Primitive Quilts and Projects - January 2020

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Spring 2020
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Greetings
Publishing Director Judith L. Williamson
Creative Director Jenifer Gaston
Editorial Director Gretchen Smith ’Tis the season for change, renewal, and growth. Everywhere you
Art Director Sandra Salamony look, nests are under construction for new feathered families;
Contributing Writer Mary Falcsik
Graphic Designers Erin Ellison, Ellen Rooney tree and flower buds emerge, giving way to lovely blossoms; and
with increasing daylight and warmth, many of us awaken from
Photography Jim Osborn, seemingly infinite hibernation to embark on self- and home-
Osborn Photographic Illustration, Inc.
jimosbornphoto.com
improvement routines with fresh enthusiasm.
Photo Stylist Tonya Robey This issue’s projects cover the gamut of everything spring, from
birds and nests, to bees and bunnies, to florals aplenty. Among
Photo Post-Production Robert Schehl quilts in varying sizes, you’ll find a whimsical blooming pillow,
Contributing Illustrator Roxanne LeMoine a sweet little satchel, a hooked rug, and several wool appliqué
runners, mats, and wall hangings. In Designer Notes, you’ll find
Technical Editor Deanna Hodson favorite themes echoed in these very projects.
Printing Fry Communications, Inc.
Charitable Causes reveals how friendship can blossom into an
Mechanicsburg, PA
amazing movement toward helping so many, especially children. In
Newsstand and Subscription Ask Mom, Jeni shares her favorite method for turn-under appliqué .
Circulation Department
John LeBrun, NPS Media Group We are excited for this new year to share delightful new projects
Kerry Perkins, NPS Media Group
with you. We love seeing your work, so be sure to send us pictures
Advertising Director when you finish your projects.
Ann Reed
[email protected] Take care,
Gretchen, Jeni, and Judy
Project Submission Guidelines
[email protected]
“Do your little bit of good where you are; it’s those little bits of good
Primitive Quilts and Projects
(Vol. 10 Issue 1) (ISSN 2165-610X) is published put together that overwhelm the world.”
quarterly by Good Harbor Media.,9 Bridge Street —Desmond Tutu, South African Anglican cleric, Nobel Prize winner,
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primitivequiltsandprojects.com 1
Contents Spring 2020
6 43
86
70
2 Spring 2020
20
14 56
Projects In Each Issue

BLUEBERRY PATCH RABBIT PATCHES RUNNER Warm Homespun
Jen Daly .................................................. 6 Vicki McCarty ................................... 50 Greetings .............................. 1
SWEET PENNY BASKETS COURTYARD LANE
Patricia Sanabria-Friederich ....... 14 Tracey Roberts .................................. 56 About the Projects ........... 4
SPRING BOUQUET STITCHING MAKES ME BLOOM Ask Mom ........................... 13

Jenifer Gaston .................................. 20 Bill Locke ............................................. 64
HOME IS WHERE YOU BUILD CIRCULAR GARDEN Book Nook ....................... 36
YOUR NEST Ana Alonso ......................................... 70
Kathi Campbell ................................. 24 Charitable Causes ......... 48
MY LITTLE GARDEN SAMPLER
EVELYN (1 OF 4) (1 OF 4)
Lisa Burmann .................................... 30 Sonia Alonso Toledo ....................... 74 Designer Notes ................ 81
GOLDIE LINKS LIBERTY POTS PILLOW
Laural Arestad ................................... 38 Wendy Williams ............................... 86 Your Voice ........................ 84
SPRING FOLLY WOOL BLOWN TULIPS Stitchin’ Marketplace ...... 91

Kim & Katie Hebblewhite ............ 44 Katie Solberg ...................................... 92
On Location .................... 96
About
the Projects
Templates
You will notice the format of the templates varies from project to project. The
primitive style is all about personal expression and individuality, and whenever
possible, we have used the original hand-drawn artwork of our project designers
to preserve its primitive charm.
General Guidelines
Before starting each project, keep these basics in mind:
Yardage requirements are based on 43/44"-wide 100% cotton fabric
Sew with a ¼" seam allowance unless otherwise noted
Sew with right sides together unless otherwise noted
Project Level of Difficulty

Our technical editor has assigned each project Project Level of Difficulty
a level of difficulty—beginner, intermediate
or advanced. Our handy “crow” system will
Intermediate
help you decide which project best suits your
particular skill level.
Results
We believe the instructions for the projects are accurate. The projects have
been proofread by our technical editor. Because materials, equipment, and
individuals vary, your results may differ slightly from what is shown for each
project. We cannot guarantee results or assume liability for unexpected results.
We would like to thank Jennifer
and Sheila at Marietta Blueprint Corrections
of Marietta, Ohio, for assisting No one is perfect. Although we tested and proofread the projects
us in enlarging and testing multiple times, mistakes do happen. Before beginning a project, visit
patterns in our template insert. primitivequiltsandprojects.com/corrections for any corrections.
We have given them a complete
set of our magazines so that Design Notes
they can help you enlarge any Some of the fabric swatches used as text backdrops and page design elements
of the necessary templates. in this issue are by Moda Fabrics, Andover Fabrics and Marcus Fabrics. The wool
swatches were hand-dyed by Jeni Gaston.
For assistance, contact them at:
Marietta Blueprint Common Acronyms:
309 Putnam St., LL WOF - Width of Fabric
Marietta, OH 45750 LOF - Length of Fabric
Open Monday–Friday HST - Half Square Triangle
8 a.m.–5 p.m. QST - Quarter Square Triangle
740-373-6312 (phone and fax)
[email protected]
4 Spring 2020
Some of the featured projects call for special stitches as illustrated below. A
C
B
D
E F
C E
A
B D
A B B
D C
G C A
E
F
Backstitch Blanket Stitch Chain Stitch Couching Stitch Feather Stitch
B
C
D
AC
A B
E DC BA
A B
Fern Stitch French Knot Lazy Daisy Stitch Running Stitch Stem Stitch
The templates in the template insert do not include a seam allowance. If doing fusible web appliqué, you may need to reverse any
necessary pieces. Because felted wool does not fray, there is no need to turn under the edges of the appliqué pieces.
Freezer Paper Method for Wool Appliqué NEEDLE AND THREAD CHART
1. Trace the templates in the template insert the
number of times noted in the cutting instructions, PURPOSE NEEDLE THREAD
onto the dull side of freezer paper, leaving
approximately ¼" between tracings.
#7 Embroidery
or wool appliqué 12 Wt. perle cotton
2. Cut out each shape just outside the drawn lines. Big-stitch quilting needle Hand-quilting
Size 11 quilting thread
3. Using the wool setting of your iron, press the needles
shiny side of the freezer-paper templates onto the
right side of the appropriate-colored wools, Size 11 appliqué
Cotton appliqué 100 Wt. silk
needle
4. Cut out each shape on the drawn lines, then Needleturn appliqué 60 Wt. cotton
Size 11 milliner
remove the freezer paper.
#7, #9, or #10 12 Wt. perle cotton
Fusible Method for Wool Appliqué Embroidery needle 50 Wt. cotton
1. Trace the templates in the template insert the Embroidery Wool appliqué floss
number of times noted in the cutting instructions, needle Embroidery floss,
onto the paper side of fusible web, leaving #24 Chenille needle with 2 strands
approximately ¼" between tracings. Embroidery needle
long enough to
2. Cut out each shape just outside the drawn lines. Piecing by hand 50 Wt. cotton
hold a lot of stitches
#9 is good length
3. Following the manufacturer’s instructions, press
the fusible web templates onto the wrong side of #80 Sewing
Piecing by machine 50 Wt. cotton
the appropriate-colored wools. machine needle
4. Cut out each shape on the drawn lines, then Shirring, standing wool Shirring needle 5-6” Heavy-duty thread
remove the fusible web backing.
Jumbo tapestry
Whipstitch edge of rug Yarn
needle
Press’n Seal Tracing Method
Place Press’n Seal over the template design and #22, #24 Chenille 8 or 12 Wt. perle
trace desired lines. Peel off the Press’n Seal, place needle cotton
it onto the wool piece where you want the #7 - #9 Embroidery 6-Strand floss, using
Wool, wool appliqué
or wool appliqué 2 strands
stitching to be and smooth it out. Stitch. Peel off (on cotton and on wool)
needle 2-Strand floss or
the Press’n Seal after you have finished stitching,
Large-eye wool thread
very carefully pulling down towards yourself, not embroidery needle Any thickness
up/away.
6 Spring 2020
Designed by Jen Daly
Finished quilt size: 24" x 24"
This quilt was inspired by an outing with my children at a

local blueberry patch. As I was picking the berries, I was struck
Intermediate by the variety of shades of blues, violets, and greens. This
charming little quilt is my ode to the blueberry patch!
Material Requirements
½ yard total of assorted blue and violet prints for blueberries
¼ yard total of assorted green prints for background
1
/3 yard green print #2 for background squares at inner
border and for the inner border itself
½ yard blue print for outer border and binding
7
/8 yard fabric of choice for backing
7" x 9" dark green wool for leaves
7" x 9" medium green wool for leaves
7" x 9" medium olive green wool for leaves
7" x 9" chartreuse wool for leaves
7" x 9" assorted blue and violet wools for blueberries
Embroidery floss in colors to match wool
Clear template plastic
Freezer paper
Appliqué Preparation and Cutting Instructions
See Page 5 for general appliqué preparation instructions.
1. Prepare a plastic template of shape A by tracing lines From assorted blue and violet prints, cut:
and copying dots onto clear template plastic. 36 of Template A (octagon) for blueberries
2. Cut the template out along the outermost line. Use From assorted green prints, cut:
a small hole punch to make a small hole at each dot. 25 of template B (square) for background
These holes will help you to mark the points where
seams will intersect. Repeat steps to make a plastic From green print #2, cut:
template of shape B. 24 of Template B for background squares adjacent to
inner border
3. Use a pencil or pen to mark the seam intersection 2 – 1¼” x 18½" strips for inner border
points directly on the wrong side of the fabric for each 2 – 1¼” x 20" strips for inner border
of the octagons (shape A) and squares (shape B).
From blue print, cut:
4. Mark a sewing line on the wrong side of the fabric 2 – 2½" x 20" strips for outer border
from dot to dot on all edges of each octagon (shape A). 2 – 2½" x 24" strips for outer border
Note: This step is optional. You can choose instead to 3 – 2¼" x WOF strips for binding
use a ¼" presser foot when sewing the shapes together.
From dark green wool, cut:
3 of Template C for corner leaves
10 of Template D for edge leaves
From medium green wool, cut:

From medium olive green wool, cut:

From chartreuse green wool, cut:


From assorted blue and violet wools, cut:
24 of Template E for large blueberries
12 of Template F for small blueberries
8 Spring 2020
Sewing Instructions
1. Align two octagons with right sides together, 5. Align the bottom right edge of the first octagon in
matching dots at both the beginning and end of the the first row and an assorted green print square with
seam you are about to sew. Pin. Do not cover dots with right sides together, matching dots at the beginning
pins, but rather pin alongside them. and end of the seam you are about to sew. Sew along
the marked stitching line or from dot to dot, reversing
2. Using a shortened stitch and a ¼" seam allowance, stitches at the beginning and end of the seam and
sew along the marked stitching line or from dot to dot. being careful not to sew into the seam allowance.
Backstitch at both the start and end of the seam and
take care not to sew into the seam allowance. Wait to
press the seam.
6. In the same manner, stitch the assorted green print

square to the bottom left edge of the second octagon in
3. Repeat Steps 1 and 2 to sew together six rows of six the first row.
octagons.
7. Repeat with four additional assorted green print
squares and one additional green border print square to
complete the first row.
8. Repeat Steps 4–7 to complete rows two through five.
4. Align the bottom left edge of the first octagon in

the first row and a green border print square with
right sides together, matching dots at the beginning
and end of the seam you are about to sew. Sew along
the marked stitching line or from dot to dot, reversing
stitches at the beginning and end of the seam and 9. Add seven green border print squares to complete
being careful not to sew into the seam allowance. row six.
10. Stitch all rows together. 12. Press seam allowances between the octagons open.
Press seam allowances between the octagons and all
green squares toward the octagons.
11. Add seven green border print squares to the top of

the first row.

13. Trim the corners of the outer green squares even

with the adjacent raw edges of the outermost octagons
(to allow for seam allowance) to complete the pieced
quilt center. Quilt center should measure 18½" square.
10 Spring 2020
Completing the Quilt 5. Referring to the project photo and appliqué
Before making the border strips, see if your quilt center placement diagram, lay out the large and small leaves
matches the measurements below. If it does not, make on the blue print border. Use three large leaves at each
any necessary adjustments. corner of the quilt and two small leaves at the junctions
between the quilt center's outer octagons. Be sure to
1. Make 2 – 1¼” x 18½” green print #2 side inner border alternate the placement of the various colors of green.
strips. Referring to the Quilt Assembly Diagram, sew Affix in place using your favorite method.
those two strips to the sides of the quilt.
6. Using one strand of matching embroidery floss,
2. Make 2 – 1¼” x 20” green print #2 top and bottom whipstitch the leaves in place.
inner border strips, then sew those to the top and
bottom of the quilt. 7. In the same manner, appliqué a large and small
blueberry (varying color) at all four corners of the quilt
3. Make 2 – 2½” x 20” blue print side outer border strips, and at the second and fourth junctions between the
then sew those to the sides of the quilt. quilt center's outer octagons, overlapping the berries
with the points of the leaves.
4. Make 2 – 2½” x 24” blue print top and bottom outer
border strips, then sew those to the top and bottom of 8. Repeat Steps 6 and 7 to appliqué a small berry atop
the quilt. the points of the leaves at the remaining octagon
junctions.
9. Sandwich the quilt top, batting, and backing; baste.

