment).
was keen to expand it, and a far larger project, ‘Stitched Responding to a brief to draw on the museum’s uniform and
Together’, was born. For the last two years Dionne, together textiles collection as inspiration, the group created messenger
with artist CarolAnn Allan, has been running weekly workshops, bags that are thoughtfully and intricately embellished. “The
talks and visits messenger bags are
with four groups of a twist on the bags
wives from Catterick that soldiers would
Garrison, Topcliffe use to carry their
and Dishforth that armaments,”
make up the Stitched explains Dionne.
Together community. “Textiles lend
As well as learning themselves to Members of Stitched Together styling out
a host of sewing bringing people their makes!
and textile together. They’re
techniques, the really a vehicle to galvanise the group and to allow the women
two chief aims have to support one another as a surrogate family.”
been to produce
a collaborative
community
WHAT’S NEXT FOR
wall-hanging and to STITCHED TOGETHER?
There were stories, laughter and tears create work for an After the exhibition closes, Stitched Together will be touring in 2018
during the making of this very special exhibition. So how at the Scottish Quilt Show, ICHF, the Harrogate Quilt Show, and the
quilt and every block tells a unique story. did they get on? Knitting and Stitching Show. Alongside Stitched Together will be
work completed by Dionne Swift and CarolAnn Allan. Dionne says,
“We are incredibly proud of everyone, each bag is so different and
THE COMMUNITY QUILT unique and using many skills, so please visit the Green Howard’s
Made in 2016, this was a collaborative group effort in which Museum or come along to our stand at one of the shows.”
everyone was asked to make a 30cm x 30cm quilted block to
reflect the influence and significance of the military in their Visit the Green Howard’s Stitched Together exhibition
lives. Some wives focused on poppies and remembrance, whilst until Saturday 23 December. greenhowards.co.uk. Find
others based their designs on military stripes and colours. The out more about Stitched Together at stitched-together.org,
finished quilt was eventually sewn together by Dionne and Dionne Swift at dionneswift.co.uk and CarolAnn Allan at
exhibited at Rural Arts in Thirsk (ruralarts.org). carolannjallan.blogspot.co.uk

JANUARY 2018 7
 REGULAR

SHOP TALK COURSE PICKS

We’re always interested to know what makes our readers tick, so each Our pick of courses happening around
month we’re asking one of your favourite shops to tell us a bit about the UK
themselves and which products, old and new, are popular with their
customers. This month, we’re getting to know The Quilt Room in Dorking. Charm Pack Quilt Top
If you’re new to quilting and fancy jumping
The Quilt Room opened its doors straight in, this beginner’s course will teach you
in 1981 and is one of the longest how to make
serving quilt shops in the UK. It’s a charming
owned by well-known quilter Pam quilt top that
Lintott, who now runs it with her you’ll finish in
daughter Nicky and their amazing a day. Simply
staff – some of whom have been turn up with a
with Pam for nearly 30 years! The charm pack,
shop dates back to 1450 and is one your sewing
of the oldest buildings in Dorking. It even has underground tunnels and an machine and
old cock-fighting pit. Pam and Nicky are the authors of the Jelly Roll Quilt a few simple
Book series and they run regular classes in their studio behind the shop and tools and have fun working through this easy
provide a longarm quilting service with their two Gammill Statler Stitchers. pattern with tutor, Meg.

Oldie but Goodie: Friday 10 January, 10.30am–4.30pm, £43.

It has to be the Creative Grids 45/90 ruler.
When jelly rolls first came out and we
started designing quilts using them, we
had to rethink how to create using 2½in
strips. Making half-square triangles was
our first hurdle and Creative Grids designed
this ruler for us. It enables you to cut half
and quarter square triangles from strips
quickly and easily.
New on the Block:
We try to provide our customers with exciting
Block of the Month programmes. Everyone enjoys
receiving surprise parcels each month, taking you
another step further to creating a quilt. Our latest
Block of the Month is Dresden Carnival, which will
be starting in January 2018. This is our first ever
Jelly Roll Block of the Month and the design has
three different sized Dresden Plate blocks. Acrylic templates are supplied
with full instructions. Great fun for all levels of quilter!
Close to our Hearts:
This has got to be our first jelly roll
book, Jelly Roll Quilts. This book has
sold a lot of copies worldwide and
the quilts inside are still some of
our favourites; especially the one on
page 14, Blue Lagoon, which was the first
jelly roll quilt we designed. We were so excited when we were given our
first jelly roll by Moda Fabrics when we attended Quilt Market in Houston.
We couldn’t bring ourselves to untie it – which is a constant problem for
everyone – so we cut forty 2½in wide strips of blues from the shop and
made Blue Lagoon. Twelve books later we still get excited when we see
a new jelly roll and think of what we could do with it.
The Quilt Room, 37-39 High Street, Dorking, RH4 1AR. Tel: 01306 877307
quiltroom.co.uk
The New Threads Quilt Shop, The Fairground
Craft and Design Centre, Weyhill, Hampshire,
SP11 0QN.
new-threads.com
Sweet Hearts
Appliqué Cushions
Seven fat quarters is all you’ll need to make a pair
of cushions with a gorgeous heart design using
machine appliqué and quilting with designer Sarah
Wellfair. You’ll learn how to make decorative backs
for your cushions using buttons and button holes,
giving you a professional finish. The finished size
of the cushions is 16in square and we think they’ll
make the perfect gift for Valentine’s Day.
Saturday 27 January, 10am–5pm, £50.
Creative Hands 2 & Modern Sewing Centre,
7 College Street, Cathedral Plaza, Worcester,
WR1 2LU.
modern-sewingcentre.co.uk
Paper Pieced Patchwork
Perfect your ‘points’ with this beginners/improvers
course with Nicola Hulme. Nicola’s method does
away with rotary cutting and traditional piecing
to mean that seemingly complicated patterns
can be achieved using hand or machine stitching.
Finished pieces can be turned into cushions, table
runners and quilts.
Thursday 25 January, 10am–4pm, £35.
Simply Stitch Studio, East Keswick Village Hall,
School Lane, East Keswick, LS17 9DA.
simply-stitch.co.uk

8 JANUARY 2018
 Lady Sew & Sew Events in 2018
Henley Warehouse Winter Sale
Sunday January 7th 10am - 4pm

SALE Our world famous sale begins. Amazing bargains

at Europe’s largest patchwork warehouse!
Sale continues online and in-store
Last Day of Sale Sunday 28th January 10am - 4pm

Small Stories: Sandy Snowden

Monday 12th - Friday 30th March. Weekdays 10am - 4pm
Journal Quilts and small works by the celebrated quilter and
wearable art maker

Henley Arts Trail

Saturday 5th - Monday 7th May. 10am - 4pm
Over 100 quilts from local artists and world famous designers.
One of 30 fantastic art venues
in the Henley area.

Corsetry Exhibition
Monday 4th - Friday 15th June. Weekdays 10am - 4pm
The amazing work of Gill Smith.
Under-wearable Art!

Henley Warehouse Summer Sale

Saturday 14th and Sunday 15th July
10am - 4pm
Two days of unbelievable fabric, wadding
and yarn bargains!
SALE
COACHES
WELCOME,
BOOK YOUR VISIT NOW!

Lady Sew and Sew Fabric and Yarn Warehouse

Farm Road, Henley-on-Thames, Oxon, RG9 1EJ
01491 572528 www.ladysewandsew.co.uk
 Away with the Fairies
Sometimes you’ve just gotta shrug off your serious side and
embrace all things light and breezy. In Wings and Things,
David Walker has designed a whimsical collection for
FreeSpirit fabrics that’s as pure and carefree as a newly
hatched chick. Featuring fluffy clouds, birds and bumblebees,
it’s the perfect excuse to look on the bright side as we embark
on a whole new year.
rhinetex.com

SWATCH THIS SPACE

We’re saying ‘hello’ to an exciting new year with a freshly hatched assortment of
fabrics to get your pulses racing. Good tidings beckon with Michael Miller’s Catching
Dreams with designs that promise to watch over you whilst you sleep. Wings and
Things by FreeSpirit embraces the lightness and promise of the coming spring whilst
the romantics amongst us need to get in quick with our Valentine’s makes using the
Love Story range by Art Gallery Fabrics. Last but not least is a much anticipated range
from Moda based on the designs of the ever-popular William Morris. Created in
collaboration with the V&A, this range promises to be one to watch and you’ll find
plenty of inspiration on the Moda website, including the Hourglass Quilt pictured
here: http://unitednotions.com/fp_william-morris-hourglass.pdf

True Romantics
Thinking ahead to Valentine’s
Day, this loved up collection by
Art Gallery Fabrics features
pretty birds and colourful
bouquets to inspire romance.
Aptly called Love Story, this
striking range by Maureen
Cracknell can be mixed and
matched to feature more striking,
graphic lines and motifs to avoid
getting… well a bit too soppy!
hantex.co.uk

10 JANUARY 2018
 REGULAR

Dream Catcher
Catching Dreams by Michael Miller fabrics is destined for those of you who
want to create an auspicious start to 2018. Featuring powerful horses, sleek
arrows, and dream catchers in an array of gemstone colours, there’s no better
way to start the year as you mean to go on than with accents of metallic gold.
Surely good fortune beckons?
eqsuk.com

Arts and Crafts

For the traditionalists among
you, Moda has just launched a
collection in collaboration with
the V&A inspired by the designs of
William Morris. There are shades
of blue and indigo and a softer palette
in creams, sage green and rose to echo
the timeless quality of Morris’s designs.
Log onto the Fun and Free section
on blog.modafabrics.com for some
splendid downloads using this
classic range.
winbournefabrics.co.uk

JANUARY 2018 11
 TAKE ME HOME
Nothing cheers us up more than bright pops of colour on a cold winter’s day!

Crochet Retractable Tape Measure, £9.50, smallscrafts.co.uk ❱ It’s a bug’s life! 4 tape measures
to give away
See page 98

12 JANUARY 2018
 shopping TAKE ME HOME

Catnip by
Gingiber for
Moda Fabrics,
£10.95 for charm pack
winbournefabrics.co.uk
❱ Coming soon!

Pickepin Mid Century Print Table Mats, £19 for four Classic Curves Ruler, £28.50
andshine.co.uk sewhot.co.uk
❱ Team with a DIY table runner in ❱ For perfect curves every time
contrasting prints

Orla Kiely Flower Storage Jar, £23

wildandwolf.com
Pixel Ruled Notebook, £7 ❱ Store your ribbons and trims in style!
paperchase.co.uk
❱ For your patchwork to-do list

Retro Alarm Clock, £19.99

whositfor.co.uk
❱ All in good time
Darn it Sewing Kit, £14
lifeofjay.com
❱ A mini tin of sewing essentials

Payton Fingerless
Gloves Knitting Kit, £18 Scalloped Lace-edged Zips, from £1.99
made.com myfabrichouse.co.uk
❱ Keep the cold at bay while you sew ❱ Too pretty to hide away

JANUARY 2018 13
 BANANA CANDY
Grab your brightest fat quarters for this simple and modern appliqué project
by Kerry Foster

See
pattern
sheet for
template

JANUARY 2018 15
 QUILT

SKILL LEVEL ❂ ❂ ❂ ❂
MATERIALS
Fifteen fat quarters
2.85m (3⅛yds) plain background
fabric
149.7 x 177.6cm (59 x 70½in) wadding
149.7 x 177.6cm (59 x 70½in)
backing fabric
½m (½yd) binding
5.75m (6¼yds) of 43cm (17in) wide
paper-backed fusible web
Removable fabric pencil or washi
tape

FINISHED SIZE
Approx. 139.7 x 167.6cm (55 x 66½in)

PREPARATION
Press fabrics before starting. If you
are using washi tape, test it first on
a piece of scrap fabric to make sure
it does not leave any residue on the
fabric when it is removed.

As I was watching television

I started absentmindedly
playing with banana shaped
(and flavoured) hard sweets.
Four of them made an
interesting shape and that
inspired this whole quilt.
KERRY

FIG 1: Marking a line 5¼in from the edge of the background fabric FIG 2: Marking 8in intervals between the marked line and the edge
of the quilt

16 JANUARY 2018
 QUILT

Preparing the press the seam open. The seam will

appliqué motifs
1 Using the template from the pattern
sheet, draw three hundred and sixty
(360) banana motifs onto the smooth
(paper) side of the fusible web, leaving
approximately ¼in between each shape.
Using scissors roughly cut out each
motif just beyond the drawn line.
2 Fuse twenty-four banana motifs to the
wrong side of each fat quarter then cut
out each one carefully following the line.
Do not remove the paper backing at this
stage.
run horizontally on the quilt. Trim to
66½in tall.
3 Along the length of the quilt, on one
side, mark a line 5¼in in from one edge.
Kerry used washi tape, but alternatively
you could use a removable fabric pen.
Fig 1
4 Mark a line 2¼in in from the top of the
quilt between the drawn line and the
edge of the quilt, then mark 8in below
that line. Keep working your way down
until you have eight 8in sections and ¼in
to spare at the bottom. Fig 2
5 Choose four banana motifs, each from
a different fabric, and remove the
backing paper. Arrange them in one
of the 8in boxes, aligning the top and
bottom motifs just within the lines by
around 1mm. The ends should be closer
to the drawn line and also about 1mm
away. Arrange the other two inside the
curves of the side banana, the motifs
will fit just inside the curves of the top
and bottom ones. Fig 3
6 Using the point of an iron, apply a
little heat to each banana motif to hold
it in place. This is not a full fuse at this
stage, just enough to stop them moving

PAPER-BACKED
FUSIBLE WEB
Kerry recommends using
Steam-a-Seam 2 as this product has a
temporary adhesive. As well as fusing
when pressed, you don’t need to pin
or lightly press your banana motifs as
you place them on the backing fabric.
Also, as it is repositionable you can
also change your mind about colour
placement.

Assembling the quilt

1 Cut the background fabric into two
lengths of 55 inches and remove the
selvedges.

2 Sew the two pieces of background

fabric together along the 55in edge and

FIG 3: Arrangement of banana motifs

JANUARY 2018 17
 QUILT

around. Alternatively, you could use pins

to hold them in place or even tack them.

7 Choose another four banana motifs,

each from a different fabric, and create
the same arrangement in the next 8in
section in the same way as steps 4, 5
and 6. Work your way down the column,
being organised in a system so that you
work through the fabrics evenly. Some
you will use three times, most you will
use twice in a column. Fig 4

8 For the next column, mark 5in from

the previous line. Start with the ¼in
allowance at the top and mark eight 8in
sections down, leaving a 2¼in section at
the bottom. Fig 5

9 Work your way down in the same way

as before, working through the colours
evenly, and paying attention to what
fabrics are in the column you have previ-
ously created.

