612 Slices
  Title Author Publisher Format Buy Remix
Medium 9781571208477

City Lights

Cherri House Stash Books ePub

Take a city tour through twelve textile interpretations using solid fabrics, and explore the many possibilities that can be achieved through this painterly fabric medium. All of the quilt projects that follow are inspired by views in and around the city. These quilts are simple geometric designs cut from strips into squares and rectangles. Basic quiltmaking instructions and information about tools and materials can be found in Cherri’s Basics (pages 57, 73, and 83), as well as in Quiltmaking Essentials (page 103).

Note: Specific Robert Kaufman fabric colors are noted only when vital to the overall effect of the quilt.

Each day, as thousands of commuters—myself included—drive in the early morning darkness into downtown Houston, the buildings, lit from within, are a welcome greeting.

In this quilt the blocks—black, alternating with mainly pastels—are the lighted windows of the building. I’ve used color to create windows where some lights are out and where some are dimmed. Place the medium pastels and the charcoals randomly throughout the black units to give depth and variety to your office building.

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Medium 9781611691450

Part Two: Photo Gallery of Collage Quilts

Ann Loveless Kansas City Star Quilts ePub

Part Two:

Gallery

 

Part Two: Gallery

The gallery is a selection of collage landscape art quilts that I have created with my collage technique. I have branched out from my Northern Michigan scenes and include designs insprred from the states of Colorado and California, some of my frequent vacation spots.

Painted Forest

38" x 28"

Complementary colors of red and green were the main inspiration to create this woodland scene. The upper half of the background – linear swirls of red, green and purple – was one large solid piece of fabric. The green trees were fused on to break up the background fabric. Then the foreground was added, along with red leaves and white stems.

Crystal Downs Golf Course, fifth tee

26" x 21"

Solid sky and hill fabrics were fused to background. The ground fabrics vary from light greens, tans and bright greens to depict this golf course scene. The tree was placed to the right side because this is a major focal point in the scene. The small, red flag tee was placed in the distance to take view into the scene and add perspective. Red leaves and grass in the foreground give color.

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Medium 9781571205520

Red Romance

Helen Frost C&T Publishing PDF

Materials

2 yards each of 4 lighter to darker fabrics for NinePatch blocks and squares

From outer border fabric:

Cut 4 strips 10˝ × length of fabric.

From binding fabric:

Cut 11 strips 21⁄4˝ × width of fabric.

2 yards for interior border

1

3

Sewing

31⁄4 yards for outer border

Refer to Perfect Piecing, pages 11–13. Press in the direction of the arrows indicated in the illustrations.

81⁄2 yards for backing (pieced widthwise)

7

Batting: 100˝ × 112˝

⁄2 yard for first border

⁄8 yard for second border

⁄8 yard for binding

Cutting

Refer to Measure Twice, Cut Once, pages 9–10.

From each of the 4 fabrics:

Cut strips 11⁄2˝ × width of fabric, for Nine-Patch blocks, as follows:

Fabric 1: Cut 23.

Making the Strip Sets

For each fabric combination, arrange and sew the 11⁄2˝ strips into the following side sets and middle sets.

Side sets:

Middle sets:

1

2

2

1

1

2

Make 5.

Make 21⁄2.

2

3

3

2

2

3

Make 6.

Make 3.

3

4

4

3

3

4

Make 6.

Make 3.

4

1

1

4

4

1

Make 5.

Make 21⁄2.

Fabrics 2 and 4: Cut 25 from each.

Fabric 3: Cut 27.

(Note: Make the Nine-Patch blocks first and measure the blocks before cutting the squares; see Measuring the

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Medium 9781617450426

Take It Up: Shorten a Curved-Hem Shirt

Suzannah Hamlin Stanley Stash Books ePub

Take It Up

Shorten a Curved-Hem Shirt

Many button-down woven shirts have curved hemlines and very shallow hems, so the basic methods for hemming are difficult to apply. But once you know the tricks for curved hemlines, you can alter these flattering tops with finesse! This one was almost tunic length on me and I wanted a more traditional length.

You Will Need:

•Too-long button-down woven shirt

•Standard sewing supplies

Note

Since the shirt hem is on a curve, a narrower hem will be easier to sew and will lie flat more easily. The shirt shown here is lightweight, so I used a very small (¼˝ (6mm)) hem. If your fabric is heavier, you may need to turn up the hem slightly more to accommodate the fabric’s bulk. Try to re-create the depth of the original hem.

Get It Done

Refer to Removing Stitches for guidance.

