10 Chapters
Medium 9781571204462

Rectangles on Point

Judy Sisneros C&T Publishing PDF

Fabric Requirements

(Yardage is based on 42˝-wide fabric.)



17 ⁄ 8

yards for blocks and setting triangles

TURQUOISE: 5⁄ 8 yard for blocks

4 rectangles 61⁄ 2˝ × 41⁄ 2˝ (H)

4 rectangles 61⁄ 2˝ × 21⁄ 2˝ (I)

1 strip 12 1⁄ 4˝ × wof

Subcut into:

1 square 12 1⁄ 4˝ × 12 1⁄ 4˝; then cut diagonally once for 2 triangles (J)

STRIPED: 3 ⁄ 4 yard for blocks and binding

BACKING: 31⁄ 3 yards

BATTING: 60˝ × 72˝

Cut diagonally once.

Cutting Instructions

1 square 9 3⁄ 4 ˝ × 9 3⁄ 4 ˝; then cut diagonally twice for 4 triangles (K)

(wof = width of fabric)

Label the pieces A–K as you cut them. The quilt assembly diagram (page 26) shows the lettering to help you with the design layout.


5 strips 81⁄ 2˝ × wof

Subcut into:

13 rectangles 81⁄ 2˝ × 121⁄ 2˝ (A)

Cut diagonally twice.

1 square 9 1⁄ 2˝ × 9 1⁄ 2˝; then cut diagonally once for 2 triangles (L)

1 strip 9 3⁄ 4 ˝ × wof

2 strips 61⁄ 2˝ × wof

Subcut into:

Subcut into:

8 rectangles 61⁄ 2˝ × 81⁄ 2˝ (B)

4 squares 9 3⁄ 4 ˝ × 9 3⁄ 4 ˝; then cut diagonally twice for 16 triangles (K). With the K triangles you already cut, you will have a total of 20, but you need only 18.

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5. Finishing

Judy Sisneros C&T Publishing ePub

Fall Into Winter, 55" x 37", Judy Sisneros, 2003. Machine pieced and quilted.

Sew the Blocks Together

Now that your design is complete, how do you sew it together? Some quilters take two blocks, sew them together, and return them to the design surface, one pair at a time. This works fine, but it is very time-consuming. I’ll show you my way, then you can decide whether you want to use it. This method is definitely quicker once you get used to it.

Look at the composition of the quilt as if it were a jigsaw puzzle. You will put it together in units, depending on the design. We’ll use the sewing diagram above as an example. Refer to the numbers for the horizontal rows and the letters for the vertical rows.


Use a neutral thread, such as gray, to blend with your fabrics.

Sewing Diagram

1. Begin at the bottom left side of the quilt. Take blocks 7A and 7B and place them right sides together with block 7B on top. The side that you will stitch should be on the right, ready to place in the machine.

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3. Design Guidelines

Judy Sisneros C&T Publishing ePub

Renoir’s Garden, 44½" x 54", Judy Sisneros, 2004. Machine pieced and quilted.

Now that you have your squares and rectangles cut, plus at least two sets of Nine-Patch blocks, it’s time to start designing! After the following discussion of the design process, several possible layouts are shown for various size quilts.

Design Boards

It is important to have a design surface on which to place your blocks. A good choice is a foamcore board (available at office supply or art supply stores—sometimes referred to as a “presentation board”) covered with fleece, flannel, or batting. The minimum size is 32" x 40". Cardboard is not recommended—it will dull the pins and is harder to work with. A presentation board is handy to take to workshops. Place it near your machine when you are ready to sew. You can also purchase foamcore board in 4' x 8' sheets. If you have room, nail two foamcore sheets covered in batting or flannel to the wall to create a permanent design wall.

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1. Fabric Fun

Judy Sisneros C&T Publishing ePub

Palm Court, 50" x 56½", Judy Sisneros, 2004. Machine pieced and quilted.

Does the following scenario sound familiar? You bought a gorgeous large-scale fabric and have no idea what to do with it. If so, this is the book for you!

The Important First Step

Sometimes when you are in a quilt shop, a bolt of fabric will “jump off the shelf” and almost demand to go home with you. You may not have a particular quilt pattern in mind when you buy it, but you know you need it. If you are drawn to large-scale prints, get ready to use some of that stash!

Large-scale prints are fun to buy, but sometimes hard to use. You don’t want to purchase a beautiful tiger print and then decapitate the tiger when you cut up the fabric. With this technique, you can use many types of large-scale fabrics. A large-scale print doesn’t have to be huge—a print that features a woman 4"–6" tall is all right, but a figure 2" tall doesn’t quite work.

Examples of large-scale prints

For the quilts in this book, choose a focus fabric and a minimum of three companion fabrics. The basic recipe for making these quilts includes at least the following “ingredients”:

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4. Projects

Judy Sisneros C&T Publishing ePub

Finished Size: 44½" × 50½"

Read the following instructions, and you will be ready to make your first quilt quickly and easily. Once you get the hang of it, I bet you will be tempted to make others in different sizes and themes.

Two examples of this wallhanging are shown: the first one shown above was created using both mooshy (blended) and dancing (high-contrast) Nine-Patch blocks. The second wallhanging (shown on page 23) was created with mooshy Nine-Patch

Lily Pond

The two quilts are the same size and were constructed using exactly the same size, layout, and borders. Two of the companion fabrics are also exactly the same. The focus fabrics are different, but include the same colors. After you make one of these basic quilts, try another one doing something completely different!

The fabric requirements and cutting are for the first quilt shown, with the dancing Nine-Patch blocks. Variations for the second quilt with all mooshy blocks are in parentheses.

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