10 Continue in the same way until

you have eleven columns, alternating
between starting 2¼in down from the
top and ¼in from the top. When you get
to the tenth column, do a quick count
of how many bananas in each print and
colour you have left to keep you on track
and make sure you haven’t been using
too many, that way you won’t run out
in the last column. You will have a few
spares left at the end. Fig 6

11 Following the fusible web

manufacturer’s instructions, fuse the
shapes firmly in place.

FIG 4: Laying out the second set of banana motifs FIG 5: Marking the second column

18 JANUARY 2018
 QUILT

Quilting and binding

1 Layer the quilt top by placing the
backing fabric wrong side up on a
clean surface, followed by the wadding
and then the quilt top, centrally and
right side up. The backing and
wadding are slightly larger than the
quilt top. Secure the quilt sandwich
with tacking or quilters’ pins placed at
regular intervals.

2 Working methodically across the

quilt, stitch around each banana
motif, keeping your sewing close to
the edge, then spiralling around
inside the stitched line, echoing the
shape twice. As well as quilting the
three layers it secures each motif and
will prevent the edges of fraying.
Kerry changed the colour of her thread
to match the colour of the
appliqué motif being stitched,
however you could use one colour
if you wish. When you have finished
quilting trim the backing and wadding
level with the quilt top.

3 To make double fold binding cut seven

2¼in strips, across the width, from the
binding fabric. Join the strips end to
end by positioning the ends to meet at a
90-degree corner and sew along the di-
agonal. Trim the excess fabric and press
to create a 45-degree join. Trim away the
‘ears’ and fold the strip in half length- 4 Working from the right side and starting edges of the binding to the raw edges
wise, wrong sides together, and press. part-way down one edge, match the raw of the quilt and sew in place, folding a
mitre at each corner. Before completing
your stitching, neaten the short raw end
of the starting piece and insert the
ending piece into it. Fold the binding
over to the back of the quilt and neatly
slipstitch in place by hand.

WHERE TO BUY
Kerry's appliqué and binding fabrics are
from the Rhoda Ruth range by Elizabeth
Hartman for Robert Kaufman. A good
selection can be found at Emma’s Fabric
Studio emmasfabricstudio.co.uk.
The background fabric is Kona Parchment,
available at Plush Addict
plushaddict.co.uk and the wadding is
by Vlieseline vlieseline.co.uk. For more
information on Steam-a-Seam 2 visit
FIG 6: Continuing the lay out the banana motifs warmcompany.com.

JANUARY 2018 19
 At home with...
YOUR
BANANA
CANDY
QUILT

Every month we show how you how

to bring one our featured projects to
life in your home. This month we’ve
chosen to style the Banana Candy
Quilt by Kerry Foster

20 JANUARY 2018
 REGULAR

Style tips BANANA CANDY QUILT

Kerry’s quilt brings a glorious burst of colour into the winter gloom. It’s a fruity concoction that uses banana shaped templates
in zesty colours and the overall effect is effortlessly modern and graphic. We’ve picked up on her ‘winter brights’ theme in our
selection of cool accessories and crafty makes. We’ve got arty cushions and a retro lamp to accessorise for a quick-fix and a couple
of make-it-yourself options if you want to be more hands on. If you believe in the therapeutic effects of colour, these are all sure to
lift your spirits this season.

ORANGE
GLOW
Light up your life with
this striking lamp that
will add a touch of zest
to any gloomy corner.
Truman Table Lamp,
£35, made.com
ARTY CUSHIONS
The high street is bursting with arty, colourful cushions this season and there’s
nothing easier to build your winter nest than to scatter a couple of these little
beauties around your room...
Images from left to right: Ben de Lisi Multi-coloured Paintbrush Cushion, £16,
and Ben de Lisi Orange Flocked Geometric Cushion £22, both debenhams.com;
Elements Alton Crewel Cushion, £22, and Elements Large Paint Stroke Cushion,
£25, both dunelm.com

MACRAMÉ
WALL
HANGING
Big in the ’70s and
back with a vengeance,
macramé is all the rage
these days. Pick up
one of these kits to
PUT YOUR
give your wall a STAMP ON IT
tactile touch. Indian wood blocks look beautiful enough in
their own right but combine them with fruity
Off the Wall Hanging carvings and you’ve got the tools to create a
Kit, £19.95, multitude of fabulous fabric designs.
woolandthegang.com
Indian Wooden Printing Blocks, from
£12.50, theartycraftyplace.co.uk

JANUARY 2018 21
22 JANUARY 2018
 QUILT

CLEMENTINE
LAP QUILT
Bring a zesty zing to a winter’s day with this bright and sunny project
by Janet Goddard

SKILL LEVEL ❂ ❂ ❂
MATERIALS
75cm (⅞yd) pale pink floral for the
background
50cm (⅝yd) dark orange for the
blocks
25cm (⅜yd) orange leaf for the
blocks
50cm (⅝yd) dark green for the
blocks
1m (1⅛yd) green floral for the
blocks, outer border and binding
127cm (50in) square of wadding
127cm (50in) square of backing
Beige thread for quilting
FINISHED SIZE
Approx. 117cm (46in) square
PREPARATION
All measurements include ¼in seam
allowance.
The quilt is constructed from nine
blocks plus a pieced border.
Five blocks use one set of fabrics and
four blocks use a second set.
Each block measures 10½in square
in the finished quilt.
All strips are cut width of fabric
(WOF).
Cutting instructions
1 From the pale pink background fabric
cut:
• Twenty-one 4in squares
• Thirty-six 2⅝in squares then cross cut
each on the diagonal once to yield
seventy-two triangles for the blocks
• Fourteen 4⅜in squares then cross cut
each on the diagonal once to yield
twenty-eight triangles for the border
2 From the dark orange fabric cut:
• Sixteen 4⅜in squares then cross cut
each on the diagonal once to yield
thirty-two triangles
• Twenty 2¼in squares
3 From the orange leaf fabric cut sixteen
4in squares.
4 From the dark green fabric cut:
• Sixteen 4⅜in squares then cross cut
each on the diagonal once to yield
thirty-two triangles
• Sixteen 2¼in squares
5 From the green floral fabric cut:
• Twenty 4in squares
• Five 4in x width of fabric strips
• Five 2in x width of fabric strips
Block one
1 Take four dark orange 2¼in squares and
stitch a pale pink background triangle
to one side of each square. Press seam
towards the triangle. Stitch a second pale
pink background triangle to the adjacent
side of each square. Press seam towards
the triangle. Trim points. Fig 1

This lap quilt is made from nine

blocks and a pieced border.
It is large enough to
cuddle under on the sofa, but
small enough to be able to stitch
and complete in a few days. Make
it in citrus colours to bring a little
sunshine to your day.
JANET

FIG 1: Sewing half a unit

JANUARY 2018 23
 QUILT

2 Stitch a large dark orange triangle to
each unit completed in step 1. Press the
seam towards the large triangle. Trim
points. Fig 2
3 Stitch a 4in green floral square to each
side of a 4in background square. Press
seams towards the green floral squares.
Fig 3
4 Stitch a unit completed in step two to
each side of a 4in green floral square,
ensuring that the small orange squares
are closest to the centre. Press seams
towards the green floral squares. You
now have three rows. Fig 4
5 Stitch the three rows together matching
the seams. Press seams away from the
centre. Fig 5
steps 3, 4 and 5 press seams in opposite
directions to that of Block one. Make a
total of four blocks. Fig 6
Assembling the quilt
top
1 Arrange the blocks into three rows of
three blocks alternating blocks one and
two.

6 Repeat steps 1 to 5 to make a total of 2 Stitch the blocks in the horizontal

five blocks. rows together and press seams in each
row in alternate directions. Stitch the

Block
two
1 Using the
orange leaf, dark
green and pale
pink background
fabrics follow the
instructions as
FIG 2: One finished unit for Block One. In

FIG 3: Sewing the middle row of block one

FIG 5: A finished Block one

FIG 4: Three rows ready to sew together FIG 6: A finished Block two

24 JANUARY 2018
 QUILT

rows together and press seams

downwards. Fig 7

3 Stitch each of the remaining sixteen

green triangles to a pale pink background
triangle. Press seams towards the green
triangle. Trim points. Fig 8

4 Stitch each of the remaining twelve

dark orange triangles to a pale pink back-
ground triangle. Press seams towards the
orange triangle. Trim points. Fig 9

5 Put the quilt centre on a flat surface

such as a large table or floor. Lay out the
half-square units made in steps 3 and 4
along with the 4in background squares
around the edge of the quilt centre,
so that the design continues to the
outer edge. Stitch the units on each side
together and press seams in opposite
directions to those on the quilt. Stitch to
each side of the quilt. Repeat for the top
and bottom of the quilt. Press all seams
away from the centre. Fig 10

6 Stitch the five 4in green floral outer

border strips together end to end. Press

FIG 8: A pink and orange half-square

triangle

FIG 9: A green and pink half-square

FIG 7: The blocks sewn together triangle

JANUARY 2018 25
the seams open. From the strips cut two
4 x 39in strips and two 4 x 46in strips.

7 Stitch a 4 x 39in strip to opposite sides

of the quilt. Press seams away from the
centre then stitch a 4 x 46in strip to the
top and bottom of the quilt, pressing
seams away from the centre. Fig 11

Quilting and binding

1 Layer the quilt top by placing the
backing fabric wrong side up on a clean
surface, followed by the wadding and
then the quilt top, centrally and right side
up. The backing and wadding are slightly
larger than the quilt top. Secure the quilt
sandwich with tacking or quilters’ pins
placed at regular intervals.

2 Quilt as desired. Janet used a beige

thread and machine quilted diagonal
lines across the quilt at approximately
2½in intervals.

3 To prepare the quilt for binding trim
the excess backing and wadding level
with the quilt top edges, squaring up the
corners if needed.
4 Take the binding strips and stitch them
together to form one continuous strip.
Press seams open to reduce bulk. Fold
the strip in half lengthwise, wrong sides
together, and press.
5 Working from the right side and starting
part-way down one edge, match the raw
edges of the binding to the raw edges of
the quilt and sew in place, folding a mitre
at each corner. Before completing your
stitching, neaten the short raw end of the
starting piece and insert the ending piece
into it. Fold the binding over to the back
of the quilt and neatly slipstitch in place
by hand.
6 Add a label to the reverse of your quilt
signing and dating your work.
WHERE TO BUY
Janet used a selection of fabrics from
her stash. Similar fabrics are available
from quilt fabric shops or see our adver-
tisers for mail order services.

FIG 10: Adding the pieced border FIG 11: Adding the final border

26 JANUARY 2018
 REFRESHMENTS
in the Racecourse Cafe

PICNIC AREAS

FREE PARKING

DISABLED ACCESS
www.quiltandstitchvillage.com to all areas

vourite quilting and embroidery show

North Midlands fa

13th, 14thco, ur15se, StAafPfoRrdIL

th 2018
shire, ST14 8BD
Uttoxeter Race

Competition 2018 Exhibits Demonstrations

Workshops
etition; there Traders
and Embroidery Comp
Take part in our Quilt l the me this year is:
are classes for all levels
. The spe cia TICKET INFORMATION
‘Fantasy and Myth’ Advance ticket sales
re about it at Booked on our website. Deadline for
form and find out mo
Download your entry itc hv illa ge. co m advance booking sales: Friday 6th April
www.quiltandst
Adults: £7
Group booking (12+ people): £5 each
Children’s Ticket (under 16): £4
Book workshops on-line in advance.
Prices will be shown on the website for each workshop. Tickets at the gate
www.quiltandstitchvillage.com Adults:
Show ticket (entry on all 3 days):
£8
£12
Children’s Ticket (under 16): £5
01684 311 682 BritishQuiltandStitchVillage

Colourtherapyinabox
Are you ready to lift the lid?

ColourBox
57 Fat 8ths, £190
Free shipping worldwide on online orders
for delivery early December (see website for details)
www.oakshottfabrics.com

Oakshottfabrics Tel: +44 (0)1452 371571

28 JANUARY 2018

GRAPHIC
CUSHION
Equilateral triangles repeated in bold colours create a striking geometric look
SKILL LEVEL ❂ ❂ ❂ ❂
MATERIALS
39 x 11cm (15 x 4in) linen 1473/Q
26 x 11cm (10 x 4in) lime 1473/G1
26 x 11cm (10 x 4in) lilac 1473/L2
26 x 11cm (10 x 4in) violet 1473/L6
26 x 11cm (10 x 4in) magenta 1473/L7
26 x 11cm (10 x 4in) turquoise 1473/T5
26 x 11cm (10 x 4in) teal 1473/T8
21 x11cm (8 x 4in) sunflower 1473/Y4
21 x11cm (8 x 4in) gold 1473/Y7
21 x11cm (8 x 4in) red 1473/R
13 x 11cm (5 x 4in) burgundy 1473/R8
½m (½yd) turquoise fabric for back
of cushion
40cm (16in) square of wadding for
the front
Two 24 x 38cm (9½ x 15in) strips of
wadding for the back
Spray starch
60-degree triangle acrylic ruler
Sharp pencil
10p coin to draw around
FINISHED SIZE
Approx. 37cm (14½in) square
PREPARATION
Use ¼in seam allowance throughout.
Mandy advises starching fabrics
before cutting to help stabilise the
bias
FIG 1: Cutting a whole triangle
CUSHION
by Mandy Munroe
I love working with bright fabrics at this time of year as they are a fun
antidote to the grey weather outside. This fabric is printed with a
texture which helps to add movement to the design. You could get a
similar effect by using batiks or a peppered cotton.
MANDY
Cutting instructions 4 From the lime fabric cut three whole
triangles.
The strips are all cut to the full width of
the fabric in the materials list, 4in wide. 5 From the gold fabric cut one whole
Layer up to four fabric strips and cut triangle and two right facing half triangles.
through them all at the same time. You
will need to cut whole triangles 6 From the red and sunflower fabrics cut
Fig 1, half triangles facing right Fig 2 two whole triangles.
and half triangles facing left Fig 3. If you
wish, you can cut more triangles than 7 From the burgundy fabric cut one
you need, then audition them to make whole triangle.
you own design.
8 From the linen fabric cut five whole
1 From each of the magenta, violet and triangles.
lilac fabrics cut two whole triangles and
one left facing half triangle. 9 From the turquoise fabric for the back of
the cushion cut two 10½ x 15in rectangles.
2 From the turquoise fabric cut two
whole triangles and one right facing half
triangle.
Making the cushion
front
3 From the teal fabric cut two whole 1 Using Fig 4 for guidance, lay out four
triangles, one right facing half triangle rows of six triangles, then fill in the ends
and one left facing half triangle. with half triangles.
FIG 2: Cutting a right facing half triangle FIG 3: Cutting a left facing half triangle
JANUARY 2018 29
 CUSHION

2 Start joining the triangles into rows

by taking the first two pieces at the
top right and placing them right sides
together, lining up as shown Fig 5 with
¼in excess fabric at the bottom. After
sewing open them up to check they line
up, then press the seams open. If they
do not line up unpick, realign and sew
again.