Quilt as desired, then bind. Jen chose to hand quilt in
the ditch around the green squares in the pieced center
of the quilt, between the inner and outer borders, and
around the appliquéd leaves using a big stitch and blue
size 12 perlé cotton.
Quilt Assembly Diagram
Appliqué Placement Diagram
JEN DALY is an author, pattern designer, and quilting instructor from New Hampshire. She’s been
sewing all her life and quilting since 2003. Jen loves to use simple blocks and lots of scrappy fabrics
to make traditionally inspired quilts. Her first book, Stitching for the Seasons, includes 20 projects that
combine patchwork, wool appliqué, and embroidery. Jen's designs have been featured in magazines,
calendars, and the Moda Bake Shop and you can find her patterns in her Etsy shop, JenDalyQuilts.
Contact Information
For more information about Jen's designs, visit www.jendalyquilts.com, follow her on Instagram and
Facebook (@jendalyquilts), or contact her at [email protected].
AskMom
By Jeni Gaston
Dear Jeni, dot of glue to hold it onto your

Which method of turn-under background. Right away you can
appliqué do you prefer, and get to the hand stitching! I fold
why? And what needles do you the first edge of the piece under
prefer? (with my fingers) at the drawn
line and take a stitch; after that
Thank you,
you can easily swipe under the
Whether you are a new quilter or Becky
raw edge using your needle in
seasoned sewer, we all encounter your dominant hand, while the
challenges during the creative Dear Becky, fingers and thumb of your other
process. Send your questions to This is a great question, and I’m hand hold it in place as you
sure many people have a dif- make blind stitches in matching
jeni@primitivequiltsandprojects. ferent opinion for their favorite thread. It takes a little practice,
com, and longtime quilter and method. I touched on this sub- but once you get in a groove,
rug hooker Jeni Gaston might ject briefly in the Fall 2019 issue, it’s very relaxing. The main thing
address them in a future issue. but didn’t really explain why. is to not get too hung up on
Letters may be edited for style, perfection when you are trying
My favorite method for cotton
space, and clarity. to get the hang of it.
appliqué with turned-under
edges is needle turn appliqué. My favorite needle is a #11 mil-
The reason I love it is time. liner. I like that it is thin, a little
When I have time to sit and do long, and has a bend to it. If it
hand work, I don’t want too gets too bent, I just get another!
many preparation steps or too If you don’t like bendability, a #9
many tools to purchase or have or #10 works well too.
on hand. With other types of
turned-under appliqué, you I have tried many other meth-
need to do gluing, fusing, stitch- ods, and while they all work,
ing, and flipping; or ironing for they are just a little more time
the edges to be turned under. consuming for me. I hope to get
And then you still have to hand busy and do some YouTube vid-
or machine stitch the piece eos soon, and this will be a good
down. one to demonstrate! Thank you,
and I hope this helped answer
With needle turn, you trace your your question!
shape onto the right side of the
appliqué fabric and then cut it Happy stitching!
out with a ¼" seam allowance.
Then you pin, baste, or use a Jeni
JENI GASTON is one of the three founding sisters of Primitive Quilts and Projects magazine. Throughout her life, Jeni has
practiced fiber arts, and ended up making a career of it as a designer and quilt shop proprietor. With her sister Gretchen, she
launched the online Rug Hooking Store, and later the Woolen Willow quilt shop. She has created more than 100 original projects
and has been published in four magazines. Jeni enjoys dyeing wool; designing quilt, rug and other wool projects; and spending
time with her family—her husband Glen, her grown children Kristen Taylor and Kris Gaston, and her grandchildren.
MARY FALCSIK is mom to Gretchen, Jeni, and Judy—the creative founders of this magazine. With an adventurous spirit and zest for
learning, Mary taught her daughters to sew, knit, appliqué, embroider and lots of other fun lessons along the way. She is retired from
an extensive career as a legal secretary and freelance typist. Mary and her husband George live in Williamstown, West Virginia. They
have five grown children, eight grandchildren, and several great-grandchildren.
14 Spring 2020
Sweet Penny
Baskets Designed by Patricia Sanabria-Friederich
Quilted by Julia Quiltoff
Finished quilt size: 51½" x 60½"
Project Level of Difficulty Combining fabrics, textures, and contrasts of colors is

Beginner
something I really like to do with my projects. The different
combinations really make a simple design come alive!
¾ yard of beige print for backgrounds and inner border #2
1
/3 yard light beige print for backgrounds
2¾ yards black small print for backgrounds, borders #1 and #3, and binding
26 – 6" squares of assorted colors of wool for baskets and pennies
¼ yard green wool for vine
3¼ yards fabric of choice for backing
Tip
1½ yards HeatnBond Lite
Roxanne Glue-Baste-It (optional)
Valdani threads in black and white
Patricia chose to cut the 180"

of ¼" strips for the border vine
from the length of a yard of
green wool to avoid the need
for so many pieces. She chose
Roxanne Glue-Baste-It to affix
this vine in place.
From beige print, cut:

12 – 5" squares for basket backgrounds
5 – 2" x WOF strips for border #2
From light beige print, cut:

12 – 5" squares for basket backgrounds
From black print, cut:

24 – 5" squares for penny backgrounds
2 – 7" x 27 1/2" strips for top and bottom border #1
3 – 7" x WOF strips for side borders #1
6 – 4 1/2" x WOF strips for borders #3
6 – 2 1/4" x WOF strips for binding
From assortment of wool cut:

26 of Template A for block and border baskets
26 of Template B for basket penny bases
26 of Template C for basket penny tops
38 of Template B for vine penny bases
38 of Template C for vine penny tops
24 of Template D for penny block bases
24 of Template E for penny block tops
Sewing Instructions
From green wool cut:
180" total of 1/4" wide strips for border #1 vine 1. Referring to the project photo and diagrams as a
guide, fuse/glue a penny base B and top C to a basket A.
2. Sew them to the basket with uneven stitching and

French knots.
3. Sew the basket to the center of a 5" beige print

square with uneven stitches.
4. Repeat Steps 1–3 to make a total of 12 beige print and

12 light beige print basket blocks.
5. Again, referring to the project photo and diagrams as

a guide, fuse/glue a penny top E to a penny base D.
6. Stitch them together with straight stitches and

embellish with French knots.
7. Sew the penny to the center of a black print 5" square

with straight stitches.
8. Repeat Steps 5–7 to make a total of 24 penny blocks.
16 Spring 2020
Quilt Assembly
1. Referring to the project photo and Quilt Assembly Diagram, lay out three
light beige basket blocks and three penny blocks to make the top row of the
quilt. Sew them together.
2. Repeat Step 1 to make a total of four rows with light beige basket
backgrounds, beginning with a basket block.
3. Lay out the second row of the quilt with three penny blocks and three
beige basket blocks. Sew them together
4. Repeat Step 3 to make a total of four rows with beige basket backgrounds,
beginning with a penny block.
5. Sew the rows together, alternating with rows from Step 2 and Step 4 to
complete the quilt center, which should measure 27½" x 36½."
Completing the Quilt

Before making the border strips, see if your quilt center matches the
measurements below. If it does not, make any necessary adjustments.
1. Make 2 — 7" x 27½" black print top and bottom inner border strips.
Referring to the Quilt Assembly Diagram, sew those two strips to the top
and bottom of the quilt center.
2. Make 2 — 7" x 49½" black print side inner border strips, then sew those to
the sides of the quilt top.
3. Referring to the project photo and Quilt Assembly Diagram, lay out the ¼"
green strips to create the meandering border vine then fuse/glue in place.
4. Sew the vine in place with a small basting stitch.
5. Make 38 pennies with penny base B and top C. Sew the top to the bottom
with uneven stitches and a French knot at the center.
6. Position the pennies on the meandering vine as seen in the photo, then
fuse/glue in place.
7. Stitch them to the border with the uneven stitch.
8. Repeat Steps 1 and 2 of the sewing instructions to make two baskets

with pennies, then stitch them to the top and bottom center of the
meandering penny vine with the uneven stitch.
9. Make 2 — 2" x 40½" beige print top and bottom inner border #2 strips,
then sew those to the top and bottom of the quilt top.
10. Make 2 — 2" x 52½" beige print side inner border #2 strips, then sew
those to the sides of the quilt top.
11. Make 2 – 4½" x 43½" black print top and bottom outer border strips,
then sew those to the top and bottom of the quilt top.
12. Make 2 – 4½" x 60½" black print side outer border strips, then sew
those to the sides of the quilt top.
13. Sandwich the quilt top, batting, and backing; baste. Quilt as desired,
then bind.
18 Spring 2020
PATRICIA SANABRIA-FREDERICH is originally from Costa Rica. She and her husband currently live in Denver, Iowa.
Along with help from her mother and grandmother she learned to sew in elementary school! She took her first
formal quilt class after moving to Wisconsin in the mid ’90s. In 2013 her first book Mosaic Tile Quilts was published
by Landauer Publishing. The book features designs inspired from mosaic tile floors from historic buildings in Costa
Rica. She enjoys visiting quilting guilds and groups as she travels. She has given presentations and workshops in
Wisconsin, Iowa, Illinois, Minnesota, and South Carolina. She also travels once a year back home to Costa Rica to give
classes at her family’s quilt shop. Patricia’s designs have been on display at the Wisconsin Museum of Quilts and Fiber
Arts and have been featured in Fons & Porter magazine. She currently sells patterns and kits from her website.
Contact Information www.patternsfromgrandmastruck.com
Spring
Bouquet
Designed by Jenifer Gaston
Finished size: 8½" x 8½"
Project Level of Difficulty I love hooking little rugs as gifts for my sewing and rug-
hooking friends, so I made this little pattern with that in
Beginner
mind. Maybe you will like making one or more, too!
20 Spring 2020
17" square monk’s cloth, linen, or burlap for rug
foundation
11" x 32" total of a mix of antique black, textured,
hand-dyed wools for background
4" x 12" light plaid wool for vase
2" x 12" red wool for heart and flower centers
5" x 12" pumpkin textured wool for flowers
3" x 12" olive green textured wool for stems and leaves
11/3 yards of black binding tape
Black permanent marker
Red dot tracing paper or tulle netting
Tapestry needle and thread
Hook
Hooking frame or hoop
Wool cutter (optional)
Cutting Instructions
Referring to the wool colors listed in the Material
Requirements, cut wool strips ¼" wide (if you are using
a wool cutter, you will need a size 8). Jenifer chose
to cut the mix of black wool into ½" strips for the
background.
Hooking Instructions
1. Using a ruler and permanent marker, draw an 8½" Loops should be roughly as high as they are wide. Bring
square outline on the foundation, making sure the lines each loop higher than the last, making sure the wool is
are drawn straight on the grain. flat/straight and not twisted, then pull it back down next
to the last loop. Pull the hook back towards the last loop
2. Using the red dot tracer or tulle netting, transfer the hooked to avoid pulling it out. If you get worked into an
designs to the foundation referring to the placement area and need to go the other way, it is faster and easier
guide. to cut and start again rather than fight a small turn.
3. To prevent fraying, sew a zigzag stitch or serge 5. After hooking is complete, use a steam iron and wet
around the edge of the foundation. cloth to press the back and front of the rug. Dry flat.
4. Referring to the photo for color cues, hook the rug, 6. Trim away the excess foundation around the hooked
starting from the center motifs (outlining them first, piece, cutting outside the hooked edge about one inch.
then filing them in), followed by the background, then
the border before the background touches it. Hook 7. Turn it under and bind the rug, using the tapestry
inside the lines of the design and rug border to keep thread and binding tape.
them from growing. Hook on the lines for stems.
JENIFER GASTON is one of the three founding sisters of Primitive Quilts and Projects magazine.
Throughout her life, she has practiced fiber arts, and she ended up making a career of it as a designer
and quilt shop proprietor. She and her sister Gretchen Smith launched an online rug-hooking business in
2000, and later The Woolen Willow quilt shop in 2004. She has created more than 100 original projects
and has been published in four magazines. Jeni enjoys dying wool and designing quilt, rug, and other
wool projects. Jeni lives in Williamstown, West Virginia, and loves spending time with her family—
husband Glen, her grown children Kristen Taylor and Kris Gaston, and her grandchildren.
Contact Information www.woolenwillowdesigns.com
Kits will be available for a limited time. The wools may be substituted once supply runs out, but will be a
close match. Go to www.woolenwillowdesigns.com to order, $35.00 plus shipping. The wool will not be
pre-cut into strips.
Best Selection Floss
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by April 3, 2020.
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Home Is Where You
Build YourNest Designed by Kathi Campbell
Finished Size: 18" x 18"
Project Level of Difficulty I really love asymmetrical designs, but have a hard time not
making everything all neat and even (unless I’m trying for
Beginner
neat and even—then I get crooked and off center). I decided
to push myself with this sweet little bird design, letting some
of the fabric ravel. I like to fussy cut specific design elements
to incorporate into the wool appliqués. This quilt is not as
messy and artsy as I’d like, but I’m making progress!
24 Spring 2020
91/2" square cream woven for appliqué 1" x 4" ripped brown solid for nest
1
background /6 yard light green print for binding
101/2" square teal/brown plaid for center block 5
/8 yard fabric of choice for backing
7" x 14" dark brown print for block border 21/2" x 51/2" gray wool for urn and pedestal base
Variety of blue and green prints or plaids for Log 11/2" x 31/2" gray check wool for urn pedestal
Cabin frame: 2" x 61/2" dark gray plaid wool for urn rim
1 – 21/2" x 121/2" strip, 2 – 21/2" x 141/2" strips, 3" x 41/2" tan wool for bird
2 – 21/2" x 161/2" strips, and 1 – 21/2" x 181/2" strip 23/4" x 31/2" contrast tan wool for tail
1
/8 yard muslin for word patches 2" x 5" black wool for base of pennies
11/2" x 23/4" cream with tan dot for bird wing (can 1" x 3" blue or green wool for top of pennies
substitute with wool) Embroidery floss for appliqué and embroidery
1" x 5" (or larger depending on motif) black print Clover Press Perfect ironing guide (optional)
for urn dots Freezer paper

See Page 5 for general appliqué preparation instructions. Kathi used cotton fabrics for
some of the appliqués to add interest, however wool can be substituted. Note: If using
fusible, some of the motifs will need to be reversed.
From dark brown print, cut:

1 – 11/2" x 101/2" strip for bottom center block border
2 – 11/2" x 111/2" strips for right and top center block
borders
1 – 11/2" x 121/2" strip for left center block border
From muslin, tear:

1 – 11/2" x 7" strip for right word patch
1 – 21/4" x 23/4" rectangle for bottom word patch
(Note: See Step 16 for tearing these units.) I
H
From cream with tan dot, cut: A
1 of Template A for bird wing (add seam allowance C
or substitute with wool) G
B B B B B
F
E
5 of Template B for urn dots, or fussy cut motifs D
to size
From ripped brown solid, tear:

J
1 of Template C for nest
From light green print, cut: K

2 – 21/4" x WOF strips for binding
From gray wool, cut:
1 each of Templates D and F for pedestal base Sewing Instructions
and urn
1. Using the corner trimming guide found in the
From gray check wool, cut: Template Insert, trim the corners of the 91/2" square
1 of Template E for urn pedestal cream print appliqué background.
From dark gray plaid wool, cut: 2. With the cream print unit face down, press over a 1/2"
1 of Template G for urn rim seam allowance around the perimeter. Kathi chooses
to use the Clover brand Press Perfect ironing guide
From tan wool, cut: to assist with pressing the rounded corners. If you do
1 of Template H for bird not have the guide, transfer the corner pattern to thin
cardboard and use this as a guide to press the rounded
From contrast tan wool, cut: corners. The finished size of the pressed block should
1 of Template I for tail be 81/2" x 81/2".
From black wool, cut: 3. Center the cream unit prepared in Step 2 on the 101/2"
3 of Template J for base of pennies teal check square and pin in place.
From blue or green wool, cut: 4. Referring to the project photo and diagram as a
3 of Template K for top of pennies guide, stitch around the perimeter with a blind stitch.
5. Kathi recommends trimming away the teal check

from behind the cream appliqué background to
reduce bulk.
6. Using the placement guide, position the motifs in

place on the cream background, overlapping as noted
by the dotted lines on the templates. Pin them in place.
7. Using a light box or sunny window, trace the lettering,

stem lines, and vines with a sharp pencil.
8. Whipstitch in place with two strands of matching

floss. Kathi recommends using the blanket stitch on
loosely woven wools to prevent fraying. The fabric
appliqués will ravel a bit, which just adds more interest.
If this bothers you, use a little fray check around
the edges.
9. Refer to the Stitching Chart to

embroider the center block details.
26 Spring 2020
Stitching Chart
Motif Floss Color Stitch
Lettering Black — 2 strands Back stitch
Bird tail lines Brown — 6 strands Chain stitch
Under bird wing Brown — 6 strands Back stitch
Bird tail base Ecru — 12 strands Lazy daisy
Bird chest Ecru — 3 strands French knot
Beak Gray — 3 strands Satin stitch
Eye Black — 12 strands French knot
Eye Ecru — 3 strands Back stitch outline
Cheek Pink — 3 strands X’s to make a star
Nest lines Dark brown — 3 strands Back or stem stitch
Nest vines Green — 6 strands Stem stitch
Nest vine leaves Green — 6 strands Lazy daisy
Nest vine berries Pink — 6 strands French knot
Top urn rim Black — 6 strands Stem stitch
Lines in urn Dark gray — 3 strands Stem stitch
10. Press the center block

