PopularPatchwork2017 01

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PATTERN SHEET Inspiring and Informing Quilters since 1993

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● COMMUNITY ● INSPIRATION ● CREATIVE ● STYLE ● DESIGN
SANTA'S
COMING!
Make a pair of fun festive cushions
FROST
FLOWERS
KEEP WARM WITH
OUR STUNNING
MEDALLION QUILT
LET'S PLUS:
DEC 2016
£4.99
CRAFT GROUP
CELEBRATE
Whip-up a whimsical fabric wreath
✶Retro bauble quilt
✶ Handy craft apron
✶ Pinterest for quilters
SLEIGH RIDES AND THE NORTHERN LIGHTS

Find out how a trip to Lapland inspired a Christmas fabric collection
AUTUMN 2016
DAZZLING
OFFERS
£99 – £999
AVON Direct Sewing Machines, Bristol – 0117 977 8216

BEDFORDSHIRE Tudor Rose Patchwork, Oakley, Bedford – 01234 824 983
BERKSHIRE Sew Devine, Reading – 0118 926 8664
BUCKINGHAMSHIRE Alans Sewing Machines, High Wycombe – 01494 527600
Threads and Patches, Milton Keynes – 01908 649687
CAMBRIDGESHIRE Sew Creative Ltd, Cambridge – 01223 350 691
CHESHIRE All Fabrics, Stalybridge – 0161 478 8236/01706 624 651
Jaycotts, Chester – 01244 394 099
J & P Sewing Machines, Warrington – 01925 633 831
Phil Morton Sewing Machines. Macclesfield – 01625 433 131
CORNWALL The Sewing Studio, Redruth -01209 216 942
DERBYSHIRE Elegance, Derby – 01332 382 292
Ilkeston Sewing & Janome Centre, Ilkeston – 01159 307 664
DEVON Exeter Sewing Machine Company, Exeter – 01392 275 660
Hulu. Modbury – 01548 831 911
Soft Touch Needlecrafts, Tavistock – 01822 617 673
DORSET Hansons Fabrics, Sturminster Newton – 01258 472 698
Paulines Patchwork Ltd, Dorchester – 01305 261 022
So N Sews, Weymouth – 01305 766 411
DURHAM UK Sewing Machines, Darlington – 01325 463 630
ESSEX Home of Sewing by Regent, Ilford – 0208 478 0669
Superstitch Machine Co, Leigh on Sea – 01702 478830
GLOUCESTERSHIRE Cotswold Sewing Machines, Stroud – 01453 763660
West End Sewing Centre, Cheltenham – 01242 244025
HAMPSHIRE Eastleigh Sewing Centre, Eastleigh – 02380 650 808
Hampshire Sewing Machines, Fareham – 01329 280499
Reads of Winchester, Winchester – 01962 850 950
HEREFORDSHIRE Badder Fabrics, Hereford – 01432 379 137
Parrs Sewing Machines, Hereford – 01432 353 951
HERTFORDSHIRE British Sewing Centre, Borehamwood – 0800 888 661
SPECIAL Chicks Embroidery, Letchworth – 01462 670 007

Hobbysew, Hemel Hempstead – 0800 077 6711
PURCHASE
Rebecca Woollard Sewing School, Hatfield Heath – 07887 654 717
Rona Sewing Machines, Waltham Cross – 01992 640250
£99
Sewfine Sewing Machines, Watford – 01923 693 734
MODEL 216-S KENT Ashford Sewing Centre, Ashford – 01233 620948
Barcham Sewing Centre, Whitstable – 01227 264 271
• 14 Stitches Maidstone Sewing Centre, Maidstone – 01622 670 254
• Auto 4-step buttonhole The Sewing Shop, Canterbury – 01227 457 723
• Variable stitch length The World of Sewing, Pratts Bottom – 01689 638 638
• Convertible free arm The World of Sewing, Tunbridge Wells – 01892 533188
• Quick change snap on feet LANCASHIRE Etty-Lilly, Bolton-Le-Sands, Carnforth – 01524 734 713
Hobkirk Sewing Machines, Blackburn – 01254 693555
Hobkirk Sewing Machines, Bury – 0161 764 4450
Lestan Sewing Machines, Nelson – 01282 614 511
M & S Sewing Machines, Heywood – 01706 624 651/01706 366 943
Sew-Knit (Dalby & Jones Ltd), Preston – 01772 254 558
LEICESTERSHIRE Cresswell Sewing Machines, Leicester – 07979 798 010
The Sewing Café, Hinkley – 01455 698 034
LINCOLNSHIRE Couling Sewing Machines, Lincoln – 01522 521841
Seweezy, Gainsborough – 01427 614 570
LONDON (GTR) Lewisham & Deptford Sewing Machines, Deptford – 020 8692 1077
Redgewell Sewing Machines, South West London, 020 8337 3444
Sewing & Craft Superstore, London – 020 8767 0036
SM Sewing Machines Ltd, London – 07850 310 518
The Sewing Centre, Battersea – 020 7228 3022
Wimbledon Sewing Machine Co Ltd, London – 020 8767 4724
www.janome.co.uk
MODEL MXL50
• FULLY COMPUTERISED
• 50 stitches
• 3 styles of auto 1-step buttonholes
MANCHESTER (GTR) Bamber Sewing Machines, Manchester – 0161 707 7786 • Variable stitch width & length
R. Bullock & Son Ltd, Wigan – 01942 247 836 • Jam proof drop in bobbin
MERSEYSIDE Affordable Sewing, Moreton, Wirral – 0151 677 7755 • Automatic needle threader
Sewing & Knitting Centre, Southport – 01704 534 688 • Maximum speed controller
NORFOLK Sew Creative, Norwich – 01603 305 888 • Programmable needle up/down
Sewing Machine World, Kings Lynn – 01553 773362 • Start/stop button
NORTHAMPTONSHIRE Sew Northampton, Northampton – 01604 637200 • Lock stitch feature
NOTTINGHAMSHIRE Cresswell Sewing Machines, Nottingham – 0115 926 7572 • Convertible free arm
OXFORDSHIRE Witney Sewing Machine Centre, Witney – 01993 704535
Witney Sew & Knit Centre, Witney – 01993 702 772
SHROPSHIRE Sewing Machine Centre, Shrewsbury – 01743 343 902 Bonus Pack Including
SOMERSET Bredons Sewing Machines, Taunton – 01823 272 450
Monkton Elm Garden Centre Ltd, Taunton – 01823 412 381 SPECIAL FREE Extension Table
Normally £92.50
SURREY C & A Supply Co. Ltd, Cranleigh – 01483 267 777
Redgewell Sewing Machines, Worcester Park – 0208 337 3444 PURCHASE
SUSSEX Brighton Sewing Centre, Brighton – 01273 621 653
Clothkits Ltd, Chichester – 01243 533 180
Eclectic Maker, Worthing – 01903 681000
£399
Hastings Sewing Centre, Hastings – 01424 423 108
TYNE & WEAR G Tully Sewing Machines, Sunderland – 0191 565 7995
Sewing Machine Sales, Whitley Bay – 0191 252 5825
WARWICKSHIRE Coventry Sewing Centre, Coventry – 02476 257266
Harry and Floss, Alcester – 01789 400 747
Leamington Spa Sewing Machines, Leamington Spa – 01926 338 749
WILTSHIRE Cotswold Stitchcraft, Malmesbury – 01666 823 245
West Wilts Sewing Machine Co, Trowbridge – 01225 753 792
WEST MIDLANDS Brewers Sewing Machines, Wolverhampton – 01902 458 885
D C Nutt Sewing Machines, Walsall – 01922 497 603
Frank Nutt, Kings Heath – 0121 444 3978
L & M Nutt, Sutton Coldfield – 0121 373 5497
S Nutt Sewing Machines, Birmingham – 0121 327 2828
WORCESTERSHIRE Creative Hands 2, Worcester – 01905 24940
Inkberrow Design Centre, Redditch – 01527 69100
Topstitchers, Kidderminster – 01562 822 698
YORKSHIRE Arcade Sewing Machines, Huddersfield – 01484 429 808
C & G Sewing Machines, Bradford – 01274 306352
COMBO OFFER!
Electra (DA) Company, Doncaster – 01302 340 369 Buy the 8002D Overlocker
Flynn’s@ Browns of York, York – 01904 561234/611166 for ONLY £99
Knit & Stitch, Doncaster – 01302 366 022 when you purchase one
Knit & Stitch, Rotherham – 01709 817 944
of the SWS computerised
Lennox Sewing Machines, Rotherham – 01709 377 797
machines this Autumn
MKC Services, Leeds – 0113 245 3156
Sewing Centre, Scarborough – 01723 363 167
White Rose Sewing Machines, Harrogate – 01423 503767
Woodseats Sewing Machines, Sheffield – 0114 255 2822
ISLE OF MAN Joan’s Wools & Crafts, Onchan – 01624 626 009
SALE
IRELAND Sew N Knit Belfast, Belfast – 0289 045 6015
Sew N Knit Lisburn, Lisburn – 0289 267 0908
£499
Singer Sewing Centre, Ballymena – 0282 564 0034
SCOTLAND David Drummond, Edinburgh – 0131 539 7766
FREE
ESC Sewing Machines, Keith – 01542 887 000
N.J. Sewing Machine Services, Brightons Falkirk – 01324 711 333
Quilting Kit & Extension SAVE
Table, Normally £119
Pembertons Sewing Machines, Stirling – 01786 462 993
Quilt Creations, Inverness – 01463 719 369
£80
Sew Materialistic, Ayr – 01292 285 801
The Stitchery, Glasgow – 0141 237 9690
WALES Calico Kate, Lampeter – 01570 422 866 MODEL TXL607
Clifford’s Sewing Machines Ltd, Swansea – 01792 655 928
J & B Sewing Machine Co Ltd, Cardiff – 01633 281 555 • FULLY COMPUTERISD
J & B Sewing Machine Co, Ltd, Newport – 01633 284 646 • 402 Stitches including 1 alphabet font
Quay Street Sewing Centre, Haverfordwest – 01437 762 355 • 7 Styles of auto 1-step buttonholes
Sewing Machines Direct, Wrexham – 01978 851 235 • Variable stitch width and length
• Memorise stitch combinations
The ‘Sewing with Style’ offers are available from Janome sewing machine retail
• Jam proof drop in bobbin
outlets nationwide. Promotion starts 3rd September 2016 to 24th December 2016.
• Automatic needle threader
(All offers subject to stock availability.)
• Convertible free arm
• Automatic thread cutter
• Maximum speed control
• Programmable needle up
• Start/stop button
• Lock stitch feature
The world’s leading sewing machine manufacturer

I used to have a patchwork shop and remember
the first time a sales rep visited in January
and showed me a Christmas range. I think it
was around the 4th or 5th of January and I
was starting to take down the decorations and
get tidied. When the rep arrived I put the kettle
on and we chatted about what we did over the
welc ome break and plans for the New Year. Visits from
a rep were always a treat, sample after sample
of fabric designs, but I was a little taken aback
by the sweet robins and decorated trees that
were at the top of the pile. It was 2011, I had had the shop for nearly a year and was still
learning the ropes, and he was a little amused that I was slightly shocked by the sight of
all this cheerful festive fabric. I enjoy the January feeling of taking down the decorations
and looking ahead to the new year, and the sight of the cheerful little Santas were a
bit, well, overwhelming! With this in mind I was delighted that Hannah Richards, the
Creative Director at Lewis and Irene agreed to share the timeline of putting together a
festive range of fabric. You can read more about it on page 46.
As this is the December issue we have lots of festive projects for you. Melinda Duncan’s
apron (page 58) and Suzanne Fisher’s cushions (this month’s cover project) are both
fast and easy to sew and make ideal presents. As an aunt to a three-month-old, I loved
Judith Hollies’ bib projects - quick to sew and ideal for scraps, I won’t mind if they quickly
get ‘used’ as bibs do! We also have a gorgeous selection of quilts, featuring festive Baubles
(p36), graphic Icicles (p22), pretty roses (p30) and a beautiful medallion quilt (p50).
Happy Quilting
Our contributors this month include...
Louisa Goult
We are happy to welcome our new sub-editor Louisa to the team. As a quilt and kit designer for her business
Sewmotion, Louisa is now putting her writing and editing skills used in her former publishing career to good use. As
well as catching the odd spelling mistake and missing full stop, she will also be contributing projects and articles about
her quilting passions. She is looking forward to learning about what our readers have been up to, reading about the
amazing quilters at work today, and says she’s over the moon that she can now write about a subject she loves.
Rosemary Rosenfeld
I have always been a crafter and have enjoyed knitting and sewing for as long as I can remember. I made my first
quilt over forty years ago for my nephew, now a father of three himself who has used the quilt for all of his
children. I really started quilting ‘properly’ about eight years ago starting big with a king size log cabin quilt, now
on the spare bed. I enjoy all the stages in making a quilt except sewing in the loose ends! I have also taught small
local groups as well as giving talks about Quilts and Quilting, sharing my love of having an original idea and
creating it into something beautiful.
You can follow us on Facebook and Pinterest (Popular Patchwork Magazine), and Twitter (@Pop_Patchwork)
50 30 36
58 66 42
76 22 26
Subscribe to
Popular Patchwork
and enjoy great
savings on the
shop price!
See pg 82
CONTENTS
PROJECTS FEATURES REGULARS
14 SANTA’S HELPERS 26 FINE CELL WORK 8 NEWS AND REVIEWS
These quick-to-make cushions will Anne Williams finds out about The latest quilting news
add festive cheer to any home this charity and social enterprise
that trains prisoners in creative 12 TAKE ME HOME
22 ICICLES needlework This month the team pick their
Mandy Munroe’s quilt captures favourite sewing related items
a dark winter night with icicles 46 THE SHIMMER WAS featuring festive characters
hanging over the window and sill WORTH THE WAIT
Go behind the scenes with Hannah 21 STUART’S SURGERY
30 CHARMING VINTAGE ROSE Richards, Creative Director at Stuart answers a reader’s question
Brighten up your bedroom with Lewis and Irene, to discover how about binding
this fresh and modern quilt from a range of Christmas fabric is
Louisa Goult based on the versatile designed and produced 34 MEET THE…
5in charm square Meet Matthew Doughty, owner of
63 IT’S ALL ABOUT THE one of the UK’S most well-known
36 CHRISTMAS BAUBLES QUILT SEWING family run fabric shops, Doughty's
The bauble shapes in Makower’s Elizabeth Betts spends a
Wrap It Up fabric collection were relaxing weekend quilting at 80 SHOW & TELL
the inspiration for this festive quilt the justhandson.tv retreat in Our readers share stories and
by Judith Hollies Buckinghamshire pictures of their quilts and quilted
projects
42 CHRISTMAS BIBS 70 STITCHING UP A CHAIN
Cute babies' bibs are easy to REACTION 82 SUBS OFFER!
create with 21⁄2in squares of fabric We interview Linda Onions Subscribe to Popular Patchwork
and a simple template and find out how taking a local today
patchwork and quilting class led to
50 FROST FLOWERS teaching and exhibiting her own 84 FINISHING SCHOOL
MEDALLION QUILT work This month Suzanne Fisher
Debbie von Grabler-Crozier's shares an easy to way to bind
classic medallion-style quilt has a 74 QUILTING PINS a small art quilt
centre of hexies and more besides Kerry Foster explains how to use
Pinterest to find and plan your 86 BOOKSHELF
58 CRAFT APRON next quilt project A closer look at what’s hot off the
This handy apron by Melinda press in the world of patchwork,
Duncan will help you get organised quilting and textiles
66 GET CREATIVE – SKILL LEVELS 88 WHAT’S ON IN YOUR AREA

FESTIVE WREATH To help you decide what to make A great selection of events and
This contemporary Christmas each month check our skill level activities for you this month
wreath from Janet Goddard
features bright holly, hearts,
indicator next to our projects.
Novice
93 NEXT ISSUE
stars and candy canes A preview of what we have coming
Beginner up in our January issue
76 TREE SKIRT Intermediate
Add glamour to your festive Experienced 97 LET’S VISIT
décor with a stylish tree skirt Advanced This month we take a tour of Devizes
by Jennie Rayment
We put every effort into checking project instructions and try to ensure their accuracy. Projects may not be photocopied except for
your own personal use and you may not teach projects from the magazine without the permission of the publisher and the designer.
NEWS & REVIEWS
THE WINTER TREE
He’s inspired a generation with his use of colour in design,
now knitwear and fabric designer Kaffe Fassett will unveil a
winter tree, created especially for Standen, the National
Trust’s Arts and Crafts house in Sussex. The signature tree
will be situated in the courtyard and adorned with colourful
handmade decorations. The designer’s work features in
many museums and private collections around the world and
this year’s commission at Standen follows on from a
neon-decorated tree by the fashion designer Zandra Rhodes
in 2015. This historic house is a wonderful place to visit
around Christmas time for its beautifully decorated rooms
that evoke traditional festivities throughout the decades.
The unique colourful Winter Tree can be seen daily in the
courtyard from Saturday 26th November until January 2nd
from 10am to 4pm, with extended twilight openings until
6.30pm on Saturday 26th November, Friday 9th and
Saturday 10th December and then Friday 16th to 23rd
December (closed Christmas Eve and Christmas Day). The
house and its decorated rooms are also open daily from 11am
to 3.30pm (last entry 3pm). Tickets cost £12 for adults and £6
for children, with National Trust members admitted for free.
nationaltrust.org.uk/standen-house-and-garden
MINI BUTTONS
These new mini buttons from Trimits are perfect for embellishing sewing projects and cards as well as other crafting
applications. They are available in three designs; round, heart and star, in a multitude of colours including seasonal red WIN!
and green. Their charm is that they are so small and dainty and each pack contains several complementing colour FIVE PACKS OF
shades which opens up endless possibilities for creative crafting. Made from 100% nylon, they are 6mm in diameter BUTTONS TO
and washable to 40°. RRP £2.40 per 5g bag. Trimits decorative products are available nationwide from sewing and GIVEAWAY!
craft shops, for stockist information email [email protected]
THE GIFT OF SEWING

Why not treat a friend or relative to a Royal School of Needlework Experience with a Christmas gift
voucher? The RSN has hundreds of beautiful items available to buy online and over 200 different day
classes for beginners through to advanced. The school is a registered charity so every purchase goes
towards supporting the school and keeping the traditional skills of hand embroidery alive and
thriving. Based at the magnificent Hampton Court Palace in southwest London, the school teaches
across the UK in Exeter, Bristol, Rugby, Durham and Glasgow, and internationally in North America
and Japan. royal-needlework.org.uk
8 December 2016 www.popularpatchwork.com

NEWS & REVIEWS
COURSE PICKS
This month we look at classes for those
new to patchwork…
KITS TO LOVE
New in at Lady Sew and Sew are these fun hippo and pig sewing kits. Featuring
1950s-inspired fabric they make great gifts, or you can stitch one yourself and use
it as a footstool. The hippo version is 13in high and priced at £27.50, and the pig is THE SIMPLE SAMPLER QUILT WITH DEB
9in tall and £25. Each one contains fabric and comprehensive instructions – all you MCGUIRE
need to add is filling. ladysewandsew.co.uk/shop/hippo-kit-geometrics This popular beginners’ class is for those who
are looking for a clear and comprehensive
introduction to the sewing skills needed to make
a quilt. They've taught over 100 people to make
QUILT SKILLS a Simple Sampler Quilt over the last five years.
If you are looking to £150. 7.30 till 9.30pm
improve your free-motion Wednesday 15th & 22nd March, 26th April, 3rd,
quilting in 2017 then take a 17th & 24th May 2017
look at the Skillbuilder At Plain Stitch, Wendover, Buckinghamshire
panels from Creative plainstitch.co.uk
Quilting. There is a choice of
two panels, one designed A STARTER QUILT COURSE WITH SHARON
around feathers and the During this five week course you will be making
other in a variety of designs. a starter quilt, learning to cut pieces accurately,
Each is priced at £10.95 and sew the blocks together, lay up the quilt with
if you are a complete wadding and backing and how to ‘quilt’ your
beginner then there is an own design onto the quilt top.
accompanying book £100. 6.30 till 9.30pm
available for £10.50. There Wednesday 4th, 11th, 18th, 25th January and
is also a complete kit 1st February 2017
including thread, on sale for At Raggy Robin, Durham
£28.95 - ideal for putting on raggyrobin.co.uk
your Christmas list.
creativequilting.co.uk PATCHWORK AND QUILTING FOR BEGINNERS
Learn the basic techniques for the entire process of
making a patchwork quilt by machine. The aim of
this two-day class is to keep it simple whilst
WIN! HOW TO ENTER introducing you to the wonderful world of quilting!