3 Take the next piece in the top row, and

using the ‘ear’ of the previous pieces, line
it up and sew. Figs 6 and 7. Press seams
open, Fig 8. Continue in this way until the
top row is joined, making sure the last
piece is the half triangle. Fig 9

4 Continue sewing the rows together .

5 Lay out the sewn rows on a surface, Fig

10, and sew them together. To help the
seams meet, place a pin vertically
through the points at each seam
intersection. Pin either side of this then
remove the vertical pin Fig 11.

6 Once the cushion front is sewn, press

the seams open and trim the ‘ears’.

FIG 4: Laying out the patches

FIG 8: Pressing the seams open

FIG 6: Lining up the ‘ears’

FIG 9: Finishing the row with a half

triangle

FIG 5: Aligning the first two patches ready

for sewing FIG 7: Sewing the third patch

30 JANUARY 2018
 CUSHION
FIG 10: Laying out the sewn rows
FIG 11: Pinning the rows together
TUTOR
FEATURE
Name:
Rosee Woodland
Signature Technique:
Colour combination,
in particular, stranded
colourwork
Top Tips:
Quilting  Purchase yarn from the
1 Place the cushion front on top of the
same dye lot to avoid
wadding, in the centre, with the right side
subtle colour differences
up. Secure with tacking or quilters’ pins
placed at regular intervals.  Make sure that the yarn
you choose has the
2 Quilt as desired. Mandy attached a same stitch tension as
walking foot to her machine and changed mentioned on the
the settings to a slightly longer stitch pattern
length. She then quilted in the ditch
across the diagonal seams. Most Viewed Classes
3 Once you have finished quilting trim Remembrance
the wadding level with the edge of the Poppy
23:30
cushion front.
Top Tips for
Completing the 4:42
Choosing Yarn
cushion
1 Place a 9½ x 15in strip of wadding Stashbuster
on a surface. Put one of the 10½ x 15in Jumper
2:52
turquoise rectangles on top, right side
up. Line up one long edge and both sides, To find out more about
then fold ¼in of the excess fabric at the Britain’s premier online
top over to the wrong side of the fabric. classes for quilting, knitting
Press, then fold over another 3/4in of and textile arts, visit:
fabric to cover the edge of the wadding.
Press, pin or tack, then sew Fig 12.
Repeat to create the second back piece.
JANUARY 2018 31
 CUSHION

2 Trim both backing pieces to 14½in wide.

3 Place the cushion front on a surface

right side up. Lay one of the backs on top,
right side down, line up the outer edges
and pin, Fig 13. Repeat with the second
back piece, lining up the outer edges on
the opposite side. Fig 14

4 Place a 10p coin on each corner and

draw around it ¼in in from each edge.
This will create curved corners that look
neat when the cushion is finished. Fig 15

5 Sew around the outside of the cushion

using ¼in seam allowance and following
the drawn curve at the corners. To
reinforce the stitching go back and sew
another line of stitching within the seam
allowance at the places where the back
pieces overlap.

6 Trim the corners and turn through. Use

your fingers to press out neaten the edges
then carefully fill with your cushion inner.

FIG 14: Both back pieces placed on the

cushion front

FIG 15: Drawing around a coin to mark the

sewing line

WHERE TO BUY
FIG 12: Hemming one back piece FIG 13: One back piece placed on the Mandy used fabrics from Makower’s
cushion front Linen Texture range makoweruk.com.

32 JANUARY 2018
 The Future of Sewing is now at

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 See
pattern
sheet for
templates

34 JANUARY 2018
 QUILT

ORIENTAL
CLAMSHELL QUILT
These giant clamshells are a great way of showing off vibrant prints
by Judith Hollies
Subcut these strips into six quarter
SKILL LEVEL ❂ ❂ ❂ Cutting instructions circles and six background fans.
MATERIALS 1 From each of the eight A fabrics cut
70cm (¾yd) each of eight A fabrics three 8in strips across the width of the 3 From the last B fabric cut two 8in strips
(1856/Q; 1857/Q; 1856/B; 1857/B; fabric. Then, using the templates, subcut across the width of the fabric. Subcut
1860/B; 1859/G; 1860/G; 1861/P7) these strips into eight quarter circles these strips into four quarter circles and
½m (½yd) each of three B fabrics and eight background fans. four background fans.
(1858/P; 1859/B; 1861/B6)
162 x 200.5cm (64 x 79in) wadding 2 From two of the B fabrics cut two 8in 4 From the binding fabric cut seven 2½in
162 x 200.5cm (64 x 79in) backing strips across the width of the fabric. strips across the width of the fabric.
½m (5/8yd) binding fabric
Two 20.5cm (8in) squares of
template plastic

FINISHED SIZE
Approx. 152 x 190.5cm (60 x 75in)

PREPARATION
Use scant ¼in seam allowance for
drunkard’s path blocks and a
generous ¼in seam when joining
the rows. Judith advises testing
one Clamshell block to check the
seam allowance is correct before
assembling the quilt. Before starting,
trace the templates from the
pattern sheet onto template
plastic and cut out.

This is a variation on the

Drunkard’s Path block.
Keeping the blocks large help
make the curved piecing easier.
JUDITH

JANUARY 2018 35
 QUILT

Making the quilt top

1 Referring to the Layout Guide pair up
the background fans and quarter circles:
two pieces make one square. Place a pin
through the pairs to keep them together.

2 Take one pair and place a background

fan and quarter circle on a surface as
shown in Fig 1 . Flip the quarter circle
over so that the fabrics are right sides
together and aligned at the top edge.
If you wish, place a pin at this point to
hold them in position. Fig 2

3 Carefully take the fabrics to the machine,

making sure they are still in the same
position. Sew a few stitches at the top to
anchor them together. Fig 3

4 Lift up the quarter circle and straighten

the background fan (making sure you do
not stretch the fabric), as shown in Fig 4.
Start sewing slowly, keeping the quarter
circle up and making sure the edges of
the two fabrics meet as you sew the ¼in
seam. When you get close to the bottom
edge, use tweezers if needed to keep the
edges together.

5 Press the seam towards the darkest

fabric. This Drunkard’s Path unit should
measure 8in. Fig 5 LAYOUT GUIDE

FIG 3: Starting to sew the fabric together

FIG 1: A background fan and quarter circle FIG 5: A finished Drunkard’s Path unit
placed on a surface

FIG 6: Two matching units placed next to

FIG 2: Fabrics placed right sides together FIG 4: Continuing to sew the seam each other

36 JANUARY 2018

6 Repeat steps 2 to 5 to make a total of
eighty units.
7 Following the Layout Guide opposite
place the patches on a surface in the
correct order.
8 Take the first two Drunkards Path units
for the top row and place them next to
each other so the quarter circles are
matching, Fig 6. Stitch them together,
making sure the top of the quarter circles
meet.
9 Next, take the first two units of the row
below, and stitch them together. Lay
FIG 7: The top and bottom of the
Clamshell block
FIG 8: Nesting the seams
FIG 9: A finished Clamshell block
out the two rows and press the seams in
opposite directions. Fig 7
10 Sew the two rows from step 9
together, taking care to butt/nest the
intersecting seams, Fig 8. The
Clamshell block should measure 15½in
square. Fig 9
11 Repeat steps 8 to 10 to make a total of
twenty blocks.
12 Lay out the Clamshell blocks in five
rows, with four blocks in each row. Sew
the blocks in each row together. Press
the seams open then join the rows
together and press seams open. Remove
any stray threads.
Quilting and binding
1 Layer the quilt by placing the
backing fabric wrong side up on a clean
surface, followed by the wadding and
then the quilt top, centrally and right
side up. The backing and wadding are
slightly larger than the quilt top. Secure
the quilt sandwich with tacking or
quilters’ pins placed at regular intervals.
FIG 10: Detail of the quilting design
QUILT
2 Quilt as desired. You could mark and
quilt straight or wavy lines edge to edge,
a diagonal 4in grid, or free-motion a
large meander pattern over the quilt.
Fig 10
3 Join the binding strips right sides
together along the short ends. You can
either join them with a straight seam
or sew them together at a 45-degree
angle.
4 Press the joining seams open. Fold the
binding in half lengthways, wrong sides
together, and press.
5 Working from the right side and
starting part-way down one edge,
match the raw edges of the binding
to the raw edges of the quilt and sew
in place, using ⅜in seam allowance,
folding a mitre at each corner. Before
completing your stitching, neaten the
short raw end of the starting piece and
insert the ending piece into it.
6 Fold the binding over to the back of
the quilt and neatly slipstitch in place
by hand.
JANUARY 2018 37
 QUILT

WHERE TO BUY
Judith used fabrics used from the Japanese Garden range by Makower. Product codes are in the materials list, for more details visit
makoweruk.com.
Template plastic available is available from quilt shops.

38 JANUARY 2018
 SHOW & TELL
Please send your emails and good quality photos to editorial.pp@mytimemedia.com or write
to Show & Tell, Popular Patchwork, My Time Media Ltd, Suite 25, Eden House, Enterprise Way,
Edenbridge, Kent, TN8 6HF. You will need to include an image showing the entire quilt
photographed on a flat surface.

Star Letter
Birthday gift
Here is my version of the jigsaw quilt from the June 2016 issue. I adapted the
techniques to compensate for my lack of experience but love the finished result.
Let’s hope my brother loves it too as it’s for his 50th birthday!

Joan Gibson

You’ve created a real birthday treat Joan. The jigsaw quilt was a very popular
design and we’re pleased to see it’s still going strong!

42 JANUARY 2018
 REGULAR

Snuggle Cushion
This is a snuggle cushion that I made for my
4-year-old nephew, Evan, for his birthday. He’s
currently very poorly and in and out of Great
Ormond Street Hospital a lot, so I made him this
(as requested!) to match the quilt I made him
earlier in the year. It was the first job on my
upgraded sewing machine!
Donna Maguire, Stoke on Trent

We bet your cushion has been a great comfort to

Evan as he undergoes his treatment Donna.
We wish him well in his recovery x

My First Quilt Show us your project

I made this for a special friend’s
daughter for her 8th birthday. I went
to a class at New Forest Fabrics
and they cut the butterflies using a
machine. I wanted it to be colourful
and not babyish, and I backed it with
turquoise fleece to make it more
cuddly! It was my first quilt and first
appliqué work.
Sandra Wood, Southampton
It’s such a lovely idea to back your
quilt with a snuggly fleece fabric
Sandra and the butterflies work
so well in the contrasting fabrics.
Congratulations on your first
quilt – what a stunner!
and win!
Each month we give away quilting
goodies for every letter and photograph
published on our Show & Tell pages.
This month the prize is a variegated
thread pack from Gutermann Creativ
(RRP £10.40). Carefully designed to
give you a wide spectrum of popular
shades in each of the seven reels, this
selection box provides a subtle palette
of beautiful colour tones in pure cotton
thread. Ideal for use with cotton fabrics
including denims and excellent for
patchwork and quilting. The colour
tones included are yellow, light
brown, dark brown, red, purple,
blue and green.
gütermann@stockistenquiries.co.uk

Pretty Blocks
This was a fun quilt, I sort of
designed it as I went along!
It was sent to a baby charity
this summer. I entitled it
Pretty Blocks. The quilt is
all soft cottons, machine
pieced and assembled;
top-stitched with straight-line
and free motion quilting and
features perky prairie points
on the inner sashing.
Linda Douglas, Livingstone

You’ve incorporated so many

techniques into your quilt
Linda and we love your improv
style. Well done!

JANUARY 2018 43
American Quilt Treasures
Patchwork Place 3 copies to
giveaway
See page 98
Martingale, £34.99. ISBN 978-1-60468891-7
The International Quilt Study Center & Museum in Nebraska
holds the largest publicly held quilt collection in the world.
With quilts representing more than 50 countries and dating
from the early 1700s, it’s a go-to destination for all quilt
scholars and textile enthusiasts. In this carefully curated
book, you get a close up look at 65 of the museum’s most
interesting and remarkable quilts. Each one is presented as
a full image and then in close-up to explore the stitches and
techniques in more
detail. The variety of
styles is something to
behold but it’s worth
mentioning that none
of the quilts come with
accompanying text,
save for names, dates
and dimensions, so it’s
more in the category
of a gorgeous coffee
table book. A picture
paints a thousand
words in this case.

BOOKSHELF
Deputy Editor Julie
Sheridan shares her
favourite January reads

Fabulous Facades
Gloria Loughman
C&T Publishing, £24.99. ISBN 978-1-61745344-1
Gloria Loughman began making large landscape quilts of the Australian bush after
completing her studies in art and design in 1996. In Fabulous Facades, she explores how
to create graphic quilts that resemble woodblocks and linocuts in a change of direction
inspired by her daughter’s study of architecture and her husband’s photos of buildings.
Each main shape is outlined with
fine dark lines adding strength to the
composition in a series of projects that
include doorways, skyscrapers and even
a cargo ship and camper van. As a trained
secondary school teacher, Gloria is adept
at making the process of design and
construction easy to understand. She
talks of design elements, colour balance,
choice of fabrics and how to create texture
and layers in a way that is straightforward
and enthusiastic. The idea is to get you to
a place in which you can dig out photos
of favourite places and create your own
unique design using her tried and tested
methods. This informative book will
inspire fans of travel and architecture.

44 JANUARY 2018
 REGULAR

Embroidered Garden Flowers

Kazuko Aoki
Roost Books, £16.99. ISBN 978-1-61180454-6
Author, Kazuko Aoki describes this pretty little book as ‘an embroidered
field guide to flowers’. A
passionate gardener herself,
Kazuko continually sketches
plants and here offers a
complete growing-season’s
worth of 63 embroidery
projects based on her
designs. The stitching is
delicate and beautifully
photographed throughout
and there are clear diagrams
and step-by-steps. You’ll
learn how to embroider
wild strawberries, pansies,
verbena and campanula to
add subtle touches to bags,
tableware and clothing.
Spring will feel a lot closer
once you get stuck into this!