and square to 101/2".
11. Using the Log Cabin construction technique and the

project photo as your guide, add the dark brown center
block frame by sewing the 11/2" x 101/2" dark brown print
strip to the bottom of the block.
17. Trace the lettering to the strips using the numbers to
1 1
12. Continue by sewing the two 1 /2" x 11 /2" dark brown customize the date.
print strips to first the right side then the top.
18. Pin the strips in place then add a running stitch
1 1
13. Sew the 1 /2" x 12 /2" dark brown print strip to the left around the edges with one or two strands of black floss.
side to complete the center block frame.
19. Stem or back stitch the lettering with two strands of
14. Repeat Steps 11–13 with the variety of blue and black floss.
green print or plaid strips beginning with a 21/2" by 121/2"
strip at the bottom, the 21/2" x 141/2" strips on the right 20. Referring to the project photo, position the pennies
and top, then complete this round with a 21/2" x 161/2" in place and blanket stitch the large pennies with six
strip to the left side. strands of blue or green floss.
15. Now finish the Log Cabin frame of this block with 21. Whipstitch the small pennies with two strands of
a 21/2" x 161/2" strip sewn to the bottom and the 21/2" matching floss, then embellish with six strands of ecru
x 181/2" strip sewn to the right side. The top should floss using the lazy daisy stitch. Add a tan French knot
measure 181/2". at the center.
16. To achieve the primitive look Kathi desired, she 22. Sandwich the quilt top, batting, and backing; baste.
chose to tear these muslin elements. She recommends Quilt as desired and then bind. Kathi chose to quilt with
tearing the length of the unit, then cutting the width as black thread around the center block and at both edges
it’s difficult to rip all sides. of all the Log Cabin strips.
KATHI CAMPBELL has always been crafty and has dabbled in many different media, but textiles are
truly her passion. When her children were young, she started teaching classes at her local quilt shop
to earn extra money, and then continued teaching as she went through court reporting school. Her
students always encouraged her to publish her patterns. In 1993, a broken finger and knee surgery
ended her short career as a court reporter. While recovering, she started designing sewing patterns
with a homey folk-art feel, and Heart to Hand was born. Appliqué has always been her main focus,
and wool has been in her hands for many, many years. She is overjoyed that wool has reached the
mainstream quilting industry. It's so easy to use, and she loves the feel of working with it.
Contact Information
Heart to Hand
PO Box 7, Silverado, CA 92676
www.HeartToHand.com
Kits available for $22.95 plus $4.50 postage.

30 Spring 2020
Evelyn Part 1 of 4
Designed by
Lisa Burmann
Finished quilt size:
80" x 100"
This pattern is named
6½ yards black solid for blocks, borders, and binding
1
after my aunt who lived
/8 yard black with gold star print for blocks
1 yard blue plaid for blocks and inner border in Perryville, Missouri. I’ve
5
/8 yard small purple print for blocks and horizontal borders always wished I could have
1¼ yard red plaid for blocks and outer borders
½ yard red sprig print for blocks
visited her more!
3
/8 yard red with swirl print for blocks
1 yard olive green with stars for block and backgrounds
3
/8 yard light olive green stripe print for blocks
3
/8 yard olive green with sprigs for blocks
1
/8 yard dark olive green plaid for blocks
½ yard gold print with red stars for star block and baskets
Lisa used the
½ yard light gold with swirl print for blocks
3
Farmhouse collection
/8 yard gold with brown plaid for blocks
of fabrics designed by
¼ yard gold/rust/brown plaid for blocks
5
Kim Diehl for Henry
/8 yard small gold print for blocks
3 Glass Fabrics.
/8 yard dark teal blue print for blocks
1
/8 yard teal floral for blocks
3
/8 yard bright teal plaid for blocks
1
/8 yard small light teal print for blocks
¼ yard brown with gold and teal plaid for blocks
3
/8 yard brown sprig print for blocks Project Level of Difficulty
Threads to match appliqué
3 yards Lite Steam-A-Seam 2 Intermediate
3 ½ yards fusible stabilizer for behind appliqué (Lisa recommends
Pellon SF101 Shape-Flex, which comes in black or white)
Lisa prefers to cut all borders, binding, and block backgrounds first. With this method, she knows the remaining fabric
is free to be used for the remaining elements of the quilt. Cutting instructions for this method have been included in
this first installment of this four-part project.
From black solid, cut: From olive green with sprigs, cut:
4 – 2½" x WOF strips, then sub-cut them into: 8 of Template 1C for stems
50 – 2½" squares for Nine-Patch blocks
2 – 3" x WOF strips, then sub-cut them into: From light olive green stripe print, cut:
20 – 3" squares, cut once diagonally from corner 16 of Template 2C for leaves
to corner to make 40 triangles for Square-in-a-
Square blocks From small light teal print, cut:
3 – 13½" squares for Dresden backgrounds 4 of Template 2E for center dots
3 – 21½" squares for appliqué backgrounds
8 – 6½" x WOF strips for middle border From brown sprig print, cut:
10 – 2¼" x WOF strips for binding 20 – 4" squares cut once diagonally from corner to
corner to make 40 triangles for Square-in-a-Square
From blue plaid, cut: blocks
8 – 2½" x WOF strips for inner border
8 of Template 1D for center swirls From teal floral, cut:
4 of Template 2B for wreath circles 10 – 25/8" squares for Square-in-a-Square block
centers
From red plaid, cut:
9 – 2½" x WOF strips for outer border From a variety of the block prints, cut:
8 of Template 1A for flowers 40 – 2½" squares for scrappy Nine-Patch blocks
2 of Template 1E for block centers
4 of Template 2B for wreath circles From fusible stabilizer, cut:
3 – 21½" squares for appliqué blocks
From olive green with stars, cut:
4 – 11½" x 13½" rectangles for appliqué backgrounds
1A
From small purple print, cut:
6 – 1½" x WOF strips for horizontal borders 1B
16 of Template 2A for dots 1B
1 of Template 2G for center circle 1B 1D
1B 1C
From gold with brown plaid, cut:
1E
16 of Template 1B for leaves
16 of Template 1B reversed for leaves 1D
From light gold with swirl, cut: 1C

4 of Template 2F for center leaves
8 of Template 2D for wreath 1D
From small gold print, cut:

20 – 2½" squares cut once diagonally from corner to
corner to make 40 triangles for Square-in-a-Square
blocks
Block 1
32 Spring 2020
Square-in-a-Square Blocks
1. With right sides together, layer a small gold print
Sewing Instructions triangle on one side of the teal floral square and sew
them together. Press the seam toward the triangle point.
Appliqué Blocks
1. Iron fusible stabilizer to the back of a 21½" black solid
square.
2. Referring to the Placement Guide for Block 1, lay out

the flowers, leaves, vines, swirls, and center circle on
the background and affix in place using your favorite
method, then appliqué them in place.
2. Repeat Step 1, sewing the small gold print triangle to
3. Repeat Steps 1 and 2 to make a total of 2 blocks. the opposite side.
4. Repeat Step 1 for Block 2, then lay out the vine,

leaves, and dots; affix in place; then appliqué.
5. Trim the three blocks to 20½" square.
6. Referring to the project photo, sew the three blocks

together to make the fourth row of the quilt.
2A 3. Repeat Steps 1 and 2 to add small gold print triangles

2A to the remaining two sides. Square to 3½".
2D
2B
2B 2C
2A
2D 2C
2B
2A
2E 2F 2E
2B
2F 2G 2F
2E 2F 2E 2B
2B
2D
4. Repeat Steps 1–3 to add black solid triangles, then
2C square to 4¾".
2B
2D 2B
5. Repeat Steps 1–3 to add brown sprig triangles to
2A 2C
complete the block. Square to 6½".
6. Repeat Steps 1–6 to make a total of 10 Square-in-a-

Block 2 Square blocks.
Nine-Patch Blocks
1. Sew two 2½" black solid squares with a 2½" square from the variety of
prints between.
2. Repeat Step 1 to make the top and bottom rows of the block.
3. Sew two 2½" squares from the variety of prints with a 2½" black solid
square between to make the middle block row.
4. Sew the three block rows together to complete the block. Square to 6½".
5. Repeat Steps 1–4 to make a total of 10 Nine-Patch blocks.
Row Assembly
1. Sew together five Square-in-a-Square blocks with five Nine-Patch blocks
beginning with a Square-in-a-Square block to make row two of the quilt.
2. Repeat Step 1 beginning with a Nine-Patch block to make row six of

the quilt.
You’ve completed the first installment of this four-part project.

Watch for the second installment in the Summer 2020 issue.
34 Spring 2020
LISA BURMANN is a national award-winning longarm quilter and pattern designer (quilting and stained glass) who
resides in Dryden, Michigan. She is married to Scott, who is an avid beekeeper and stained-glass artist. She has two
boys, Paul (who recently married Emily) and Tim.
Lisa’s favorite form of quilting is cotton hand-appliqué—especially blocks and medallions she can work on while
waiting at Tim’s multiple music lessons and concerts. She also draws the patterns for her husband to make his
stained-glass art. Recently she joined the committee for the Michigan Fiber Arts and Quilter’s Convention, which
is hosted annually in Port Huron, Michigan. She co-hosts the Wool and Cotton Appliqué group on Facebook with
Theresa Ayers.
Book Nook
Simple Patchwork
(Available February 3)
by Kim Diehl
shopmartingale.com; $27.99
Throughout Kim Diehl’s 20-year career,
thousands of quilters have fallen in love
with her beautiful quilts and books. In her
latest collection, Kim focuses exclusively
on patchwork, for those who love her style
but don’t have the time or inclination to
add appliqué touches. Sixteen easy-to-
piece projects range from bed quilts with
supersized blocks to charming must-make
minis. Play with simple snowball and churn
dash blocks or try showy stars and zigzags.
Choose from wall quilts, table toppers,
bedroom ensembles, and even a mini Seams Like Yesterday
sampler quilt, all in Kim’s sought-after style. by Karen Styles
Bonus: Simple Patchwork is jam-packed quiltmania.com; $43.00
with dozens of Kim’s tried-and-true tips For over 20 years, Karen Styles has
you won’t want to miss. been fabricating works of art with
reproduction fabrics. She is a master
at English paper piecing and loves
using stars, hexagons, and medallions
to create her magnificent quilts.
Karen’s first book with Quiltmania is
a veritable feast of these passions,
including a divine sampler where
color, creativity, techniques, and
Vintage Treasures gorgeous fabrics abound.
(Available April 1)
by Pam Buda
Quilters can never have too many little quilts! This collection of 12 traditional
patterns features a quilt as tiny as 13" square, and the largest quilt is just 34" x 42".
Create these charming designs just for the joy of it, and then stack them on tabletops,
tuck them into cozy vignettes, and share them with the people you love. Pump up
your patchwork skills with a postage-stamp quilt. Take a twist on vintage yo-yo quilts.
Create small, two-color beauties. Discover a variety of designs for different skill levels,
along with tips throughout for making each quilt distinctly yours.
Do you know of a book that might be of interest to our readers? Contact Primitive Quilts and Projects’ Judy
Williamson at [email protected]. Due to space constraints, we cannot guarantee that we
will feature every recommendation that we receive.
36 Spring 2020
Sisterhood of Scraps
by Lissa Alexander
What happens when famed quilt designer Lissa Alexander invites her quilting
friends to create scrap quilts alongside her? Scrapalicious magic! Lissa reached
out to six quilters whose quilt designs she’s long admired—Susan Ache, Kim
Brackett, Barbara Brackman, Sheryl Johnson, Laurie Simpson, and Sandy
Klop. The result? Spectacular scrap quilts from true masters of the craft, and
an invitation for YOU to join the Sisterhood of Scraps! Choose from 12 quilts
inspired by everything from simple four patches to trip-around-the-world
designs to log cabins and more. Start a quilting bee, build a community, and
bring new sisters into the fold as you make these stunning projects. Inside you’ll
find your Sisterhood of Scraps certificate—hang it in your sewing space to show
that you’re a proud member of the Sisterhood of Scraps.
Buttermilk Basin’s Vintage Vibe Sunny Days Christmas in the Country

(Available February 3) by Jan Patek (Available April 1)
by Stacy West shopmartingale.com; $18.99 by Rhonda McCray
shopmartingale.com; $25.99 Celebrate summer with a sampler shopmartingale.com; $26.99
Turn back the clock and experience quilt chock-full of the season’s Fill your home to the brim with
a little nostalgia as you stitch charms! Make 14 cute block designs holiday spirit! Use simple patchwork
something new to enjoy in the featuring trees and houses, chickens and quick fusible appliqué to ring in
present—the Buttermilk Basin way! and flowers, birds and vines, baskets, the season with a touch of country
Celebrate vintage style all year long bee skeps, and more. At queen size, spirit. Create 15 fun projects, many
with this treasure trove of wool- this fanciful folk-art quilt can be of which feature the season’s coolest
appliqué projects. Create handmade showcased anywhere—on a wall, characters—snowmen. Choose
valentines, seasonal scenes, plus odes over a couch, or on a summer bed. from wall quilts, table toppers, an
to summertime fun and Halloween Use Jan’s needle-turn technique, advent calendar, and more. And
hilarity, all with a wink and a nod or any favorite appliqué method, when Christmas is just around the
to days gone by. And don’t forget a to make the blocks. For quick corner, whip up quick-as-a-wink
Christmas full of classic elves and coordinating projects, turn single bowl fillers, mistletoe ornaments,
Santas! Make ornaments, little pillows, blocks into pillows, wall quilts, table and pincushions for last-minute gifts
wall hangings, tea towels, and more toppers, and more. Full-sized patterns that look anything but last minute.
that will feel right at home in any included. (Shh, no one will know but you!) Add
space—and discover Stacy West’s best a blizzard of button embellishments
appliqué and embroidery tips along and a dash of embroidery and your
the way. holiday season is sure to be merry
and bright.
Goldie Links Designed by Laural Arestad
Finished Size: 55" x 67"
Project Level of Difficulty I enjoy being able to combine several quilting

methods into one quilt design. After I added
Beginner
hand embroidery and fusible appliqué to this
traditional chain link pattern, the quilt just
got happy!
38 Spring 2020
17/8 yards muslin for blocks
1 yard gold print for blocks
1 yard black print for blocks
1¾ yards solid black for outer border and binding
1
/6 yard total of a variety of gold check/plaid
homespun for flower centers
1 – 2" x WOF strip each of prints in yellow, blue,
purple, red, orange, and pink for flower petals
1
/8 yard green homespun for stems
6" x 18" green wool for leaves
¾ yard lightweight fabric for behind embroidered
Snowball blocks (optional)
31/3 yards fabric of choice for backing
Black embroidery floss
Freezer paper