10.00am to 3.00pm
To enter any of the giveaways on our News pages visit Friday 20th & Saturday 21st January 2017
www.popularpatchwork.com, click on WIN! in the bar at the top, then At Exeter Sewing Machine Company, Devon
select the competition you wish to enter and fill in your details. Good Luck! exetersewing.co.uk
www.popularpatchwork.com December 2016 9

NEWS & REVIEWS
NEWS & REVIEWS

TOTALLY TOTES
Treat yourself or a friend to a vibrant bag kit from Oakshott. Designer Helen Butcher has
developed three unique designs, which come with fabric and instructions. Priced at £32 they
are perfect for adding a splash of colour to your winter wardrobe. oakshottfabrics.com
FROM THE PP ARCHIVES

Issue: December 2009
It was fun going through old FABRIC SIMPLICITY
December covers and seeing what New from Art Gallery Fabrics is Lagom, a range
projects made it onto the front of the of fabrics designed by their in-house creative
magazine. We loved this one, team. The name comes from the Swedish word
especially the warming fire and the meaning ‘just the right amount’ and the
presents under the tree, however the collection connects the beauty of sophistication
candles did make us slightly nervous, with design simplicity. The fabrics in soft shades
or perhaps we just don’t hang our of blush, delicate powder blue, grey and black
wall hangings up securely enough! are ideal for those who like a subdued modern
palette to work with. hantex.co.uk/mystockist
WIN!
SIX PACKS TO
GIVEAWAY!
RULER PACK
New to the Sew Easy range of mini template sets are mini squares and right angle triangles. These
complement the existing pentagon, diamond, triangle and hexagon geometric shapes. Each set has eight
clear templates making multiple cuttings of the same shape accurate every time. With clear 1⁄4in markings,
the clean precision of these high quality templates ensure easy cutting with a rotary cutter or drawing a
sharp outline with a marking pen. For easy storage and protection these templates are bound on a ring
within a zip lock plastic bag. RRP £15.99. For stockist information email [email protected]
FOR MORE QUILTING INSPIRATION OR TO GET INVOLVED

WITH SWAPS AND DISCUSSIONS VISIT OUR WEBSITE:
WWW.POPULARPATCHWORK.COM / YOU CAN ALSO FIND
US ON: FACEBOOK: POPULARPATCHWORK / TWITTER:
POP_PATCHWORK / PINTEREST: POPPATCHWORK

TAKE ME HOME
Each month the Popular Patchwork team share some of their favourite sewing related treats.
For the December issue we have selected fun items featuring snowmen and winter animals.
SNOWMAN DECORATION KIT

£1.00 Pretty up your tree
hobbycraft.co.uk

QUILTING WORLD take me home
£11.00 £1.25 £6.00

per m
FINGER PUPPET KIT POLAR BEAR APPLIQUÉ PATCH PENGUIN FABRIC

Let’s play! Embellish your festive jumper Cute penguins
notonthehighstreet.com/claraandmacy abakhan.co.uk ladysewandsew.co.uk
from
75p £5.00 £2.50
per m
WINTER RIBBON HAPPY CHRISTMAS SNOWMAN CARD

Wrap it up PDF QUILT PATTERN Handmade in Yorkshire
[email protected] Appliqué some festive friends folksy.com/shops/heyhihelloart
etsy.com/shop/TheRedBootQuiltCo
£8.99 £4.10 £1.49

for 2m
TILDA’S WINTER DELIGHTS WOODEN BUTTONS SNOW FRIENDS RIBBON

Get stitching Fun and festive For crafts and wrapping
searchpress.com [email protected] buddlycrafts.com

See pattern sheet
for santa's helpers
templates
HOME ACCESSORY PROJECT santa's helpers
santa's helpers
These quick-to-make cushions will add festive cheer to any home
DESIGNED AND MADE BY SUZANNE FISHER
I was inspired to make these cushions by the bright and colourful designs on Christmas wrapping paper.
Simple to make, if you wish you can really go to town on the embellishment!
Suzanne Fisher
CUTTING INSTRUCTIONS
SKILL LEVEL
FINISHED SIZE
1 From the neutral print cut the following:
Two 10in squares
One 15 x 10in rectangle
Each cushion is approx 37cm (141⁄2in) square
MATERIALS
The requirements listed will make both cushions.
2 From the green print cut the following:
Two 3 x 10in strips
Two 15 x 3in strips
Quantities are based on a usable width of 107cm One 15 x 10in rectangle
(42in), so 53.5cm (21in) for fat quarters.
30cm (3⁄8yd) neutral print
30cm (3⁄8yd) green print
One fat quarter each of two different red prints
3 From the first red print cut the following:
Two 3 x 10in strips
Wadding: two 43cm (17in) squares
Fusible web
Baking parchment or pressing sheets
Threads for piecing and appliqué
4 From the second red print cut the following:
Two 15 x 3in strips
Stranded floss or perle #8 thread for hand-stitched
details, optional
Beads and/or buttons for decoration, optional
Two 35cm (14in) square cushion pads
5 The appliqué pieces are cut from the leftover green and red
prints. See ‘Fusible appliqué’ and each cushion instructions for
more details.
WHERE TO BUY Similar fabrics are available from quilt MAKING THE CUSHION TOPS
fabric shops or see our advertisers for mail order services.
PREPARATION Press the fabrics before cutting out.

1 For the reindeer cushion top take a 10in neutral square and join a
3 x 10in green strip to each side. Join a 15 x 3in second red print
strip to the top and bottom. Press the seams outwards each time.
All measurements are given width x height so take
care if you are using directional prints. All
measurements include 1⁄4in seam allowances, unless
otherwise stated.
2 For the sleigh cushion top take the remaining 10in neutral
square and join a 3 x 10in first red print strip to each side. Join a
15 x 3in green strip to the top and bottom. Press the seams
outwards each time.

HOME ACCESSORY PROJECT santa's helpers
FUSIBLE APPLIQUÉ
1 Trace the templates provided on the Pattern Sheet onto

the paper side of fusible web and cut out roughly. Note
that the templates are the reverse of how they will look on
the finished design.
2 Fuse the motifs onto the wrong side of the appropriate

fabric (see the instructions for each cushion) and cut out
neatly on the drawn lines.
handy hint
If fusible web gets stuck to the soleplate of your iron it
can leave black marks where you don’t want them. To
guard against this, place a sheet of baking parchment or
a pressing sheet on the ironing board before you start
and then another sheet between the fusible web and
the iron before fusing the motifs in place.
3 Remove the backing paper and place the motifs in

position on the background fabric. If you fold and lightly
crease the background square horizontally and then
vertically the crease lines will help with placement of your
appliqué motifs so that the design is centred. Refer to the
photographs for guidance on motif positions, noting that
some shapes are over- or underlapped by others.
4 Once you are happy with your layout, fuse the motifs in
place. You could appliqué the shapes in place now, but
Suzanne has appliquéd and quilted in one stage (see
‘Reindeer cushion’, step 4).
REINDEER CUSHION
1 Referring to ‘Fusible appliqué’ for details cut the following

motifs:
7 Take the 15 x 10in neutral rectangle and the 15 x 10in second red
print rectangle. On one long edge of each rectangle turn over a
⁄4in seam to the wrong side, then turn over another 1⁄4in and press.
1
Green: head, front leg (F), back leg (B), tail Topstitch to secure. These are the cushion back pieces.
First red print: antlers, rocker, body bands (two)
Second red print: body, nose
8 Place the cushion top right side up and then right side down
and matching up the raw edges place one cushion back on top
2 Referring to ‘Fusible appliqué’ for details fuse the motifs in

place. Refer to the photographs for guidance on motif
positions and over/underlaps.
with the neatened seam running across the centre of the cushion.
Place the second cushion back in the same way. The cushion back
pieces will overlap. Pin or use clips to secure and then sew all
around the outside edge with a 1⁄4in seam. For extra strength, you
3 Take one of the 17in wadding squares and place the cushion
top right side up and centrally on top of it. Pin or tack to secure,
or use fusible spray adhesive for fabrics.
could sew a double line of stitching where the cushion back pieces
overlap. Trim across the corners to reduce bulk and then turn right
side out. Insert the cushion pad to finish.
4 Suzanne used free-motion stitching to outline the motifs. In

some places she sewed a double line of stitching. Don’t worry
about being too neat as this ‘doodling’ method of quilting adds
SLEIGH CUSHION
1 Referring to ‘Fusible appliqué’ for details cut the following motifs:

Green: rear parcel, second from front parcel, holly leaves (two)
extra charm to the work. Suzanne then straight-line quilted in the First red print: sleigh (note that the centre section is cut away)
ditch around the edge of the centre square, and added a couple Second red print: front parcel, second from rear parcel, sleigh
more lines around the border strips to create a stitched ‘frame’. runner
5 Embellish as desired. Suzanne has used small buttons for the

reindeer’s eyes and stitched a button at the top of each leg.
She embroidered a star design in the top right corner of the
2 Referring to ‘Fusible appliqué’ for details fuse the motifs in
place. Refer to the photographs for guidance on motif
positions and over/underlaps.
cushion centre.
6 Trim the excess wadding level with the cushion top edges. It
should measure 15in square.
3 Follow ‘Reindeer cushion’ steps 3–8 to complete the sleigh
cushion. Note that Suzanne has ‘doodle’ quilted bows on some of
the parcels and sewn a cluster of red beads for the holly berries.

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STUART'S SURGERY
Stuart's Surgery
Each month Stuart Hillard answers your quilty questions!
While demonstrating at The Festival of Quilts this year,

I was asked the same question by a number of visitors...
“What are the options when it comes to binding a quilt?”
Great question! Here goes!
Most of us know and use the double fold or French fold to the front and machine in place from the back 'in the ditch'
binding method...strips are cut at 2½in and joined, usually or topstitch from the front very close to the binding edge.
with diagonal seams; this helps to distribute the bulk of A faster method of binding involves using the backing
the seam allowances just in case you were wondering! The fabric to bind the quilt. Trim the backing fabric to 1in bigger
strip is folded, wrong sides together and the raw edges than the quilt front and fold the backing fabric down on itself
are aligned with the raw edge of the quilt. Working from and then onto the quilt front. Hand or machine sew in place.
the front first, the binding is sewn in place by machine then Again, the disadvantage here is that there is a single layer
turned over to the back and slip stitched in place by hand. of fabric on the quilt edge but it’s a useful method to use
The benefits of a double fold binding are well known - the sometimes.
edge is covered with not one but two layers of fabric and is Some quilts don’t get a binding at all and instead are
a robust and hard wearing finish for a quilt destined to be finished by 'bagging out' or 'birthing'... essentially the quilt
used and well loved. Most of us use straight of grain strips top is layered right sides together with the backing...the
as they are easier to work with, but many believe that a bias batting is on the back. The three layers are sewn together
cut strip is more durable since there are multiple crossed on all four sides leaving a 10in gap to turn through. Turn the
threads on the quilt edge instead of just one. I think it’s a quilt to the right side and then slip stitch the opening closed.
fair point but to be honest I’ve never had a straight of grain Quilts such as these are best tied or finished with buttons
binding wear through and I really put my quilts through it! as quilting could distort the edges. You can also add prairie
Bias cut binding strips are the very best option for a quilt points or ric-rac trim to the edge of such a quilt for a very
with a deliberately wavy edge. Mark your scallops, curves pretty and unusual edge.
or rounded corners onto your quilt top first, sew the binding Most of the time we are going to use the tried and tested
onto the marked line and only then trim the quilt’s edge into binding method we know and love but it’s always good to
the wave or curve. This preserves the flat edge and stops you have some options. If you are interested in exploring a wider
inadvertently stretching the edges as you sew the binding! range of finishing options, don’t forget Popular Patchwork’s
There are a number of other options for finishing the regular 2016 feature Finishing School in which Suzanne Fisher
edges of a quilt and it’s always useful to have a few other covers various binding techniques including facings, raw
options in your toolbox of techniques. edges and using decorative cord.
Single fold binding is cut at five times the required
keep in touch..
finished width (eg for ¼in finish cut strips at 1 ¼in) then align
one of the raw edges of the binding to the quilt front and
sew with a ¼” seam, fold the remaining raw edge to the raw
edge of the quilt and flip the fold to the back. Stitch in place
Have a wonderful month sewing and write to me at
by hand as before. This is a less durable binding method,
[email protected] with your questions for Stuart's
given that there is only one layer of fabric on the edge of
Surgery. You can also follow me on Instagram
your quilt but it is a great option for a wall quilt or something
@stuarthillardsews and catch me on Create and Craft TV
decorative or when the binding fabric is precious and in short
for more top tips, projects and inspirations!
Stuart x
supply! Of course if you hate hand stitching you can always
reverse these directions and machine the binding to the
back of the quilt first, once this is done, flip the folded edge

QUILT PROJECT icicles
icicles
Capture a dark winter night with icicles hanging over the window and sill
DESIGNED AND MADE BY MANDY MUNROE MANDYMUNROE.WORDPRESS.COM
At this time of year I love the contrast between the dark evenings, and lights on in the home.
I have taken inspiration from the light and dark to create a quilt inspired by icicles - enjoy!
Mandy Munroe
One 171⁄2 x 83⁄4in rectangle: F

All measurements are given width x height, so take care if One 181⁄2 x 61⁄2 in rectangle: H
you are using directional prints. One 8 x 11in rectangle: I
If you are using fat quarters then you need at least four One 19 x 5in rectangle: K
lights and four darks. When cutting along the length of the fabric, cut parallel to the
We recommend reading carefully through the selvedge.
instructions before you start.
WINDOW BLOCKS
1 Take one 6 x 11in light rectangle and one set of dark pieces, i.e.
one 6in square and two 1 x 11in strips in the same fabric.
1 From the light fabrics cut a total of:

One 53⁄8in square
Thirteen 6 x 11in rectangles
2 Place the light rectangle right side up and the place the dark
square right side down on top, matching up the bottom and
side edges. Mark a diagonal line from the top left to bottom right
corners of the square and then mark a second line parallel to the
2 From the dark fabrics cut a total of:

Thirteen sets of one 6in square and two 1 x 11in strips
One 53⁄8in square
first line 1⁄2in to the left of it. Join the pieces by stitching on both
marked lines. Cut apart midway between the stitched lines, so
each unit has a 1⁄4in seam allowance. Fig 1.
Note that the pieces in each set must be cut from the same fabric.
3 From the background and binding fabric cut the following –

cut the binding and pieces L, J, G and E in the order given and
3 Press to set the stitching. Open the units out and press the
seams behind the dark fabric. Put the half-square triangle unit
to one side for now.
then cut the rest from the remaining fabric:
Six 21⁄4in strips across the width: set aside for binding
One 31⁄2in strip across the width and trim to give a 40 x 31⁄2in
strip: L
4 Place the pieced rectangle right side up on your cutting mat,
with the dark fabric at the bottom as shown. Cut into three 2in
wide vertical strips. Fig 2.
One 31⁄2 x 481⁄2in strip along the length of the fabric: J
One 31⁄2 x 38in strip along the length of the fabric: G
Two 31⁄2 x 293⁄4in strips along the length of the fabric: E
Eight 6 x 31⁄2in rectangles: A
5 Swap the middle and right-hand strips. Fig 3. Now place a 1 x
11in dark strip between the pieced strips. Fig 4. Join to
complete one 6 x 11in window block. Fig 5.
Four 6 x 53⁄4in rectangles: B
One 3 x 5in rectangle: C
One 6 x 61⁄2 in rectangle: D 6 Repeat steps 1–5 to make a total of thirteen window blocks.

SKILL LEVEL
FINISHED SIZE Approx 100 x 141cm (391⁄2 x 551⁄2in)
MATERIALS
Based on fabrics with a usable width of 42in.
60cm (3⁄4yd) total of light fabrics
60cm (3⁄4yd) total of dark fabrics
1.8m (2yds) very dark background fabric,
includes binding
110 x 151cm (431⁄2 x 591⁄2in) backing fabric
110 x 151cm (431⁄2 x 591⁄2in) wadding
Threads for piecing and quilting
WHERE TO BUY Mandy used fabrics from her stash.