Quilt As-You-Go Made Vintage

Jera Brandvig
Stash Books, £18.99. ISBN 978-1-61745472-1
This is a follow-up book to the popular Quilt-As-You-Go Made
Modern, also by Jera. It features 51 blocks, nine projects, and
three joining methods; including her very own technique that
makes your quilt reversible by quilting each block individually
on a backing and using joining strips on the front and back of
the assembled quilt. Whilst the first book focussed on
improvisational techniques in a modern style, this one is
about using vintage fabrics in classic block designs. There are
useful sections on
tools and supplies,
working with
batting, and
choosing your
fabrics. Each project
is laid out in an easy
to follow fashion
that is packed
with photos and
diagrams. Overall,
a well considered
book that is a
delight to look
through with a
warm, encouraging
tone of voice.

JANUARY 2018 45
Q&A Deborah Kemball
Deborah Kemball has become well-known for her bold and beautiful appliqué using silks
and shot cottons in her signature style. Here she talks about her love of embellishments
and why appliqué was an unusual choice given her energetic nature.

46 JANUARY 2018

Above: Deborah Kemball
Right: Fun with plaids and stripes for
an autumnal wreath with conkers,
acorns, and honesty.
Left: “My house is a mass of floral
cushions in all colours,” says Deborah
Can you tell us a little
about your home life
and background?
After a life of travelling around
the world with my husband’s
job, we chose to settle down
in Montréal, Québec. I was born
and raised in the UK, we got married in 1983 and subsequently
lived a life of three and four-year postings around the world
with our four sons in tow. We fell in love with Montréal when
posted here in 2005 and decided it was where we would like
to settle down. None of us mind the extreme temperatures
and we all love our outdoor life of cross-country skiing,
walking, cycling, and sailing. Our lakeshore house is therefore
a dreamy location for our family and much-loved pet whippet.
After a life living abroad, mainly in Latin America, I will never
forget my first summer in Montréal where I had three quilting
shops within cycling distance of my house. The active and
visible local quilting community who embraced me so
wholeheartedly doubtlessly played a large part in my initial
love affair with Canada.
What or who were your early influences and how
has your work evolved over time?
I was lucky to grow up in a very creative home. I realise now
just how inspired I was by my mother’s creativity. No project
intimidated her and everything from our upholstered sofas
and soft furnishings to the clothes I wore were all beautifully
made by her. This was a great source of inspiration for my
own creativity. I remember her teaching me to use her sewing
machine and to knit from an early age, both of which I did
throughout my teens and twenties. However, it was a long and
somewhat meandering path to my final medium of appliqué
over a period of many happy years. Habitually knitting and
sewing, I also fell in love with embroidery, tapestry, papier
REGULAR
mâché, painting and decorative art, some of which I did to
a high enough standard to sell in shops and galleries.
What attracted you to patchwork and quilting?
I discovered patchwork when living in the south of Holland
in the early 1990s when passing a quilting shop in Eindhoven.
I was instantly smitten and became an avid quilter from that
point, avid almost to the point of obsession! I made a vast
number of machine made patchwork quilts, always hand
quilted but produced at a rapid-fire rate. I was lucky enough
to live in Costa Rica during three of these quilting obsessed
years where I could buy faulty quilting fabric for pennies per
kilo, so I could experiment and learn about colour to my
heart’s content without worrying about the money spent.
What was your route to developing your own style?
Although I loved my patchwork quilts, I was frustrated by the
machine work and found myself tiring of being hunched over my
Bernina as it hammered through seams. Although it seems out of
kilter with my high-energy character, I found my true love lay in
hand-quilted whole cloth quilts of which I made several. This was
then quickly followed by my interest in appliqué. I had designed
some tapestries in the late 1980s and one day experimented
with using the same designs in appliqué on a whole cloth quilt.
I am completely self-taught and had no access to the Internet
or information about appliqué when I was starting out. I think
this has served me well as I’ve developed easy techniques and a
signature style completely uninfluenced by other people’s work.
JANUARY 2018 47
 REGULAR

Above left: Floral Abundance is available as a pattern very soon!

Above right: One of Deborah’s favourite individual panels
from her quilt, Euphoria.
Right: Deborah loved the instant gratification of this piece – it
took her 24 hours from design to completion!

Tell us a bit about the techniques you

use in your work.
My techniques are very simple! I don’t use any special
equipment at all. Students are always surprised to see
that I just use a between needle (no 9) and some old
standard metal thimbles for pretty much everything
and nothing special for the appliqué process. My only
concession is freezer paper, which I use as templates
to cut motifs and remove before appliqué. My aim in
appliqué is simply to put the motifs on the background
in the easiest possible way and, not being a perfectionist,
if something is askew I simply embroider something to hide Do you have a piece of work that you’re
the flaw. I usually design straight onto the background fabric particularly proud of?
starting with the stem and slowly fill up the piece with flowers, I am particularly proud of Euphoria, a quilt that took a year and
keeping the balance of colour and design in check as I go. To hours of work every day to design and make. The finished result
be honest, this happens fairly intuitively, and the secret is suggests exuberance and joy, which is exactly what I set out to
knowing when to stop. However, my design process changed achieve. The many awards it won were the icing on the cake.
significantly when I designed my Euphoria quilt. I designed it
so that all the individual panels could be made as projects in Some of your work is highly embellished with beads and
their own right. To make sure they would work, I did life sized embroidery. Can you explain these techniques and whether
drawings of the designs on paper before sewing. I don’t use you decide in advance what the end result will be?
any computer programmes and am rather old-school, using I embellish my quilts with embroidery at the end of the appliqué
pencil and paper for designs. process but before the hand quilting stage. Embellishing with

48 JANUARY 2018
 REGULAR

beads comes once Describe your style in five words.

the piece has been I’d like my designs to be seen as a contemporary take on old,
quilted. I love classic, floral, chintz designs and if I had to use five words to
embellishment sum up my style I’d say: vibrant, lyrical, classic, original, joyful.
Above left: The splendid Euphoria quilt and am currently
took a year to make. heading in a new Finally, as this is our January issue, what’s your
Right: Miniature quilt direction towards New Year’s resolution?
Above: Spring Romance quilt wool appliqué To restrain myself from cutting up good clothing for wool
where I can go appliqué because the colour/weave is too perfect to resist!
totally mad with embroidery and beading. I have just attempted
my first designs in this medium and am very excited by the To see more of Deborah’s work, visit deborahkemball.com
possibilities. Wool appliqué is definitely where I’m going next! or oakshottfabrics.com/collections/deborah-kemball-
studio-collection where Popular Patchwork readers will
What’s the story behind your new pattern pack, receive a 15% discount on Deborah’s newest kits - Sumac on
Floral Abundance Quilt? a Rainy Day, Chilli Pepper Wreath, Bosveen and Lagaveen,
My most recent projects including Euphoria and Floral Abundance from 5 December 2017 until
I and II are made using either silks or Oakshott shot cottons, the 31 January 2018 by quoting
latter of which I have in a huge spectrum of colours and shades. POPPATCHDK.
I feel very indebted to Michael Oakshott for all his support and
belief in me as well as his never-ending supply of fabulous
fabrics. Floral Abundance grew out of a project we worked on The Floral Abundance
together a few years ago. Michael sent me a collection of fabrics Quilt Pattern, £16.99, will
that inspired me to design the first Floral Abundance quilt in soft be available in February
pastels, which was a rather uncharacteristic palette for me. I loved 2018. It includes complete
this first quilt and ran it as an exclusive Block of the Month for instructions and full-sized
60 quilters worldwide. I have recently made a second version in pattern sheets for this
brights with my more signature red background, which I love in stunning quilt.
equal measure. I am so excited to have this pattern published by www.ctpub.com
C&T as Floral Abundance Quilts in February 2018.

JANUARY 2018 49
 Threads a

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Stuart’s
tuart’s Surgery
Each month Stuart Hillard answers your quilty questions!
Fran from Hereford writes... “I’m an experienced quilter. Actually, I’m an
experienced piecer, the quilting part frightens me and I have finished very few
of my quilt tops. I get so scared of spoiling my work but I’m not sure about
getting my tops quilted by a longarm quilter. Any advice?”

Oh Fran! I want to get on the next train to Hereford and give you a big old quilty hug! If I had a pound
for every time I heard a quilter express these fears I’d have, well, lots and lots of pounds! You’re not
alone and I for one have felt that fear, too. Many experienced quilters make wonderful tops but fear
the finishing. Follow my tips for finishing your quilts with confidence…

F
irst off, let’s talk about longarm quilting. Now, I longarm
many of my quilts, particularly with edge to edge
patterns, sometimes called E2E or pantograph quilting;
it’s a great way to get a quilt finished in record time. I have a
HandiQuilter Avante and it really is wonderful! More and
more domestic quilters are buying longarm machines and
discovering a whole different way to quilt. I know that some
folks say that if you don’t quilt it yourself it’s not ‘your work’
or that it’s cheating to get someone else to quilt your tops – I
also remember the days when some people said it had to be
hand quilted or it wasn’t a proper quilt – I respect those
opinions but sometimes, I just need a finish! Go to any quilt
show and you’ll see that longarm quilting can be so much
more than ‘a finish’, it can really add a whole new dimension
to your work. Many longarm quilters have devoted many
years of their lives to developing incredible skills in quilting

52 JANUARY 2018
 REGULAR

backing and batting are

good quality.
Above all, accept
that if you’ve pieced
a hundred quilt tops
but only quilted five
of them, your quilting
skills are probably not
going to match your
piecing. Choose a
simple quilting pattern
(wavy lines are easy
to quilt, look fabulous
and can be achieved by
absolute beginners) and
build your skills over
time. All over ‘meander’
quilting is probably
one of the hardest
quilting patterns to pull
off, there are plenty of
simpler patterns that
are easier and will look
better. You don’t have
and are super passionate about making your quilt top the to be fabulous at quilting everything and anything... find one
best it can possibly be. I know many longarm quilters who pattern or motif you feel comfortable with and do it brilliantly;
will pour heart and soul into quilting your tops – it’s definitely when you’re ready to move on you’ll feel it in your heart.
worth some research. Until next month, happy quilting!
If you’re planning to quilt your own tops, preparation is key
and it all starts right now! Buying books on machine and hand
quilting will help to educate and expand your knowledge but Keep in touch…
Stu x
the only sure way to get better at something is by doing it. Take Have a wonderful month sewing and write to
classes. In just the same way that you might take a piecing or me at stuarthillard@me.com with your questions
appliqué class, you can take quilting classes; every teacher is for Stuart’s Surgery. You can also follow me on Instagram
different and will have skills, ideas and tips to pass on. Practise @stuarthillardsews and catch me on Create and Craft TV
makes perfect and the more you ‘train’ the better you’ll become. for more top tips, projects and inspiration.
I find that doodling and
drawing is almost as
worthwhile as actually
quilting, it’s all about
developing muscle
memory so that when
you get to your quilt,
you already know
where you’re going.
Whether you quilt
yourself or have a
longarmer to do the
finishing for you,
remember that the
better your quilt top is,
the better your finished
quilt will look. Sew
accurate ¼in seams
and press correctly to
ensure a flat top, clip
threads to prevent
‘veins’ showing through,
and ensure that your

JANUARY 2018 53
54 JANUARY 2018

CUTTING MAT
CARRIER
This handy case is perfect for keeping your sewing supplies organised
SKILL LEVEL ❂ ❂
MATERIALS
Two 53.5 x 40.5cm (21 x 16in) pieces
of fabric for the outer
Two 53.5 x 40.5cm (21 x 16in) pieces
of fusible fleece
Two 53.5 x 40.5cm (21 x 16in) pieces
of fabric for the lining
Two 63.5 x 15cm (25 x 6in) plain
rectangles of fabric for the pockets
Two 63.5 x 15cm (25 x 6in) patterned
rectangles of fabric for the pockets
Two 40.5cm (16in) lengths of 2.5cm
(1in) wide webbing
Magnetic clasp
Erasable fabric pen
FINISHED SIZE
This bag is based on a cutting mat
measuring 46 x 30cm (18 x 12in)
PREPARATION
All measurements include ¼in seam
allowances, unless otherwise stated.
FIG 1
BAG
by Debbie Shore
Whether you’re going to a craft class, or just need to store your cutting
equipment, this pretty case can be made to any size you like.
DEBBIE
piece right sides together and sew along
Instructions the long edges. Turn right side out, and
1 Fuse the fleece to the back of the outer roll so that a 1cm (½in) strip of lining
fabric pieces. Measure 15cm (6in) down shows at the top. Press, then top stitch
the sides and along the top from each along the seam.
top corner, and cut at an angle between
these points. Repeat to trim the lining 4 Pin the raw side edges to the sides of
pieces. Fig 1 the front of the bag, 5cm (2in) up from
the base.
2 Fold the lining pieces in half to crease
the centre lines. Measure and mark 4cm 5 Pin the pocket at intervals to make
(1½in) down from the top edge. Cut two dividing pockets – these can be any size
5cm (2in) squares of lining fabric from you like. If you have specific tools you’d
the leftover corners, and place behind like to store, pop them inside the pocket
your marks – this will help to strengthen and place your pins around them. Fig 2
the fabric around the clasps. Apply one
half of the clasp to each lining piece at 6 Mark the dividing lines with your eras-
the mark. able pen, then sew, removing the pins.
Top stitch the bottom of the pocket,
3 To make up the first pocket, place a folding the loose fabric into pleats as
patterned fabric piece and plain fabric you sew. Sew the side seams. Repeat to
FIG 2
JANUARY 2018 55
 BAG

create and attach another pocket to the

back of the bag.

7 Tack/baste the webbing handles,

facing inwards, to the top side of each
half of the bag.

8 Place a lining piece over the front out-

er panel, right sides facing. Sew together
along the top three sides, trapping the
webbing handle in place. Repeat with
the back panel. Fig 3

9 Sew the two pocket panels right sides

together, starting and stopping at the
point where the lining meets. Fold the
flaps out of the way, and sew the lining
pieces together in the same way, leaving
a gap in the base of about 15cm (6in) for
turning. Fig 4

10 Turn right side out and press. Sew the

opening in the lining closed then push
the lining inside the bag. Press around
the top then edge stitch.

This is an adapted extract from Sewing

room accessories by Debbie Shore,
published by Search Press, RRP £7.99,
searchpress.com.

FIG 3 FIG 4

56 JANUARY 2018
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58 JANUARY 2018
 HOME ACCESSORY

IT’S BEHIND YOU!