Note: Templates to be cut from homespun do not include seam allowance.
From muslin, cut: From the variety of gold check/plaid homespuns, cut:
4 – 31/2" x WOF strips, then sub-cut into: 20 of Template A for flower centers
40 – 31/2" squares for block centers
7 – 61/2" x WOF strips, then sub-cut into: From the yellow, blue, purple, red, orange,
40 – 61/2" squares for appliqué backgrounds and pink prints, cut:
20 of Template B from pink for petals
From gold print, cut: 20 of Template C from purple for petals
4 – 2" x WOF strips, then sub-cut into: 20 of Template D from yellow for petals
80 – 2" squares for Snowball block corners 20 of Template E from red for petals
2 – 31/2" x WOF strips, then sub-cut into: 20 of Template F from orange for petals
40 – 2" x 31/2" rectangles for blocks 20 of Template G from blue for petals
2 – 61/2" x WOF strips, then sub-cut into:
40 – 2" x 61/2" rectangles for blocks From green homespun, cut:
20 of Template H for stems
4 – 2" x WOF strips, then sub-cut into: From green wool, cut:
80 – 2" squares for Snowball block corners 20 of Template I for leaves
2 – 31/2" x WOF strips, then sub-cut into:
40 – 2" x 31/2" rectangles for blocks From black solid, cut:
2 – 61/2" x WOF strips, then sub-cut into: 4 – 4" x length of fabric strips for outer borders
40 – 2" x 61/2" rectangles for blocks 4 – 21/4" x length of fabric strips for binding
Sewing Instructions
4. Repeat Steps 1–3 to make a total of 20 gold/muslin
Snowball blocks.
5. Repeat Steps 1–3 with 2" black print squares and

61/2" muslin squares to make a total of 20 black/muslin
Snowball blocks.
Snowball Block A Snowball Block B
Snowball Blocks
1. Draw a diagonal line from corner to corner on the
wrong side of 4 – 2" gold print squares.
2. With right sides together, layer a marked gold print

square at the top left of a 61/2" muslin square. Sew on Framed Square C Framed Square D
the drawn line, cut a 1/4" from the drawn line, then
press back the resulting triangle.
Framed Squares
1. Sew a 31/2" muslin square between two 2" x 31/2" gold
print rectangles to make the center row of the block.
2. Sew a black print 2" x 61/2" rectangle to both the top

and bottom of the unit from Step 1 to complete
a block.
3. Repeat Steps 1 and 2 to make a total of 20 framed

squares with black print rectangles at the top and
bottom of the block.
4. Repeat steps 1–3 with 2" x 31/2" black rectangles,

3. Repeat Step 2 with the remaining three corners to 2" x 61/2" gold print rectangles, and 31/2" muslin squares
make a Snowball block. to make 20 framed squares with gold print rectangles
at the top and bottom of the block.
40 Spring 2020
Completing the Quilt
Before making the border strips, see if your quilt center
D matches the measurements below. If it does not, make
E C any necessary adjustments.
A
B 1. Make 2 – 4" x 601/2" black solid side border strips.
F Referring to the Quilt Assembly Diagram, sew those two
H
G strips to the sides of the quilt center.
I
2. Make 2 – 4" x 551/2" black solid top and bottom border
strips, then sew those to the top and bottom of the
quilt top.
Appliqué and Embroidery Blocks 3. Sandwich the quilt top, batting, and backing; baste.
1. Position a flower center, petals, stem, and leaves on Quilt as desired, then bind.
a Snowball block; then, using your favorite method for
appliqué, stitch them into place. You may position them
in any direction, then rotate them into your chosen
position at the time of assembly.
2. Appliqué a total of 20 Snowball blocks, nine with gold

print corners and 11 with black print corners.
3. Using the black embroidery floss, sew a running

stitch 1/4" from the edge around the inside perimeter of
the remaining Snowball blocks. Take care to account for
the seam allowance along the four sides. To avoid any
threads showing through the muslin, you may wish to
back each block with a lightweight fabric.
Quilt Assembly
1. Referring to the Quilt Assembly Diagram, arrange the
blocks in 10 rows of eight blocks. Row one will begin
with a framed square C then a Snowball block A. They
will alternate in this order to complete the row.
2. Row two will begin with a Snowball block B, then

a framed square D. They will alternate in this order to
complete the row.
3. Make five rows of each arrangement for Steps 1 and

2, positioning the appliqué blocks as shown in the Quilt
Assembly Diagram.
4. Sew the 10 rows together to complete the quilt center.
LAURAL ARESTAD can’t recall a time that she didn’t sew, paint, or draw. She relishes the process of
taking an idea from conception to completion. As the owner of her own pattern company, Simply
Put Plus, she began publishing her designs more than 10 years ago. Drawn to the primitive style
for its creative design possibilities, she takes inspiration from sayings that resonate with her and
combines them with simple appliqué and easy piecing. Laural has made her home in Southern
California for nearly 35 years.
Contact Information
www.simplyputplus.com
Project Level of Difficulty During the long, cold days of winter, it’s those first colors that
break forth in spring we truly look forward to. Inspired by
Beginner
heritage folk art plates, Spring Folly is the perfect project to
bring a burst of cheerful color to your home as you patiently
await the first blooms of the season.
15" square black wool for background
8½" x 16½" green variegated wool for leaves and
outer border
5" x 9" teal glen plaid wool for inner border
5" x 6" blue wool for bachelor buttons (the blue flowers)
5" x 6" pale yellow variegated wool for daisy petals
2½" x 4" medium gold wool for daisy centers
2" x 3½" dark gold wool for daisy centers
16" square woven fabric of choice for backing
Valdani size 12 perlé cotton in O519–green,
M30–blue/green, M12–yellow, and M28–yellow/green
HeatnBond lite
Freezer paper
Marking pen or pencil
Fray Check
Pressing Affair pressing sheet

1. Fold a 12" square of freezer paper in half and then in From blue wool, cut:
half again to create quarters. 12 of Template E for large bachelor buttons
8 of Template L for medium bachelor buttons
2. Position the corner of Template A at the folds of the 8 of Template G for medium-large bachelor buttons
quartered freezer paper and trace the quarter circle 16 of Template H for small bachelor buttons
curve.
From pale yellow variegated wool, cut:
3. Cut on the drawn line to create a circle template. 9 of Template E for large daisy petals
36 of Template F for small daisy petals
From green variegated wool, cut: From medium gold wool, cut:
4 of Template B for outer border 1 of Template I for large daisy center base
4 of Template D for leaves 4 of Template J for small daisy center bases
16 of Template C for leaves
From dark gold wool, cut:
From teal glen plaid wool, cut: 1 of Template J for large daisy center top
4 of Template K for inner border 4 of Template F for small daisy center tops
44 Spring 2020
Sewing Instructions
1. Position the Template A freezer paper circle at 6. Using a marking pen/pencil, divide the mat into four
the center of the 15" black wool background and equal quadrants.
press in place.
7. Referring to the Appliqué Placement Diagram,
2. Position the green variegated outer border pieces position the large and small daisies, bachelor buttons
around the perimeter of the freezer paper circle and and leaves and press in place.
press in place. Kim and Katie recommend the Pressing
Affair pressing sheet with a steam iron for this step.
3. Lay the teal glen plaid wool inner border pieces Embellishing the Appliqué
around the perimeter of the freezer paper circle on top
of the green variegated outer border pieces and press in Refer to the Appliqué/Stitching Diagram for all
place using the pressing sheet and a steam iron. embroidery.
4. Remove the freezer paper template and trim Inner Border

away the excess black background wool at the outer 1. Using M30 (blue/green) perlé cotton, stitch diagonally
perimeter of the mat even with the green outer border across the border in both directions, forming an “X”
to create the unique scalloped edge. effect.
5. With matching sewing thread or one strand of floss, 2. Stitch an M30 (blue/green) colonial knot at the base
whip stitch the inner and outer border strips to connect of each stitch.
where the border quadrants join.
Large Center Daisy

1. Using M12 (yellow) perlé cotton, blanket stitch around
the petals with stitching radiating from the center of
each petal. Add a French knot at the radiating point of
each petal.
B
K 2. Blanket stitch around the top circle with M12
(yellow) perlé cotton.
3. Using M28 (yellow/green) perlé cotton,

blanket stitch around the middle circle.
D
A 4. To add detail to the middle circle, place
F E E
F an M28 (yellow/green) lazy daisy on top of
F F D J D each blanket stitch.
J I
E
5. Using O519 (green) perlé cotton, blanket
C C D stitch around each leaf.
C C
6. With a marking pen/pencil, draw sprays
E H extending from the center daisy, then stem
H stitch the drawn sprays with M28 (yellow/
green) perlé cotton.
L G 7. Add M30 (blue/green) colonial knots at the end of

E
each spray.
Appliqué/Stitching Diagram
Small Daisies
1. Repeat Steps 1–4 for the large center daisy to stitch
the four smaller daisies using M12 (yellow) and M28
(yellow/green) perlé cotton.
2. With O519 (green) perlé cotton, add green lazy daisy

stitches extending from between each petal curving
slightly.
Leaf Clusters Border Bachelor Buttons

1. With O519 (green) perlé cotton, blanket stitch around 1. Repeat Steps 1–6 for inner bachelor buttons, using
each leaf. M30 (blue/green) and O519 (green) perlé cotton.
2. With marking pen/pencil, draw leaf veins and sprays

extending from the leaf cluster. Finishing
1. When you feel your mat has every stitch it needs,
3. Using M28 (yellow/green) perlé cotton, stem stitch place it face down on a wool pressing mat or thick
the leaf veins and sprays. towel and steam to block it flat. You will be thrilled
how beautifully your stitches pop off the background
4. Add M30 (blue/green) colonial knot at the end of when you complete this step!
each spray.
2. Apply fusible to the BACK of your mat. The fusible
acts as the glue to adhere your backing to the mat,
Inner Bachelor Buttons also doing double duty to keep the woven fabric from
1. With a marking pen/pencil, draw a small circle at the fraying along the edge.
center of the largest circles.
3. Press the woven backing fabric to the back of your
2. Using M30 (blue/green) perlé cotton, blanket stitch mat fusing in place.
around the large circles with stitches extending to the
drawn center circle. 4. Trim the perimeter of the backing to fit the scalloped
edge of the top.
3. Blanket stitch around the smaller circles with stitches
extending to the center of the circle. 5. Kim and Katie recommend using Fray Check around
the perimeter of the woven backing to prevent any
4. Position a colonial knot in the center of each circle. fraying of threads.
5. To form buds, add colonial knots at the end of each 6. With O519 (green) perlé cotton, blanket stitch around
bloom cluster. the outside edge of your mat using small stitches.
6. With O519 (green) perlé cotton, add chain stitching 7. Using M28 (yellow/green) perlé cotton,
and lazy daisy stitches to connect blooms. chain stitch an accent around the
mat edge.
46 Spring 2020
We are KIM and KATIE, a mother/daughter duo with a passion for textiles. Between appliqué and
quilting, not a day goes by that we don’t find our hands busily stitching on something. Granny, our
company namesake, instilled in both of us this love for creating with our hands. It is to Granny’s
honor that we do what we do!
Contact Information
Granny’s Legacy Patterns, 1653 West Main Street, Albert Lea, MN 56007
Phone: 507-377-0771
Email: [email protected]
Website: grannyslegacypatterns.com
$39.95 kit includes woolens and backing needed to complete one project. Shipping not included.
$21.00 thread kit includes four balls of #12 Valdani perlé cotton.
$3 shipping fee per U.S. order. (International shipping available.)
Charitable Causes
We want to hear about your charitable efforts. Send your
information to Judy at [email protected].
DenimQuilts began informally in

May 2009, when two friends, Julie
Treloar and Sally Safranski, got
together. Julie had made a 48" x
60" lap quilt with leftover denim
pieces from making quilts for her
kids to take to college. She thought
it would be great to keep jeans out
of the landfill and instead use them
to make quilts for someone in need.
Sally took to the idea. She scouted
out a local charity dedicated to
keeping foster children together,
and their organization was born.
The purpose of DenimQuilts is three-fold:

1) to benefit the community by providing a comforting DenimQuilts to
someone who has suffered a loss
2) to repurpose and recycle fabric and jeans—thus helping the environment
3) to provide a creative and fulfilling outlet for its volunteers
In the 10 years since it began, DenimQuilts has worked with over

35 different charities to give over 2,000 quilts to foster children; bereft
mothers; children in mourning; dying children; victims of fires, hurricanes,
and floods; and Alzheimer's and Cerebral Palsy patients.
The first year, Julie and Sally delivered 35 quilts. Over time they
recruited others to sew quilt tops. Sally realized they could recruit
people who were not seamstresses to help with cutting, pinning,
and tying. Breaking down the steps of quilt making and dividing the
duties sped up the process and involved those who do not sew. The
organization usually has about 25 to 30 active volunteers. DenimQuilts,
Inc., became a 501(c)(3) organization in September of 2017.
Quilts for foster children are personalized with the child’s name, include the
child’s favorite colors, and reflect the child’s interests. These children often
have very little of their own. To have something personalized is a big deal,
48 Spring 2020
and shows them there are people who love and care for them. Additionally,
the quilts are heavy like a weighted blanket, providing extra comfort to
the child.
Flannel or corduroy are used for the backs of the quilts; denim and trigger
cloth and leftover flannel are used for the tops. Discarded cotton hospital
blankets and old mattress pads make for the batting, and the quilts are
tied with yarn. The group has also partnered with a local thrift shop to
get stained and torn jeans the store cannot sell, and a hospital and hotel
for the blankets and mattress pads. The group recycles all of the leftover
jean pieces and fabric scraps, using the zippers, pockets, and empty spools
on fidget blankets for Alzheimer's and Cerebral Palsy patients. All of the
used materials are first washed in hot water with a little bleach to ensure
everything is clean. The group strives to send nothing directly to landfills.
DenimQuilts currently produces about 400 quilts per year. It is an extremely

rewarding organization to be a part of. The work is fun and creative, the
recipients are worthy and grateful, and the volunteers are the most giving
people you’d ever meet.
DenimQuilts started in St. Louis, Missouri; when

Sally moved away to Wisconsin, it started a
new chapter up there. A third one is operating
in Jefferson County, Missouri, and fourth one
might get started in another state. If you
would like to start your own chapter, Julie
and Sally are willing and able to prepare
guidelines to get you started under the
DenimQuilts umbrella.
If you would like to help, you can donate

money or jeans. To donate money, make
the check payable to DenimQuilts, Inc.
Jeans can be any color, in any condition,

but should be 100% denim, non-stretch,
and from non-smoking homes.
Mail checks or jeans to:

DenimQuilts, Inc.
c/o Julie Treloar, President
914 Gervas Drive
Manchester, MO 63021
For more information, you can

visit DenimQuilts on Facebook,
email Julie at [email protected],
or call Sally at 608-399-5383.
50 Spring 2020
Rabbit Patches
Runner
Designed by Vicki McCarty
Machine quilted by Thomas McCarty

Finished block size: 12"
No matter how long winter is … spring always arrives! With

this runner, you can enjoy pieced tulips, wool rabbits, and
wreathes of hand-stitched baby’s breathe with tiny pearl
Intermediate seed beads! It’s a sure way to make your table announce that
spring is finally here!
4 – 5" x 8" strips assorted gold prints (1/6 yard gold/tan Patch-It)
4 – 5" x 8" strips assorted purple prints (1/6 yard purple/tan
Patch-It)
4 – 5" x 20" strips assorted green prints (1/2 yard green/tan
Patch-It)
8 – 5" x 20" strips assorted tan prints (1/2 yard tan/tan Patch-It)
1 yard Rosy Posy Aged Muslin for setting triangles and binding
(Marcus Fabrics)
9" x 18" cream and tan plaid wool for rabbits
1¾ yards fabric of choice for backing
1
/3 yard Lite Steam-A-Seam 2
Sulky Tear-Easy stabilizer
Tip
Thread to coordinate with wool for applique
400 small pearl seed beads Patch-It refers to Vicki’s line of
Small eye needle to sew seed beads fabric by Marcus Fabrics that
1 spool of 40 wt. off-white cotton thread makes it easy to create a scrappy
Valdani size 12 perlé cotton in 188 – Soft Olive Green look. Yardage needs are included
for both Patch-It and traditional
quilting fabrics.
From assorted gold prints, cut: From Rosy Posey Aged Muslin, cut:
1 – 4¾" square from each for tulips 1 – 18½" square cut twice diagonally from corner to
6 – 2½" squares from your choice of prints for tulips corner for setting triangles
3 – 4½" squares for block centers
From assorted purple prints, cut: 12 – 1½" squares for tulip centers
1 – 4¾" square from each for tulips 4 – 2½" x WOF strips for binding
6 – 2½" squares from your choice of prints for tulips
From cream and tan plaid wool, cut:
From assorted green prints, cut: 2 each of Templates A and B for rabbits
4 – 4¾" squares from each for blocks
From assorted tan prints, cut:

12 – 1½" x 2½" rectangles from your choice of prints
for background
12 – 1½" squares from your choice of prints for
background
3 – 4¾" squares from each print for background
Sewing Instructions
1. With right sides together, layer a 4¾" gold print 4. Press to the dark print, then trim to 2½" square.
square on top of a 4¾" tan print square.
5. Repeat Steps 1–4 with the remaining 4¾" gold,
2. Sew a ¼" seam around the perimeter of the purple, and green print squares, pairing them with 4¾"
combined square unit. tan print squares to make 12 – 2½" gold/tan HST units,
12 – 2½" purple/tan HST units and 48 – 2½" green/tan
3. Cut the unit from Step 2 twice diagonally from corner HST units. There will be extra gold, purple, and green
to corner to make four 2¾" HST units. HST units.
6. Take care when piecing with these HST units, as the

outer edges are all on the bias.
52 Spring 2020
7. Sew a 1½" Rosy Posey Aged Muslin square to a 1½" 18. Repeat Step 16 to make the bottom row of the block.
tan print square.
19. Sew the three rows from Steps 16–18 together to
8. Sew a 1½" x 2½" tan print rectangle to the bottom of complete the block measuring 12½".
the unit from Step 7.
20. Repeat Steps 10-19 to make a total of three blocks.
9. Repeat Steps 7 and 8 to make a total of 12 corner
units.
Corner
Corner
unit
unit
21/2" 21/2"
purple gold
41/2" aged
Muslin
10. Arrange the corner units, gold/tan, purple/tan, and
green/tan HST units, gold and purple 2½" squares,
and the 4½" Rosy Posey Aged Muslin square as in the
21/2" 21/2"
diagram. gold gold
Corner
11. Sew the four units at the top left to make a purple
unit
tulip unit. Corner
unit
12. Repeat Step 11 to make the top right gold tulip unit.
13. Repeat Step 11 with the gold and purple units at the
bottom left and right to make the four tulip units.
14. Sew the four green/tan units at the top center

together to make a leaf unit.
15. Repeat Step 14 with the green/tan units at the center

and bottom to make four leaf units.
16. Sew a purple and gold tulip from Step 11 and 12 with
a leaf unit from Step 14 between to make the top row of
the block
17. Sew two leaf units from Step 15 with the 4½" Rosy
Posey Aged Muslin square between to make the middle
row of the block
Runner Assembly Embellishing the Runner
1. Lay out the three tulip blocks and setting triangles 1. Fuse the four rabbits to the setting triangles 11/2"
as shown in the diagram. The setting triangles will be from the outer edge, taking care with the direction the
oversized. rabbits are hopping. Follow manufacturer’s instructions
for fusing.
2. Sew a setting triangle to the top right of a tulip block,
matching the 90-degree angle of the triangle with the 2. Using a blanket stitch and coordinating thread,
corner of the block. appliqué the rabbits in place.
3. Sew a setting triangle to both the top right and 3. Trace the baby’s breath design on three 4" squares of
bottom left of a second tulip block, again matching the Sulky Tear-Easy stabilizer.
90-degree angle of the triangles with the corner of the
block. 4. Pin the units from Step 3 to the center square of each
tulip block.
4. Sew a setting triangle to the bottom left of the third
tulip block in the same way. 5. With tight outline stitches, sew along the traced lines
using the Soft Olive Green thread. The tight stitches will
5. Sew the three units from Steps 2–4 together, pinning perforate the stabilizer for easy removal.
at the seams, to complete the runner assembly.
6. Repeat to embroider in each of the three center
6. Trim the excess from the setting triangles even with squares and around the rabbit’s necks.
the corners of the blocks.
7. Using a small eye needle and the 40 wt. off-white
thread, sew the pearl seed beads at the end of all
wreath stems at the block centers and rabbit’s necks.
(You may prefer to do this step after machine quilting.)

Quilt as desired, then bind.
54 Spring 2020
VICKI MCCARTY is the owner of Calico Patch Quilt Shop
and Calico Patch Designs. Vicki learned to quilt from her
grandmother over 40 years ago in the foothills of the
Appalachian Mountains. In 1998, she began teaching
quilting classes for Community Education and grew
a small quilting community in eastern Kentucky. In
2000, she opened Calico Patch and continued to teach
sewing, quilting, and embroidery as well as designing
quilts for classes, shop hops, and retreats. In 2015 she
introduced Calico Patch Designs and has since lectured
and taught at quilt shows and guilds across the country.
Vicki’s designs have been published in American Quilter,
Quilt Sampler, Simply Vintage, and AQS’s OnPoint
magazines. In 2018 Vicki began designing fabric for
Marcus Fabrics. Vicki loves to mix wool appliqué with
traditional cotton antique blocks made with quick and
practical methods
Contact Information
Vicki McCarty, calicopatchdesigns.com;
[email protected]; @calicopatchdesigns
(Facebook & Instagram); 606-784-7235
Kit available by phone or website. Includes cotton

fabric and wool to make top and binding, and bead
embellishments ($35.99 plus shipping). Thread pack and
muslin backing are also available.
Courtyard
Lane
Designed by Tracey Roberts
Finished block size: 6" x 6"
Project Level of Difficulty Stitchery quilts and Dresden plate blocks have always been
favorites of mine, so what could be better than combining
Intermediate
the two into a lovely quilt? I used Civil War-era reproduction
fabrics to give this quilt a beautiful antique look.
56 Spring 2020
1¾ yards assorted cream prints for backgrounds and
embroidery borders
¼ yard of 21 assorted prints (three each of gold,
orange, blue, green, brown, purple, and red prints)
3
/8 yard fabric of choice for binding
3 yards fabric of choice for backing
01 Pigma pen
Freezer paper
5
/8 yard stitchery stabilizer
2 skeins each of embroidery floss in light green, dark
green, blue, yellow, red, lavender, and orange to
coordinate with prints
Template plastic
Cutting Instructions
1. Iron two sheets of freezer paper together with both
shiny sides facing down.
2. Trace hexagon Template A twice on the freezer paper From assorted cream prints, cut:
from Step 1, leaving ½" between tracings. You will make 4 – 3" x 33" strips for embroidery borders
two templates. One without and one with a ¼" seam 52 – 3½" squares for Dresden block backgrounds
allowance added to the perimeter. Cut them out. 48 – 1½" x 2½" rectangles for blocks
48 – 1½" x 4½" rectangles for blocks
3. Trace the Dresden wedge Template B on template 8 – 1¾" squares for stitchery border corners
plastic and cut out. Seam allowance is included in the 13 of Template A with seam allowance for stitchery
template. hexagons
4. Tracey recommends using the “top and tail” method From assorted color prints, cut:
(see diagram) for cutting the Dresden wedges. 1 – 1½" x WOF strip from each, then sub-cut into:
144 – 1½" squares for blocks – seven from each strip,
leaving three extra
124 – 1½" squares for inner border – six from each
strip, leaving two extra
1 – 1½" x WOF strip from each for outer border
8 – 1¾" squares for stitchery border corners
8 of Template B from each for a total of 156 Dresden
wedges, leaving 12 extra
From fabric of choice, cut:

5 – 2¼" x WOF strips for binding
From stitchery stabilizer, cut:

13 of Template A without seam allowance to stabilize
stitchery hexagons
4 – 3" x 33" strips for embroidery borders
Sewing Instructions
4. Refer to the Stitchery Color Placement diagrams
below to assist with the embroidery of the hexagons.
5. The embroidery work is done using the backstitch

Embroidery with two strands of floss and Colonial knots with four
1. Using the brown Pigma pen and a light box, trace strands of floss.
the embroidery patterns to the 13 hexagons.
2. Position a piece of stitchery stabilizer to the center

back of each of the cream print hexagons. Then flip
the hexagon face up. Stitchery Color
Placement Diagrams
3. Press, using the wool setting on
the iron, fabric side up to set the
ink and prevent the stabilizer
from burning or shrinking.
58 Spring 2020
6. When the embroidery is finished, place the stitched Dresden Plate Blocks
hexagon face down on your pressing surface. 1. Using four of the assorted 3½" cream print squares,
sew two sets of two together.
7. Lay the freezer paper hexagon Template A without
seam allowance, shiny side up, in the center of the 2. Sew the two units from Step 1 together to create a
fabric hexagon, making sure the stitchery is centered. four-patch block measuring 6½" square.
8. Using an iron, press the seam allowance onto the

shiny side of the freezer paper until the fabric adheres
to the freezer paper. Continue around the hexagon until
all six sides are pressed down onto the freezer paper.
9. Turn the hexagon over and gently press the stitched

hexagon from the right side.
10. Gently remove the freezer paper and press again 3. Repeat Steps 1 and 2 to make a total of 13 units.
with the stitchery side facing up, ready to appliqué onto
the Dresden blocks. 4. Using one of the assorted colored wedges, fold it in
half with right sides together, then press. Sew across the
11. Repeat Steps 1–10 to complete the 13 embroidered top edge.
hexagons, making them ready for appliqué to the
Dresden blocks.
12. Use this same method to make the four Fold

embroidered borders. The stitchery stabilizer for the
borders is cut to the same size as the border fabric, 5. Repeat Step 4 with 11 more colored wedges.
including the seam allowance. Use the Stitchery Color
Placement guide to assist in embroidery color choices 6. Turn the stitched wedge right side out, gently
for the borders. pushing out the point.
13. When embroidery is complete, trim the four borders 7. Lay the stitched seam along the center pressed line,
to 3" x 32½", taking care to center the embroidery work then press the point. Repeat for all 12 wedges.
before cutting.
8. Sew the wedges together in pairs, taking a small

backstitch at the pointed end of the wedge.
9. Sew two units from Step 8 together. Continue to

make three sets of four-wedge segments.
10. Sew the three sets together to complete a

Dresden Plate.
11. Lay a Dresden Plate from Step 10 on the four-patch 5. Sew the units from Step 4 to the top and bottom of
background block from Step 3, lining up the wedge the unit from Step 3.
seams with the background four patch seams and pin in
place.
6. Sew two 1½" x 4½" assorted cream rectangles to each

side of the unit from Step 5.
12. Using neutral thread, appliqué the Dresden Plate in
place.
13. Appliqué a stitchery hexagon to the center of the

Dresden from Step 12 to complete the block.
7. Repeat Step 4 with four 1½" assorted colored print

squares and two 1½" x 4½" assorted cream print
rectangles.
14. Repeat Steps 4–13 to make a total of 13 Dresden

Plate blocks. 8. Sew the units from Step 7 to the top and bottom of
the unit from Step 6 to complete a 6½" chain block.
Chain Blocks
1. Repeat Steps 1 and 2 of the Dresden Plate block
instructions with four 1½" assorted colored print
squares to make a chain block center four-patch.
9. Repeat Steps 1–8 to make a total of 12 chain blocks.

2. Repeat Step 1 to make a total of 12 four-patch units.
3. Sew two 1½" x 2½" rectangles from the assorted Quilt Center Assembly
cream background prints to each side of a center four- 1. Referring to the Quilt Assembly Diagram, sew
patch from Step 2. together three Dresden Plate blocks with two chain
blocks between to make the top row.
2. Repeat Step 1 to make a total of three rows with this

arrangement of blocks.
4. Using four 1½" assorted print squares and two 3. Sew together three chain blocks with two Dresden
1½" x 2½" assorted cream print rectangles, sew Plate blocks between to make the second row of the
a colored square to each end of the cream print quilt.
rectangles.
4. Repeat Step 3 to make a total of two rows with this
arrangement of blocks.
5. Referring to the Quilt Assembly Diagram, sew the five

block rows together.
60 Spring 2020
Pieced Borders and Corners
1. Sew together 30 – 1½" assorted colored print squares to make a side
inner border.
2. Repeat Step 1 to make a total of two side inner borders.
3. Sew together 32 – 1½" assorted print squares to make a top inner border.
4. Repeat Step 3 to make a bottom inner border.
5. Using the eight 1¾" assorted cream print squares and eight 1¾" assorted
colored print squares, sew eight sets of two together.
6. Sew together two units from Step 5 to make a four-patch.
7. Repeat Step 6 to make a total of four four-patch units.
8. Sew two units from Step 7 to each end of two of the embroidered
borders.
9. Using the 21 – 1½" x WOF strips of assorted colored prints, sew together
nine strips to make a strip set.
41/2"
91/2"
10. Repeat Step 9 to make a total of two strip sets. Take care when pressing
to prevent the rainbow effect.
11. Sub-cut the strip sets from Step 10 into 16 – 4½" x 9½" outer border
units.
12. Sew the remaining three strips into a strip set and sub-cut it into eight
4½" x 3½" outer border units.
13. Sew five units from Step 11 together along the short sides to make a top
outer border made up of 45 assorted color print strips. Repeat to make a
bottom outer border.
14. Sew three units from Step 11 alternating with four units from Step 12
together to make a side outer border.
15. Repeat Step 14 to make a total of two side outer borders.
16. The side borders need 37 assorted color print strips. The units from Step Completing the Quilt
15 have 39. Using your seam ripper, remove two strips from each to make 1. Referring to the Quilt Assembly
these borders the correct size. Diagram, sew the two units from
Step 2 of Pieced Borders and
Corners to the sides of the quilt
center completed in Step 5 of Quilt
Center Assembly.
2. Sew the two units from Step 4 of