See ‘Cutting instructions’ for more details if using a
variety of lights and darks as Mandy has. Similar
fabrics are available from quilt fabric shops or see our
advertisers for mail order services.
PREPARATION All measurements include 1⁄4in seam

allowances, unless otherwise stated.
ICICLE BLOCKS
1 Take the 53⁄8in light square and the 53⁄8in dark square. On the
wrong side of the light square mark a diagonal line from corner
to corner. Place the squares right sides together with the marked
4 Swap the middle and right-hand strips. Fig 8. Join the strips
and then trim to give one 31⁄2 x 5in icicle block.
square on top. Stitch 1⁄4in either side of the marked line. Cut
through both layers on the marked line. Press to set the stitching.
Open the units out and press the seams behind the dark fabric.
5 Repeat steps 3 and 4 to make a total of fourteen icicle blocks.
You don’t need to trim them. You will now have two identical ASSEMBLING THE QUILT TOP
half-square triangle units. See Fig 6. Refer to Fig 9 when assembling the quilt top. Columns 1–5 refer to the
columns of blocks. Column 1 is on the far and column 5 on the far right.
2 Take the dark/light half-square triangle units set aside when

making the window blocks (see ‘Window blocks’, step 3). You
will have thirteen in total. With the two units made in step 1 you will 1 Arrange your window blocks into five columns. The columns
contain the following: 1, two blocks; 2, two blocks; 3, three
have fifteen all together; you need fourteen, so will have one spare. blocks; 4, three blocks; 5, three blocks – this column also contains
one icicle block. Note the orientation of the blocks (see photo).
3 Take one half-square triangle unit and place it right side up on

your cutting mat with the dark triangle at the bottom as shown.
Cutting from the right-hand edge, cut into three 11⁄2in wide vertical 2 In each of the columns, join the window blocks with a 6 x 31⁄2in
background rectangle (A) between them.
strips; discard the narrow strip left over on the left-hand edge. Fig 7.
Fig 1 Join a light rectangle Fig 2 Cutting a pieced Fig 3 Swap the middle Fig 4 Dark strips in place Fig 5 A window block
and a dark square rectangle and right-hand strips

QUILT PROJECT icicles
handy hint
If you have one, you will find a design wall useful for arranging
10 Join the unit made in step 9 to the right-hand edge of the unit
made in step 8.
your blocks and background pieces. If you don’t have one, a

large sheet pinned to a curtain works well as alternative, or
you could hang a large piece of wadding on the wall.
11 Join the 19 x 5in background rectangle (K) to the right-hand
edge of the lower row of icicle blocks. Join this to the bottom
of the unit made in step 10. Join the 40 x 31⁄2in background strip (L)
to the top edge to complete the quilt top.
3 Join a 6 x 53⁄4in background rectangle (B) to the bottom of

column 1. Join a 6 x 53⁄4in background rectangle (B) to the top of
column 2. Join a 6 x 53⁄4in background rectangle (B) to the top and
QUILTING AND FINISHING
1 Give your quilt top and backing a good press. Layer the quilt by
placing the backing fabric wrong side up on a clean flat surface,
to the bottom of column 4. followed by the wadding and then the quilt top, centrally and right
side up; the backing and wadding are slightly larger than the quilt
4 Join the 3 x 5in background rectangle (C) to the left-hand edge of

the icicle block in column 5, then join the 6 x 61⁄2in background
rectangle (D) to the bottom edge. Join this unit to the top of column 5.
top. Working from the centre outwards, pin with quilters’ safety
pins or tack to secure.
5 Join a 31⁄2 x 293⁄4in background strip (E) to right-hand edge of

column 1 and the right-hand edge of column 2. Now join these
2 Quilt as desired. Mandy stitched in the ditch around each
window block. She then quilted vertical lines spaced approx 1in
apart down the long background strips. Between columns 1 and 2
two units. To the bottom edge of the unit join the 171⁄2 x 83⁄4in and columns 2 and 3 she extended the stitching to the top of the
background rectangle (F). top row of icicle blocks; between columns 3 and 4 and columns 4
and 5 she extended the stitching to the bottom of the quilt.
6 Join the 31⁄2 x 38in background strip (G) to the right-hand edge
of column 3. Then join this to the right-hand edge of the unit
made in step 5. 3 Trim the excess backing and wadding level with the quilt top
edges.
7 At the bottom left corner of the quilt top arrange the icicle
blocks into two rows. The upper row contains six blocks and
the lower one seven. Note the orientation of the blocks (see
4 Join the binding strips at right angles. Press the seams open to
reduce bulk and then trim away the ‘ears’. Fold the strip in half
lengthwise, wrong sides together, and press.
photo). Join the blocks into two rows.
8 To the top of top row of icicle blocks join the 181⁄2 x 61⁄2in
background rectangle (H). Then to the right-hand edge join the
5 Working from the right side and starting part way down one
edge, match the raw edges of the binding to the raw edges of
the quilt and sew in place, folding a mitre at each corner. Join the
8 x 11in background rectangle (I). Join this to the bottom of the unit ends neatly. Fold the binding over to the back of the quilt and
made in step 6. neatly slipstitch in place by hand.
9 Join the 31⁄2 x 481⁄2in background strip (J) to the right-hand edge
of column 4. Join this to column 5. 6 Add a label, including at least your name, location and the date
the quilt was made.
Drawn line Stitching lines

L
WS WS B B C
D
a b c
A A
Fig 6 Making half-square triangle units E E
A A
G
A
J
A
B
A
F
A
H
I
B
Fig 7 Cutting a half-square triangle unit Fig 8 Swap the middle and right-hand strips Fig 9 Quilt layout diagram – the unlabelled white
areas are blocks (see photograph)

Fine Cell Work
Anne Williams finds out about this charity and social enterprise
that trains prisoners in creative needlework.
"As I started to do the work I was aware of a feeling of calmness

that I was experiencing for the first time since coming to prison.
An added bonus was getting to know the other guys doing the work,
there was almost a family feeling between them in the way they
helped one another and spent time actually talking about things,
other than the usual prison talk.”Fine Cell Work stitcher
Image by Simon Bevan.

QUILTING WORLD fine cell work
A Fine Cell Work stitcher
Imagine being in prison, spending long hours in a cell with nothing to

occupy you. It’s difficult to envisage how monotonous and frustrating
that must be. As quilters we know how engrossing working on a project
is, and how that can take our mind off the worries and stresses of
everyday life. In essence, doing something worthwhile, and the other
benefits that brings, are at the core of Fine Cell Work’s activities.
THE BACKGROUND
The organisation’s founder was Lady Anne Tree (1927–2010). A regular
prison visitor for many years she was aware of the time that was wasted
in prison. A keen sewer herself, she believed that learning a creative skill
would help to alleviate the boredom of unoccupied time. Her aim was
that inmates would learn needlework to a high standard and that they
would be paid for the work produced. However, rules prevented
prisoners from earning money by working and it took her decades of
lobbying the Home Office before the law was reformed and she was
given the go-ahead.
Operating since 1997, Fine Cell Work currently has a workforce of
250 prisoners in 31 prisons across the UK. Although generally regarded
as a feminine craft, around 95% of those taught are men, which is a
reflection of the prison population. But there is a long history of men
sewing, such as soldiers and sailors as well as prisoners, so this is
continuing a rich tradition of male stitchers.
CREATIVE SKILLS
Prisoners joining Fine Cell Work need to show an interest in stitching but,
of course, there is also the attraction of the opportunity to earn some
money, although this isn’t the primary motivation for all stitchers. None
the less, working to gain some financial independence is an important
contributor to a sense of self-worth. Some stitchers use their income to
buy things in prison so they no longer need to rely on help from family
members; others save so they can send something home to offer
support. For many, being able to put money by so they have a financial
buffer to help them get back on their feet when released is crucial.
But as well as earning, learning a practical skill can be immensely
satisfying. Fine Cell Work’s qualified volunteers teach embroidery,
quilting, tapestry and other needlework skills to small classes of
“Prison is effectively a negative period in

many peoples’ lives and because one can
see the finished article, taking pride in
what one has produced, this produces a
feeling of positivity within this desert of
negativity.” Fine Cell Work stitcher

Above: Two animal cot quilts. Opposite page: Owl cot quilt. Cushions Top to bottom: Geometric, Nuria Mora and Sandy Geometric cushions.
“From the onset, my hope was that I had found an interest and pastime that
would fill the endless hours. The financial gain is a bonus, but comes a long way
down the list in comparison to the enjoyment, satisfaction and sense of achievement.
I can improve on the skills I would never have known I possessed.” Fine Cell Work stitcher
prisoners. The time to meet with and talk to other stitchers allows work
to be compared and techniques shared. As well as fostering a sense of
inclusion and a chance to form relationships with others, passing on
skills can help to raise self-confidence.
Unless otherwise stated, images courtesy of Fine Cell Work
However, most of the work is done during the hours in which

prisoners are confined to their cells, with most spending around 20
hours a week stitching, and some doing as many as 40. Prisoners are
able to organise their own work, but do need to be disciplined in order
to get things done. Though, as we know from completing our own
projects, the sense of achievement in finishing something is hugely
rewarding. Stitchers work on kits which are made into beautiful
hand-crafted items which are sold to customers. Last year workers
produced over 4,800 products. As part of the rehabilitative process, all
of the items sold include the name of the prisoner who stitched the
piece and customers are invited to write a thank you letter to the maker
if they wish. This can be a tremendous boost as for some it might be the
first time they’ve ever been thanked for something they’ve made and
it’s also a valuable connection with the outside world.
More experienced stitchers might take on commissions for bespoke
work, which requires dedication and concentration if working to a
deadline. Commissions, both individual and group, have been
undertaken for prestigious institutions such as the British Library,
English Heritage, the Royal palaces and the V&A.
A Fine Cell Work stitcher

QUILTING WORLD fine cell work
STITCHING A FUTURE
There are also other bonuses for prisoners involved with Fine Cell Work.
With endless hours to fill, time occupied with constructive activity is
absorbing and a distraction from day-to-day problems. Indeed, there is
increasing evidence to suggest therapeutic benefits of arts and crafts
such as reduced stress levels and greater self-awareness. Many inmates
have expressed how stitching helps to keep them calm and get them
FINE CELL WORK
through their sentence. There is also a sense of pride in making
Find out more about Fine Cell Work and read inspiring
something customers appreciate.
prisoner testimonials at finecellwork.co.uk
Testament to the success of Fine Cell Work, many of the stitchers
remain engaged with the charity after they leave prison. For others, the You can purchase a range of fabulous hand-crafted items like
vocational skills learnt can be a foundation for further training or work the cot quilts and cushions shown here via the Fine Cell Work
after their release. And the less tangible ‘softer’ benefits help many to website. You can also commission custom-made pieces.
think more optimistically and constructively about their future.
If you would like to get involved, you can make a donation,
sponsor a prisoner’s training or volunteer. Information
If you haven’t visited Fine Cell Work’s website, do check out their online shop.
about how to support Fine Cell Work is on their website.
It’s a great place to find unique gifts and you’ll be supporting an important cause.
anne-williams.co.uk
A selection of aphabet cot quilts

QUILT PROJECT charming vintage rose
charming vintage rose

Brighten up your bedroom with this fresh and modern quilt based on the versatile 5in charm square
DESIGNED BY LOUISA GOULT SEWMOTION.COM
The disappearing four-patch technique makes this lovely quilt look far more complicated than it actually is.
You will need to use two identical charm packs to create the pattern. Louisa Goult
handy hint
1 From the white fabric cut:
Eleven 5in x width of fabric strips. Sub-cut these into
eight-four 5in squares
A rotating cutting mat is helpful when cutting up the blocks. If
you don’t have one, aim to rotate the mat as you cut, not the
Seven 5in x width of fabric strips, for the border fabric pieces, because in this way the block will stay in one
place and it will be easier to align the ruler.
MAKING THE BLOCKS
1 Sew a white charm square to each of the eighty-four patterned

squares, as shown in Fig 1, pressing seams toward the patterned fabric.
2 Now sew these units into forty-two four-patch blocks, using

identical patterned fabrics for each one. To reduce the bulk
at the centre seam, unpick a couple of stitches at the top of that
seam allowance, releasing the seams so that they can lay flat in Fig 1 Sewing
a rotating fashion. Press from the front. a four-patch
block
a b
3 To cut up the block you need to make four cuts across the
block, each of them 1in away from the centre seam. Start by
lining up your ruler 1in to the right of the centre seam. Check the
12 11 10 9 8 7 6 5 4 3 2 1
1
horizontal lines are straight and then cut. Fig 2. 2
4 Once you have made the first cut, carefully lift the ruler and rotate
the mat 180 degrees. As before, line up the ruler 1in to the right of
the centre seam and cut. Rotate the mat again but only 90 degrees
4
6
and cut 1in from the centre seam. Finally, rotate the mat another 180 Cut 1in
7
degrees and make the last cut, again 1in to the right of the centre
away from
8
the centre
seam. After these four cuts the block should look like Fig 3. 9
seam
10
5 You now need to rotate the rectangle units only, by 180 degrees,
so that white and patterned pieces do not lie next to each other, as
shown in Fig 4. Leave all squares as they are. Sew each horizontal row
11½
11
12
of the block together, pressing the seams in rows 1 and 3 outwards, Fig 2 The first cut on a four-patch block
and in row 2 inwards. Sew the rows together into one block, pressing
seams towards the squares. Check the block is 81⁄2in square.

QUILT PROJECT charming vintage rose
SKILL LEVEL
FINISHED SIZE Approx 145 x 165cm (57 x 65in)
MATERIALS
Two identical 42-piece charm packs
(eight-four 5in squares in total)
2.3m (21⁄2yd) of light fabric to contrast with the
charm packs (such as white, a white-on-white
or a light blender)
165 x 185cm (65 x 73in) of wadding
165 x 185cm (65 x 73in) of backing fabric
50cm (1⁄2yd) of binding fabric (or use leftover scraps)
Suitable piecing and quilting threads
WHERE TO BUY Similar fabrics are available from

quilt fabric shops or see our advertisers for mail
order services. This quilt is available at sewmotion.
com as a pre-cut kit. Alternatively, the Backyard Roses
collection by Riley Blake is available from many quilt
shops, as are a huge selection of charm packs.

6 Repeat this process to make all forty-two blocks.
ASSEMBLING THE QUILT
1 Lay out the blocks in seven rows, each with six blocks, in a
random pattern so that no two identical blocks are next to each
other (Fig 5).
2 Sew each of the rows together, carefully pinning the matching

points to get accurate joins. Press the seams on rows 1, 3, 5 and
7 towards the right, and rows 2, 4 and 6 towards the left. Now sew
Fig 3 Four cuts in total on the four-patch block
the rows together, ‘nesting’ the seams into each other to
accurately match up the seams.
Row 1
3 Join two 5in x width of fabric border strips together and trim to
561⁄2in long. Sew what remains of that border strip to another
5in x width of fabric border strip and trim to 561⁄2in. Sew these to
the sides of the quilt, pressing seams outwards.
Row 2
4 Join the last four border strips into pairs and cut each one down
to 571⁄2in. Sew them to the top and bottom of the quilt and
press seams outwards.
Row 3
handy hint
When attaching the border strips, first pin the centre of the
border strip to the centre of the quilt edge, then pin the two
ends, and then the rest.
Fig 4 Rearranging the

rectangular units of the
cut block and sewing the
block together
1 Press your quilt top and backing and remove any stray threads.
Layer the quilt by placing the backing fabric wrong side up on a
clean flat surface, followed by the wadding and then the quilt top,
centrally and right side up. The backing and wadding are larger
than the quilt top. Pin, tack or spray baste the layers together.

2 Quilt as desired. Louisa used a walking foot to sew irregular wavy lines across the
width of the quilt.
3 To bind the quilt, trim the excess backing and wadding level with the quilt top edges.
Cut seven 21⁄2in x width of fabric strips from the binding fabric. Join the binding strips
together at right angles, pressing the seams open to reduce bulk. Trim away the ‘ears’
and fold the strip in half lengthwise, wrong sides together, and press. Alternatively, to
create a scrappy binding like Louisa's follow the instructions in the handy hints box
below. Working from the right side and starting part-way down one edge, match the
raw edges of the binding to the raw edges of the quilt and sew in place, folding a mitre
at each corner. Before completing your stitching, neaten the short raw end of the starting
piece and insert the ending piece into it. Fold the binding over to the back of the quilt
and neatly slipstitch in place by hand.
4 Add a label, including at least your name, location and the date the quilt was made.
handy hint
If you prefer, you could use leftover scraps of your print fabrics (plus others from
your stash), to create a scrappy binding. When all of the blocks are made you will
be able to cut lengths of leftover prints (each 21⁄2in wide). Sew these strips
together with straight seams to make a length of at least 260in. This pieced
binding strip would be prepared as normal and used to bind the quilt.
Fig 5 Assembling the quilt

"My parents started the roadshows with the intention of
taking our fabrics to quilters around the country rather than
them having to visit us – this was in a time before the internet after all!"

MEET THE interview with matthew doughty
Growing from strength to strength

This month we talk to Matthew Doughty, owner of one of the UK’s most well-known fabric shops based
in the beautiful city of Hereford. Here he tells us all about his recent expansion in the business.
When was Doughty Bros Ltd set up and What led to the recent expansion of the
by who? business, and what do your customers
Doughty’s was started by my father and grandfather back in the think of your new warehouse?
1960s and then my dad John along with my mum Ruth built it into We have been looking for larger premises for a few years really,
the much-loved business it is today. Starting in dress and furnishing and jumped at the chance when Barrs Court Road became
fabrics, they soon expanded into haberdashery and then quilting available. Not only is there much-needed parking, but it’s also
fabrics and notions. My mum loves to tell the story of how my dad close to the train station, so finally people can come to us and
gave her the haberdashery shop in Church Street as a birthday gift! stay without having to worry about parking limitations. We do
still have the shops in the centre of town, but deciding to move all
When did you start working for Doughty's? of the patchwork fabric, notions and waddings up to the
I spent many weekends during my teen years helping out at warehouse has meant we could extend our dress shop and
roadshows up and down the country, then in 2005 after university concentrate on growing our dress and craft fabric collections as
I decided to join the business and learn the ropes. Following the well as adding to our needlecraft and knitting wool ranges. You’ll
sudden death of my father in 2009 after a very short battle with find these in our shops in Capuchin Yard, as well as the
cancer, my friend Matthew Connolly came on board as a director haberdashery on Church Street. We’ve had some great feedback
to join myself and my mum. from our customers – having parking at the warehouse is a huge
benefit, and we try to greet everyone with the offer of tea or
What inspired you to develop your coffee which they can enjoy while perusing a magazine for
extensive roadshow program and what do inspiration before getting lost in 3,500sq foot of quilting fabric!
these entail?
My parents started the roadshows with the intention of taking our You have an impressive website – is this
fabrics to quilters around the country rather than them having to managed inhouse or do you outsource?
visit us – this was in a time before the internet after all! These Matt Connolly is responsible for building and maintaining the
proved so popular, the dates have just grown with more and more website, including the recent redesign which did not come without
groups inviting us to hold a fabric sale in their local village hall or its problems. Whenever new ranges come into the shop, the staff cut
community centre. Depending on the size of the venue, we arrive a half-metre of each one for Matt to scan, which he then uploads
with one or two vans full of fabric, notions and wadding, set up onto the website. He is aided by his wife Cassie who does all the
with the help of some of the lovely quilters, sell flat out for five photography. Matt also publishes our weekly newsletter to our
hours with queues regularly out of the door, while been fed tea growing number of subscribers and plans our roadshow diary, while I
and cake from the generous helpers. We then pack up and head can concentrate on the day-to-day running of the shops.
off home again! In fact these shows are so popular these days,
we’re having to book mid-week dates as well as weekends. And What's next for Doughty's?
this is on top of the major quilt shows such as Festival of Quilts, After three years of restructuring the business, I’m looking forward to
Sewing for Pleasure and Quilts UK. a better work/life balance with no more major upheavals. Future
plans include uploading all the knitting wool and needlecraft onto
Does this impact on family life, especially the website, developing more opportunities to welcome group
now that you're a father? bookings to the warehouse, and to also expand the mezzanine level
In one word, yes. However, now both myself and Matt C are to include more furnishing fabrics – the final piece of the jigsaw.
fathers, we try to alternate weekends away. I’m also happy that
my wife Lisa is now getting more involved with the business and
will be keeping me in line, while my son Charlie already knows his
way around the shops and warehouse and can’t wait to get his doughtysonline.co.uk
sticky mitts on the fabric - his favourite thing at the moment is Warehouse: 100 Barrs Court Road, Hereford, HR1 1EG
building jelly roll towers!