Make a nifty and comfortable storage solution for your craft supplies
by Kajsa Kinsella

SKILL LEVEL ❂ ❂ Instructions the cover. Pin or tack to the front,

covering the line of stitching that made
MATERIALS 1 From the cover fabric cut: the hem, then topstitch. Fig 1
⅝yd heavyweight cotton fabric for • One 19 x 20in rectangle for the front of
the cover the cover 5 Take the 7 x 7½in rectangle (pocket
7 x 7½in fabric for pocket 1 • One 19 x 8in rectangle for the back of 1) and fold ½in in around each edge.
4 x 7½in fabric for pocket 2 the cover Press in place and topsitch.Repeat
7½in x 6½in fabric for pocket 3 with the other two pocket pieces,
17 x 7in lightweight iron-on 2 From the lightweight interfacing cut: however finish the top of these by
interfacing • One 7 x 7½in rectangle (pocket 1) cutting a piece of lace to size and
19in cotton lace, 2½in wide • One 4 x 7½in rectangle (pocket 2) securing it to the fabric when you
Two 8in lengths of lace stitch across the top. Fig 2
• One 7½in x 6½in rectangle (pocket 3)
Three decorative buttons
Following the manufacturer’s instructions,
FINISHED SIZE fuse the interfacing to the wrong side of 6 Arrange the three pockets on the
46 x 50.2cm (18 x 19 3/4in) but this the three pocket pieces. front of the cover. You can either follow
project can easily be adapted to suit Kajsa’s layout or place them where you
any size of chair 3 Take the two pieces for the cover and wish, making sure they are not too close
on the bottom edge of each fold up ¼in to the edge. When happy with their
PREPARATION
of fabric to the wrong side and press in position pin in place and sew a double
Wash and press fabrics before
starting. place. Fold up another ¼in to make a seam around each one to make them
hem and stitch in place using a toning strong and durable. When you sew the
thread. pocket without the lace trimming stitch
a double seam in the centre to create
4 Place the 2½in wide lace along the two compartments for scissors and
In all my years as a bottom (hemmed) edge of the front of pencils. Fig 3
crafter/designer I have tried
my hardest to find practical and
cost-effective solutions to solve
the lack of space in my teeny
tiny studio, but what can you
do when you work from home,
and the three children are brazen
enough to claim soooo much more
space than me! Over the years
I have forced my poor working
chair to be so much more than just
a simple chair. Firstly by adding
nifty hooks along the sides for
extra storage, then I designed
this practical and sleek chair
back.
KAJSA FIG 1: Lace sewn to the bottom of the FIG 2: Pockets pressed and the top edge
front panel stitched

JANUARY 2018 59
 HOME ACCESSORY
HANDY HINT
As chairs can vary in shape and size,
measure your own before you start
to make sure this tidy will fit. If
needed, cut your pieces wider or
narrower in step 1.
FIG 3: The prepared pockets
60 JANUARY 2018
the buttons as iron-on interfacing can be
quite tough to stitch through. Fig 4
8 Place the back and front pieces right
sides together. Line up their top edges,
pin, then sew a ¼in seam. Open up and
press the seams flat.
9 Fold in ¼in on each of the raw edges
and then fold and again and stitch to
create a hem, as in step 3. With the front
and back pieces rights sides out sew
up each side, keeping the raw edges of
the seam tucked inside the side seams.
Make sure the seam that joins the front
and back is at the top and lies straight
- this will sit along the top of your chair
back. Fig 5
WHERE TO BUY
Kajsa used fabrics and trimmings from
her stash. Similar fabrics are available
from quilt fabric shops or see our
advertisers for mail order services.
7 Sew the buttons onto the pockets.
As well as making the tidy look pretty
they also provide an excellent opportunity
to hang small craft utensils. Kajsa
recommends making sure you use a
thimble and sharp needle when stitching
FIG 4: Adding buttons to the pockets
FIG 5: The sides sewn together
 HOME ACCESSORY

HANDY HINT
Why not make one for your child’s
chair, to have markers, papers and
crayons handy at all times!

JANUARY 2018 61
 See
pattern
sheet for
templates

62 JANUARY 2018

OH-SEW-TIDY
A practical cover for your sewing machine, which also acts as an organiser and sewing mat
by Kajsa Kinsella
SKILL LEVEL ❂ ❂ ❂
MATERIALS
21 x 30in fabric for the cover*
21 x 6½in fabric for the pocket strip*
9in square paper backed fusible web
6 x 3in light blue cotton fabric
6 x 3in dark blue cotton fabric
4 x 3in pink spot fabric
5 x 4in blue gingham fabric
70in rustic ribbon
4in dark blue ribbon
Six wooden buttons
One plastic button
*Kajsa used a tea-towel weight
cotton twill for the cover and pocket
sections, however these could be
made from contrasting fabrics
FINISHED SIZE
20in by 29in (51cm by 74cm)
PREPARATION
Wash and press fabrics before
starting.
Even though I adore Christmas,
and am sad to see it go, January
holds the promise of vigour,
freshness and change. I do love
to get my hands into the corners
of my little studio and give it all a
good clean out and organise my
supplies. This cover is simple to
make, and as well as keeping
dust away from your sewing
machine, it has practical pockets
and holders for all you need
whilst crafting.
KAJSA
Instructions
1 Take the fabric for the cover and on the
two long sides and one short side fold
up ¼in of fabric to the wrong side and
press in place. Fold up another ¼in to
make a hem and stitch in place using a
toning thread.
2 Using the method in step 1, stitch a
hem along one long side and two short
sides of the pocket strip.
3 Trace the templates from the pattern
sheet onto the paper (smooth) side of
the fusible web. You will need:
• Four heart sections, also tracing the
lines onto the fusible web
• Two leaves, one as it is on the
pattern sheet, then flipping the other
one to make a mirror image
• One flower
FIG 1: Creating a woven heart
HOME ACCESSORY
Once drawn, roughly cut out each shape
from the web, approximately ¼in away
from the drawn line.
4 Remove the paper backing and fuse
the following:
• Two hearts to the light blue fabric
• Two hearts to the dark blue fabric
• Two leaves to the blue gingham fabric
• Flower shape to the pink spot fabric
5 Cut out each shape following the line.
When you get to the hearts, cut along
the marked lines.
6 Following the main image, place the
motifs on the pocket piece, with the
hemmed edge at the top. When you get
to the hearts use the slits to weave them
together, Fig 1. When you are happy
with the position of each motif fuse in
place.
7 Using a straight stitch, sew around
each of the appliqué motifs.
8 Place the pocket on the wrong side of
the base, right side towards wrong side,
with the two raw edges aligned. Sew
along the bottom then turn towards the
front of the base. Top stitch down one
side of the pocket, along the bottom,
and back up the other side.
9 Cut a piece of rustic ribbon 2in longer
than the pocket strip and pin to the top
edge. Mark and sew a line of straight
stitching either side of the centre flower,
then to the outside of the two hearts,
making sure you sew over the upper edge
of the pocket strip to hold the ribbon in
place. Hand sew the ends of the ribbon to
the back of the cover. Fig 2
JANUARY 2018 63
 HOME ACCESSORY
10 Stitch the wooden buttons in the
centre of the pocket seams, then sew
a blue plastic button to the centre of
where the leaves meet. Fig 3
11 Make a holder for your scissors. Cut
the dark blue ribbon in half, fold in the
edges and place just above the
pocket. Stitch over the ends several
times to ensure they will securely hold
your scissors. Fig 4
12 From the remainder of the rustic
ribbon cut four lengths, each measuring
12in. Fold each piece in half and attach
FIG 2: Detail showing the two lines of stitching for pockets
FIG 3: Sewing buttons to the pocket seams
64 JANUARY 2018
to the inside of the cover. To help
position them correctly fold the cover in
half lengthways, then again widthways.
This shows the four places where you
need to sew the ribbons so they line
up. Mark each position with a pin then
unfold and stitch the ends of the ribbons
in place. Fig 5
WHERE TO BUY
Kajsa used fabrics from her stash.
Similar fabrics are available from quilt
fabric shops or see our advertisers for
mail order services.
FIG 4: The ribbon ties for holding scissors FIG 5: Ribbon ties stitched in place
 Part 5
HALF-SQUARE
TRIANGLE
UNITS

66 JANUARY 2018
 MYSTERY QUILT

MYSTERY QUILTPart 5
Join us on a quilting adventure!
by Stuart Hillard, with additional work from Joan Drake

T
his month we are making half-square triangle (HST), and half-square triangle plus (HST+) units. Each one is 4½in square
(4in square when sewn in the finished quilt). You will need to make a total of twenty-four HST units and forty-eight HST+
units. For my Alison Glass version, I used assorted pink and orange prints for the coloured sections (the same oranges and
pinks as I used for the rail fence units) and charcoal linen texture for the background. The scrappy version uses assorted
medium and dark blue prints for the coloured sections and assorted cream/beige and tan prints for the background.

8 Place one of the 2½in charcoal linen squares onto the pink or
Instructions for Sun Prints Version orange corner of one HST, right sides together and matching up
1 Cut a total of thirty-six 4⅞in squares in assorted orange and the raw edges.
pink prints.
9 Sew along the
2 From the charcoal linen texture fabric cut: marked line then
• Thirty-six 4⅞in squares flip the corner
• Forty-eight 2½in squares back. Check that
the corners line up
3 Pair up one perfectly, if they
orange or don’t, unpick and
pink 4⅞in sew again.
square and
one charcoal 10 Flip the corner
linen texture back to its original
4⅞in square position, with right HST+
and place sides together, and
them right trim the away the excess fabric ¼in beyond the of the seam line.
sides togeth- Open the corner again and press.
er. On the
back of the 11 Repeat steps 8 to 10 to make a total of forty-eight HST+ units.
paler fabric
mark the
diagonal line HST
Instructions for the Scrappy Version
from corner 1 Cut thirty-six 4⅞in squares in assorted medium and dark blue
to corner using a fabric pencil. prints.

4 Sew ¼in either side of the drawn line.
5 Cut along the drawn line to make two HST units. Open and
press the seam allowance towards the charcoal linen texture
fabric.
6 Repeat steps 3 to 5 to make a total of seventy-two HST units.
Put twenty-four of these to one side, making sure to include an
assortment of different fabrics.
You will now turn the remaining forty-eight HST units into HST+
units
7 On the wrong side of the 2½in charcoal linen squares mark a
diagonal line from corner to corner using a fabric pencil.
2 From the assorted cream/beige/tan prints cut:
• Thirty-six 4⅞in squares
• Forty-eight 2½in squares
3 Following the instructions for the Sun Prints Version make a
total of twenty-four HST units and forty-eight HST+ units.
For parts 1,2, 3 and 4 along with the fabric
requirements, please visit our website
www.popularpatchwork.com
WHERE TO BUY
For more information on the Sun Prints range designed by
Alison Glass visit
makoweruk.com/section/sun-prints-by-alison-glass-2017

JANUARY 2018 67
 Courtesy of Jane Austen’s House Museum

Novel Stitching
This spring, Jane Austen’s House Museum will unveil a very special quilt to commemorate
Jane Austin’s life at Chawton in an exhibition entitled: Piecing Together Jane Austen.
Elizabeth Betts describes a year in the making.

68 JANUARY 2018
 FEATURE

Jane Austen’s House Museum

Jane Austen’s House Museum

T
his story starts
in Chawton, a
pretty village in
Hampshire. With
its sweet thatched cottages,
well-tended cricket pitch and
old-fashioned signpost, it
could easily be a picture on
top of a vintage biscuit tin.
There’s no through road, and
so would only be admired by
locals if it weren’t for a famous
former resident who, 200
years after her death, continues Jane Austen’s Shawl Chawton House Library
to pull in thousands of visitors
every year from every corner of the globe. The author, a certain keen needlewoman: in a letter to her sister dated 31 May 1811
Jane Austen, resided in the seventeenth-century cottage in the Jane writes; “Have you remembered to collect piece (sic) for
heart of the village from 1809 until 1817, and from here she wrote the patchwork – we are at a standstill.” On display there is an
or revised most of her novels. Her sister remained in the house exquisitely embroidered shawl she is said to have sewn and
until her death in 1845, then it was divided into three dwellings a paper needle book that she made for her niece that still has
for labourers on the Chawton estate. Fast forward just over 100 the paper wrapping signed ‘With Aunt Jane’s Love’. However,
years and the Jane Austen Society spotted it was for sale and put for patchworkers, the star of the show is the Austen Coverlet.
an appeal in The Times newspaper. It was purchased by Mr. T E Readers who have visited the house over the last 35 years may
Carpenter who bought it in memory of his son, Phillip, who died remember seeing it hung on a wall, or placed on a bed, but it
in World War II. The museum formally opened in 1949. Welcoming has recently been tended to by a conservationist and displayed
the public since then, Jane Austen’s House Museum gives visitors in a new way. As well as preserving the coverlet, it also allows
an insight into Jane’s life at the time. visitors to admire and get near enough to see the fabrics and
The House is home to many items owned, or related to, the stitches close up. It’s fascinating to look at as the fabrics
Jane Austen including letters, jewellery, and her writing table. are symmetrical. The first time I saw it I felt like a child playing
They are dotted around the rooms to help build up a picture eye-spy as I would spot one print on one side, then look to the
of how she, her sister and their mother lived when they were opposite side to see its twin. It also has a few other quirks – the
in Chawton. From her letters, it is known that Jane was a angles of the diamonds are 70 degrees and 110 degrees, which

JANUARY 2018 69
 FEATURE
Lucy reading letters for research
Research at Chawton House Library
is quite unusual, and the sashing joining
the central diamonds is composed of short
pieces, rather than continuous lengths. It
makes the viewer start an unending journey
of questions such as ‘did they work on
The original coverlet, image courtesy of Jane Austen’s House Museum
opposite sides at the same time?’, and ‘was
the sashing fabric leftover from a previous project?’.
It was this coverlet that led to me working at the museum.
In early 2017 I saw an advertisement on their Facebook page
for a freelance quilt designer. I had long been a fan of Jane
Austen, and thought that to combine the two would be a dream
job. My obsession started back in 1995, with the Andrew Davis
adaptation of Pride and Prejudice. I was in the middle of my
A-levels, and it was light relief compared to the heavy themes I
was studying in Thomas Hardy’s work at college. I tuned in and
fell in love with the storylines, the characters, the settings – just
everything. Elizabeth Bennet was the perfect role model for a
teenager, caring, intelligent and forthright, and even now if I go
for a long walk I like to think it’s making my eyes look brighter!
Following this, I consumed everything she wrote and still treasure
my tatty Penguin classics that are on the bookshelf at home.
In March 2017, I was delighted to be informed I had been
appointed as their quilt designer. The role is part of a wider
Heritage Lottery funded project called Piecing Together Jane
Austen: Her Chawton Legacy 200 years on. The project manager,
Lucy Bailey, describes its aim: “To conserve the material
evidence or culture that the museum has from Jane Austen,
then to reinterpret and allow others to engage with this heritage
through collaborative working at events and workshops in
this important year.” 2017 has seen a number of events to
mark the 200-year anniversary of Jane’s death, including
a service at Winchester Cathedral where she is buried, TV
programmes, exhibitions and the launch of the new £10 note.
70 JANUARY 2018
The quilt part of the project covers restoration, display, and
the creation of a community quilt, and it is the latter that I was
responsible for working with the project manager to achieve.
At the first planning meeting, I discovered that rather than
making a replica, the quilt was to be a wall hanging, which is an
exploration of the stories about Jane’s life. It needed to bring
in certain strands, such as working with the local school and
community groups, and the finished result was to be displayed
in the house. I couldn’t wait to start.
My first two days were spent researching. I thought I knew a
lot about Jane, but quickly realised how wrong I was, and while
I knew her novels I didn’t really know much about the world she
lived in. It was a treat to start the research by getting a tour of
the house before it opened. Jen Harris, the trainee collections
officer led us through the house, and walking around the rooms
she talked about the sorts of things Jane, her sister Cassandra
and their mother would have done in the evenings, where she
would have walked and what the village was like in the 1810s.
It gave an engaging insight into Jane’s life beyond her novels,
and my notebook was soon full of ideas. We then went to the
collections store and looked at some more objects. It was
wonderful looking through the early editions, and a highlight
was Martha Lloyd’s Household Book. A friend of Jane’s, she lived
with the women at Chawton and the fascinating book contains
recipes as well as remedies for things such as toothache. Written
to be functional, it felt like a true peek behind the scenes to how
they lived. I quickly realised there was much about the themes,