Pieced Borders and Corners to the
top and bottom of the unit from
Step 1.
3. Sew two embroidery borders to

the sides of the unit from Step 2.
4. Sew the two embroidery borders

with four-patch corners to the top
and bottom of the unit from Step 3.
5. Sew the units from Step 16 of

sides of the unit from Step 4.
6. Sew the units from Step 13 of

top and bottom of the unit from
Step 5 to complete the quilt top.
7. Sandwich the quilt top, batting,

and backing; baste. Quilt as desired,
then bind.
62 Spring 2020
TRACEY ROBERTS lives in Auckland, New Zealand, not too far from black sand beaches and native bush. She has
been sewing since she was a child and has a true passion for fabric and design. She is often found doodling ideas for
new designs, using her flower garden as inspiration. She enjoys sharing her designs, teaching others new skills, and
the joy of creating.
Contact Information
Email: [email protected]; website: www.traceyrobertsdesigns.com; Facebook: www.facebook.com/
traceyrobertsdesigns; Instagram: @traceyrobertsdesigns
64 Spring 2020
Stitching Makes
Me Bloom
Designed by Bill Locke
Machine quilted by Shelley Wicks
Finished quilt size: 29" X 29"
Finished block size: 12" x 12"
Project Level of Difficulty This project represents everything stitchy that has inspired me since my
childhood, as I sat and watched my grandmother work her stitching
Beginner
magic. Buttons, pins … it’s all a part of what keeps me in stitches! This
project, with the flowers emerging from the spool center, represents
the joy that this creative lifestyle brings my way each and every day.
1
/8 yard button print for blocks (RIV-KS2091-S)
1
/8 yard small cream floral for blocks (RIV-KS2092-3)
1½ yards brown tonal for blocks, outer border, and backing
(RIV-KS2096-16)
1
/8 yard red with stitch print for blocks
1
/8 yard teal with stitch print for blocks (RIV-KS2095-20)
½ yard green with pins print for blocks and binding
(RIV-KS2094-9)
Tip
3
/8 yard cream tonal for blocks and appliqué backgrounds
(RIV-KS2096-3)
1
/8 yard small red floral for blocks (RIV-KS2092-6)
1
/8 yard cream with spools print for blocks (RIV-KS2093-3)
1
/8 yard teal with spools print for blocks (RIV-KS2093-20) Fabrics used are from the Keeping
1
/8 yard brown with pins print for blocks (RIV-KS2094-16) You In Stitches line by Bill Locke
1
/8 yard green with stitches print for blocks (RIV-KS2095-9) for River’s Bend/Midwest Textiles
4" x 12" terracotta wool for flowers (WW20) & Supplies. The numbers in
3" x 9" electric blue wool for flower center (WW3) parenthesis refer to the fabric
10" x 12" dusty olive wool for leaves (WW10) manufacturer’s SKU numbers.
Valdani wool threads #15 in W503 – garnets, W12 – ocean
blue, W10 – dusty olives, and W32 – brown for flowers and
stems
HeatnBond Lite
Erasable fabric marker
From button print, cut: From cream tonal, cut:

2 – 3½" squares A 2 – 1½" x 3½" strips H
2 – 2½" x 3½" rectangles I 2 – 12½" squares for appliqué backgrounds
2 – 3½" x 4½" rectangles L
2 – 1½" x 2½" strips M From small red floral, cut:
2 – 2½" squares J
From cream floral, cut: 2 – 2½" x 6½" rectangles O
2 – 3½" x 4½" rectangles B
2 – 1½" x 3½" strips Q From cream with spools print, cut:
4 – 4" squares for quilt center triangles 2 – 3½" x 4½" rectangles N
From brown tonal, cut: From teal with spools print, cut:
Set aside 1 yard for backing 2 – 3½" squares P
2 – 3½" x 4½" rectangles E
2 – 1½" x 3½" strips C From brown with pins print, cut:
2 – 5½" squares for strips in appliqué blocks 2 – 2½" squares R
2 – 3¼" x 23½" strips for side borders
2 – 3¼" x 29" strips for top and bottom borders From green with stitch print, cut:
2 – 1½" x 6½" strips S
From red with stitch print, cut:
2 – 3½" x 4½" rectangles D From terracotta wool, cut:
2 of Template A for flowers
From teal with stitch print, cut: 4 of Template B for flowers
2 – 2½" x 3½" rectangles F
From electric blue wool, cut:
From green with pins print, cut: 2 of Template C for flower centers
2 – 3½" squares G 4 of Template D for flower centers
2 – 2½" x 4½" rectangles K
4 – 2¼" x WOF strips for binding From dusty olive wool, cut:
10 of Template E for leaves
12 of Template E reversed for leaves
A J K
E M
L
B F
N O
C G
D H P Q
R
I S
66 Spring 2020
Sewing Instructions
1. Referring to the block diagram, sew together units 16. Repeat Step 15 with the remaining 12½" cream tonal
A–D to make the left vertical row of the block. square.
2. Sew together units E–I to make the second vertical 17. Using the four 4" cream floral squares, repeat Steps
row of the quilt. 14 and 15 to add cream floral corners to both units
from Step 15 and to the K corners of the two blocks
3. Sew the units from Steps 1 and 2 together to make completed in Step 13.
the left side of the block.
4. Sew units J and K together.
5. Sew units L and N together.
6. Sew units P and Q together.
7. Sew the units from Steps 5 and 6 together.
8. Sew units M, O, and R together.
9. Sew the units from Step 7 and 8 together.
10. Sew the units from Step 4 to the top of the unit from
Step 9.
11. Sew unit S to the bottom of the unit from Step 10 to

make the right side of the block.
12. Sew the left side from Step 3 to the right side from
Step 11 to complete the block.
13. Repeat to make a total of two blocks.
14. Draw a diagonal line from corner to corner on the

wrong side of the 5½" brown tonal squares.
15. With right sides together, layer a marked brown

tonal square on top of a 12½" cream tonal square. Sew Appliqué
on the drawn line, cut a ¼" from the drawn line, then 1. Referring to the project photo, use an erasable
press back the resulting triangle. fabric marker and draw the three stems to each of the
appliqué backgrounds.
2. Position the flowers, flower centers, and leaves; then

fuse in place with a hot iron on the steam setting.
3. Whipstitch the flowers and leaves in place with

coordinating thread.
4. Use the back stitch to embroider the stems and

leaf veins.
Quilt Assembly 2. Repeat Step 1 to sew the remaining blocks together.
1. Referring to the project photo and taking care with
the position of the appliqué and color placement in the 3. Sew the units from Steps 1 and 2 together to
pieced blocks, sew the two blocks together. complete the quilt center.
4. Sew the 3¼" x 23½" brown tonal strips to the sides of

the quilt from Step 3.
5. Sew the 3¼" x 29" brown tonal strips to the top and
bottom of the quilt from Step 4 to complete the quilt
top.

Quilt as desired, then bind.
68 Spring 2020
BILL LOCKE is a quilter/sewist, pattern designer, and teacher. Having been raised in Newfoundland on
Canada's East Coast, Bill now spends his time in his Studio in Montreal, Quebec. Quilting since 1992, Bill
started designing in 2009 … and has experienced a wonderful quilting adventure at every turn. Bill is a
former quilting columnist whose motto of “Keeping You In Stitches” follows him through his daily tasks.
Bill has brought his passion for all that is quilty to classes and workshops in Canada and the U.S. He also
designs patterns for several fabric manufacturers. Bill enjoys nothing more than sharing his passion for
quilting with others and loves to meet and share with quilters everywhere; he believes that we are all one
great big stitching family!
Contact Information
STUDIO BILL LOCKE • (514) 209-0111 • [email protected] • www.studiobilllocke.com •
www.facebook.com/bill.locke.96 • www.instagram.com/billlockedesigns/
Kits include everything needed to make the quilt top and binding: Fabrics from the Keeping You In
Stitches collection by Midwest Fabrics, wool and wool thread, and HeatnBond Lite. Kit is not precut.
$89.95 (postage paid to anywhere in North America).
Circular
Garden
Designed by Ana Alonso
Finished size: 8" diameter
with 4" sides

Carrying this pretty handbag when out for a walk makes me feel
Intermediate like I can smell the fragrant sunshine of spring!
70 Spring 2020
Tip
Ana prefers using Apliquick for her applique
method. You can find videos on how to use
this product on YouTube.
Material
Designed byRequirements
Jen Daly
Finished quilt size: 24" x 24" Appliqué Preparation and
3
5
/8 yard black print for front, back, and sides
/8 yard plaid for lining and inner binding Cutting Instructions
7" square blue plaid homespun for flower base
2" x 4" each of four plaid homespuns for flower petals See Page 5 for general appliqué preparation instructions.
4" square brown homespun for flower center base If you chose to use the Apliquick method, prepare
3" square red homespun for flower center top the appliqué motifs according to manufacturer’s
Threads in colors to match appliqué instructions.
Embroidery floss to embellish the flower’s center
circle From black print, cut:
3
/8 yard Apliquick fusible stabilizer and tools or fusible 2 – 8" squares for front and back
interfacing 1 – 4" x 11" rectangle for side
11" zipper 2 – 2" x 11" strips for sides of zipper
Shoulder or wristlet strap of choice with ability to clip 2 – 1½" x 4½" strips for strap loops
on fabric loops (optional)
Erasable fabric marker From plaid, cut:
2 – 10" squares for front and back lining
1 – 5" x 12" rectangle for side lining
2 – 2" x 11" lining strips for sides of zipper
E 2 – 1½" x 4½" strips for binding zipper unit
2 – 1½" x 22" bias strips for binding the inner seams
A
B From blue plaid homespun, cut:
1 of Template A for flower base
B
C From four plaid homespuns, cut:
2 of Template B from each for flower petals
B From brown homespun, cut:
D 1 of Template C for flower center base
From red homespun, cut:

1 of Template D for flower center top
From fusible stabilizer, cut:

2 – 10" squares for front and back
1 – 5" x 12" rectangle for side
2 – 2" x 11" strips for sides of zipper
Sewing Instructions
3. Repeat Steps 1 and 2 to sew
the black print with stabilizer
and lining to the other side of
1. Cut out the Template E circle and center it on an 8" the zipper, fold back and top
black print square. Trace around it with the erasable stitch as in Diagram 3. Trim the
marker. unit to 4" x 10¾".
Diagram 1
2. Repeat to mark the second black print square. Do not
cut the black fabric at this time. This will assist you with
appliqué placement.
3. Lay out the flower background, petals, and center

units on a marked black background and appliqué in
place.
4. Embroider large X’s randomly across the red flower

center.
5. Add 20 wrap bullion stitches around the red center’s

perimeter.
6. When appliqué is complete, sandwich the appliqued Diagram 2

top with stabilizer and lining and quilt as desired.
7. Sandwich the black print back, stabilizer, and lining

and quilt as desired.
Diagram 3
8. Sandwich the 4" x 11" black print, 5" x 12" stabilizer,
and 5" x 12" lining and quilt as desired.
4. Using the two 1½" x 4½" black print strips, fold one in
9. The 2" x 11" black print zipper strips are quilted half lengthwise, right sides together, and sew together
with stabilizer only. Do not include the lining in this down the long side.
sandwich.
5. Turn the unit right side out, press, and position at the
10. When quilting is complete, trim the black print center of one end of the 4" x 10½" side unit and sew in
circles on the drawn line. place. If using a ring for handle attachment as Ana did,
insert it before sewing the tab in place.
11. Trim the side piece to 4" x 10½".
6. Repeat Steps 4 and 5 to add a loop to the other end
12. Trim away the excess stabilizer from the black print of this unit.
zipper strips.
Zipper
1. Place the zipper face down on the face up 2" x 11"
black print strip with stabilizer beneath. Lay the 2" x 11"
lining strip face down on top. Align the three and sew
together using a zipper foot as you see in Diagram 1.
2. Fold the lining and black print strip with stabilizer

back as in Diagram 2 and add a top stitch using the
zipper foot.
72 Spring 2020
7. With right sides together, position the 4" x 10½" side
unit on top of the 4" x 10¾" zippered side unit and sew
them together on both short ends.
8. Using the 1½" x 4½" lining print, bind

these inside seams to prevent raveling.
Completing the Bag

1. With right sides together, pin the
side unit from Step 8 above to the
appliqued front. Ana recommends
using tweezers to assist in
positioning for a perfect fit.
2. Sew the pinned unit

from Step 1 together.
3. Open the zipper

and repeat to pin
and sew the back
to the unit from
Step 2.
4. Using the lining

print bias strips, bind
these two inner seams,
then turn right side out.
5. Embroider a fly stitch around

the perimeter of the front and back
edges and on both sides of the zipper to
complete the bag.
6. Attach your choice of strap and enjoy.
ANA ALONSO lives southwest of Spain on the Canary

Islands, in a small fishing village called Playa San Juan. She
learned cross stitch at a very young age and did not become
interested in quilting until she later saw how beautiful
patchwork could be ... it became an obsession! She began
creating her own heart-inspired patterns and started showing
her work in fairs and shows. Ana invites you to see her other
designs on Facebook.
Contact Information
https://www.facebook.com/ana.alonso.7121
74 Spring 2020
Note: The yardages for individual print colors are for I really like this project’s country patchwork
larger appliqué elements. style using warm colors for the flowers and
2½ yards total of a variety of cream/tan/gray shades blocks. I hope you enjoy this four-part project
for backgrounds as much as I enjoyed designing it for you!
Fat quarter cream/gray plaid for background
2½ yards total of a variety of prints in shades of
brown, tan, red, blue, gold, green, and gray Project Level of Difficulty
1 yard total of a variety of brown prints
5
/8 yard total of a variety of red prints Intermediate
¼ yard total of a variety of blue prints
2 fat eighths gray prints for watering can and turkey
½ yard total of a variety of gold prints
½ yard total of a variety of green prints
1
/8 yard gold plaids/homespun for stars and flowers
¼ yard green plaids/homespun for leaves, stems, and
calyxes
3 fat quarters plaids/homespuns in shades of brown,
red, and gray
7
/8 yard medium dark brown print for inner border
15/8 yards medium brown print for outer border
Threads to match appliqué
Black embroidery floss
5
/8 yard fabric of choice for binding
4½ yards fabric of choice for backing
Freezer paper
See Page 5 for general appliqué preparation instructions. Templates in the
Template Insert do not include seam allowance.
From variety of background prints, cut: From shades of blue prints, cut:
1 – 10½" square dark cream print for Block 1 1 of Template 1A for flowerpot
background 1 of Template 3J for flower
4 – 4½" squares of four prints for Block 2 background
8 – 2½" x 4½" rectangles for Flying Geese From shades of gray prints, cut:
4 – 6½" x 8½" rectangles of four prints for Block 3 1 each of Templates 3A–3C for watering can
background 1 each of Templates 3E and 3F in dark print for
1 – 12½" x 14½" rectangle of light cream print for watering can
Block 4 background
From shades of gold prints, cut:
From variety of color prints, cut: 1 each of Templates 1C and 1D for stars
10 – 2½" squares for 10-patch unit 1 each of Templates 3I and 3N for flowers
2 – 1½" x 6½" dark print strips for between Churn
Dash blocks From shades of green prints, cut:
16 – 2½" squares for Flying Geese 2 each of Templates 1F, 1G, 1N, and 1O–1Q for leaves,
16 – 2½" x 6½" strips for Rail Fence units stems, and calyxes
46 – 2½" squares for bottom row of section 1 1 each of Templates 1R–1Z for stem of leaves
10 – 27/8 squares for HST units in bottom row of 1 each of Templates 4M and 4N for leaves
section 1
2 each of Templates 1E, 1I–1M in a variety of colors From variety of green plaid/homespuns, cut:
for flowers 1 each of Templates 4J–4L, 4O, and 4P for stem
6 of Template 1H dark print for flower dots and leaves
1 each of Templates 4B–4I for sunflower petals 1 each of Templates 3G and 3Q for calyxes
1 each of Templates 3S–3U for stems
From shades of brown prints, cut: 2 of Template 3R for stems
1 – 2½" square dark print for Churn Dash block #1 11 of Template 3O for leaves
4 – 1½" x 2½" strips dark print for Churn Dash block #1
2 – 27/8" squares dark print for Churn Dash block #1 From variety of plaid/homespuns, cut:
1 – 2½" square medium print for Churn Dash block #2 2 of Template 3K for flowers
4 – 1½" x 2½" strips medium print for Churn Dash
block #2
2 – 27/8" squares medium print for Churn Dash
block #2
Sewing Instructions
1 – 1½" x 14" strip tan print for Checker Board
3 of Template 2A for stars 10-Patch Unit
2 of Template 3L for flower centers 1. Sew together two rows of five 2½" print squares for
1 of Template 4A for sunflower center the 10-patch unit.
From shades of red prints, cut: 2. Sew the two rows from Step 1 to complete the
4 – 1½" x 2½" strips light print for Churn Dash block #1 10-patch unit.
2 – 27/8" squares light print for Churn Dash block #1
4 – 1½" x 2½" strips for Churn Dash block #2
2 – 27/8" square for Churn Dash block #2
1 – 1½" x 14" strip for Checker Board
1 of Template 1B for heart
1 each of Templates 3D, 3H, 3M, and 3P for star and
flowers
76 Spring 2020
Churn Dash Blocks 11. Sew the two Churn Dash blocks together with a 1½"
1. On the wrong side of a 27/8" red print square, draw a x 6½" dark print strip between and one on the right side.
line diagonally from corner to corner. Combined unit will measure 6½" x 14½".
2. With right sides together, layer a marked red print

square on top of a 27/8" brown print square, then sew ¼"
from both sides of the drawn line.
Flying Geese
3. Cut on the drawn line of the unit from Step 2 to 1. Draw a diagonal line from corner to corner on the
create two HST units, then trim each to measure 3½". wrong side of two 2½" print squares.
2. With right sides together, layer a marked print square

on top of a 2½" x 4½" cream print rectangle. Sew on
the drawn line, cut a ¼" from the drawn line, then press
back the resulting triangle.
4. Repeat Steps 1–3 to make a total of four red/brown