See pattern sheet
for christmas baubles
quilt template
QUILT PROJECT christmas baubles quilt
christmas baubles quilt

The bauble shapes in Makower’s Wrap It Up fabric collection were the inspiration for this festive quilt
JUDITH HOLLIES JUSTJUDE-DESIGNS.COM
The design and colours of this quilt are inspired by 1950s glass Christmas decorations. It is fairly quick to make,
and so perfect for throwing over the back of the sofa to make a room look festive
Judith Hollies
CUTTING INSTRUCTIONS MAKING THE BAUBLE BLOCKS
1 From background fabric cut:

Eighteen pieces 121⁄2 x 14in, for background to baubles
Four pieces 121⁄2 x 53⁄4in, for column ends
1 There are eighteen bauble blocks in the quilt, all made the same
way. Using the template provided, trace eighteen baubles onto
the paper side of the fusible web, leaving about a 1in gap between
Thirty-four pieces 5 x 31⁄2in, for diamond strip units each shape. Cut out the shapes wider than the pencil line.
Thirty-four 21⁄2in squares, Cut each one in half once diagonally,
for diamond setting triangles
2 Iron two fusible web bauble shapes onto the wrong sides of
each of the nine fat quarters. Fig 1. Cut out on the pencil line.
2 From each of eight fat quarters cut two 25⁄8in squares, for
diamond units.
Remove the paper backing when cool.
3 From the remaining fat quarter cut one 25⁄8in square, for
diamond units.
3 Press the 121⁄2 x 14in rectangles in half lengthways and
widthways. Fig 2. Open out and position a bauble adhesive
side down onto the right side of the rectangle. Fig 3. Centre the
bauble, with 2in of background free at the top and bottom of the
4 From the interfacing cut eighteen pieces 7 x 12in. bauble, and iron to fuse into place.
5 From the binding fabric cut seven 21⁄2in x width of fabric strips. 4 Place a piece of interfacing behind the bauble and pin from the
front, making sure all edges of the bauble are within the
interfacing. Fig 4. Use a satin stitch and matching thread to
Fig 1 Preparing the fusible web baubles Fig 2 Crease marking the centre Fig 3 Fusing the bauble in place on the rectangle
of a background rectangle

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5th – 9th October 2016
Harrogate International Centre
24th- 27th November 2016
The definitive event for anyone with

a love of textile based crafts.
Supplies, workshops and textile art.
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Image: Alice Kettle - Pause 2009 (detail) Photo: Joe Low Workshops in association with:
UPPER
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EVENTS
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*Valid on adult tickets in advance or £1.00 off concessions. Terms and conditions and £1.50 fulfilment fee applies.
SKILL LEVEL
FINISHED SIZE Approx 154cm x 160cm (601⁄2in x 63in)
MATERIALS
Nine assorted fat quarters for baubles and
diamonds
2.75m (3yd) of background
175 x 183cm (69 x 72in) of wadding
175 x 183cm (69 x 72in) of backing fabric
50cm (1⁄2yd) of binding fabric
1.5m (13⁄4yd) approx. of fusible web (such as
Bondaweb)
1.5m (13⁄4yd) approx. of interfacing
(such as Stitch ‘n’ Tear)
Basting spray 505 (optional)
WHERE TO BUY Fabrics from the Wrap it Up range by

Makower were used for the baubles and diamonds,
and Pindot White for the background. Similar fabrics
are available from quilt fabric shops or see our
advertisers for mail order services.
appliqué the edges of the bauble. Fig 5. You may find that an
PREPARATION All measurements include 1⁄4in seam appliqué foot is useful here. Remove the interfacing when satin
allowances, unless otherwise stated. stitching is complete.
5 Repeat this process to prepare and appliqué all of the baubles.

Set the blocks aside for the moment.
Fig 4 Positioning the interfacing on the Fig 5 Satin stitching around the edge of the bauble Fig 6 Marking the middle of a setting
back of the rectangle triangle
Fig 7 Sewing a setting triangle Fig 8 Both side setting triangles Fig 9 All four setting Fig 10 Adding the side pieces to the
in place sewn in place triangles sewn to the diamond/square unit
centre square

MAKING THE DIAMOND UNITS
1 There are seventeen of these units in the quilt. Pinch a

background fabric setting triangle in half along the longest edge,
to find the middle. Fig 6. Do this along one side of a print fabric
25⁄8in square as well. Pin and then sew the triangle to the square,
right sides together and matching up the centre marks. Fig 7.
2 Repeat this process to add another setting triangle to the opposite

side of the square. Press seams towards the dark side. Fig 8.
3 Attach the remaining two setting triangles in the same way. Press
to the dark side. Fig 9. Trim the diamond/square to 31⁄2in, making
sure you have a 1⁄4in seam allowance above each diamond point.
4 Sew a 5 x 31⁄2in rectangle to both sides of the 31⁄2in diamond/

square. Fig 10. Press the seams open.
ASSEMBLING THE QUILT
1 Lay out the bauble blocks, diamond units and column ends into
five columns as shown in Fig 11. Sew each column together,
pressing the new seams away from the diamonds. Now sew the
columns together. Fig 12. Press the new seams open.
Fig 11 Sewing the blocks into columns
1 Press your quilt top and backing and remove any stray threads.
Layer the quilt by placing the backing fabric wrong side up on a
clean flat surface, followed by the wadding and then the quilt top,
centrally and right side up. The backing and wadding are larger
than the quilt top. Pin, tack or spray baste the layers together.
2 Quilt as desired. Judith free-machine quilted a vermicelli

pattern.
3 When you have finished quilting, trim the excess backing and
wadding level with the quilt top edges and square up the quilt
ready for binding.
4 To bind the quilt, trim the excess backing and wadding level
with the quilt top edges. Join the binding strips together at right
angles, pressing the seams open to reduce bulk. Trim away the
‘ears’ and fold the strip in half lengthwise, wrong sides together, and
press. Working from the right side and starting part-way down one
edge, match the raw edges of the binding to the raw edges of the
quilt and sew in place, folding a mitre at each corner. Before
completing your stitching, neaten the short raw end of the starting
piece and insert the ending piece into it. Fold the binding over to the
back of the quilt and neatly slipstitch in place by hand.
5 Add a label, including at least your name, location and the date
the quilt was made.
Fig 12 Assembling the quilt

Lewis & Irene
threaded with love
Beautiful fabrics, for all your sewing, quilting

and crafting projects
British designed, fresh and contemporary fabrics

using only the best pre-shrunk, quality cottons
with a super soft feel
Available from all good fabric shops and stores
Please see our new website for the latest

collections www.lewisandirene.com
Facebook: @lewisandirene
Instagram: lewisandirenefabrics
See pattern sheet
for christmas bibs
template
GIFT PROJECT christmas bibs
christmas bibs
Cute babies’ bibs are easy to create with 21⁄2in squares of fabrics and a simple template
JUDITH HOLLIES JUSTJUDE-DESIGNS.COM
Bibs for babies are easy to create and make great little presents at Christmas time. A hand towel will
give you enough towelling to make five bibs, so you can use up lots of your Christmas prints.
Judith Hollies
MAKING THE PATCHWORK MAKING UP A BIB
1 Lay out the 21⁄2in squares in seven rows, with four squares in
each row. Fig 1. Sew the squares together into rows. Press the
seams of all even numbered rows in one direction, and all odd
1 Copy the template from the Pattern Sheet onto paper (a seam
allowance is included). Cut out the shape and pin it onto the
patchwork squares. Fig 4. Cut out the shape and remove the template.
numbered rows in the opposite direction. Sew the rows together,
taking care to nest the intersecting seams neatly. Press the new
seams in one direction. 2 Open out one long edge of the bias binding and pin it to the
bottom edge of the bib, leaving about 11⁄2in of binding free at the
start. Start sewing from the pin marker, along the crease of the
2 Spray baste the towelling to the wrong side of the patchwork

Fig 2. Quilt as desired – Judith quilted diagonal lines through
all squares. Fig 3.
binding. Fig 5. As you come to a corner or curve, snip into the
binding at 3⁄8in intervals, just stopping short of the crease. Fig 6. This
will help the binding to ease around the curves. Continue attaching
the binding, stopping about 11⁄2in away from the start. Fig 7.
Fig 1 Laying out the squares Fig 2 Spray gluing the towelling to the patchwork Fig 3 Quilting the patchwork

GIFT PROJECT christmas bibs
SKILL LEVEL
FINISHED SIZE Approx 20.5 x 37cm (8 x 141⁄2in)
MATERIALS
Twenty-eight 6.5cm (21⁄2in) squares of assorted
fabrics in festive prints
21.5 x 37cm (81⁄2 x 141⁄2in) piece of white towelling
(a hand towel is enough for five bibs)
1.25m (11⁄2yd) of 2.5cm (1in) wide ready-made bias
binding
One set of KAM snap fasteners (four pieces in set)
Basting spray 505
WHERE TO BUY Similar fabrics are available from quilt

fabric shops or see our advertisers for mail order services.

4 Snip into the corners and curves again, this time through the
towelling. Fold the binding over to the wrong side of the bib.
Pin in the ditch from the right side, making sure to catch in the
3 Remove from the machine. Overlap the binding ends, while

still being able to see the end of the underneath piece.
Measure 1⁄2in from the end of the underneath piece and mark this
binding at the back (the edge of the binding remains folded under
at the back). Stitch in the ditch from the front side. Press well
when finished.
overlap onto the top binding. Cut along the line to remove excess
binding. Open out both ends of the binding and with right sides
together, sew the ends together. Finger press open. Fig 8.
Re-position the binding onto the bib and complete the sewing.
5 Fix the fasteners to the bib as shown in the photograph,
following the manufacturer’s instructions. Fig 9. There are four
parts to each set of fasteners.
Fig 4 Cutting out the bib shape Fig 5 Beginning to sew the bias binding in place Fig 6 Rounding a curve with the binding
Fig 7 Binding sewn in place, Fig 8 Binding ends joined together Fig 9 Fixing the fasteners in place
ready to join the ends together

The shimmer was worth the wait
How far in advance do you start thinking about Christmas? For Hannah Richards, Creative Director at Lewis
and Irene, it is a jaw-dropping two years before the event. Intrigued to find out more we asked her to share a
diary of the development of Northern Lights, a collection of fifteen fabric designs released for winter 2016.
September/October 2014
While others are starting to think about the new school term and
getting hats and gloves ready for the chilly autumn mornings, I
am starting to think of ideas for our autumn/winter collections
for 2016. However, I’m a little distracted by an upcoming family
trip to Lapland and my mind keeps drifting to what we will see
there. My son can’t wait to meet Santa, while I am really looking
forward to seeing the Northern Lights. Then it hits me, why not
design one of our Christmas ranges based around the North
Pole. I get a mood board together, which adds even more to the
excitement of planning the trip.
December 2014
We have an amazing holiday and I’m so inspired by the things
we see and do, particularly the reindeer ride which has to be
included in the range in some way. Unfortunately, we didn’t see
the Northern Lights, but this seems to have made me more
obsessed with them than ever and I decide they MUST be an
important part of the collection. I want these designs to reflect
the feeling of anticipation we all felt, and so plan to include
things we did see, as well as the things we hoped to see.
January to March 2015

Lots of ideas and notes are jotted down, and we start to whittle
down the themes and designs. I also continue to chat with

QUILTING WORLD the shimmer was worth the wait
Bryan Taphouse, the Managing Director, to get his thoughts middle of doing something unrelated to fabric and suddenly I
and with many years’ experience in the business he is quick to have an idea and have to do it then and there, right at that
give feedback. moment! Towards the end of August, around the sunny bank
holiday, we finalise the range. To get the colours right we send
June 2015 the files to our trusty local printer for them to print onto paper.
I have a meeting with Jaynie, our designer, and we pull together We love them, they always get our colours just right, and we use
the ideas. We have worked together for a while now, so both these as references for the collection. We then send these to the
have the ‘Lewis and Irene’ vision and we soon come up with mill in Korea so they can check their print against our computer
some designs in our own style. The whole office starts to get files. We also send them Pantone colour references to help them
involved and there are all sorts of crazy conversations – we do get it right. At this stage I also send Sally Ablett, our talented quilt
get very excited! Everyone agrees that we should add some designer, details of the collection so she can start designing
sparkle to the print to reflect the lights – just a shimmer to help samples and a free project for download.
bring it alive.
September 2015
July 2015 All the fabrics are given a code and description – as it’s only the
Jaynie starts to draw onto paper using ink and pen, working to a distributors who see these they are often very simple, such as
tight brief set in last month’s preliminary discussions. ‘Sleigh on Silver’. The first strike-offs soon come in from the mill
- these are samples for us to check that the designs and the
August 2015 colours are correct. They are printed by hand, and incredibly
Jaynie sends over the designs and we re-work them with a few laborious to do, but important as we can look and make sure the
small tweaks. As usual we do a lot of this in the evening, sending colours are right and everything is in the right place. For
texts to and fro. I find I work best later in the day - often I am in the example, I needed to check that the faces on the polar bears

QUILTING WORLD the shimmer was worth the wait
were clear and well defined. We have a good relationship April 2016
with the mill as they always print fabrics in the same place, by We place the order with the mill and the fabric is printed fairly
the same people, all the time. Thankfully Northern Lights is quickly. Once the order is ready to ship, we are sent sample
fine, pretty spot on, but that doesn’t always happen. It might pieces via airfreight to double-check the colours and printing.
be a fractional adjustment, such as making the blue 5% These are like gold dust in the office as I can now take photos,
lighter and so on, and we have to go back and forth a few send some to Sally to make up more samples and give them
times to get the fabric exactly as we want it. The sparkle on to Bryan for talks at shops and quilt groups. The range looks
this range was right first time too, we have used it before so great and so is approved and shipped via boat to Felixstowe.
knew what to expect. Once the strike-offs are approved we Our fabrics for the US and other parts of the world goes on
pass them to Sally who starts designing samples – it’s always separate boats and sometimes arrives there first !
amazing what she can make from the tiniest bits of fabric.
May 2016
October 2015 Thankfully the weather was good, and our fabric comes into
The show cards are printed including a brief story of the the UK smoothly. Sometimes there can be delays due to bad
collection and a table runner designed by Sally. These are weather or congestion if too many boats are trying to dock in
used to promote the range to shops and we tell the reps all port at the same time. The fabric is taken to our warehouse in
about the fabrics so they can start introducing them to their Lancashire, is unpacked and then goes straight back out again
customers. Bryan and Andrew our Sales Director take the within days.
samples and cards to the US to start showing the range to all
of our distributors at Quilt Market in Houston, America’s June/July 2016
largest trade show, which is when we officially launch it. Northern Lights appears in stores, and we start to promote it
on social media. I now start to look at marketing as Christmas
January 2016 ranges start to appear in magazines around October time.
This is when many of our shops place their Christmas orders,
right after they have taken their decorations down! The reps November 2016
will then continue to show the fabrics until June. I have seen some lovely quilts made with these fabrics, and
the shimmer really added something to the collection. We
February 2016 are now getting ready for another family trip to Lapland, so
We take samples to our big trade show in Birmingham where with Christmas 2017 already finished, inspiration from the
Northern Lights is really popular, it was great to chat to shop north may well be on my 2018 mood board… Let’s just hope
owners about our inspiration for the range. we get to actually see the Northern Lights this year!
For more information contact lewisandirene.com

The Future of Sewing is now at
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See pattern sheet for
frost flowers medallion
template
QUILT PROJECT frost flowers medallion
frost flowers medallion

Create a classic medallion-style quilt with a centre of hexies and more besides
DESIGNED AND MADE BY DEBBIE VON GRABLER- CROZIER SALLYANDCRAFTYVAMP.BLOGSPOT.CO.UK
Hexies are mostly about paper piecing and doing things slowly by hand. But not always! Learn how to do Y
seams and make bigger hexies for a quicker make and a new take on one of the oldest quilt patterns. And the
great thing about medallion quilts is that you can keep going as long as you can think of rounds to add!
Debbie von Grabler-Crozier
handy hint
If you are using directional prints take care when cutting out
4 Take a second petal hexie and place it right sides together with the
first petal and join as shown, again stitch from dot to dot. Fig 3.
the pieces and how you orientate them when assembling

the quilt top. 5 Now, right sides together, fold the first petal in half so that
petal two and the flower centre can be aligned right sides
together. Then sew petal two to the flower centre, again stitching
from dot to dot. Fig 4.
HEXIE CENTRE
1 Using the template provided on the Pattern Sheet, from your

print, navy and white star print fabrics cut enough hexies to
make nine full flower blocks – you need one hexie for the flower
6 Open out the petals and press the unit flat. To get the unit as
flat as possible, press the seams away from each other so that
they nest and don’t make ridges. Figs 5 and 6.
centre and six contrasting hexies for the petals. Mark the dots on
the wrong side of the petal hexies as shown. Fig 1. You also need
to cut some infill hexies for the centre and to go around the edges handy hint
(see photograph). Note that some of the blocks and hexies will be Make sure you press your work at every step to ensure neat
trimmed after the units have been joined. and precise results.
2 The flower blocks are pieced by machine using Y seams. When

stitching these seams you sew dot to dot, not end to end. Then
when you add the next petal the fabric can be folded back out of 7 Continue to add petals three to five in the same way as
described above. Fig 7.
the way so you can stitch the next seam, again dot to dot.
3 To piece a flower block place one of the petal hexies right sides
together with the flower centre hexie. On one side sew from
8 To add the last petal, first sew it to petal five in the same way
as you did when adding previous petals. Fig 8. Then, also as
before, refold the flower unit so you can sew it to the flower centre.
dot to dot. If you wish, secure each end of the seam with a few Finally, refold the flower unit again so that you can sew the last
backstitches. Fig 2. petal to the first petal. Fig 9.