Alton Workshop samples
such as housing and the role of women, which felt very modern,
and that, from her letters, she was very funny and quick-witted.
We spent the afternoon at Chawton House and gardens, once
owned by her brother Edward, it is open to the public and
home to The Centre for the Study of Early Women’s Writing,
1600-1830. Librarian, Dr. Darren Bevin, showed us key books,
such as Self Control and spoke of authors such as Fanny
Burney, which helped build the picture of Jane’s inspiration
and writing contemporaries, which I felt needed to be
included in the wall hanging.
The next part of the research was to get to know the coverlet.
I was lucky to have a whole morning with Sue Dell, the archivist
who knows it inside out, literally. She showed me photographs
of the inside to help me to understand how vibrant the fabrics
would have been when it was made. A keen quilt maker, she
has spent years researching and collating information so it is
preserved and in one place for future generations. We started
by looking at the coverlet where she pointed out the key
points such as the way the sashing is pieced and symmetrical
arrangement of fabrics. She showed me photographs of how
the quilt had previously been displayed and the conservation
reports. As part of the Heritage Lottery funding the quilt has
recently had some new conservation work completed along
with a new display method. I found it most amusing that
there are several different estimates of how large the quilt
is. Over the years a number of people, staff, volunteers and
conservationists, have measured it, but no one seems to quite
agree. I felt this represented Jane – we try to work out who
she is, but can never be sure. It was lovely to get the feel of
sewing being an important part of Jane’s life and gave me a
feeling the community quilt is not just a stand-alone object, but
intertwined with her regency world.
After the two research days, it was time to design the quilt.
For me, this has been the most daunting part of the project as
I wanted everyone involved to get as much as possible out of it
FEATURE
Detail of quilt
but there were limitations, not least that it had to be one piece
that fits on a wall in the Learning Centre. I spent a few evenings
pondering the best way to involve a large number of people,
of different ages, with different skills and across the world in a
single wall hanging that pays tribute to Jane’s life. I sketched
a few designs, then spoke with Lucy, the project manager, and
the one we went with features a central panel of a map of the
village, appliquéd by the children at the local school, which is
then surrounded by blocks. We had a list of people who were
keen to get involved, and so we worked out we would need
fifty-two blocks, with the largest of which being 9in square.
To bring it all together they would be sashed with a single
colour. It would not be quilted, and the back would be canvas
fabric with stitching in the sashing to hold the layers together,
but not to detract from the design. I felt that wadding was too
heavy and the design did not need the raised texture, plus
keeping it a coverlet pays homage to the original.
Lucy and I started with the story blocks. We already had a list
of people who were keen to get involved, so we wanted to liaise
with them as soon as possible. We debated sending fabric and
thread, but we wanted contributors to interpret their work in an
individual way, and it was tricky to decide what embroiderers
and patchworkers would want. So, we sent everyone a square
of ecru cotton fabric with a note saying it was optional to use
it. I thought that the single repeating fabric would help create
a cohesive look, even if only 25% of the contributors chose to
use it. There was also a mood board and a request for sketches
and samples to be returned with the blocks. Each participant
had a personalised brief, this could be a novel or a place where
Jane had lived such as Bath, and so together, the blocks would
tell her story. To make sure the project was something that
people were excited to be part of, we decided to send out
boxes containing the fabric and information, which were lined
with tissue and contained keepsakes as a memento of the
project. The boxes were put together by our fantastic group
JANUARY 2018 71
 FEATURE

School workshop

Designing the centre panel with Chawton

Primary School Block designed and made by Caren Garfen

of volunteers, and were filled in an afternoon session, then

addressed up and sent out the following week. It was quite
a challenge, but everyone rolled up their sleeves and we got
them out in no time. Contributors to the story blocks include
Jane Austen Societies in the UK, Brazil and Pakistan, the writer
Lizzie Enfield, artist Caren Garfen, quilt groups across the UK,
and Fine Cell Work.
The next step was running a workshop at the local school.
Lucy and I had the luxury of a whole day with the ten and eleven
year olds of year six to design and stitch the map of the village to
go in the centre. We gave each child a sketchbook then went for
a walk. It was June, and the weather was perfect for getting out
and looking at the buildings, trees, and animals in the village.
We then made a collage of the map, which we used as templates
for sketching the buildings, trees and animals. It was so
enjoyable working with them and seeing the village, sketching Table ready for participants at Winchester workshop
and sewing through their eyes.
The community workshops took place in July and August four together make a block for the quilt. To fit in with the
and were held at Alton Library and the Discovery Centre in feel of connecting with the past we decided to use copies of
Winchester. For these, I wanted to design something that was Jane’s letters for the paper templates. They looked beautiful,
easy to do and encouraged participants to carry on at home. and if I could have left them in, and the back open, I would
The original coverlet was made using the English paper-piecing have. It was the first time I had visited both places. Alton is a
technique. I’m a huge fan of this method of sewing because you lovely town, and I am hoping to go back on one of the town
don’t need any special equipment to get started – so it’s great tours. In Winchester we had a full day. The workshop took place
for those new to the craft. I designed a 4½in square based on next to Alice Kettle’s Looking Forwards to the Past, a stunning
the colour/tonal change between the large and small diamonds 16.3m x 3m artwork, then we visited a Jane Austen exhibition
in the border of the Austen coverlet. It’s a right angle, and so and went to the cathedral to pay our respects. If you have never

72 JANUARY 2018

Block designed and made by Castle Quilters
seen the tiles in Winchester Cathedral you must go, they are a
patchworker’s delight.
There was also a community workshop at the house and it felt
wonderful to be stitching in the place Jane would have sewn.
There was a great turnout, the constant flow of stitchers meant
there wasn’t a free seat all day. Sue joined us, which meant
when visitors asked questions about the coverlet she was on
hand to answer them. Several people asked about the lighting
in the house and how the women would have been able
to sew in the evenings. Her reply turned into a fascinating
half hour where we learnt lots about candles, and she even
went to the store to get a Regency candle snuffer/trimmer to
show everyone. As a result of the enthusiastic turnout at the
community workshops, and the size limitations of the wall
hanging, we decided to make a second quilt with the help of our
Wednesday volunteers. They meet once a month and are sewing
extra blocks and will then put the quilt together. The plan is for
it to go on display on the cabin bed in the house in the spring.
The story blocks started coming back to the house in late
September 2017 and as Lucy and I opened each one we had
to take a deep breath. From the quilters who added the final
stitches in their blocks, to the exquisite stitching and research
that went into the blocks from Fine Cell Work, it has been an
emotional process. When I designed the wall hanging I wanted
it to be one of those pieces that people look at for a while and
consider the themes as well as the different techniques, and
from seeing the blocks everyone involved in the wall hanging
has achieved that.
FEATURE
Box packing, Sam, Liz & Pippa
As I write this we are not quite at the
end of the story. The wall hanging still
needs to be assembled, but, compared
to the feeling when we nervously sent
the boxes and planned the workshops
back in March last year and hoped people
would want to be involved, we are now
at the stage where we can look at the
wave of enthusiasm and blocks with
immense pride, as well as gratitude to all
the contributors. Thanks also goes to the
volunteers, especially Sam and Pippa who
helped at all the community workshops
and who were excellent support, but also
extremely funny to be around. Lots of
volunteers have offered to help put the wall hanging together so
we have booked a space at Chawton House for two days. Sam,
Pippa and I are each going to run a workstation where the tasks
include trimming the blocks to size, cutting and sewing the
sashing, making the binding, and continuing with the English
paper-pieced quilt for the cabin bed. We are also cataloguing
the drawings and samples we have received with the blocks,
so we can put together a ‘suitcase collection’ that groups can
request. As well as items related to the community quilt it will
have information about the original coverlet.
The last few tasks involve recording oral history interviews
and putting together a book about the project. This will feature
all the blocks as well as information about the Austen coverlet.
There is an event planned for 10 March when the wall hanging
will be officially launched and we will be around all day to chat
to visitors, and the contents of the suitcase collection will be
on display. I have to confess I will feel sad when the project
finishes. The house has a lovely feel, and every time I visit
I feel privileged to be there. I love history, sewing, writing
and reading, and all these things truly come alive when you
know the connection a place has to a specific time and person.
It has been a huge privilege to be involved in a sewing project
where Jane Austen stitched 205 years ago and to tell her story,
not just that of her characters.
Find out more about Piecing Together Jane Austen:
Her Chawton Legacy 200 years on at:
jane-austens-house-museum.org.uk
JANUARY 2018 73
74 JANUARY 2018
 QUILT

NOSE DIVING QUILT

This is the perfect quilt to use all those leftover 2½in strips or, if need be, cut the colours
from your stash
by Nancy Scott, quilted by Masterpiece Quilting

SKILL LEVEL ❂ ❂ ❂
MATERIALS
55–60 precut 2½in assorted scrap
strips
3.4m (2 2/3yds) neutral solid
162.5 x 192cm (64 x 76in) backing
fabric
162.5 x 192cm (64 x 76in) wadding
Threads to tone
Ruler with 45-degree line

FINISHED SIZE
Approx.152.5 x 182cm (60 x 72in)
Block size: 12 x 6in finished

PREPARATION
Read all instructions before beginning
this project.
Stitch right sides together using a
¼in seam allowance.
Materials and cutting lists assume 40in
of usable fabric width for yardage.

Cutting instructions
1 From the precut scrap strips cut:
• Sixteen 2½ x 20in strips for binding
• Sixty 2½ x 5½in A strips
• Sixty 2½in x 9½in B strips
• Sixty 2½ x 13½in C strips

2 From the neutral solid cut:

• Twelve 6⅞in strips across the width of
the fabric. Then subcut the strips into
sixty 6⅞in squares. Cut each square
in half on one diagonal to make one
hundred and twenty (120) D triangles
Completing the blocks
1 Centre and sew one each A, B and C
strip together on the long sides as shown
in Fig 1 to make a strip set. Press. Fold
in half top to bottom and press lightly to
mark the centreline.

2 Referring to Fig 2, align the 45-degree

line of the ruler 6⅝in from bottom
centreline and ⅛in from top centre of the
FIG 1 FIG 2 strip set and, using a rotary cutter, trim

JANUARY 2018 75
 QUILT

6 Working from the right side and starting

part-way down one edge, match the raw
edges of the binding to the raw edges of
the quilt and sew in place, folding a mitre
at each corner. Before completing your
stitching, neaten the short raw end of the
starting piece and insert the ending piece
into it. Fold the binding over to the back
of the quilt and neatly slipstitch in place
by hand.

excess fabric from one end. Repeat on the finished quilting trim the wadding and
opposite end to make a triangle. backing level with the quilt top.

3 Sew D triangles to the angled sides of
the A-B-C triangle referring to Fig 3 to
complete one Flying Geese block. Press.
4 Repeat steps 1 to 3 to make a total of
sixty Flying Geese blocks.
5 Join the 2½in x width of fabric binding
strips at right angles, pressing the seams
open to reduce bulk. Trim away the ‘ears’
and fold the strip in half lengthwise,
wrong sides together, and press.
This is an adapted extract, designed by
Nancy Scott from Stash Busting Quilts,
published by Annie’s RRP £9.99,
searchpress.com.

Completing the quilt

Refer to the Assembly Diagram for
positioning of blocks.

1 Arrange and sew the Flying Geese

blocks into twelve rows. Press.

2 Sew rows together to complete the quilt

top. Press and remove any stray threads.

3 Layer the quilt top by placing the

backing fabric wrong side up on a clean
surface, followed by the wadding and
then the quilt top, centrally and right side
up. The backing and wadding are slightly
larger than the quilt top. Secure the quilt
sandwich with tacking or quilters’ pins
placed at regular intervals.

4 Quilt as desired. Nancy’s quilt was

professionally longarmed with a
symmetrical swirl design. When you have

FIG 3 ASSEMBLY DIAGRAM

76 JANUARY 2018
78 JANUARY 2018
 QUILT

BRIDGES
Clever curved piecing creates a simple, modern looking quilt
by Mandy Munroe

I had great fun making this quilt, contrasting bright colours with the
SKILL LEVEL ❂ ❂ ❂ ❂
modern grey background. I usually make my own templates, but this
MATERIALS sturdy Drunkard’s Path one is a worthwhile addition to your quilting
1m (1yd) Malmo grey for the
background (SCAX05)* tool kit. Made out of thick acrylic, you don’t need to draw around it and
127 x 21 cm (50 x 8in) chara pink use scissors, you can simply use your rotary cutter and miss out that
(COTX07)* step, improving accuracy and speeding things up. Useful for standard
127 x 21 cm (50 x 8in) zest yellow
(COTX02)*
Drunkard’s Path blocks as well as this double version, it’s a good size
127 x 21 cm (50 x 8in) como blue with a gentle curve, ideal if you’re new to curved piecing.
(LAKX03)* MANDY
96 x 21cm (37½ x 8in) nectarine
orange (COTX03) Cutting instructions 3 From the charcoal and purple fabrics
96 x 21cm (37½ x 8in) zinnia green cut two 12½ x 8in rectangles.
(COTX24) 1 From the pink, yellow, and blue fabrics
96 x 21cm (37½ x 8in) ruby red cut four 12½ x 8in rectangles. 4 From the grey background cut six 5½in
(REDX16) x width of fabric (WOF) strips.
96 x 21cm (37½ x 8in) sea green 2 From the orange, green, red and sea
(COTX39)
green fabrics cut three 12½ x 8in 5 From the binding fabric cut four
64 x 21cm (25 x 8in) Charcoal COTX29
rectangles. 2in x WOF strips.
64 x 21cm (25 x 8in) Galina Purple
LIPX18
One set of 5in Simpli-EZ Drunkard’s
Path templates
134 x 145cm (52½ x 57in) wadding
134 x 145cm (52½ x 57in) backing
fabric
¼m (¼yd) binding fabric
Spray starch (optional)
Masking tape for straight line
quilting
*Note, Mandy used fabrics that are
54in wide

FINISHED SIZE
Approx. 124 x 135cm (48½ x 53in)

PREPARATION
Use ¼in seam allowance throughout.
Mandy advises starching the fabrics
before cutting to help stabilise them
and prevent them from stretching
when you sew.