HST units.
3. With right sides together, layer a marked print square
5. Sew four sets of two strips of red and brown together. on top of the other end of the unit from Step 2. Sew
on the drawn line, cut ¼" from the drawn line, then
press back the resulting triangle to complete a Flying
Geese unit.
6. Sew together one unit from Step 5 between two units

from Step 4 to make the top row of the block. Take care
with the position of color and rotation of HST units.
4. Repeat Steps 1–3 to make a total of eight Flying
7. Repeat Step 6 to make the bottom row of the block. Geese units.
8. Sew together two units from Step 5 with a 2½" brown 5. Sew the eight units from Step 4 together to make the
print square between to make the middle row of the Flying Geese strip for Section 1 measuring 4½" x 16½".
block.
9. Sew the three rows from Step 6–8 together to

complete a Churn Dash block.
10. Repeat Steps 1–9 to make a medium brown and red

Churn Dash block. Blocks will measure 6½".
Rail Fence Units
1. Sew together eight 2½" x 6½" strips to make a Rail Fence unit.
2. Repeat Step 1 to make a total of two units measuring 6½" x 16½".
Checker Board
1. With right sides together, sew a 1½" x 14" tan print strip and a
1½" x 14" red print strip to create a strip set.
2. Sub-cut the strip set into 12 – 1½" x 2½" segments.
11/2"
21/2"
3. Sew together the 12 units from step 2 to make a checker board unit
measuring 2½" x 12½".
Bottom Row of Section 1

1. Repeat Steps 1–4 of the Churn Dash block instructions with the variety of
27/8" print squares to make 10 HST units.
2. Sew together a row of five HST units from Step 1 and 24 – 2½" print
squares taking care with placement of the HST units.
3. Repeat Step 2 to make a second row.
4. Sew the two rows from Steps 2 and 3 together to complete the bottom
row of Section 1 measuring 4½" x 58½".
78 Spring 2020
Spring Section Assembly
1. Sew the 10-patch unit to the left of the Block 1 pot of
flowers.
2. Sew the Churn Dash unit to the bottom of the unit

from Step 1.
Block 1 Block 2
3. Sew the Flying Geese unit to the top of the Block 3

watering can of flowers.
4. Sew the Block 2 wonky star unit to the left of the unit
Block 3 Block 4 from Step 3.
Appliqué Blocks
1. Arrange the pot, flowers, stems, leaves, stars,
and heart then affix in place on the 10½" Block 1
background.
2. Appliqué using your favorite method then add

embroidery accents as noted on the templates.
3. Sew four 4½" Block 2 background squares together.

5. Sew the Checker Board unit to the bottom of the
4. Position and affix the wonky stars in place, then Block 4 sunflower.
appliqué using your favorite method.
6. Sew a Rail Fence unit to each side of the unit from
5. Sew together the four 6½" x 8½" rectangles to make Step 5.
the Block 3 background.
6. Arrange the watering can, star, leaves, stems, and

flowers then affix in place.
7. Appliqué then embellish as noted on the templates.
8. Position the flower petals, center, stem, and leaves on

the 12½" x 14½" Block 4 background and affix in place.
9. Appliqué then embellish as noted on the templates.

7. Sew the units from Steps 2, 4, and 6 together.
8. Sew the bottom row
of this section to the
bottom of the unit from
Step 7 to complete the
spring issue portion of
this quilt.
SONIA ALONSO
TOLEDO loves the
primitive style for
its warmth. Her
shop is called Solo
Patchwork, and her
blog can be found at
solopatchwork-sonia.
blogspot.com.
Designer
To give you a glance into the
creative minds of this issue’s
project designers, we asked them a
design-related question (below). Is
Notes there a question you would like to

ask our designers? Send it to judy@
primitivequiltsandprojects.com and
it may appear in a future issue.
What is your favorite design

theme, motif, block, etc.?
Patricia Sanabria-Friederich
It is very hard to pick one thing or theme that inspires my designs. You
will always see influences from nature, such as sunflowers, coneflowers,
daisies, black-eyed Susans. I also love to utilize pomegranates and cherry
leaves of any shape. I am always taking pictures of old homes and barns
as well, and you will see them show up in my designs. Another thing I do
is to photocopy leaves so I preserve their shapes and details and utilize
them. When you see a leaf on a design its shape came from a real leaf.
I always carry a pencil and sketch paper wherever I go so I can do my
drawings. My head is always spinning with ideas and I like to capture
them in the moment when I can.
Laural Arestad
Hands down, my favorite design theme combines appliqué, hand
embroidery, and piecing all in the same quilt. I love the added “art”
that the two hand mediums add to quilts. I’ve often stated that it isn’t
a Simply Put design until I have hand stitched something onto it.
Kim and Katie Hebblewhite
As a mother-and-daughter design team, we
Katie Solberg are blessed with a satisfaction that comes from

creating together. We feel there is a certain
richness that is revealed when we combine
Fall-themed wool projects are
our artistic capabilities. Nature and God’s creation are
always my favorite. I love the rich
constant sources of design inspiration for us. However, given
warm colors of fall, and wool is
our different paths of education and experiences, our minds approach
just perfect for the season. Fall
designing from different perspectives. Kim’s horticultural background and
leaves, pumpkins, acorns, and
attention to detail bring a realistic approach to our designs, while Katie is
crows are all things I never get
persuaded more by the contemporary and color.
tired of stitching!
While most of our designs are smaller hand-stitched projects, we both have
a passion for pieced quilting. Our namesake, Granny (Kim’s grandmother
Doris Braaten), was a prolific quilter and tailor. She loved the log cabin block
and stitched it abundantly as it uses every little scrap of fabric! To this day,
we both love the log cabin block as it stirs within us great memories of her
love and incredible generosity.
Jen Daly
My favorite quilt block is definitely the Sawtooth
Star. It’s the first block I ever made using
triangles and I’ve been in love ever since. The Wendy Williams
sawtooth star is a classic block that appeals Apart from appliqué, I think my
to my traditional side, but it also looks great made favorite block is a Churn Dash.
with modern prints, solids, wovens—whatever fabric you choose. There are so many different
It’s a fun and simple block to make and especially versatile. You variations on this traditional block.
can easily change the look of the block with strategic color or With appliqué, I love flowers.
print placement. The center square of the star allows for so many There are so many ways you can
possibilities—from fussy-cut fabrics to inset pieced blocks. The represent a flower—I never seem
only drawback with Sawtooth Stars is that I have to force myself to run out of ideas. However, I love
not to include them in every quilt I make! everything about patchwork and
appliqué. I get bored really easily
so I love to try new things and new
shapes with all of my work.
Bill Locke
My favorite design theme will vary
depending on what I’m working on,
but for the most part, my favorite
theme is wool appliqué on cotton.
When I can find the right primitive-
looking cotton for a background
and can then add wool appliqué,
I’m a happy sewist.
82 Spring 2020
Tracey Roberts
I spend many hours gardening when I am not designing and
making quilts, so flowers often find their way into my quilt
designs. Their shapes, colors, and beauty always inspire new
ideas and give me a way to blend two of my favorite hobbies.
Ana Alonso
Primitive country patchwork is my
favorite. I love the countryside with its
red barns, crows, and weeping willows.
Your VoiceNotes from Our Readers
I made the Pretty Pears project by Teresa

Johnson, from your Summer 2019 issue. My
tray is smaller so I adjusted the pattern to fit
my tray. I enjoy the projects and
look forward to every issue. I also
made a covered box and used the
house from Sonia Alonso Toledo’s
Sewing Punchneedle case and
the sheep from Kay Harmon’s
My Sewing Box. Both are in the
Summer 2019 issue.
—Melanie Schultz
In the Winter 2019 issue’s Kind staff, I've always been

“Ask Mom,” you suggested fascinated by the quilting
embellishing canvas aprons. technique, but never found
I happen to have an apron the courage to start. Then I
and could not wait to discovered your magazine
embellish it with a picture and your wonderful creations
of our sweet dog of 15 inspired me to
years. We had to put him try! These are
to sleep in July and now my first projects
he can be with me anytime ever. They
I’m quilting. Thanks for the are far from
wonderful idea; I plan to make precision, but I
several for my quilting friends. I am extremely
wore mine while taking classes proud of them.
at the International Quilt Festival Thanks for your
in Houston! Thank you for such wonderful projects!
a wonderful magazine that is so —Camilla Maffiuletti (Italy)
inspiring. I look forward to each
issue! —Donna Baxter
84 Spring 2020
Fall Crazy by Susy Boyer, from I created this as a Christmas gift for
your Fall 2019 issue, was a a friend. I used The Hen House by
super fun project, and I love Dawn Heese from the Summer 2017
the finished quilt! This is my issue. I changed the borders and
Crow and Corn rucksack by used an antique window to frame it.
Roseann Meehan Kermes, —Karen Wisdom
from your Fall 2017 issue.
I never throw away any of
your magazines—I have
every issue!
—Audrey Burk
Hi Creative Ladies, I’m

sending you my version
of your cover project (Wacky
Jacks by Dawn Heese) from
the Fall 2019 issue. While I This is my version of Jo Timko’s Autumn
only own a few small bits Bounty from your Fall 2017 magazine. I
of wool, I have a plethora of used her center design of wool appliqué
cotton and found the perfect and added some beads. I framed mine
fabrics washed and ready. in orange and purple maple leaves.
I love needleturn appliqué It was quilted by my friend Barbara
and these big pieces came Tinder. I didn’t subscribe to your
together quickly. I also had the magazine this year and I missed it.
perfect autumnal batik for the Recently I renewed my subscription
borders. While I plan to do a so I’m looking forward to more great
bit more hand quilting, right projects! —Elizabeth Jacobsen-Snead
now I’ve found a great spot on
my dining room table.
I just finished my version of Katie
—Jackie Owen
Solberg’s Ring of Posies, from your
Spring 2019 issue. When I saw it,
I immediately thought I could
make a lasting keepsake for
my daughter, who is getting
married in November. I just
added the names and date
to the center. I know she will
treasure it! Thanks Katie and
Primitive Quilts and Projects!
—Marilyn Turner
We love to hear from our readers. Please send us photos of your projects made from this magazine or your thoughts
on our magazine and primitive fiber arts. We can't guarantee that we will publish all submisssions, but we will do our
best to capture your voices. Your notes may be edited for style, space, and clarity. Send them to
[email protected].
Liberty Pots
P illow
Designed by Wendy Williams
Finished pillow size: 18" x 26"
Intermediate
On a recent trip to France in spring, I loved seeing all the flowerpots on the
balconies and outside all the little cafes and shops. When I returned home,
I wanted to make something as a memory of my time in Paris. I hope you
enjoy making this pillow to brighten up your home for the spring season!
86 Spring 2020
½ yard gray linen for appliqué background 18" x 26" pillow form or fiber fill for stuffing
7
/8 yard cream linen for pillow border and back Size 8 perlé cotton in a variety of colors including five
5" x WOF strips of five prints for flowerpots and shades of green. (Wendy chose WonderFil threads.)
flange border Chalk pencil
4" x 8" rectangles of wool in apricot, lemon, green, Fabric glue stick
lilac, light pink, dusty pink, baby blue, denim blue, 18" dress or invisible zipper
peach, light gray, and light orange for penny flowers 4" x 20" cardboard for templates
20" x 27" fabric of choice for pillow top backing Freezer paper
4" x 20" cotton or wool batting for flower pot
dimension
N O
G M Q T
F H P S
R U
J
I K
L
B D
B
A C E

See Page 5 for general appliqué preparation instructions. Wendy used cardboard templates for cutting
the flower pots.
From gray linen, cut: From fabric of choice, cut:

1 – 13" x 19" rectangle for background 1 – 18½" x 26½" rectangle for pillow top backing
From cream linen, cut: From batting, cut:

2 – 4½" x 12½" strips for side borders 1 each of Templates A–E for dimension to flowerpots
2 – 3½" x 26½" strips for top and bottom borders
1 – 7¼" x 18½" rectangle for pillow back From variety of wool colors, cut:
1 – 18½" x 21¼" rectangle for pillow back 1 each of Templates F–U for penny flowers (Note
the small circle at the center of penny Templates H,
From five prints, cut: L, O, R, and U. Cut these small circles out of these
1 each of Templates A–E for flowerpots, adding 3/8 top pennies to reveal the color of the penny beneath
seam allowance around the template perimeter when appliqued together .)
1" strips from each in a variety of lengths to make a
total of 64" for flange border around appliqué
Sewing Instructions
Flower Pots
1. Layer the pot fabric, batting, and cardboard template.
2. Fold the edges of the fabric over and glue to the

bottom side of the cardboard. Fold the fabric over as
tight as possible.
3. Press the fabric from both sides to get a strong fold.