SKILL LEVEL
FINISHED SIZE Approx 152.5cm (60in) square
MATERIALS
50cm (1⁄2yd) each of five medium-value prints
1m (1yd) navy
80cm (7⁄8yds) white star fabric
1.3m (11⁄2yds) white-on-white
50cm (1⁄2yd) grey
50cm (1⁄2yd) binding fabric
162.5cm (64in) square backing fabric
162.5cm (64in) square wadding
WHERE TO BUY Debbie’s print fabrics are from the

Northern Lights collection by Lewis and Irene:
lewisandirene.com. To read more about this range turn
to page 46. Similar fabrics are available from quilt fabric
shops or see our advertisers for mail order services.

ROUND THREE
1 From your print fabrics and white star print fabric cut a total of
one hundred and four 31⁄8in squares.
9 Open the petals out out and press very flat to complete one
flower block. Fig 10.
2 Arrange a good mixture of squares into a double vertical
column of eleven squares in each column, i.e. twenty-two
squares in total. When you are happy with your arrangement join
the squares into two columns, pressing all the seams downwards
10 Repeat steps 3–9 to make a total of nine flower blocks. in one column and upwards in the other column. Then join the
columns. Repeat.
11 Lay out the flower blocks, and also insert the infill hexies and
edge hexies (see photo). Once you are happy with your
arrangement, join the blocks and hexies using Y seams as
3 Join the vertical columns made in step 2 to each side of the
quilt centre.
described above. Press well and then trim to 245⁄8in square,

making sure the blocks and hexies are centred and level. 4 Take thirty of the remaining squares and arrange into a double
horizontal row of fifteen squares each. When you are happy
with your arrangement join the squares into two rows, pressing all
the seams in one direction in one row and in the opposite direction
handy hint in the other row. Join the rows. Repeat.
If you have one, you will find a design wall useful for arranging
your pieces as you make the rounds. If you don’t have one, a
large sheet pinned to a curtain works well as alternative, or
you could hang a large piece of wadding on the wall.
5 Join the horizontal rows made in step 4 to the top and bottom
of the quilt centre.
ROUND ONE
6 At this stage the quilt centre needs to measure 393⁄4in
(unfinished). If necessary, trim as required, but make sure you
trim the same amount of each side of the quilt centre.
1From the navy fabric cut the following:

Two 11⁄4 x 245⁄8in strips ROUND FOUR
Two 11⁄4 x 261⁄8in strips
1 From the navy fabric cut four 33⁄8 x 393⁄4in strips.
2 Join a shorter strip to the top and bottom of the quilt centre,
and then join a longer strip to each side.
2 From the white star print fabric cut four 33⁄8in squares.
ROUND TWO
1 From the grey fabric cut the following:

3 Join a navy strip to each side of the quilt centre.
2 Join a shorter strip to each side of the quilt centre, and then join
a longer strip to the top and bottom.
4 To each end of each remaining strip join a white star print f
abric square. Now join these strips to the top and bottom of
the quilt centre.

ROUND FIVE
handy hints
1 This round comprises four pieced cornerstones and twenty-four
wonky star blocks.
The wonky stars are fun to make! Other than the squares
there is no measuring needed. Remember that the stars
2 For one cornerstone cut the following:
White star print fabric: one 41⁄4in square, one 11⁄8 x 73⁄8in strip
and one 11⁄8 x 8in strip
are supposed to be wonky and carefree, so vary the size
of star scraps and the angle at which you join them to the
white-on-white squares.
Grey fabric: one 23⁄8 x 41⁄4in strip and one 23⁄8 x 61⁄8in strip
The star scraps must be large enough to completely
Navy fabric: one 13⁄4 x 61⁄8in strip and one 13⁄4 x 73⁄8in strip
cover the corner when flipped open (see step 7).
You need to cut pieces to make four cornerstones.
Using a white-on-white background and the same star
fabric for the centre square and the star points will create
3 To make a cornerstone, join the 23⁄8 x 41⁄4in grey strip to the top
of the 41⁄4in white star print square. Fig 11. Join the 23⁄8 x 61⁄8in
grey strip to its right-hand edge. Fig 12.
the effect of floating stars. Debbie has used her print,
navy and grey fabrics for the stars.
4 Working as described in step 3, add the navy and then the

white star print strips in the same way to complete the
cornerstone, which should measure 8in square. Fig 13. 6 For one wonky star block cut the following:
White-on-white: eight 3in squares
White star print: one 3in square and eight scraps (see step 7)
5 Repeat steps 2–4 to make a total of four cornerstones. You need to cut pieces to make twenty-four wonky star blocks.
Fig 1 Mark dots on the wrong Fig 2 Sewing the first petal to Fig 3 Joining the second petal to Fig 4 Stitching petal two to the
side of the petal hexies the flower centre the first petal flower centre
Fig 5 Pressed petal one/two unit Fig 6 Pressed petal one/two unit Fig 7 Petals one to five stitched Fig 8 Last petal stitched to petal
from the right side from the wrong side in place five
Fig 9 Last petal stitched to first petal Fig 10 One flower block
Fig 11 Making a cornerstone: Fig 12 Making a cornerstone:

adding the first grey strip adding the second grey strip Fig 13 A completed cornerstone

7 Take one of the 3in white-on-white squares and one of the star
scraps. Right sides together, place the scrap at an angle on the
bottom right-hand corner of the square and sew in place with a 1⁄4in
top. Working from the centre outwards, pin with quilters’ safety
pins or tack to secure.
seam as shown. Fig 14. Trim 1⁄4in beyond the stitched line, flip the
corner open and press. Fig 15. Repeat on the bottom left-hand
corner of the square. Trim the excess star scrap fabric so you have
2 Quilt as desired. Debbie quilted a pattern of wavy lines.
a 3in square star point unit. Fig 16.

3 Trim the excess backing and wadding level with the quilt top
edges. Debbie then rounded each corner using a tea plate.
8 Repeat step 7 to make a total of four star point units. Make sure you do each corner the same.
9 Join a 3in white-on-white square to each side of two of the star

point units as shown. Fig 17.
4 If you have rounded your quilt corners you will need to use
binding that has been cut on the bias so that you can ease it
around the curves. From your binding fabric cut 21⁄2in wide strips on
the bias which when joined end to end create a length approx
10 Join the two remaining star points to each side of the 3in star
square. Join the star point rows made in step 9 to the top and
bottom of this unit to complete a wonky star block, which should
254in long. Join the binding strips at right angles. Press the seams
open to reduce bulk and then trim away the ‘ears’. Fold the strip in
half lengthwise, wrong sides together, and press.
measure 8in square. Fig 18.
11 Repeat steps 7–10 to make a total of twenty-four wonky star

blocks
5 Working from the right side and starting part way down one
edge, match the raw edges of the binding to the raw edges of
the quilt and sew in place, easing the binding in place around the
curve of each corner. Join the ends neatly. Fold the binding over to
12 Take six wonky star blocks and join into a row. Repeat to
make a total of four rows.
the back of the quilt and neatly slipstitch in place by hand.
handy hint
13 Join a wonky star row to each side of the quilt centre.
If you don’t wish to round the quilt’s corners then you can use
binding strips cut across the width of the binding fabric. You
14 To each end of the two remaining wonky star rows join a

cornerstone. Take care with the orientation of the
cornerstones (see photograph). Join these rows to the top and
will still need 50cm (1⁄2yd) fabric from which you need to cut
seven 21⁄2in wide strips. Join the strips at right angles. Press
the seams open to reduce bulk and then trim away the ‘ears’.
bottom of the quilt centre. Fold the strip in half lengthwise, wrong sides together, and
press. Working from the right side and starting part way down
QUILTING AND FINISHING one edge, match the raw edges of the binding to the raw
followed by the wadding and then the quilt top, centrally and right
edges of the quilt and sew in place, folding a mitre at each
corner. Join the ends neatly. Fold the binding over to the back
of the quilt and neatly slipstitch in place by hand.
side up; the backing and wadding are slightly larger than the quilt
Fig 14 First star corner stitched Fig 15 First star corner flipped
in place open and pressed
Fig 16 Completed star point unit Fig 17 Star point row Fig 18 Completed wonky star block

SPRING QUILT FESTIVAL
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Norfolk Pavilion, Ardingly, West Sussex RH17 6TL
Friday 27th - Sunday 29th JANUARY 2017
10am-4.30pm (4pm Sunday)
Find Us on Facebook
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❋ RADIANCE CHALLENGE 2015:
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❋ THE FABRIC & FIBRE OF NATURE by Karen Lane

❋ AN ONGOING JOURNEY by Annelize Littlefair
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❋ QUILTING MY GUILTY PLEASURE by Diane Abram

❋ JOURNAL QUILT CHALLENGE 2017: Let’s Dance Above: ‘Nature’s Treasures’ by Diane Abram
❋ ALCHEMY by Gilli Theokritoff Right: ‘Tonnau (Waves)’

by Sandie Lush
Above: Detail of ‘When Rainbows Dance’ Above: ‘Art Deco Study 1’

by Annelize Littlefair by Roz Rossiter (Radiance Quilters)
Patchwork & Quilting Suppliers Stands

Above: ‘Yellow Poppies’ by Karen Lane
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FESTIVAL EDINBURGH
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Friday 17th - Sunday 19th FEBRUARY 2017 All displays are subject
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❋ RADIANCE CHALLENGE 2015: MIRROR IMAGE by

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❋ QUILTING MY GUILTY PLEASURE Restrictions apply.
by Diane Abram
❋ ALCHEMY by Gilli Above:‘Heavenly Blue’ by Karen Lane
Theokritoff
Above:‘Little Lilies’ by Gilli Theokritoff

Right:‘Auryn (Golden One)’ by Sandie Lush

WORKSHOP PROGRAMME
Participate in our numerous workshops by quilting experts.
Above:‘The Awakening’ by Annelize Littlefair Telephone for a list or download from the website. Above:‘Celtic Fantasy’ by Diane Abram
*All card bookings are subject to a 50p booking fee Deadline for advance ticket bookings: 3rd February 2017
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SHOW
❋ RADIANCE CHALLENGE 2015: MIRROR IMAGE by Right:‘Kioni Harbour’

by Karen Lane
Radiance Quilters – Longarm Learning Curve
❋ SASHIKO FROM SCOTLAND by Susan Briscoe’s Students
❋ JOURNAL QUILT CHALLENGE 2017: Let’s Dance
❋ THE FABRIC & FIBRE OF NATURE by Karen Lane
❋ PAISLEY RENAISSANCE by Sandie Lush All displays are subject
to change
❋ AN ONGOING JOURNEY by Annelize Littlefair

❋ QUILTING MY GUILTY PLEASURE by Diane Abram
❋ ALCHEMY by Gilli Theokritoff
Above:‘Three Tall Trees’ by Karen Lane
Above:‘28 Petals’ by Adrienne Quinlan Above:‘Lelog Gloyw (Lustrous Lilac)’

(Radiance Quilters) by Sandie Lush

WORKSHOP PROGRAMME
Above: Detail of ‘Sea Urchins’ Participate in our numerous workshops by quilting experts.
by Annelize Littlefair Telephone for a list or download from the website. Above:‘Magpie’ by Gilli Theokritoff
*All card bookings are subject to a 50p booking fee Deadline for advance ticket bookings: 10th February 2017
HOME ACCESSORIES PROJECT craft apron
craft apron
This handy apron will help you get organised
DESIGNED AND MADE BY MELINDA DUNCAN BRIGHTONSEWINGCENTRE.CO.UK
This festive craft apron has been designed to use when wrapping presents, I don’t know about you, but I
always get in a mess with losing tape, scissors and tags, but one of these helps keep it all organised. It is
quick to make, and also makes an ideal gift for a cook or a gardener.
Melinda Duncan
MAKE THE POCKET AND TIES

SKILL LEVEL
FINISHED SIZE Approx 68.5 x 30cm (27 x 12in) not

1 Layer the pocket ready for quilting by placing one piece of the
blue fabric wrong side up on a clean flat surface, followed by the
wadding and then another piece of blue fabric, right side up. Pin,
including ties tack or spray baste the layers together.
MATERIALS
70cm (3⁄4yd) white linen fabric
60cm (5⁄8yd) blue fabric for pocket and ties
2 Using a walking foot, quilt vertical lines across the pocket
approx 1⁄2in apart.
2 x 30in strip of contrasting fabric for binding

74 x 25cm (29 x 91⁄2in) piece of wadding 3 Trim the pocket section to measure 28 x 81⁄2]in. By hand, or
machine, tack around the pocket, approx 1⁄8in away from the edge.
WHERE TO BUY Fabrics used are from Brighton Sewing

Centre. Similar fabrics are available from quilt fabric
4 Take the binding fabric. With the right side of the pocket facing
you, place the binding strip along the top edge right sides
together, raw edges lined up. Pin and sew using 1⁄4in seam
allowance. Fold the binding to the back of the pocket panel and
PREPARATION All measurements include 1⁄2in seam press under a 1⁄4in seam and stitch to secure. Melinda machine
allowances, unless otherwise stated. stitched in the ditch from the front however use your preferred
method. You can also use ready-made binding for edging the
pocket. Trim the excess binding level with the edge of the pocket.
1 From the white fabric cut two 28 x 13in rectangles. 5 To make the ties take one of the 2in x width of fabric (approx.
44in long) strips. Fold the strip in half and press to make a
centre line. Open up and press each raw edge level with this line,
then fold in half to encase the raw edges and press. Pin and stitch.
2 From the blue fabric cut two 2in x width of fabric (approx. 44in
long) strips, and two 29 x 91⁄2in rectangles.
Fig 1. Repeat to make the second tie.

HOME ACCESSORIES PROJECT craft apron
ASSEMBLE THE APRON
1 Lay one piece of the white apron fabric on a surface right side up
and place the pocket on top, right side up, lining up the side and
bottem edges. Pin to hold in place. Take one tie and using Fig 2 for
3 Trim the wadding and seam allowance at the corners and turn
the apron through to the right side making sure all seams are
pushed out. Fold in 1⁄2in seam allowance at the opening so it is in
guidance pin to the side of the apron, 1in down from the top line with the top edge. Press seams flat, pin and stitch all the way
corner. Repeat with the other tie. By machine or hand, tack around around the edge of the apron, a scant 1⁄4in away from the edge.
the edge of the apron panel to hold the pocket and ties in place.
2 Lay the last piece of the white apron fabric, right side down, on
top of the pocket piece and pin around the edge. Fig 3. Ensure
4 To hold the layers together, and to divide the large pocket into
several smaller pockets, add several lines of stitching through
the apron. Fig 4. Melinda added a line of stitching through the
the ties are placed towards the centre, otherwise they can centre, and then another one each side approx. 51⁄2in from the first.
accidentally get caught in the stitching. Sew around the edge So you don’t need to mark the line, follow a line of quilting. You
using 1⁄2in seam allowance, leaving a 5in gap of stitching along the can add more pockets of you wish to store items such as pens.
top of the apron to turn through. Reverse stitching at the beginning and the end to secure.
Fig 1 Making a tie Fig 2 The pocket and ties machine Fig 3 The apron panels pinned ready Fig 4
sewn in place to stitch Close up of
a pocket

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QUILTING WORLD it's all about the sewing
It's all about the sewing

Elizabeth Betts spends a relaxing weekend quilting at the
justhandson.tv retreat in Buckinghamshire
The Jelly Roll class
I sew in snatched moments; an afternoon here, an evening there, so venue many had already set up. I later discovered that some stayed the
when my colleague Anne de Lanoy called to say something had come night before which I would probably do if I went again. As well as the
up and would I like her place on a quilt retreat the following month, I option to work on your own project with Valerie Nesbitt on hand to
snapped it up. Based at a hotel in Buckinghamshire, conveniently just advise, there was a Jelly Roll workshop with Sarah Soward or
off the M40, it offered two days of uninterrupted sewing in a beautiful Christmas makes with Pauline Bolt. All the tutors had lovely welcoming
countryside location. styles which echoed the friendly and relaxing atmosphere of the
The week before I started getting nervous. What if everyone already weekend. The retreat was officially started with a welcome, and we
knew each other and so weren’t chatty to an interloper, what if I forgot were given an itinery and goodie bag containing items such as Aurifil
my sewing machine lead, and most importantly what was I going to thread and fabric samples. Then it was down to business and everyone
sew? It has been years since I have had two consecutive days stitching got on with their sewing, interrupted by the odd chorus of ‘oh, that is
and so I went into overdrive. Much of my present sewing is by hand, I amazing’ when a piece of patchwork was held up.
keep it in boxes under the sofa and pull it out to work on when I am Although breaks were scheduled there were tea and coffee making
watching TV - so decided machine sewing would be a treat. My options facilities outside the room so everyone popped out when it suited
included the bag of Dresden Plates that have been patiently waiting to them. The event organiser, Maggie, was great host. She made sure
be sewn onto a backing for four years, two half-finished samplers and everyone was ok, and provided wonderful chatting service when we
numerous tops. However, I decided to start something new as it added left the room to get a drink. I did wonder if she should get a new badge
to the treat feeling of the weekend. After playing around on EQ7 I had saying ‘patchwork counsellor’. I found out she is a retired event
plans for a four-colour Courthouse Steps quilt, and a curved pieced quilt organiser and executive PA which was more than evident in how she
that were to eventually be presents. I packed the day before, then at handled everyone, and made small adjustments such as bringing
11pm on Friday night had the great idea of using some of my beloved dinner time forward 15 minutes so we avoided clashing with another
Liberty stash. Collected over the years it’s my precious fabric and so group staying at the hotel for a conference.
perfect to use to make a quilt for my daughter, but did create a bit of a Teaching on the Saturday officially finished at 4pm, but many of us
late night commotion as I got the fabric from the top of the wardrobe! stayed sewing later as we weren’t meeting in the bar until 7pm. All the
It was an 8am start, although I wasn’t too worried about traffic as I meals were in a buffet-style restaurant, which was handy as there were
had enough fabric to keep me occupied for days had I got stuck on the 30 of us, and so not easy to cater to everyone’s likes and allergies. I
M25. Weeks before I did entertain the thought of taking the train, but I enjoyed sitting with different people at each mealtime and finding out
would have needed a porter to help me carry everything and sadly what they were making, where they were from and why they were on
Southern trains don't provide them anymore. When I arrived at the the retreat. The majority of people lived no more than an hour away,