JANUARY 2018 79
 QUILT

Preparing the curved

pieces
1 Take a 12½ x 8in rectangle and fold it
in half. Place the outer template on top,
with one dotted sewing line on the fold
and the other outer edge in line with the
bottom of the fabric, Fig 1. There will be
extra fabric extending at the top. Cut the
arc through both layers and open out.

2 Repeat step 1 with all the coloured

rectangles. You will have a total of
twenty-eight pieces.

3 Take a grey background strip and fold

over one end by approximately 5¼in.
Place the inner template with a dotted
line on the fold and the bottom in line
with the fabric, Fig 2. Cut the arc through
both layers and open out.

4 Repeat step 3, using all the strips. You

need a total of twenty-eight pieces.

Making the quilt top
1 Fold one outer coloured bridge shape in
half, lining up the inner arc. Finger press
a small crease at the fold line to mark the
halfway point. Fold again to create
quarter markes, then again to create
eighth points. These fold lines create
register marks all the way around.
2 Repeat step 1 with a grey inner arc.
3 Lay the two pieces from steps 1 and
2 on a surface right side up, with the
curve aligned so they almost fit
together. Flip the coloured outer arc
over onto the inner grey arc, right sides
together. At the centre point of both
arcs pin across the creased line with a
fine pin. Line up the outer edges of the
arcs and pin these in line. Then,
continue to place pins at the creases,
gently easing the cut edges of the
fabrics together as you pin. Fig 3
4 Set up your sewing machine and
remove the sleeve arm.
5 Place your pinned unit so it rolls around
the arm of your machine with the fuller
colour on top. Sew slowly, keeping the
cut edges of the arc together.
Occasionally stop and lift your presser
foot so you can redistribute the fullness.
HANDY HINT
The two shapes only fit each other
at the seam line so it is worth
taking your time to keep the edges
together and make an accurate
¼in seam.
6 Gently press the seam behind the
coloured fabric. Do not use steam as this
can distort the fabric.

FIG 1: Using the ruler to cut an outer bridge piece FIG 2: Using the ruler to cut an inner arc piece

80 JANUARY 2018
7 Repeat steps 1 to 6 to make a total of
twenty-eight blocks.

8 Lay out the blocks in a design four

across and seven down.

9 Sew the blocks into rows. Press the

seams on one row to the right and the
next row to the left. Pin the rows so the
seams interlock, sew, then press the
seams downwards.

10 Carefully clip the seam allowance

behind each curved seam at (approx-
imately) 1in intervals. Give the whole
top a good press and remove any stray
threads.

Quilting and binding

1 Layer the quilt top by placing the
backing fabric wrong side up on a clean
surface, followed by the wadding and
then the quilt top, centrally and right side
up. The backing and wadding are slightly
larger than the quilt top. Secure the quilt
sandwich with tack-ing or quilters’ pins
placed at regular intervals.

2 Set up your machine for straight line

quilting. Quilt in the ditch between each
row to anchor the layers. Then, using
masking tape as a guide, quilt straight lines
at 1½in intervals parallel with the rows.
3 Pin around the edge of the quilt, turn
your stitch length up to its maximum
setting, and stitch around the edge ⅛in in
from the side.
4 Trim the excess backing and wadding
level with the edge ot the quilt top.
5 Join the binding strips at right angles.
Press the seams open to reduce bulk and
then trim away the “ears”. Fold the strip
in half lengthwise, wrong sides together
and press.

6 Working from the right side and starting

part-way down one edge, match the raw
edges of the binding to the raw edges of
the quilt and sew in place, folding a mitre
at each corner. Before completing your
stitching, neaten the short raw end of the
starting piece and insert the ending piece
into it. Fold the binding over to the back
of the quilt and neatly slipstitch in place
by hand.

7 Add a label, including at least your

name, location and the date your quilt
was finished.

WHERE TO BUY
Mandy used fabrics from Oakshott
Cottons oakshottfabrics.com.
The template is from
FIG 3: One unit pinned simplicitynewlook.com.

JANUARY 2018 81
The Winking Owl
Fabric Shop
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and wadding for every project.
Classes and workshops available.
Christmas shop now online!
www.winkingowlfabricshop.co.uk
Gloucester
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For more information come and visit us at
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Block of the Month
POINT SQUARES

History
Squares set on point is a classic patchwork design, and we have seen examples dating back to the early 18th century although
it is likely to have been used earlier than then. Whole quilts can be made in this design, or just a block as we are doing here. As
a block, it is sometimes referred to as Arbor Window, or most recently Granny Square, in recognition of how similar the fabric
layout can make it look to a multi-coloured crochet square.

JANUARY 2018 83
 BLOCK OF THE MONTH
This block features squares set on point. The inner squares can be rotary cut, and templates are provided on the
pattern sheets for the outside triangles. This block is easy to make, however the fabric can easily stretch or distort.
To prevent this, give the fabric a spray with starch before starting. We also advise carefully folding your finished
block and putting it to one side while you compete the other blocks as if you hang it up, or put it over the back of a
MATERIALS
4½ x 22½in (11.5 x 57.2cm) red fabric
4½ x 18in (11.5 x 45.8cm) white fabric
4½ x 18in (11.5 x 45.8cm) blue fabric
5½ x 30in (14 x 76.2cm) yellow fabric
Spray starch
Fabric pencil
A4 sheet of sandpaper (optional)
FINISHED SIZE
16in (40.5cm) square
Making the block
1 Following the main image on page 83,
lay out the pieces on a surface.
2 The block is assembled by sewing
diagonal rows. Start by sewing the
centre row. Take the first two pieces,
a triangle cut from template A and a
FIG 1
FIG 2
84 JANUARY 2018
chair, it could lose its shape.
See
pattern
Before starting sheet for
Wash and press all fabrics, and read through all the instructions. templates
Transfer the two templates from the pattern sheet onto card and
cut on the outer line.
All measurements include ¼in seam allowance.
Cutting instructions
1 From the red fabric cut five 4¼in squares.
2 From the white and blue fabrics cut four 4¼in squares.
3 From the yellow fabric cut four pieces using template A and eight pieces using
template B. To do this you will need to draw around the template onto the wrong side
of the fabric then cut along the line using scissors. Sometimes, when drawing around
templates, the friction of the pencil can ‘drag’ the fabric and stretch it. To prevent this
place the fabric on a sheet of sandpaper. Fig 1
red square, and place them right sides
together. The rounded corners created
by the templates help the edges to line
up. Pin, and carefully sew, making sure
the fabric does not stretch. Fig 2
3 Continue sewing the centre row until FIG 5
all the pieces are joined. Fig 3
FIG 6
FIG 3
FIG 4 FIG 7
 BLOCK OF THE MONTH

4 Repeat steps 2 and 3 with the remaining rows. When you
sew the yellow triangles cut from template B align the straight
edges and pin before stitching. Fig 4
5 Press each row, alternating the direction of the seams.
7 Take the unit from step 6 and place on top of the next row,
right sides facing. Where you have pressed the seams in
alternate directions the seams will nest together Fig 6. Pin
each seam intersection, Fig 7 and at the start and end of the
row, then sew. Fig 8

6 Take one of the outer rows and sew a triangle cut from 8 Repeat steps 6 and 7 to make the opposite side of the block.
template A to the end, using the curved corners to line up the
fabric. Fig 5 9 Lay out the three sections, Fig 9, then pin and sew together.
Carefully press the block and remove any stray threads. Fig 10

FIG 8
FIG 9 FIG 10
The fun doesn’t end here…
Each month we will introducing you to
a different block, with easy to follow
instructions.
This is the seventh of nine 16in square
blocks for you to make, with the final
design appearing in our March 2018
issue. As you make the nine blocks, we
would like you to come up with your own
quilt design. You can add more blocks
or borders, experiment with colourways
and fabrics, and make the finished quilt
as large or as small as you like. Anything
that takes your fancy! The only rule is
that it must include all nine of the blocks
from the magazine.
There are great prizes to be won, including
a fabulous sewing machine, courtesy of
Bernina, for the winning design. Full details
of how to enter will be given in the March
2018 issue, so watch this space and don’t
forget to keep us posted on your progress.
The previous blocks are:
July Old Tippecanoe/Crossed Canoes
August Pinwheel Cross
September Dutchman’s Puzzle
October Spools
November Windblown Square
December Hunter’s Square
Previous blocks in the series may be If you enjoyed making this block, why not make a Point Squares quilt? The design
found at popularpatchwork.com above is made from sixteen identical blocks joined with a 2in wide white sashing
along with errata where minor errors and red cornerstones.
were spotted. Fabrics used in this series are from the Linea range, makoweruk.com

JANUARY 2018 85
 WHAT’S ON
Diary entries are published free of charge and are subject to space. Events must be open to the public or
non-members and any admission charges stated. Please include a full location address including postcode,
opening hours, contact details, and high-resolution photographs of exhibited work or raffle quilts. Your listing
should be submitted to helen.kent@mytimemedia.com four months in advance of the event for publication.
Please visit popularpatchwork.com/events to see a complete list of all current and future 2018 listings.
Crawford, traders, demonstrations and Extra info: Celebrating the dazzling work of
England refreshments. Disabled access world-renowned artist Kaffe Fassett, this
CHESHIRE and parking. vibrant exhibition showcases a wide range
21 January of textiles from a career spanning over
Quilters’ Exhibition and Fabric Sale HAMPSHIRE 50 years. Our gallery will be transformed
Nantwich Civic Hall, Market Street, Until 14 January 2018 with pools of vibrant colour, providing the
Nantwich, CW5 5DG Kaffe Fassett’s Colour at Mottisfont perfect backdrop for Kaffe’s distinctive
❂10am-4pm Mottisfont (National Trust Property), knitwear, tapestry, quilts and more.
❂ £3 (£1.50 after 1pm) Mottisfont Lane, Romsey, SO51 0LP For visitors unable to access the second
T: 0208 7423685 ❂ 11am-5pm floor gallery, we have digital versions of
E: mcgohlish@googlemail.com ❂ Fees apply, see website for details exhibitions on iPads, which are available
Extra Info: Exhibition of quilts, featuring T: 01794 340757 on lower levels.
‘My Favourite Quilts’ by Maureen W: nationaltrust.org.uk/mottisfont
NOTTINGHAMSHIRE
19-21 January
Newark Quilt Show
The Lady Eastwood Centre, Newark
Showground, Lincoln Road, Newark,
NG24 2NY
❂ 10am-4pm
❂ Admission fees apply, see website
for details
W: grosvenorshows.co.uk
Extra Info: Feature quilt displays from
well-known quilters and textile artists.
Workshops, demonstrations and a variety
of exhibitors selling patchwork and
quilting supplies. Refreshments, disabled
access and free parking.

SOMERSET
Until 28 January
Traces Revealed
The Abbey Gatehouse, Magdalene Street,
Glastonbury, BA6 9EL
❂ 10am-4pm
❂ Admission fees apply, see website
for details
T: 07753 677850 (Alicia Merrett)
E: aliciamerrett@gmail.com
W: glastonburyabbey.com
Extra info: This exhibition of artwork
in cloth, tile and clay is inspired by the
Abbey, which is one of England’s earliest,
most important and most fascinating
abbeys, providing sanctuary, tranquillity,
history and heritage in one special
Kaffe Fassett place. Alicia Merrett is a renowned

86 JANUARY 2018

contemporary quilt artist from Wells,
Somerset along with Kate Rattray and
Hiro Takahashi who work in mosaic and
ceramics. Parking and disabled access.
SURREY
14 January
Quilters’ Fabric Sale and Exhibition
Farnham Maltings, Bridge Square,
Farnham, Surrey, GU9 7QR
❂ 10am-4pm
❂ £6 entry, £3 after 1pm. Pre-booked
rates for coach parties and groups
of 12 or more £4.50. Under 15s and
partners free
T: 01252 745444 (Caroline Pearce)
W: farnhammaltings.com
The annual quilter’s fabric sale and
exhibition is now in its 21st year. Join us
for a day of fantastic bargains and stock
up on fabrics for your 2018 projects.
Browse and buy from over 40 stalls.
Be inspired by amazing quilting
creations, exhibited by over 12 local
quilting groups, who are on hand
to demonstrate and inform about
becoming a member. The young quilters
will also be running sessions for under
16s throughout the day. Free parking and
disabled access.
26-27 January
Crafting Live Show
Sandown Park Racecourse, Portsmouth
Road, Esher, Surrey, KT10 9AJ
❂ 10am-5pm
❂ Admission fees apply, see website
for details
W: craftinglive.co.uk/shows/sandown
Extra info: The event starts on Thursday
25 January with the all-important
workshop hosted by Stephanie
Weightman and Nancy Watt. This
day-long event includes everything
you need to create many craft projects
and is ideal for all skill levels.
Pre-booking is essential.
Friday and Saturday will host an array
of exhibitors stocking stamps, dies,
decoupage, fabric, ribbon, beads and
much more. You can stock up on all
your craft essentials, as well as finding
inspiration from brand new products
and watch on-stand demonstrations.
There are also refreshment options and
areas to have a much-needed sit down
after all that shopping!
Every advance ticket purchased is
eligible for a free gift worth £15 – just
collect yours at the show, plus a £5
voucher to spend with our sponsors
Create & Craft.
WEST SUSSEX
26-28 January
Spring Quilt Festival
South of England Showground, Norfolk
Pavilion, Ardingly, RH17 6TL
❂ 10am-4.30pm (Sun 10am-4pm)
❂ Admission fees apply, see website
for details
W: grosvenorshows.co.uk
Extra Info: Quilt displays from quilters
and textile artists, competition
quilts, trade stands, workshops and
demonstrations. Refreshments, disabled
access and parking.
Wales
DENBIGHSHIRE
1-28 February
Llangollen Quiltfest
Royal International Pavilion, Abbey
Road, Llangollen, LL20 8SW
❂ 10am-4pm
❂ Mon-Fri by donation, Sat-Sun £2
T: 01978 852856 (Val Shields)
E: shieldsval@gmail.com
W: quiltfest.org.uk
Extra Info: Showcase northwest
exhibition of wall hangings from
region 13 of The Quilters’ Guild. Light
refreshments available. Free parking
and disabled access. This exhibition is
run across two locations. Please check
the website for details.
1-28 February
Llangollen Quiltfest
Museum and Art Gallery, Parade Street,
Llangollen, LL20 8PW
❂ 10am-4pm
❂ Free admission
T: 01978 852856 (Val Shields)
E: shieldsval@gmail.com
W: quiltfest.org.uk
Extra Info: Showcase northwest
exhibition of wall hangings from
region 13 of The Quilters’ Guild. Light
refreshments available. Local parking
and disabled access. This exhibition is
run across two locations. Please check
the website for details.
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POPULAR

HANDY HINTS FOR

PROJECT SUCCESS
If you are new to Popular Patchwork or sewing in general,
following a pattern can be confusing. We want you to enjoy
making the projects in the magazine, so to help you here are
some questions we regularly get asked.