Allow to cool and then carefully remove the cardboard.
(A cuticle stick is helpful for this.)
4. Repeat Steps 1–3 to make the five flower pots.
Embroidery and Appliqué

1. Referring to the project photo, position each pot
in place, then pin to secure it for embroidery. Take
care with this as the background will be trimmed to
Penny Flowers 12½" x 18½" and a flange frame will be added when
1. Make each flower before attaching it to the the appliqué is complete.
background. The last row of embroidery at the outer
edge will attach the flowers to the background. 2. Stitch each flower pot to the background with small
slip stitches. Outline each with a row of backstitch
2. Beginning with the flower center, stitch the smaller around the perimeter.
circle to the next circle using the stitches indicated on
the template diagrams. 3. Place the flowers above each flower pot and pin
them in place.
3. Continue
to stitch each 4. Stitch the flowers to the background using the
of the circles embroidery stitches indicated in the template insert.
together until
all the flowers 5. Mark the lines for the stems and leaves then
are complete. embroider them using the stitches indicated.
6. Trim the completed appliqué background to

12½" x 18½".
88 Spring 2020
Completing the Pillow 4. Repeat Step 3 to sew the unit from Step 2 to the other
1. Sew the variety of 1" print strips together to make the side of the zipper as shown in Diagram 2. Trim the
64" flange border unit. Press in half with wrong sides pillow back to match the pillow front.
together to make a ½" x 64" flange border unit.
2. Cut two ½" x 12½" side flange strips and two

½" x 18½" top and bottom flange strips.
3. Pin the side flange strips to the sides of the pillow top
with raw edges together.
4. Sew them down with a scant ¼" seam.
5. Repeat Steps 3 and 4 to add the top and bottom

flange strips.
Diagram 1 Diagram 2
6. Sew the 4½" x 12½" cream linen side borders to the
unit from Step 5. 5. Lay the pillow front and back right sides together and
pin around the perimeter.
7. Sew the 3½" x 26½" cream linen top and bottom
borders to the unit from Step 6. 6. Open the zipper before sewing the pillow front and
back together.
8. Pin and sew the pillow top to the fabric of choice
backing with a scant ¼" seam allowance. 7. Sew around the perimeter
of the unit from Step 5.
Pillow Back 8. Turn right side

1. Press under 1" of the 7¼" x 18½" cream linen backing out and press if
rectangle, so it measures 6¼" x 18½". necessary.
2. Repeat Step 1 with the 18½" x 21¼" cream linen 9. Insert the pillow
backing rectangle, so it measures 18½" x 20¼". form or stuffing to
complete the pillow.
3. Position the zipper under the 18½" folded edge of
the unit from Step 1 as shown in Diagram 1 and sew
together using a zipper foot.
WENDY WILLIAMS creates popular textile pieces using wool felt combined with a wide range of
traditional and modern patchwork influences. Her studies in teaching and fashion formed a strong
foundation for her work, which is happy, colorful, and achievable for makers at any level of experience.
She has a dedication to the principles of the design process and communicates it in a delightful manner.
Currently a popular Australian designer, Wendy teaches regularly in Sydney as well as internationally for
groups, events, and shops.
Stitchin ,
Marketplace
Fun kits, patterns and products from
our friends in the quilt-making world!
To order use specific information beneath each
individual listing, or view online using the
Stitchin’ Marketplace menu option
at www.primitivequiltsandprojects.com
April Showers • Pattern $9.50 Dearest Boy Album Quilt • Kit $36.00 Evergreens • Pattern $9.00
By Dearest Boy
Quilt is 66" x 72" and contains 32 ten-inch blocks By The Woolen Needle
By Granny’s Legacy Patterns and twenty-inch center block. Full color illustrations, 61" x 74" Features 35 wool applique trees on pieced
9.5" Round Mat. Kit and thread also available. instructions, and full-sized pattern pages are provided. cotton. homespun. Kit and thread also available.
grannyslegacypatterns.com/shop/aprilshowers etsy.com/listing/593121045/dearest-boy-pattern-book thewoolenneedle.com/product/evergreens-2
Green Bay Packer Plaque • Kit $49.99 Winter Welcome • Kit $44.50 Rug Hooking • Magazine $19.95
By Yellow Creek Quilt Designs SAVE $18 on a 1-Year Subscription to Rug Hooking
By Pieces of Dreams 14" x 271/2" This project is wool on fabric. Kit Magazine: $19.95 USD. Discover stunning inspiration
These make great gifts for the ultimate Packer fan! includes fabrics and wool for the top including the binding. for primitive and fine cut rugs, expert tips and dyeing
techniques, and a FREE pull-out pattern in every issue!
piecesofdreams-kathy.com/shop/c/p/Wisconsin-Green- yellowcreekquiltdesigns.com/product/winter-welcome-kit
Bay-Packers-x44471622.htm rughookingmagazine.com/PQP519
A Life of Plenty • Pattern $28.00 22" Leprechaun • Pattern $9.95 Kaleidoscope Table Mat • Pattern $11.99
By Woolen Willow Designs

This beautiful pattern is a scrap lover's dream!
Quilt dimensions are 48" x 52" By Sparkles ‘n’ Spirit Doll Pattern Company By Wooly Lady
woolenwillowdesigns.com/products/a-life-of-plenty- Seamus makes perfect March home decor! Kit available. 20" Round. Kit and thread also available.
primitive-pattern sparklesnspirit.com woolylady.com/kaleidoscope-table-mat.html
Wool Blown
Tulips Designed by Katie Solberg
Finished size: 12" round
Project Level of Difficulty This little round mat is perfect for spring. It looks great on a
side table or on the top of a 12" hat box or stool. The design
Beginner
reminds me of Marie Webster’s traditional “Wind Blown
Tulips” appliqué pattern, which is why I called it "Wool
Blown Tulips."
92 Spring 2020
12½" square blue/gray wool for background
12½" square red textured wool for scalloped frame
and flowers
6" x 7" dark red wool for flowers
2" x 5" pink wool for flower centers
5" square light blue wool for center circle and petals
3" x 6" dark green wool for stems
4" x 9" light green wool for leaves
Fat quarter homespun of choice for backing
Valdani size 12 perlé cotton: green – O519, blue/gray
– 8111, pink – H204, twisted tweed blue/red – PT9,
red – O78, and twisted tweed tan/teal – PT7
SoftFuse Premium
Freezer paper

1. Fold a 12½" square of freezer paper in half and then in From dark green wool, cut:
half again to create quarters. 3 of Template J for stems
2. Position the corner of Template A at the folds of the From light green wool, cut:
quartered freezer paper unit from Step 1 and trace the 3 of Template K for leaves
quarter circle curve.
B
3. Cut on the drawn line to create a circle template.
K
From blue/gray wool, cut: J
1 of Template A for background
A
From red textured wool, cut:
1 each of Templates B and C for scallop
E
border and center flower top
I F C
From dark red wool, cut: I
1 of Template D for center flower base
H G
3 of Template E for tulips
From pink wool, cut: D

3 of Template F for tulip centers
1 of Template G for center flower center
From light blue wool, cut:

1 of Templates H for center circle
6 of Template I for small petals
Sewing Instructions
Stay 1. Using the project photo as a guide, fuse the appliqué

elements to the blue/gray background.
in touch!
2. Blanket stitch each element using matching perlé
cotton thread.
3. Embellish by adding a red stem stitch to the pink tulip

centers. Then with blue/gray thread add a stem stitch
to the leaves. Stitch French knots around the outside of
the light blue circle and in the pink flower center. Add
lazy daisies in the light blue tiny petals and around the
French knots in the pink flower center.
4. When appliqué is complete, fuse the top to the

backing. Trim the perimeter of the backing using the
wool mat as a guide. Blanket stitch around the edge to
finish the project.
Cabin under the Stars by Rita Briner, Summer 2011
Follow along as Jeni, Judy and

Gretchen offer behind-the-scenes
inspiration and commentary on the
Primitive Quilts and Projects blog.
Learn about future projects and

issues,get useful tips, watch tutorials,
and win great prizes!
primitivequiltsandprojects.com/blog
Sign up for the e-newsletter at

94 Spring 2020
KATIE SOLBERG learned to quilt in 2006 when her mom decided to open a small quilt shop in Fox
River Grove, Illinois. She quickly grew to love scrappy quilts with primitive designs and anything with
wool appliqué. Katie is now the owner of Pieceful Gathering Quilt Shop, which has been featured in
Quilt Sampler magazine. Katie loves to design patterns, and she teaches classes at the shop and at
local guilds. Katie lives in Crystal Lake, Illinois, with her husband and three small children.
Contact Information
Pieceful Gathering Quilt Shop
www.piecefulgathering.com
847-516-7911
Kits $29.99 plus postage. Kit includes all wool for appliqué and backing fabric.
Thread kit $29.99 plus postage. Kit includes six balls of Valdani perlé cotton size 12.
On Location
I’m Judy Williamson, one of the three Primitive
Sweet Roxy
relaxing alongside
flowers in Wendy
Williams’ pillow.
Quilts and Projects sisters. We normally write about
the photoshoot location in the third person. But this
time, we shot the pictures at my house, so I get to
write in the first person.
I live in a small two-bedroom, story-and-a-half

cottage in Williamstown, West Virginia. My late
husband and I bought this several years ago, when
our children fled the nest (a large four-bedroom
house) and took a lot of our furniture with them.
Funny thing: After we moved in, both kids moved
back! We had to create a third bedroom for our
daughter using tall bookcases to carve out a corner
in the dining room. Fortunately, this was a short-
lived arrangement, and before long Dave and I were
back to empty nesting.
Over the years we did a lot of remodeling, including It’s difficult to decide my favorite feature of this
gutting the kitchen and main bathroom. We also home. I love the location, mature trees, and my
created a family room, and repurposed the original neighbors. I love what my husband and I did to
living room into a nice-sized dining room. I share remodel, update, and expand the house. If pressed
my home with a sweet three-year-old husky-mixed to pick one thing, it might have to be our pretty
pup named Roxy (seen above right and on page family room. It is comfortable, roomy, and warm.
86). My son and daughter and their families live
nearby, so I get to see my grandchildren often. I enjoyed sharing my home with you.
That’s my sweet little granddaughter, Maddie, on
page 70, hamming it up for the camera. Judy
96 Winter 2019
Reader Resources
Aurifil Subscriber Contest ..................................... 23

primitivequiltsandprojects.com/contest
Colonial Needle ........................................................ 83

colonialneedle.com
Fiber Artisans Fair ..................................................... 83

mariettamuseums.org
Granny’s Legacy....................................... Back Cover
Grace Company ........................................................ 29 grannyslegacypatterns.com
graceframe.com
Primitive Quilts and Projects ................................ 94
Sparkles ‘n’ Spirit ....................................................... 83

sparklesnspirit.com
Stitchin’ Marketplace ................................................91

primitivequiltsandprojects.com/stitchin-marketplace
Sue Spargo................................... Inside Front Cover

suespargo.com
Spring 2020
Permission is granted to photocopy

this page for personal use only.
Blueberry Patch
Jen Daly
(Pages 6-12)
Page 1 of 1
Spring 2020

Sweet Penny Baskets

Patricia Sanabria-Friederich
(Pages 14-19)
Page 1 of 1
Spring 2020
Rabbit Patches Runner

Vicki McCarty Permission is granted to photocopy
(Pages 50-55) this page for personal use only.
Page 1 of 1
Spring 2020

Spring Bouquet
Jenifer Gaston
(Pages 20-22)
Page 1 of 1
Spring 2020

Home Is Where You Build Your Nest

Kathi Campbell
(Pages 24-28)
Page 1 of 2
Spring 2020

Home Is Where You Build Your Nest

Kathi Campbell
(Pages 24-28)
Page 2 of 2
Spring Folly
Kim & Katie Hebblewhite
(Pages 43-47)
Page 1 of 2

Spring 2020
Spring Folly
Kim & Katie Hebblewhite
(Pages 43-47)
Page 2 of 2 Permission is granted to photocopy
Spring 2020

Courtyard Lane
Tracey Roberts
(Pages 56-63)
Page 1 of 2
Spring 2020
Courtyard Lane
Tracey Roberts
(Pages 56-63)
Page 2 of 2

Spring 2020

Stitching Makes Me Bloom

Bill Locke
(Pages 64-69)
Page 1 of 1
Spring 2020

Goldie Links
Laural Arestad
(Pages 38-42)
Page 1 of 1
Spring 2020

Circular Garden
Ana Alonso
(Pages 70-73)
Page 1 of 2
Spring 2020

Circular Garden
Ana Alonso
(Pages 70-73)
Page 2 of 2
Spring 2020
My Little Garden Sampler

Sonia Alonso Toledo
(Pages 74-80)
Page 1 of 5
Spring 2020

Sonia Alonso Toledo
(Pages 74-80)
Spring 2020
Sonia Alonso Toledo
(Pages 74-80)
Page 3 of 5
Spring 2020


Sonia Alonso Toledo
(Pages 74-80)
Page 4 of 5
Spring 2020


Sonia Alonso Toledo
(Pages 74-80)
Page 5 of 5
Spring 2020
Liberty Pots Pillow

Wendy Williams
(Pages 86-90)
Spring 2020
Liberty Pots Pillow

Wendy Williams
(Pages 86-90)
Page 2 of 4
Spring 2020
Liberty Pots Pillow

Wendy Williams Permission is granted to photocopy
(Pages 86-90)
Page 3 of 4
Spring 2020

Liberty Pots Pillow

Wendy Williams
(Pages 86-90)
Page 4 of 4
Spring 2020
Wool Blown Tulips
(Pages 92-95)
Katie Solberg
Page 1 of 2
Spring 2020
Wool Blown Tulips

Katie Solberg
(Pages 92-95) Permission is granted to photocopy
Page 2 of 2 this page for personal use only.
Spring 2020

Evelyn this page for personal use only.
Lisa Burmann
(Pages 30-35)
Page 1 of 6
Enlarge Templates 200%
Spring 2020
Evelyn
Lisa Burmann
(Pages 30-35)
Spring 2020
Evelyn
Lisa Burmann
(Pages 30-35) Permission is granted to photocopy
Page 3 of 6
Spring 2020
Evelyn
Lisa Burmann
(Pages 30-35) this page for personal use only.
Page 4 of 6
Spring 2020

Spring 2020
Evelyn
Lisa Burmann
(Pages 30-35)

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Projects In Each Issue

SPRING BOUQUET STITCHING MAKES ME BLOOM Ask Mom ........................... 13

SPRING FOLLY WOOL BLOWN TULIPS Stitchin’ Marketplace ...... 91

Project Level of Difficulty

Backstitch Blanket Stitch Chain Stitch Couching Stitch Feather Stitch

This quilt was inspired by an outing with my children at a

From medium green wool, cut:

From medium olive green wool, cut:

From chartreuse green wool, cut:

6. In the same manner, stitch the assorted green print

8. Repeat Steps 4–7 to complete rows two through ﬁve.

4. Align the bottom left edge of the ﬁrst octagon in

11. Add seven green border print squares to the top of

13. Trim the corners of the outer green squares even

9. Sandwich the quilt top, batting, and backing; baste.

Quilt Assembly Diagram

Appliqué Placement Diagram

Dear Jeni, dot of glue to hold it onto your

Project Level of Difficulty Combining fabrics, textures, and contrasts of colors is

Patricia chose to cut the 180"

From beige print, cut:

From light beige print, cut:

From black print, cut:

From assortment of wool cut:

2. Sew them to the basket with uneven stitching and

3. Sew the basket to the center of a 5" beige print

4. Repeat Steps 1–3 to make a total of 12 beige print and

5. Again, referring to the project photo and diagrams as

6. Stitch them together with straight stitches and

7. Sew the penny to the center of a black print 5" square

8. Repeat Steps 5–7 to make a total of 24 penny blocks.

Completing the Quilt

4. Sew the vine in place with a small basting stitch.

8. Repeat Steps 1 and 2 of the sewing instructions to make two baskets

Contact Information www.patternsfromgrandmastruck.com

Contact Information www.woolenwillowdesigns.com

45 Spools of 100% Cotton

Enter our Auriﬁl Best Selection Floss

Appliqué Preparation and Cutting Instructions

From dark brown print, cut:

From muslin, tear:

From ripped brown solid, tear:

From light green print, cut: K

5. Kathi recommends trimming away the teal check

6. Using the placement guide, position the motifs in

7. Using a light box or sunny window, trace the lettering,

8. Whipstitch in place with two strands of matching

9. Refer to the Stitching Chart to

10. Press the center block

11. Using the Log Cabin construction technique and the

Kits available for $22.95 plus $4.50 postage.

From light gold with swirl, cut: 1C

From small gold print, cut:

2. Referring to the Placement Guide for Block 1, lay out

4. Repeat Step 1 for Block 2, then lay out the vine,

5. Trim the three blocks to 20½" square.

6. Referring to the project photo, sew the three blocks

2A 3. Repeat Steps 1 and 2 to add small gold print triangles