QUILTING WORLD it's all about the sewing
Clockwise from left: Tutor Valerie and retreat co-ordinator Maggie; One
of Pauline's Christmas projects; Angela wowing us with her finished
quilt top; Jane pieced, layered and started quilting over the weekend.
"... all there is to do is focus on your

stitching. And that is a perfect way to
spend a weekend in early October."
and one person even whizzed home for more fabric on the Saturday twelve on the Sunday. On my way home I reflected that although I was
evening before dinner as they got more achieved than expected. a little disappointed to not get more done, I had perhaps been a tad too
On the Saturday night Emma, Angela and I stayed up sewing until ambitious. The thoughts of two days had gone to my head! The curved
11.15pm and had a great time. The hours flew by as we stitched away quilt blocks needed cutting out with scissors, and progress on my other
and chatted about projects, work and family. On Sunday morning, the quilt had been hampered by stitching a block round the wrong way (too
room was available to sew for any early birds, but I planned to have a much chatting going on!). However, had I been at home I would not
lazy start. In full retreat mode I went down to the swimming pool and even have designed them, let alone started them, instead I would have
Jacuzzi at 7.15am. I soon realised this wasn’t an unusual way to start the been tidying, providing lifts to football and possibly sneaking in some
day as there were already two other quilters in the pool. It was a lovely work. The Jelly Roll quilts looked great, with some finishing two tops,
way to begin the Sunday, relaxation mixed with a satisfying feeling of so if I go again to make it a true retreat I will join in a workshop and
working off the profiteroles I had eaten the night before. I had been so follow a pattern and so create a true sewing relaxation step away from
engrossed in my sewing that my back and neck were aching and so it reality. It was wonderful to go and relax. Jane, one of my new sewing
was good to have some exercise and straighten up. buddies, summed it up when she said she loves the retreats as with
Sunday followed the same format as the day before, and finished at having space to sew, help on hand and all your meals taken care of, all
4pm with a show and tell. The Jelly Roll class was in a separate room and there is to do is focus on your stitching. And that is a perfect way to
so it was great to look in and see what everyone had been making. We spend a weekend in early October.
were all asked for feedback, and the only thing I could find that could be
improved was more irons. With the retreat being run by patchworkers Liz went on a retreat organised by justhandson.tv
this had already been noted and a different room booked with the hotel They have weekends booked for 2017 in Gloucestershire, Henley
manager for the 2017 retreat earlier in the day. This was only a slight and the same hotel in Buckinghamshire. For more information
tweak, and certainly didn’t detract from the weekend. visit justhands-on.tv/events/retreats
The result of my sewing was a pile of blocks, six on the Saturday and

See pattern sheet
for festive wreath
templates
GET CREATIVE festive wreath
festive wreath
This contemporary Christmas wreath features bright holly, hearts, stars and candy canes
]JANET GODDARD PATCHWORKPATTERNS.CO.UK
This jolly Christmas decoration was fun to make in a spearmint, pink and red colour range, however
it would work just as well in more traditional red, green and gold Christmas fabrics.
Janet Goddard
THE WREATH MAKING THE SHAPES
1 Cut 1m (1yd) from the 11⁄2in wide red ribbon and set aside to use
later. Take both lengths of spearmint and the remaining red 11⁄2in
wide ribbon and, using small pins, secure the ends onto the back
1Make paper templates for the hearts, stars, candy canes and
holly leaves from the Pattern Sheet and cut out the shapes.
Reduce the stitch length on your sewing machine.
of the polystyrene ring. The red ribbon should overlap the spearmint
ribbon by almost half its width. Fig 1. Start covering the ring by
winding the ribbons simultaneously around the ring. Every four to
five wraps secure the ribbons to the back of the ring with a blob of
2 Make three hearts as follows. From the pink fabric use the heart
template to cut out six hearts by folding the fabric in half wrong
sides together and cutting three pairs. Place the hearts right sides
glue and a pin. Fig 2. You can make the wraps uneven if you like. together and stitch around the edge, leaving a 1in opening in the
side of each heart. Trim the point and clip the curves. Turn through
2 Continue in this way until the entire ring is covered with ribbon.
Fig 3. Secure the ends of the ribbons to the back of the ring
with glue and several pins.
and stuff. Slipstitch the opening closed. Fig 4. Stitch a spearmint
button to each heart.
handy hint
3 Make six stars as follows. From the red fabric use the star
template to cut out twelve stars by folding the fabric in half
wrong sides together and cutting six pairs. Place the stars right sides
As there is a large amount of ribbon to wind around the wreath together and stitch around the edge, leaving a 1in opening along one
it can be hard work to keep the long strips untangled. To keep it straight side of each star. Fig 5. Trim the points and clip each
tangle-free, roll the ribbon up and secure it on each edge with concave area. Turn through and stuff. Slipstitch the opening closed.
small plastic binding clips, letting out about 12in at a time.
Fig 1 Fastening the ribbons on the Fig 2 Wrapping the ribbons around the ring Fig 3 The wrapping completed
polystyrene ring

GET CREATIVE festive wreath
SKILL LEVEL
FINISHED SIZE Approx 36cm (14in) diameter
MATERIALS
35cm (14in) diameter polystyrene ring
7m (73⁄4yd) approx. of 4cm (11⁄2in) wide spearmint
ribbon for wreath
8m (83⁄4yd) approx. of 4cm (11⁄2in) red ribbon for
wreath, bow and hanging loop
30cm (12in) of 5mm (1⁄4in) wide red ribbon for
candy canes
One fat quarter of spearmint fabric for holly leaves
One fat quarter of red fabric for stars
One fat eighth of pink fabric for hearts
One fat eighth of pink and red fabric for candy canes
Three spearmint buttons for hearts
Eleven small red buttons for holly ‘berries’
Small amount of stuffing
Very small pins
Fabric glue or a glue gun
WHERE TO BUY Fabrics used are from a range by

Michael Miller. The polystyrene wreath was from
Hobbycraft. Similar fabrics are available from quilt fabric

allowances, unless otherwise stated. 4 Make two candy canes as follows
follows. From the pink and red print
fabric use the candy cane template to cut out four shapes by
folding the fabric in half wrong sides together and cutting two
pairs. Place the candy canes together and stitch around the edge,
leaving a 1in opening in the long side of each cane. Trim the points
and clip the curves. Turn through and stuff. Slipstitch the opening
closed. Take the 1⁄4in wide red ribbon and cut it into two 6in pieces.
Tie one piece of ribbon around each cane. Fig 6.
5 Make nine holly leaves as follows. From the spearmint fabric

use the holly leaf template and cut out eighteen leaves by
folding the fabric in half wrong sides together and cutting nine
pairs. Place the leaves right sides together and stitch around the
edge, leaving a 1in opening along one side of each leaf. Trim the
Fig 4 The hearts Fig 5 Sewing the Fig 6 The completed points and clip the curves. Turn through, stuff and then slipstitch
made, ready for the stars candy canes the opening closed.
buttons to be added
FINISHING THE WREATH
1 Using normal dressmaking pins, pin the stuffed shapes on to the

bottom half of the wreath in a pleasing mix of shapes and
colours. Group the holly leaves into pairs or groups of three. When
you are pleased with the arrangement, carefully take off the
groups of holly leaves and stitch the tops of the leaves together
with a few stitches. Stitch two or three small red buttons to each
group of leaves. Fig 7. Pin the leaves back onto the wreath.
Fig 7 Sewing the holly
leaves into pairs, with
button ‘berries’ 2 Carefully remove each pin in turn and glue each shape onto the
wreath. Fig 8. When the glue is dry add one or two small pins
to each shape for extra support, hiding the pins where the shapes
cover each other.
3 To add the hanging loop and bow, cut the remaining piece of
11⁄2in wide red ribbon into a 25in strip and a 15in strip
approximately. Tie the longer piece into a large bow and glue and
pin it to the centre top of the wreath. Fold the shorter piece of
Fig 9 Fixing a ribbon Fig 8 Fixing the shapes onto the ribbon in half and glue and pin it securely to the centre back of the
hanging tie in place wreath wreath to finish. Fig 9.

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"A lot of my work for the FdA was based
around my childhood memories so I used
poems and fairy tales as my design source."

QUILTING WORLD stitching up a chain reaction
Do you work from other venues?

As well as the courses and workshops I run at my place on Southmoor
Lane in Havant, on alternate Mondays you will find me at Shawford
village hall as the teacher and mentor with a lovely group of ladies who
have been meeting up for years. I also have evening courses in soft
furnishings and beginner’s patchwork and quilting at Eastleigh College,
Hampshire, and I am always open to invitations to give talks and
workshops to other groups.
Have you always sewn?

Yes, I think I was born with a needle in my hand and a silver thimble on
my finger! I’ve been collecting beads, threads and fabrics from about
the age of 7 and can remember spending time with my mum and my
granny happily stitching away.
Can you share a story of an early piece of work?

Pylons 1 is an early piece of my work, it really is the piece that has set me
on this marvellous journey. It was a design developed whilst studying City
and Guilds; on a weekly basis I would travel along the top of Portsdown
Hill and as you drive past the pylons up there, the structures create
beautiful patterns which I just wanted to translate into fabric.
Where did you train?
Stitching
First time round I went to Crosskeys College in South Wales where I
started on art and design, dressmaking and embroidery. Second time
round I went to Eastleigh College in Hampshire and studied as a mature
student. Best step I ever took!
up a chain
How did the Foundation Degree Arts, Stitched
Textiles compare to C&G?
My, that is a question! It was a lot more taxing and I was way out of my
reaction
comfort zone. It was no longer about perfecting technique and creating
patchwork designs for fun, I really had to think about what and why I
was doing everything - right from the start my influences, designs, and
techniques were all questioned! Although it was very hard work (I was
working full time, studying for the foundation degree and taking a two
year teaching qualification too) it was all worthwhile as I wouldn’t have
Linda Onions loves to share her passion built up my confidence to be doing everything now.
for textiles through her courses and Can you tell us about the final piece of work for
workshops. Here she tells us how taking your course?
a local patchwork and quilting class has A lot of my work for the FdA was based around my childhood memories
so I used poems and fairy tales as my design source. The final piece of
inspired her whole life and led to her work was an installation piece called The Safe Place and was my
teaching and exhibiting her own work. interpretation of Little Red Riding Hood. I built a big tub chair from old
cardboard tubes from fabric and covered it in hand stitched quilted panels
on the inside and machine stitched panels on the outside. I made a life
size wolf from wire and paper, a red cape and a Kantha stitched blanket of
indigo dyed muslin for grandma. It was an awful lot of work but I was very
What is Chain Stitch Reaction? pleased with the end result, although the only thing I have intact now is
Chain Stitch Reaction is my new adventure, and is the name I have the blue quilt and some panels from the chair, made in to cushions.
given to my workshops and courses that I run at Southmoor Lane
Workspace in Havant. Do you print your own fabric, if so how do you
do this?
How did it get its name? No, I don’t print my fabrics as I really don’t like the mess! I prefer to
I had to come up with a business plan whilst studying at college and it decorate my fabrics with fabric paint or handwriting using fabric pens. I
came to me in a moment of inspiration. Thinking back to how taking a use very basic techniques, tools and equipment and just literally paint
local patchwork and quilting course had changed my whole working or write directly onto the fabric. If I feel a little more adventurous I might
direction, I realised how my tutor Barbara had sparked my passion for use stencils and a Gelli Plate!
stitching which has influenced my life ever since.
Where can readers see you work?
What do you teach? I am booked to do some talks and I always take my quilts with me, but if
I teach a variety of courses and classes including dressmaking, soft you are unable to attend, images of my work can be seen on my website.
furnishings, patchwork and quilting, embroidery and design.

QUILTING WORLD stitching up a chain reaction
"My husband says if I’m not stitching

I’m sleeping or reading. I think he might
mean I’m a little obsessed!"
On your website you refer to the therapeutic

benefits of sewing. Can you talk about this a
little more?
I believe that sewing keeps us sane, the world is so demanding these days
What was the brief, and limitations, for and it is lovely to be able to escape into your sewing room or class for a few
exhibiting in Romsey Abbey? hours and let the pressures of everyday life drift away. Listening to the
We were not really given limitations for the exhibition, which was rhythm of the sewing machine or creating your own form of meditation
wonderful. We all went and looked at the space and chose where we with a needle and thread; time just disappears and I for one have a sense of
would like to put our work. I chose one of the arches and a stepped wellbeing. I have seen the effect learning to sew has had on several of my
windowsill at the back. I used a piece from my FdA which is three students, they become more relaxed with life, and much more confident.
ethereal bodies for the arch and I made ten doves for the windowsill Some have even gone on to start their own sewing business, thus giving
using the wire and paper method which I started to develop whilst them some economic stability too. A lot of my students come for the
studying. companionship as well as the sewing, so we do have a lovely time and
quite a few laughs in class. The best therapy is when someone achieves
You use hand and machine quilting in your their goal and completes their first project, the smile they have on their face
work? If pushed, is there one you prefer? Also, says it all for me. Sewing gives us a sense of purpose; it can be a reason to
why do you like combining the two? get up in the morning. Not only does the maker enjoy her sewing, but when
I love both techniques but if pushed very hard I would fall at the feet of you give a gift of a quilt, hopefully, it helps to make the recipient feel cared
hand quilting. I use both in my work as they give different textures, the for and can give them some comfort.
machine quilting is much quicker and I like to hand stitch so I can use
the lovely perle threads and maybe experiment a little with some What do you like to do when you’re not stitching?
embroidery stitching too. When I consider the difference, if I sit at the My husband says if I’m not stitching I’m sleeping or reading. I think he
sewing machine it is work; if I hand stitch it is pleasure. might mean I’m a little obsessed!
Do you still make soft furnishings? What are you currently working on?
I do still make soft furnishings, I have been in the trade for over 30 years I am working on the new timetable for Chain Stitch Reaction and have
and so I still have my regular customers – it’s a very hard habit to break talks and workshops booked at quilting and embroidery groups into
and I never say no. As Chain Stitch Reaction is in its early stages I divide 2017. I am planning the timetable to start in January so will be making
my time between making curtains, soft furnishings, designing and the quilts to go with that - I’m thinking a medallion quilt and maybe a
teaching workshops. New York Beauty along with a few classes to design your own blocks
and quilts. Keep an eye on my website to see what classes are on offer.
Does your knowledge of these techniques help I also want to put together some sewing kits and patterns as quite a few
with your quilt making? of my projects were well received at Festival of Quilts this year. I am
I find that I can use the skills I learned in soft furnishings in my patchwork also working on a very colourful Kantha style quilt for my stand at
and quilting work. If you can make curtains you can deal with very big Festival of Quilts next year so do come over and say hello.
pieces of fabric, which a lot of my students are intimidated by. I also make
cushions and I am sure if someone wanted any patchwork or applique Details of Linda's courses, talks and workshops can be found on her
curtains I could make those too, or you could come to a class and learn website chainstitchreaction.com and on the Facebook page
how to make your own. You could start your own sewing business! Chainstitchreaction

Quilting pins
Kerry Foster explains how to use Pinterest to find and plan your next quilt project
Pinterest is a free image-collecting site - a scrapbook-style social media themes that you may find interesting and from there, suggest people
platform where you can share ideas and beautiful images with other you might like to follow – this is just a starting point to build your home
users - and it is extremely popular with over 80 million users feed and we’ll look into this more in a bit. For now, you should
worldwide! It has been around since 2010, but as we have noticed at our complete your profile by adding an image for your avatar (the icon that
quilt shop, the number of quilters who are working on projects that they appears as your profile pic) and your location information.
have ‘seen on Pinterest’ is growing. It's a great visual way of keeping
tabs on all of those online quilting tutorials you want to try, books you HOW TO PIN AND RE-PIN
want to buy, colour schemes you might like to try in future projects, To pin new items, click the + sign in the bottom right corner that floats
inspiring images that would look great made into a quilt pattern, and over your homepage. This will give you two options, ‘Upload a pin’ or
anything else that sparks your passion. ‘Save from a website’. Uploading a pin is for sharing a photo that you
You can upload your own images and videos, or use it to bookmark have saved on your computer which means that when someone clicks
things you have seen online. These submissions are called "pins" and on this pin, there will be no link to the original source such as a blog or
you group them together by themes, which are called "pinboards". You news item. Therefore my preferred route is the option to Save from a
can browse through the content of other people you choose to follow website. When you click this, you will be prompted to paste in a link. I
- a bit like being able to scroll through your friends' Facebook feeds recommend that if you are pinning from a blog or a news site, copy and
- and can then save pins that you like onto one of your own boards. By paste in the long address of the actual post, rather than the site’s
clicking the pin on the pinboard to open it up, you can then click the homepage. This will help you and other pinners to find the exact post
image again to be taken to its original source where you will find the full again when you click through on the pin.
tutorial or more information on the item. The next step is to click the image you want to pin, and then you can
My friend, Wendy Fozard, is popular (and prolific) on Pinterest, with add or change the description – maybe add what inspired you about the
25,222 followers, 23,296 pins and 260 boards at the time of writing. item, or what you would make as a reminder for the future. You will then
Her username is chunkybunny, and explains that her main reasons for want to choose a board to add it to, but if this is your first pin you will
using Pinterest are ‘bookmarking things I want to make, or things I like, need to click ‘Create Board’. Type in a name, select if this is a secret board
or things I might possibly want to make one day. It's purely a place for (where other pinners can’t see it) and click save. You've just pinned!
me to collect links to tutorials or ideas or beautiful things I might want There's another way to pin too. When you click "Save from a
to look at again.’ website", you will see a prompt to get a browser button added to your
If other quilters are finding it to be a useful tool of discovery and taskbar. I like this method as it’s a convenient way of saving links
inspiration, I'm sure you would like to get it on the action too! without having to go into Pinterest each time. When you are on a
website where you would like to save a picture, you click the little ‘P’
HOW DO I CREATE AN ACCOUNT? button in your taskbar, it will then prompt you to choose which image
Go to www.pinterest.com and it will ask you to pick a username and to pin and which board to pin it to.
password. If you have one, you can also link to your Facebook account, Re-pinning is even easier. If you see something you like on your
which will make the process a lot quicker. There is no charge to sign up homepage from someone you follow, hover over it and a little Save
or use Pinterest. From sign up you will be prompted with a list of icon will appear. Click that and add it to your preferred pinboard.