Why do you have quantities in both metric and imperial in the materials list?
Whilst most quilters in the UK work in inches, shops sell in centimetres, so we put both.

The materials list says fabric, but I am not sure what I should be buying.
Can you advise?
Unless stated, our contributors use craft weight (a medium-weight) 100% cotton fabric
for their quilts.

You talk about cutting fabric across the width of the fabric, and the length of the
fabric. I’m confused about which is which
The width of the fabric (also known as WOF) is selvedge to selvedge. This measurement
can vary depending on how wide the fabric is, but most standard quilting cotton is
approximately 112cm wide.

The length of the fabric depends on how long a piece you have bought. It is sometimes
handy to cut this way as it can give you longer strips, for example, if you buy 2m of
fabric you can cut a strip 2m long, while if you cut from the width you will need to join
two pieces together.

How do I use your templates?

On the pattern sheet within the magazine we have the templates at full size. The easiest
way to use them is to photocopy the template, glue it onto a piece of card (cereal packets
are ideal) and cut out following the line. Alternatively, you can trace it onto template
plastic. When drawing around a template onto the wrong side of your fabric, place it
face down on the fabric so the finished piece is the right way round. If you are reading
a digital copy of the magazine, or have
lost or torn your pattern sheet, you
can download pattern sheets from our
website, popularpatchwork.com.

I needed scissors for a project, and you

didn’t mention them in the materials
list. Why is this?
We presume our readers have a basic
sewing box containing pins, needles,
thread, scissors, a rotary cutting set, an
iron, and a sewing machine.

90 DECEMBER
JANUARY 2018
2017
 REGULAR

I am a beginner and keep seeing references to ¼in seam allowance. How do I sew this?
You can usually buy a special ¼in foot for your sewing machine that helps you achieve
the correct seam allowance. If you do not have one you can place a piece of low-tack
masking tape on your machine, ¼in away from the needle, and use this as a guide.

Should I pre-wash my fabrics?

We recommend pre-washing all your fabrics before starting a project. This ensures the
colour will not run, or they shrink.

You talk about pressing, not ironing,

why is this?
Moving the iron from side to side can
distort fabric, especially if you are
sewing shapes such as triangles that
have a bias edge. Moving the iron up and
down in a pressing motion prevents this
from happening. Good pressing is as
important as accurate cutting and
piecing, so do take your time.

I went to the shop to buy wadding and they had lots of options, what should I use?
If the designer has used a certain type of wadding in their project for a specific reason,
for example a thin polyester for hand quilting, or a fusible wadding for bag making we
will include this in the materials list. Otherwise it totally depends on what you prefer
to use. Generally, our designers tend to use 100% cotton, or 20% polyester/80% cotton
wadding, for bed quilts.

I read ‘quilt as desired’ in the instructions, what does this mean?

Quilting is a very personal thing, one person may love hand quilting, and the next
person machine quilting. We usually say in the instructions how the designer has
quilted their work, so if you want to make an identical quilt you can follow what they
have done. Alternatively, ‘quilt as desired’ means you can do whatever you want. If
you’re not sure, have a look at how you’ve quilted previous projects. You can also try
taking a photograph of the quilt top: lay some tracing paper on top and doodle different
patterns to try out ideas before sewing. The most important thing to remember with
quilting is what holds the layers together, and the amount you need depends on how
you want the finished quilt to look, and the type of wadding (also known as batting)
you use. Some types need a stitch every 4in, while others only need a stitch every 8in.

I am unsure how to sew binding, can you help?

There are lots of different ways of sewing binding, however the most common one we
see among our contributors is double fold binding with mitred corners. There is a handy
downloadable guide on our website, go to popularpatchwork.com/howtobinding

I am new to quilting, can you give me any advice?

Take your time and enjoy the process. Whether you’re a beginner, or have years of quilting
experience, always read the project instructions all the way through before starting.

It is our aim to have easy-to-read patterns, and all our designers are professionals
who work in the field of sewing, patchwork and quilting. We do take every effort
to ensure projects are correct, we have an in-house tech editor, and designers
always proof their final projects.

You can find a glossary of quilting terms on our website

www.popularpatchwork.com/news/article/glossary-of-terms/70

DECEMBER 2017 91
JANUARY 2018
 Shirley Dene, North Carr Road, West Stockwith, DN10 4BD
Tel: 07785 378371
Regional Shopping Guide & Courses
www.axholmequilting.co.uk
CUMBRIA DONCASTER LANCASHIRE SOMERSET

Visit our new store!
Superb range of fabrics, wadding and
haberdashery items
New monthly quilting subscriptions
Husqvarna Viking sales and repairs
Classes available

Shirley Dene, North Carr Road, West

Stockwith, DN10 4BD
Tel: 07785 378371

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Gather your friends and family for an afternoon of
crafting and raise money for Mind. Organise your
Christmas Crafternoon and help make sure that nobody
faces a mental health problem alone.

Let it sew, let it sew, let it sew...

Get your free Crafternoon guide
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12TH JANUARY

Winter
Florals
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PATCHWORK OF MY LIFE
Jo Avery
Jo Avery is a well-known name in the quilting community through her shop and craft studio,
myBearpaw and her retreats at The Thread House, which she runs in collaboration with Lynne
Goldsworthy and Karen Lewis. She has recently joined forces with Aurifil to launch her debut
thread collection Sherbet Dip. Jo tells us how she got started and how she balances her busy
career and home life.

I
usually divide my
quilting career in to
two ‘ages’. The first age
started when I was in my
mid-twenties and had
moved from London to the
Scottish Borders. Thanks
to a big sister who was a
keen dressmaker, I spent a
large part of my childhood
sewing, mainly soft toys,
and tried my first hexagon
patchwork when I was
ten years old. By the time
I moved to Scotland I had
my own business designing
and producing tapestry kits,

Jo Avery. Credit Jonathan Avery

Cleopatra’s Needle, and I
was newly married and had
a baby on the way.
I had been slowly
working on a hexagon quilt
top and wanted to know
how to turn it into a quilt.
So, a friend took me along
to the local quilt group,
the Abbey Quilters, who were so welcoming to me and generous
with their skill sharing. They also introduced me to rotary cutters
and strip piecing, which were a revelation! I started making quilts
in earnest and became involved in the Green Quilts movement.
I began producing art quilts that were exhibited in galleries and
became part of collections.
I’d loved to have pursued my art quilting career, but my two
small boys and my husband’s burgeoning furniture business
needed me more. For years I dabbled in the background, making
the odd quilt for friends and family. But around twelve years ago
I found I could see the bottom of my stash box and went fabric
shopping for the first time in years. I discovered gorgeous fabrics
by the likes of Kaffe Fassett and Amy Butler, and soon after I found
my first craft blog and the start of the modern quilt movement.
With the help of my teenage sons I stared my own blog in 2009
and my ‘second age of quilting’ began.
I opened my Edinburgh craft studio, myBearpaw, in 2011
and began teaching all sorts of crafts from beginners upwards.
Popular Patchwork gave me one of my first magazine
commissions in 2012 and I haven’t stopped working since. I now
juggle my time between teaching and my shop, designing and
making quilts for magazines and books, and organising two
annual quilt retreats. In 2018 I will be one of the Aurifil Block of
the Month designers.
I love being part of the Aurifil team they are such a creative,
friendly bunch and I get to play with the best thread in the world.
I am ridiculously busy but totally living the dream and wouldn’t
change it for anything!
mybearpaw.com
stitchgathering.co.uk
thethreadhouse.co.uk

96 JANUARY 2018
 REGULAR

1 I mainly work from home and the radio is my constant companion.

1 2 I flit between Radio 4, 2, and 6 Music throughout the day, and when
there’s nothing I want to listen to on any of those I catch up with
something I missed using the iPlayer Radio app on my phone. I am
a huge Archers addict and never miss an episode, luckily quite a few
of my students share my passion and we usually drive the remaining
students mad by discussing it at great length in class!

2 We moved to our smallholding in West Lothian around seven years

ago, and planted over 3,000 trees. We love nature and wildlife and
wanted to provide a small haven for them and ourselves. Every day we
take at least one walk around ‘Shangri la Farm’, as we call it, and observe
all the seasonal changes no matter how minute. I think you could call
this mindfulness, it certainly does help put all your own concerns into
perspective. The trees have now grown so tall that this year we could
actually stand inside part of our birch wood and feel completely
enclosed, which is a thing of magic and wonder to me.
3 4
3 I am a big fan of Aurifil thread, which satisfies all my sewing needs.
I use 50wt for piecing and quilting, 80wt for needle-turn appliqué and
12wt for hand quilting and embroidery. It is not only the finest thread
available but also surprisingly economical due to the 1300M spools. As
an Aurifil Designer I absolutely jumped at the chance to choose my very
own thread collection box. The Sherbert Dip collection was launched at
Festival of Quilts last summer and is the most accurate representation
of my signature colour style possible.

4 When I’m not cutting fabric up and sewing it back together I like
to play with yarn. I am a keen sock knitter and a passionate crocheter.
I absolutely adore crochet, it’s colourful, creative, and so portable.
I mainly make multi-coloured blankets and like a good slow project
that I can pick up and put down over a few years. Recently I’ve become
thoroughly addicted to virus shawls, a super easy but complex looking
lacy shawl, which everyone is getting for Christmas this year!
5 6
5 Liquorice seems to be one of those flavours that people either love or
hate. I am a huge addict and every time I go to a new town I look out for
an old-fashioned sweetie shop and check out their liquorice selection.
For a liquorice connoisseur the place to visit is Scandinavia, especially
Denmark where whole shops are devoted to just liquorice. My absolute
favourite are Lakrids A chocolate coated balls. One of my lovely students
buys these for me in exchange for fabric selvedges I save for her. It seems
like a very fair exchange to me!

6 Quilting is such a social activity and quilting retreats are a wonderful

way to get together with likeminded folks to sew and chat. I attended the
first Fat Quarterly Retreat back in London in 2012 and was totally hooked.
7 Wanting to provide a similar event in Scotland I launched the first Stitch
Gathering the following year. We’ve just hosted our fifth one-day retreat
in Edinburgh with 90 participants, and the event goes from strength to
strength. Last year myself and two quilting friends launched a weekend
residential retreat in Bristol, The Thread House, and I’m looking forward
to the second of these in January. It’s a wonderful way to galvanise and
cherish our beautiful quilting and sewing community.

7 My husband is a thoroughly practical man who can build and make

absolutely anything. A few years ago, he started building Tiny Houses
and we decided to keep the prototype as an office and extra living space.
It has also become the perfect retreat space for me. When you work from
home it’s difficult to take a proper rest break as you are still surrounded
by all the things you need to do. So, when I really need to stop for a few
hours I take myself off to this warm and cosy environment and tuck
myself up on the sofa for a little necessary ‘me time’.
tinyhousescotland.co.uk

8 I’ve recently rediscovered my love of drawing and painting and I’m

8 9 always trying to find more time to pursue it. When you turn your hobby
into a business it’s a good idea to find a new hobby as we all need time
away from work no matter how much you enjoy what you do. I find it so
absorbing to play around with line and colour and with no pressure on
me to do something to a brief or a deadline. I’d love to design my own
fabric one day and hope to slowly work towards this through these
painting sessions. Of course, then I’ll need to find another hobby!

9 I have an enthusiastic bunch of embroidery fans amongst my students

and occasionally I design new embroidery patterns for my classes, like this
passion flower design. I like to think of it as ‘slow colouring-in’ and it’s defi-
nitely the most labour intensive of all my craft activities, but very meditative
and soothing. I love all kinds of hand stitching and also turn to needle-turn
appliqué and hand quilting for relaxation. Basically I never sit still!

JANUARY 2018 97
OFFERS & GIVEAWAYS
For your chance to win one of this month’s giveaways, visit popularpatchwork.com
and simply click on WIN! Select the competition you wish to enter and
fill in your details. Good luck!

Trimits Rotating Cutting Mats

These clever self-healing cutting mats from Trimits rotate so you don’t have to!
They rotate 360 degrees making it easier when cutting multiple layers and taking
all the hard work out of turning your projects. With a non-slip, stationary bottom
layer and an interlocking top cutting mat, they can also be converted to make
them stable when required. Thanks to the kind folk at Groves, we’ve got two
of them to give away (RRP £22.80 each). Measuring 30cm x 30cm (12in x 12in),
they’re a very convenient, clever solution for numerous creative projects
including, of course, patchwork!
groves@stockistenquiries.co.uk

American Quilt
Treasures
This handsome compendium is a
beautifully photographed exploration of the
rich textures and traditions of 65 of America's
most interesting quilts. Each one has been
hand-picked from the permanent collection
at the International Quilt Study Centre and
Museum in Nebraska, which is the largest
public collection of quilts in the world. This
Crocheted Tape Measures is a book that you’ll come back to time and
Check out these fun, retractable tape measures in a whole host of cute, crocheted time again to appreciate the beauty and
designs. Our lovely friends at Hantex have given us four of these gorgeous creatures, workmanship that went into the making of
each worth £9.50, to give away. The tape length is 60in or 150cm and each one is each of these precious heirloom quilts. Priced
embellished with beading or embroidery to make them a special addition to your at £34.99, we’ve got three copies to give away
toolbox. What’s more, they’ve all been Fairtrade manufactured, which makes us and be treasured, courtesy of Martingale!
love them even more! shopmartingale.com
hantex.co.uk

98 JANUARY 2018
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