QUILTING WORLD quilting pins
HOW TO MAKE A PINBOARD

You've just seen one way of creating a board, but you can also create 1
them in advance by clicking on your profile (the head and shoulders icon
in the top right) which takes you to your own boards. Here you will find a
‘Create board’ option where you can set up as many pinboards as you like
- so what do you want to use Pinterest for? Some ideas are creating a
shopping list of books or supplies you might want to buy, another may be
a collection of quilt labels by other people to inspire you to do more with
your own. Or you may simply want to group tutorials on a topic, such as
precut quilt patterns, or how to foundation paper piece.
You can also make your boards ‘secret’ so other pinners won’t be
able to see your pins. You may want this if you are planning a surprise
for a friend and you don't want them to see your ideas board, or things
that are personal and you want to keep them safe, but not share them
with other users. Wendy has a secret board where she pins new blogs
she wants to try out before she adds them to her blog reader. To make a
2
board secret, just click the Secret option to ‘Yes’ when setting it up.
A collaborative board is another feature, so you and your friends can
add to a board together. This is great for a bee or a charity group to share
images with each other. Once the board has been created, click it in your
profile and it will open. You have the option to add more people to it with
the little + that appears next to your profile image at the top of the board.
Start typing in the person’s name - real or username - and you should be
able to select and add them. If they don’t appear, check that you are
actually following them – for more on this, see the next section.
HOW TO FOLLOW OTHER PINNERS

Following people is key to discovering things to re-pin and opens the
door to so many new ideas. A great place to start is the ‘hamburger 3
menu’ – the first icon at the top that brings up a selection of categories
for you to browse, such as Hobbies and crafts, Art and Design. If you
find someone there pinning things you like, you may want to see their
future updates. Simply click on the pin, scroll down and you will see
who pinned it. Click on their name to go to their profile and from here
you can choose to "Follow all" of their boards, or just click "Follow" on
the boards that interest you.
Wendy says, ‘I've also been adding people who pop up when you pin.
I don't ever ‘follow all’ as I have no interest in recipes or homeschooling
ideas or things like that, I just pick specific boards to follow.’
You can, of course, follow people that you know are on Pinterest already
by typing their username into the search box to bring up their profile. Here
are five people I think you might like to follow. The links will take you
straight to their profile pages, or you can search for their username.
4
You can also follow me if you like! My pins are largely quilt tutorials,
but I have boards of cute animals and sugary recipes too...
uk.pinterest.com/kerryw
As with all things you find online, Pinterest should be a source of
inspiration, to spark an idea, rather than to be used to directly copy an artist's
work if you are pinning something that isn't a tutorial. There are so many
great free resources to help you get better at your craft: videos on YouTube
and patterns and techniques on blogs. Let's go and pin them all!
chunkybunny - uk.pinterest.com/chunkybunny
1 Tutorials for any craft you can think of
dettek - uk.pinterest.com/dettek
5
2 Crafts ideas for children and gorgeous crochet
madmail - uk.pinterest.com/madmail
3 The Quilts and Fibre Art board is particularly good
bashein7 - uk.pinterest.com/bashein7
4 Boards include traditional and antique quilts
RSTblog - uk.pinterest.com/RSTblog
5 Modern quilt block and garment sewing tutorials are highlights

HOME ACCESSORIES PROJECT tree skirt
tree skirt
Add glamour to your festive décor with a stylish tree skirt
DESIGNED AND MADE BY JENNIE RAYMENT
A handy Sew Easy ruler makes this project quick to make - perfect for creating a big hexagon
shape to go around the base of a tree. It looks great as a table topper too. In different prints it’s
ideal for al fresco dining as the central gap leaves space for a garden umbrella. Jennie Rayment
1 From the trees-on-white fat quarter cut the following:

One 45⁄8in wide strip across the width of the fat quarter:
4 From the light turquoise fabric cut two 81⁄2in wide strips across
the width of the fabric: subcut to give twelve large triangles. If
using two fat quarters, you will need to cut two 81⁄2in wide strips
subcut to give six small triangles. Fig 1. across the width of each fat quarter. Fig 2.
Six 11⁄4in wide strips across the width of the fat quarter: for outer
edge binding
5 From the turquoise fabric cut six 21⁄4in wide strips across the
width of the fat quarter.
2 From the grey fat quarter cut the following:

Two 45⁄8in wide strips across the width of the fat quarter: MAKING THE TREE SKIRT TOP
subcut to give twelve small triangles. Fig 1.
From the remaining fabric cut 11⁄4in wide strips on the bias
which when joined end to end will create a length approx. 30in
1 Take one small trees-on-white triangle and two small grey
triangles. Join into a row as shown with the straight grain of the
fabric top and bottom of the row. Fig 3. Press the seams open.
long: for inner edge binding Fig 4.
3 From the red fat quarter cut two 81⁄2in wide strips across the
width of the fat quarter: subcut to give six large triangles. Fig 2. 2 Repeat step 1 to give a total of six trees-on-white/grey rows.

SKILL LEVEL
FINISHED SIZE Approx 101cm (40in) maximum

mum width
MATERIALS
Four different fat quarters, includes binding
ing
50cm (5⁄8yd) or two fat quarters of the
same fabric (light turquoise)
1.2m (471⁄2in) backing fabric
1.2cm (471⁄2in) square wadding
Sew Easy 12in 60-degree ruler
Microstitch tool, optional
WHERE TO BUY Jennie used a Winter

Wonderland fat quarter pack (six fat quarters) rs)
by the Craft Cotton Co.: craftcotton.com.
Similar fabrics are available from quilt fabricc shops
or see our advertisers for mail order services.s. The Sew
Easy ruler is available from quilt shops, for stockist
details contact [email protected]
co.uk

Fig 1 Cutting out small triangles Fig 2 Cutting out large triangles
Fig 4 Press the seams open
Fig 3 Making a trees-on-white/grey triangles row
Fig 5 Red/light turquoise row Fig 6 Making a wedge shape

HOME ACCESSORIES PROJECT tree skirt
3 Take one large red triangle and two large light turquoise
triangles. Working as described in step 1, join into a row. Fig 5.
Repeat to make a total of six red/light turquoise rows.
2 Quilt as desired. Jennie recommends either stitching in the
ditch or approx 1⁄4in beyond the seams. When you have finished
quilting, stitch around both the outer and inner edges of the
hexagon within the 1⁄4in seam allowance.
4 Join a trees-on-white/grey triangles row to the red triangle of a

red/light turquoise row. Leaving the same overhang at each
end, join a 21⁄4in wide turquoise strip to the light turquoise triangles 3 Trim the wadding and backing fabric away from the centre of
the quilt top to create the central hole.
of the red/light turquoise row. Trim away the excess turquoise
fabric at each end at 60 degrees. This completes one wedge
shape. Figs 6 and 7. 4 Take the trees-on-white 11⁄4in wide strips and join end to end.
Press the seams open. Working from the right side, and starting
part way along one outer straight edge, match the raw edges of the
5 Repeat step 4 to make a total of six wedge shapes. binding to the outer raw edges of the quilt and sew in place. At each
corner, fold and crease the binding into a triangle. Sew to the edge
of the crease, then flip the triangle over and continue stitching on
6 With the trees-on-white/grey triangles in the centre, join the

wedge shapes to create a hexagon. Press the seams open. This
completes the quilt top.
the other side of the crease. Fig 9. Join the ends neatly. Fold the
binding over to the back of the quilt, turn under the long raw edges
and then neatly slipstitch in place by hand.
5 Take the grey 11⁄4in wide bias strips and join end to end. Press
the seams open. Join the bias binding strip to the inner raw
edge of the quilt. Work in a similar way to step 4, but at the
followed by the wadding and then the quilt top, centrally and right corners you will just need to ease the binding in place – this is
side up; the backing and wadding are slightly larger than the quilt fiddly but it can be done!
top. Working from the centre outwards, baste the layers with the
Microstitch tool, or using your preferred method. If you wish, trim
the backing fabric and wadding approx 2–3in beyond the quilt top
edges. Fig 8.
6 Your skirt is now ready to go under your Christmas tree!
Fig 7 Trimming the turquoise strip
Fig 9 Sewing the binding in place at

an outer corner Fig 8 Layered quilt

SHOW &TELL
Please send your emails and good quality (jpg) photos to [email protected]
or write to Elizabeth Betts, Popular Patchwork, My Time Media Ltd, Suite 25, Eden House,
Enterprise Way, Edenbridge, Kent, TN8 6HF
Tree Runner
I had to take early retirement from a job I loved due to chronic ill health and started doing simple patchwork. Once I was feeling well
enough to complete a bigger project I made this Christmas table runner on a day course at Sew Creative in Petersfield, Hampshire.
It’s not perfect but I was so proud! There are only two of us, my partner and myself at Christmas but we make sure our Christmas
table looks bright and festive using this runner. Creating it gave me the confidence to try other more complicated projects. I’ve just
made a quillow to keep me warm on cold winter nights. I’ve also made some lovely quilting friends who I meet up with when I am
well enough, to share a cuppa and a laugh about our ever growing fabric stashes.
Ann Roche, Hampshire
Your runner certainly will make the table look extra special this year. It is lovely to hear how friendships are made through quilting.
Christmas In July
Christmas came early this year in the village of Carno, Mid Wales, the home of
Maldwyn Quilters. We have an annual exhibition of members’ work in the village
community centre in July and have a raffle to raise money for charity. Each year we
make a large quilt as the first prize in the raffle and subsequent prizes are items made
by individual members. Off our main exhibition hall we have a smaller room that we
use for a different theme each year. This year’s theme was Christmas so we decided
the second prize in the raffle should be a Christmas tree. As you can see it grew to be
quite a size and was very popular with all our visitors.
Chris Smith, Maldwyn Quilters, Carno
Wow that is quite a size! Your tree looks wonderful.
'Christmas came early this year in

the village of Carno, Mid Wales, the Star
home of Maldwyn Quilters!' Letter

READ
RE
READERS'
ADER
ADE S LLETTERS
ET
TTE
T RS
S
SHOW US YOUR PROJECT AND WIN!

WIN!
Each month we give away quilting goodies for every letter or email and photograph raph published
p on
our Show & Tell pages. This month the prize is a bundle of three fabrics worth £13.90
13.90 from
f Cabbage
Rose, a new collection from Tilda. This playful range is inspired by colourful characters
racterrs of the
1950s such as comedian Lucille Ball and Astrid Lindgren’s Pippi Longstocking. Designs
esignns
with rabbits and flowers in soft orange, blue, green, red and pink give the series a
sweet,light-hearted appeal. Paying homage to “everyday roses” who add zest to o life
and inspire us with their creativity and joie de vivre, Cabbage Rose is perfect for stylishh
patchwork quilts combined with folkloric appliqués, as well as for making home and
fashion accessories. All the fabrics are 100% cotton, machine washable to 40°c and
110cm wide. For more information email [email protected]
Modern Challenge
Having seen your Modern Art Bag project in the November issue I thought you might
be interested in a Mondrian inspired wall hanging which was a challenge from my
craft group earlier in the year. It was really nice to use blocks of colour. I finished it off
with free-motion quilting which is supposed to be skyscrapers. Hope you like it.
Felicity Nye, Tiverton
Aren’t challenges brilliant for making you think of new ideas? Your wall hanging looks fantastic,
the quilting really adds to the graphic piecing.
Circle Success
I thought I would share with you these
circular table centres I designed using a
circular microwave plate as a template.
They measure about 13½in diameter.
Marian Croose, Gloucester
Using a microwave plate as a circular template is
a brilliant idea, they look great!
Festive Sewing
On the subject of festive makes, I thought I would share with you the story of the Christmas morning I spent finishing making our
six-week old baby daughter a little dress from holly patterned fabric. I was later thanked when she demanded feeding just as we
were about to dish up Christmas dinner! 23 years ago, some things you just don’t forget. Sorry, I don’t have a picture, all the baby
pics are buried, not even sure if we took one...
Maria Hewitt
I love your story Maria. As someone who always seems to sew until the eleventh hour it is good to know I am not alone!

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finishing school
Continuing our series on different binding techniques, this issue
Suzanne Fisher shows us how to add fused binding to a small project
I discovered this method when a friend and I needed a

quick way to complete an A4 journal quilt. The deadline
was looming and there was no time to do a traditional
5 Remove the paper backing and then enclose one side
edge of the quilt in the binding strip. Make sure the
edge of the quilt is right up against the crease line and
folded binding so we decided to ‘cheat’ and use fusible leave the same overhang at each end. Fig 3.
web instead. It really was a ‘thinking on our feet’ job and
it worked.
This method is ideal for binding handmade cards, such as
the Christmas card shown here. The card I used measured
6 Using the tip of the iron carefully press the binding strip
in place. Make sure the strip fuses to the front and the
back of the quilt. Fig 4. Trim the ends of the binding strip
53⁄4in square, so I decided to make a 51⁄2in square quilt flush with the top and bottom edges of the quilt.
which has been finished off with a 1⁄2in wide binding.
BINDING INSTRUCTIONS 7 Repeat steps 4–6 to bind the opposite edge of the
quilt.
1 Square up and trim your quilt to size. If you’ve used an

appliquéd design make sure you leave at least 3⁄8in all
around the edge of the outermost motif/s to allow for 8 Repeat steps 4–7 to bind the top and bottom of the
quilt. Figs 5 and 6.
the width of the binding. Fig 1.
handy hint
2 For 1⁄2in wide finished binding, you need to cut 1in
wide binding strips. Each strip needs to be 1in longer
than the side being bound, so in this case each strip
If you would like the corners of the binding to
look mitred, you will need to trim each end of the
needs to be 61⁄2in long. From your binding fabric, cut a binding at 45 degrees, making sure that the cut
rectangle that is large enough to allow you to cut out all diagonal edges butt up to give a neat finish.
of your binding strips – in this case a 4 x 61⁄2in rectangle.
Cut out a piece of fusible web the same size and fuse it to
the wrong side of the binding-fabric rectangle.
9 Stitch the binding in place to secure. I used a
preprogrammed decorative stitch, using the same
metallic thread as for the appliqué and quilting, but you
3 From the fused binding fabric rectangle cut your
binding strips, so in this case I cut four 1 x 61⁄2in strips.
Do not remove the paper backing at this stage.
could use a straight stitch if you prefer. Fig 7.
4 Take one strip and, wrong sides together, fold it in

half lengthwise and finger press to create a midline
10 Finally, attach the completed quilt to the front of
the card using double-sided sticky tape. Fig 8. Or
instead of tape you could stitch through the card at a few
crease. Fig 2. points to hold the quilt in place.
Fig 1 Trimmed quilt Fig 2 Finger pressing a binding strip Fig 3 Enclosing an edge of the
quilt in a binding strip

FINISHING SCHOOL
Fig 4 Press the binding strip in place Fig 5 Binding added to all four sides: front Fig 6 Binding added to all four sides: back
Fig 7 Close-up of decorative stitching
Fig 8 Finished card

BOOKSHELF
The Popular Patchwork team share their favourite December reads
LOTS OF DOTS – BABY QUILTS

BONNIE OLAVESON
LEISURE ARTS INC, £15.99. ISBN 978-1-4647-5402-9 (S/B 48p)
This new publication from Leisure Arts books features seven baby quilts designed by quilt
and fabric designer Bonnie Olaveson. These small and simple projects are ideal for the
beginner and centre around circles and dots – what’s more, there isn’t a curved seam in
sight! Instead Bonnie explains how to use fusible web to adhere the circular shapes onto
a base fabric before machine or hand appliquéing them into place. Each of the chapters
include a shopping list and cutting guides, though for the piecing, you do tend to have to
refer to the “General Instructions” chapter at the back of the book for further instruction. I
can see this becoming annoying having to flip back and forth each time. What I did like
was the easy introduction to a variety of quilting techniques, including quilt-as-you-go,
using a whole piece of cloth for the quilt top and then top-stitching fabric strips and
shapes on top, through the batting and backing. The Flowers quilt uses raw-edge
appliqué to create a frayed effect after washing - even on the binding - and the Stars quilt
has a great guide to hand stitched blanket stitch, including where to pivot your stitches
when going around curves or corners. Bonnie has also included tips for quilting the tops,
as well as how to prepare and attach the binding – the method for cutting continuous bias
binding was new to me and one I’ll be using in the future!
Louisa Goult
SEWN BAGS 'The book contains a huge variety of bags'

GMC, £9.99. ISBN 978-1-78494-171-0 (S/B 122p)
I’ve never been given a quilt, and rarely make them for myself. To me quilts are about giving, and that is part of the joy of making them.
However, bags are not part of this rule, I love to make them for myself and as I sew I imagine when and where they will be used. This means
I’m constantly on the look out for books that contain bag designs that fit into my lifestyle. As much as I love evening bags I only (sadly!) get so
many invitations to social events, so books that feature roomy bags to use while walking the dog or shopping at the weekend quickly become
firm favourites. Sewn Bags contains a huge variety of bags, from a messenger style perfect for work, an easy reversible tote and a sturdy travel
bag, and so there is something for every occasion. As a quilter I love the patchwork bag that cleverly uses a Kaffe Fassett stripe fabric to create
a secondary fabric design, although my favourite is the stylish utilitarian Gabardine Backpack. There is no introductory general guide to
sewing, but each project has clear instructions. The only thing I was not so keen about is the templates which are at the back of the book and
need enlarging on a photocopier. However, the book is priced at £9.99 and contains twenty patterns, so each one works out at 50p each. A
bargain price which means I can certainly overlook this and get down to some selfish sewing.
Elizabeth Betts

BEST READS
THE QUILT DESIGN COLORING WORKBOOK

THOMAS KNAUER
STOREY PUBLISHING, £15.99. ISBN 978-1-61212-785-9 (S/B 146p)
Colouring books have been enjoying a huge resurgence in popularity over the last few years,
and with their graphic designs it was only a matter of time before versions started appearing
specifically made for quilters. However, if you are expecting this book to be similar to the
pretty designs that can be found on the shelf at the supermarket you will be in for a surprise.
The Quilt Design Coloring Workbook takes the readers through ideas and concepts related
to the art world, prompting design decisions that are then coloured in. There are clear
themes including Chance and Intuition, The Grid and The Geometric Environment, with each
one exploring the subject with an introduction before leading on to the colouring pages.
These exercises aren’t as straightforward as they sound as the reader is prompted to divide
up the page and then colour it in. I was surprised by how chunky the book is, there is a lot of
content and the paper is of good quality. You can tell it has been designed to keep, rather
than to colour in and finish. In the introduction the author states the book is ‘...a venture into
expansiveness rather than conclusion’. Previously a professor of design, I felt this training is
evident in the way the author clearly explains the concepts, and how the practical exercises
'.. a venture into expansiveness are cleverly designed to make you think. Whether you want to start designing your own
quilts, or feel like you would enjoy working through some ideas and exercises to build up
rather than conclusion.' your own patchwork sketchbook, then this book is for you.
Elizabeth Betts
'An enticing close-up

of one of Deborah’s
art quilts as a front
cover, plus the quote
on the back 'How to
get from “start to
art” ’both set the tone
for this inspiring and
motivational book.'
ART QUILT COLLAGE
DEBORAH BOSCHERT
C&T PUBLISHING, £19.99. ISBN 978-1-61745-280-4 (S/B 96p)
An enticing close-up of one of Deborah’s art quilts as a front cover, plus the quote on the back – ‘How to get from 'start to art”,’ both set the tone
for this inspiring and motivational book. Although I am more of a traditional quilter myself, I greatly admire art quilts on display at quilt shows and
often wonder how the maker has started on the process, how their journey has taken them from the inspiration to design and finally to a
complete art quilt – something this book covers very well. There are no actual projects in the book, but should rather be used as a guide to work
through the individual processes required to create a unique quilt of your own. Each chapter has a bullet list of the skills that are covered so you
can flick through to the appropriate support you require. The chapter on Inspiration quickly made me realise there are so many starting points to a
design, such as those pieces of fabric we all squirrel away but just don’t know how to incorporate into a project. This chapter also has a brief but
detailed guide to colour, how to use it and how to change the mood of a piece by adding an accent. The Design and Composition chapter clearly
explains in text, diagrams and photographs of work the principles of the design process, while other chapters cover surface design, stitching and
threads and the construction and finishing of a piece of work. I found this book very informative but not overwhelming in its suggestions and
examples. It is very much a book to inspire and support you in the process of making an art quilt and would be of great value if you were following
a course that includes a design component. I am looking forward to dabbling my toe into the world of art quilts with this book at my side.
Suzanne Fisher

WHAT'S ON
Diary entries are published free of charge and are subject to space. Events must be open to the public or non-members and any admission
charges stated. Please include a full location address including postcode, opening hours, contact details, and high-resolution photographs
of exhibited work or raffle quilts. Your listing should be submitted to [email protected] four months in advance of the event
for publication. Please visit www.popularpatchwork.com/events to see a complete list of all current and future 2016/2017 listings.
ENGLAND
BRISTOL
11–13 November
WEST COUNTRY QUILT AND TEXTILE SHOW
UWE Bristol Exhibition and Conference
Centre, North Entrance, Frenchay Campus,
Filton Road, Stoke Gifford BS34 8QZ
10am–4.30pm
£11
T: 0117 907 1000
E: [email protected]
W: www.westcountryquiltshow.co.uk
Extra info: Quilt competitions, workshops,
traders and exhibitions, including A Child of
the Sixties by Threaded Together, and
Worn Threads by Thames Valley
Contemporary Textiles.
HERTFORDSHIRE
31 October – 12 November
ANYTHING GOES
Upstairs Gallery, Berkhamsted HP4 1AQ
Mon to Fri 9.30am–4.30pm
(Sat 2.30pm)
Free
E: [email protected]
Extra info: Textile Expressions are having
an Exhibition titled Anything Goes at the
Upstairs Gallery in Berkhamsted. We are a
London based group of 10 Artists, using
embroidery, quilting, basketry and mixed
media. Regrettably no disabled access.
LONDON
17–19 November
STITCHING, SEWING AND HOBBYCRAFTS
AT CHRISTMAS
ExCeL London, Royal Victoria Dock,
Yellow Poppies by Karen Lane. Spring Quilt Festival, Ardingly, Sussex
COTTON PATCH
The
The One-Stop Shop for Patchwork & Quilting

www.cottonpatch.co.uk

WHAT'S ON
1 Western Gateway, London E16 1XL NORTHAMPTONSHIRE T: 01354 650500

10am–4.30pm (Sat 5pm) 3–17 December W: www.makitfairs.com
£10 Adults, £9 Seniors CHRISTMAS EXHIBITION Extra info: Lacemaking, quilting and
T: 01425 272711 The Bramble Patch, West Street, needlecraft show.
E: [email protected] Weedon NN7 4QU
W: www.stitchandhobby.co.uk 10am–5pm (Closed Sun) YORKSHIRE
Extra info: Stitching, Sewing & Hobbycrafts £2, payable to Macmillan 24–27 November
has all the creative supplies you could need T: 01327 342212 THE KNITTING AND STITCHING SHOW
this autumn. The award-winning creative W: www.bramblepatchonline.com Harrogate International Centre, Kings Road,
craft show has got enough on offer over the Extra info: Our annual opportunity for Harrogate HG1 5LA
weekend to keep you enjoyably busy. Lots students and customers to show off their 10am–5.30pm (Thu 7pm, Sun 5pm)
of inspiring features to see and enjoy, plus work to the public – a rich and colourful £27.50 VIP, £14.50 Adult, £13 Concession,
an extensive programme of FREE event celebrating an abundance of glorious £7 Child
Workshops, Demonstrations and Talks for fabrics, beautiful quilting and creative T: 01473 321872
you to take part in and improve your skills, stitchery in quilts, wall-hangings, cushions W: www.theknittingandstitchingshow.com
you won’t know where to start! Make sure and other stitched projects. Extra info: The definitive event for anyone
this Christmas is a creative one! with a love of stitch and crafts. Supplies,
SURREY workshops and textile art.
2–5 March 15 January
THE SPRING KNITTING AND STITCHING QUILTERS’ AND FABRIC JANUARY SALE 24–26 February
SHOW Tindle Room, Farnham Maltings, Farnham, SPRING QUILT FESTIVAL
Olympia London, Hammersmith Road, GU9 7QR Hall 2, Great Yorkshire Showgrounds,
W14 8UX 10am–4pm Harrogate, HG2 8NZ
Thur 10am–7pm, Fri and Extra info: Exhibition of work by Village 10am–4.30pm (Sun 4pm)
Sat 10am–5.30pm, Sun 10–5pm Green Quilters and over 40 stalls selling £8.00 Adult, £7.00 Concession, £3 Child
On sale from December 2016 fabric, books and related items. W: www.grosvenorshows.co.uk
W: www.theknittingandstitchingshow.com Extra info: Wonderful displays of quilts,
SUSSEX patchwork and quilting. Restaurant, disabled
MERSEYSIDE 27–29 January facilities and free parking.
11–12 November SPRING QUILT FESTIVAL
WIRRAL QUILTERS’ 20TH BIRTHDAY Norfolk Pavilion, Ardingly, Haywards
EXHIBITION Heath, Sussex, RH17 6TL SCOTLAND
Westbourne Hall, Westbourne Road, West 10am–4.30pm (Sun 4pm)
Kirby, Wirral, CH48 4DQ £££: £8.00 Adult, £7 Concession, £3 Child EAST LOTHIAN
[Insert Clock]: Fri 12noon–5pm, Sat Extra info: Disabled facilities, easy access 19–20 November
10am–4pm and free parking THE LAW QUILTERS' EXHIBITION
£££: £2, accompanied children under 12 free Community Centre, Law Road, North Berwick
T: 0151 625 8185 (Sue) WEST MIDLANDS EH39 4PN
Extra info: Exhibition of members’ work 3rd December Sat 10am–4pm, Sun 1–4pm
including applique and log cabin challenges MAKIT £££: £2.50
and birthday mini quilts. Charity quilt raffle, Canmore Park, Cranmore Road, Shirley, E: [email protected]
demonstrations, fabric traders, sales tables, Solihull, B90 4LF Extra info: Displays of patchwork and quilting,
tombola and refreshments. Disabled 10am–4.00pm sales table, raffles, refreshments, parking,
access and parking. £££: £7.50 Adult, Under 14s free disabled access.

WHAT'S ON
Quiltfest 2017
EDINBURGH STIRLING
17–19 February 4 December
SPRING QUILT FESTIVAL CHRISTMAS CREATIONS I WITH GILLIAN 10am–4pm
Lowland Hall, Royal Highland COOPER Free, donation welcome
Showgrounds, EH28 8NB 11 December Extra info: On the Edge, a collection of
10am–4.30pm (Sun 4pm) CHRISTMAS CREATIONS II WITH GILLIAN quilts from the 2016 Contemporary Quilt
Adult £8.00, Senior Citizen £7.00, COOPER challenge, and 1001 Nights, a textile
Child £3.00 21 Greek Thomson Road, Balfron G63 0RE challenge with Kazakhstan fabrics
E: [email protected] 10am–4pm
Extra info: Displays of patchwork and £50 12th February
quilting, demonstrations, traders, T: 07939 092790 QUILTFEST TRADING DAY
refreshments, parking, disabled access. E: [email protected] 10am–4pm
Extra info: All materials provided, apart £3.50
MIDLOTHIAN from fabric and a complementary lunch is Extra info: Light refreshments and free
25–26 November included. Suitable fabric will be available parking
BONNYRIGG QUILTERS' EXHIBITION to purchase on the day.
St John's & King's Park Church, 81 Eskbank 1 February –28 February
Road, Dalkeith EH22 1HJ 12–13 November WREXHAM TAILOR’S QUILT CHALLENGE
10am–4pm GREENPARK QUILTERS' EXHIBITION OF Llangollen Museum and Art Gallery,
£4, includes refreshments PATCHWORK AND QUILTING Llangollen LL20 8PW
T: 0131 663 0861 (Liz) Greenpark Community Centre, Greenpark Free, donation welcome
Extra info: Trader, raffle, sales table, disabled Drive, Polmont FK2 0PZ 10.30am–4pm
access andf parking opposite church. 10am–4pm
£3, includes refreshments, under 15s free 8 February –19 February
RENFREWSHIRE T: 01501 745727 MINIATURES
12 November E: [email protected] Llangollen Museum and Art Gallery,
PAISLEY PATCHERS ANNUAL Extra info: Sales table, tombola, free Llangollen LL20 8PW
PATCHWORK QUILT SHOW parking, disabled access. Free, donation welcome
Wallneuk North Church of Scotland, 10.30am–4pm
Abercorn Street, Paisley Extra info: A collection of small quilts by
10am–2pm WALES the Miniature Quilt Group of The Quilters’
£3 adult, 50p for accompanied children, Guild of the British Isles.
includes tea/coffee with home baking DENBIGHSHIRE W: www.quiltfest.org.uk
T: 07554 118797 (Sheila) or 07715 QUILTFEST 2017
669400 (Audrey) 8 February –19 February
Extra info: Lovely patchwork quilts to see, On the Edge and 1001 Nights
crafts, sales table, tombola, home baking Royal International Pavilion, Abbey Road,
and bottle stall. Llangollen LL20 8SW
MEET THE MAKER
NEXT ISSUE IN
OMBRE CUSHION
Dive into your scraps and play with colour
PLUS...
VASE OF
BLOOMS
Stitch up a beautiful
appliqué
appliqu é picture
THE ART
OF BOJAGI
Sara Cook reports back
from the 2016 Korean
Bojagi Textile Forum
JANUARY
2017 ISSUE
On sale 9th
December
Contents subject to change
Website Editor: Katy Purvis

Technical Editors: Linda Clements & Anne Williams
Published by MyTimeMedia Ltd Photographer: Gosia Grant, Sussex, © MyTimeMedia Ltd. 2016.
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October 2016 93
Regional Shopping Guide & Courses
Patchfinders
Now at
159 London Road South, Poynton, Cheshire
SK12 1LQ
01625 262518
Bigger, Better, Even More Choice!!
Courses running all year
patchfinders.com
92
76 To advertise call 01903 238100 or e-mail: [email protected]
Regional Shopping Guide & Courses
CUMBRIA DONCASTER YOUR SHOP HERE GLOUCESTERSHIRE
LANCASHIRE SOMERSET SUFFOLK WARWICKSHIRE
96
80 To advertise please call: 01903 238100 or e-mail: [email protected] indicates shops who stock Popular Patchwork
LET'S VISIT
Let's visit... Devizes

Reader and quilter Rosemary Rosenfeld tells us why she counts
herself so lucky to live near the market town of Devizes.
Caen Hill Locks Salisbury Cathedral Stonehenge
Lying in the heart of the Wiltshire countryside, the town of History

Devizes is ideally situated for visiting the beautiful cities of Bath While walking around the town’s near 500 listed buildings, the
and Salisbury (both great for shopping) and the historic sites of best advice that I was given was to always look higher than the
Stonehenge and Avebury. Within a short distance you can also ground floor - even the most ordinary of shop fronts will have
visit National Trust properties Stourhead for it’s fantastic something of interest. The Trust for Devizes has a Town Trail
gardens, and Lacock Abbey, home of William Fox Talbot, an map that provides a guide to many of them. There are also
early pioneer of photography – although these days, it is three splendid churches - St. John’s, part of which dates back
probably more famous for it’s use in the Harry Potter movies. In from 1130, St. Mary’s, from 12th Century and St. James, dating
fact, the village of Lacock has been used in many films and TV from 1461.
series including Pride and Prejudice, Cranford and Downton The Wiltshire Museum is said to have the best Bronze Age
Abbey. Anyway, I digress, I am not suggesting that you visit archaeology collection in England with much material from the
Devizes just to go elsewhere!! local World Heritage Sites of Avebury and Stonehenge. If this
country’s waterways are more your thing, the Kennet and Avon
Shopping Canal’s spectacular Caen Hill flight of 29 locks leading up to
Devizes held its first market in 1228 and these days the Market Devizes is well worth a visit. This major engineering feat was
Place forms the heart of the town where you will find many built at the end of the 18th Century, and you can learn more
coffee shops, restaurants and pubs, including The Bear, which about the construction, operation, closure and restoration of
dates back to the 16th Century. Thursday is market day and the the canal at the Kennet & Avon Canal Trust Museum which is
ideal opportunity to stock up on your fruit and vegetables, and of on the wharf overlooking the canal. The tow path from the
course to explore the furnishing fabric and haberdashery stalls. Wharf leads to the locks and provides excellent views of the
Devizes has a lot of small independent shops - my favourites countryside. Boat hire and trips on the canal are available in
are Devizes Books in Sidmouth Street, with Gallery at Handel the summer.
House above selling a variety of work by local artists, while the
Bluestone Gallery in Old Swan Yard is where you will find more Drinking
unusual handmade gifts. I can never resist going into the If all this retail therapy and history has made you thirsty, why
Emporium in St Johns Street and never leave without buying not visit Wadworth’s Brewery, found at the north end of the
something! We are also lucky to have two good fabric shops, Market Place. They still use shire horses to deliver beer in the
Kwilters Korner in Couch Lane and Creativ-e-t on Sidmouth town and can be seen most mornings making their deliveries.
Street, both of which stock a great selection of quilting fabrics. This would also be the perfect place to leave certain members
There is also the wool shop Pins and Needles, also in Couch Lane of the family to peruse the visitors’ centre and taste a few ales
and a paper craft shop, Cards and Café in Northgate Street. while you are left to explore the fabric shops in peace!

This year is our
We now offer On line
t - Order
Click and Collece store to collect
Then pop in to thgoods!
your
Threads a
turday Dec 31st

sday Dec 28th - Sa
Wedne
Threads and Patches
Mega End of Year Sale!
Loads of great bargains, in fabric, notions, patterns & books.
December
er
er
Sign up
NOW...
...DISCOUNTED
wrapped gifts, every day of
Special offers every day in December December
D b up tto ChChristmas!
i t !
- these will be emailed to you daily - you must Every day of December up
order within 24 hours. items will be festively
to and including 23rd December
2016 we shall be discounting a
wrapped for you. So why not get what
product or products!
you actually want this Christmas at a bargain
price and with a fun daily shopping experience!
>>> Sign up on line at: <<< This was incredibly popular
th d d t h k/ t
www.threadsandpatches.co.uk/acatalog/ last year with loads of fantastic
Stuff-My-Stocking.html bargains - don‛t miss out!
www.threadsandpatches.co.uk
15th Anniversary! 15 Watling Street (High St),
Fenny Stratford, Bletchley, Milton Keynes,
nd Patches
Bucks MK2 2BU. • Tel: 01908 649687
e: [email protected]
www.threadsandpatches.co.uk
Weekly Special Deals - announced on Friday

Sign-up
S for our Newsletter via the website to receive latest offers!
Sign up for
our newsletter Fold ‘n’ Stitch Wreath Pattern English Paper Piecing Templates Terial Magic
on line to get We sell & service Sewing Machines!

Our weekly J ANOME Dealer
special deals ----- amazing current special offers -----
straight to see our website or call us! Free One Hour Lesson!
your inbox! Husqvarna Viking Dealer with all machines sold (over £200)
Large range of Advent calendars

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days out
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W id special
i l
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The ideal present for
quilters - especially demonstrations,
if you are then
visiting our
lunch, cake(!) & shopping time!!
sale!! Recent Coach Party Comment:
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the day at your shop, the demonstrations were informative
and fun, the lunch was superb. Your shop is
an Aladdin’s Cave... we will be back!”
NOW
Group Specials BOOKING
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• tea or coffee on arrival, demonstration
Gorgeous Moda ‘ Shibori ‘ range of fabrics with kit plus lunch. (Minimum No.16,
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reequirired
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For more information on local stockists
contact 01793 834304. Our latest
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PATTERN SHEET Inspiring and Informing Quilters since 1993

● COMMUNITY ● INSPIRATION ● CREATIVE ● STYLE ● DESIGN

SLEIGH RIDES AND THE NORTHERN LIGHTS

AVON Direct Sewing Machines, Bristol – 0117 977 8216

SPECIAL Chicks Embroidery, Letchworth – 01462 670 007

The world’s leading sewing machine manufacturer

Our contributors this month include...

66 GET CREATIVE – SKILL LEVELS 88 WHAT’S ON IN YOUR AREA

THE GIFT OF SEWING

8 December 2016 www.popularpatchwork.com

WIN! HOW TO ENTER introducing you to the wonderful world of quilting!

www.popularpatchwork.com December 2016 9

NEWS & REVIEWS

FROM THE PP ARCHIVES

FOR MORE QUILTING INSPIRATION OR TO GET INVOLVED

10 December 2016 www.popularpatchwork.com

SNOWMAN DECORATION KIT

12 December 2016 www.popularpatchwork.com

£11.00 £1.25 £6.00

FINGER PUPPET KIT POLAR BEAR APPLIQUÉ PATCH PENGUIN FABRIC

WINTER RIBBON HAPPY CHRISTMAS SNOWMAN CARD

£8.99 £4.10 £1.49

TILDA’S WINTER DELIGHTS WOODEN BUTTONS SNOW FRIENDS RIBBON

www.popularpatchwork.com December 2016 13

PREPARATION Press the fabrics before cutting out.

www.popularpatchwork.com December 2016 15

1 Trace the templates provided on the Pattern Sheet onto

2 Fuse the motifs onto the wrong side of the appropriate

3 Remove the backing paper and place the motifs in

1 Referring to ‘Fusible appliqué’ for details cut the following

2 Referring to ‘Fusible appliqué’ for details fuse the motifs in

4 Suzanne used free-motion stitching to outline the motifs. In

1 Referring to ‘Fusible appliqué’ for details cut the following motifs:

5 Embellish as desired. Suzanne has used small buttons for the

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• 129 utility & decorative stitches

• High speed sewing and embroidery up to 1050 per minute

• SFDS Square Feed Drive System

While demonstrating at The Festival of Quilts this year,

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One 171⁄2 x 83⁄4in rectangle: F

1 From the light fabrics cut a total of:

2 From the dark fabrics cut a total of:

3 From the background and binding fabric cut the following –

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FINISHED SIZE Approx 100 x 141cm (391⁄2 x 551⁄2in)

WHERE TO BUY Mandy used fabrics from her stash.

PREPARATION All measurements include 1⁄4in seam

2 Take the dark/light half-square triangle units set aside when

3 Take one half-square triangle unit and place it right side up on

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your blocks and background pieces. If you don’t have one, a

3 Join a 6 x 53⁄4in background rectangle (B) to the bottom of

4 Join the 3 x 5in background rectangle (C) to the left-hand edge of

5 Join a 31⁄2 x 293⁄4in background strip (E) to right-hand edge of

Drawn line Stitching lines

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"As I started to do the work I was aware of a feeling of calmness