1. Try on the shirt and mark the desired new length with pins, placing at least one pin at each side seam, center front, and center back. Take off the shirt, fold in half along the center front and center back, and pin together the left and right sides to keep them perfectly aligned.

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Medium 9781571206220

Blueberries and Butterscotch

Kim Schaefer C&T Publishing ePub

Quilted by Diane Minkley

FINISHED BLOCK SIZE: 10″ × 10″ FINISHED WALL QUILT: 50½″ × 50½″

Brighten any room with this graphic wall quilt with a contemporary twist. Super simple cutting and piecing make this quilt go together quickly and easily. This is a great project for beginning quilters.

¼ yard black for pieced blocks

2½ yards total assorted brights for pieced blocks

3½ yards for backing and binding

54″ × 54″ batting

Cut 25 squares 2½″ × 2½″ from the black for the pieced blocks.

Cut from the assorted brights for the pieced blocks:

25 squares 2½″ × 2½″

25 rectangles 2½″ × 6½″

25 rectangles 2½″ × 10½″

25 rectangles 6½″ × 10½″

1. Piece the block as shown. Press. Make 19 blocks.

Step 1

Step 2

2. Piece the block as shown. Press. Make 6 blocks.

Step 1

Step 2

1. Arrange and sew together the blocks in 5 rows of 5 blocks each. Press.

2. Sew together the rows to form the quilt top.

1. Layer the quilt top with batting and backing. Baste or pin.

2. Quilt as desired and bind.

Putting It All Together

Quilted by Diane Minkley

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Medium 9781617452697

Preparing Images

Wen Redmond C&T Publishing ePub

The root of a fine digital art piece on any substrate is the photograph. Combining two or more photographs by layering or digitally fusing them using a photo-editing program can result in unique and highly expressive images for printing.

TAKING PHOTOS

The more photographs you have to choose from, the better. The more photographs you take, the more likely you’ll get some winners!

I used to carry a large, heavy SLR (single-lens reflex) camera around with me everywhere. Years later, I took a point-and-shoot camera.

Today, my cell phone is with me all the time. When you print on cloth and other substrates, you really don’t need a large-megapixel camera. While professional cameras have superior technical capabilities, the quality of any photo depends on the photographer’s intent and creative vision.

Current movements using smartphone photography (sometimes referred to as “iPhoneography”) extol the virtues of the immediacy and convenience of cell phone cameras. Take your camera/phone far and wide for a variety of images.

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Medium 9781571205797

Courthouse Steps

Terrie Sandelin C&T Publishing PDF

Courthouse Steps

◆ FINISHED FOUNDATION:

7½˝ × 7½˝

◆ TIME:

3 HOURS

Full-size Courthouse Steps foundation pattern is on the pullout.

Blue and Brown, 111⁄4˝ × 111⁄4˝, Terrie Sandelin, 2007

Fabric Requirements

Red: scraps

Dark brown: 1⁄8 yard or scraps

Dark blue: scraps

Cutting Instructions

Shading and numbers indicate fabric placement on the quilt layout diagram for Courthouse

Steps, page 74.

1

Three light browns: ⁄8 yard or scraps of each

Medium blue: scraps

Red-on-white print inner border:

1

⁄8 yard

Brown floral outer border: 1⁄8 yard

Backing: 1 fat quarter

Binding: 1⁄4 yard

The strip width for the courthouse “logs” is 13⁄16˝. Most rulers do not have 1⁄16˝ divisions. Instead, line up the fabric halfway between the

3

⁄4˝ and 7⁄8˝ marks.

Red (center squares)

You may want to add an extra 1 ⁄2˝–1˝ to each strip length for minor cutting adjustments.

Cut a strip 11⁄8˝ × 101⁄8˝. Crosscut into 9 squares 11⁄8˝ × 11⁄8˝.

Corner and center blocks

You may want to add an extra 1 ⁄2˝–1˝ to each strip length for minor cutting adjustments.

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Medium 9781617454820

Introduction

Riel Nason C&T Publishing ePub

introduction

I’m pretty sure some of the most difficult decisions of my childhood involved what to wear for Halloween.

Successful costume choices included the Queen of Hearts, an elephant, a mummy—and once, even a superhero! Or kind of. My mother made my shorts, shirt, cape, and hat from a gold patterned upholstery fabric. Blue felt trim was added, and red tights finished the outfit. I looked fabulous (or thought I did, anyway).

But oh, how hard it was every year to narrow all the possibilities down to just one. I had seemingly endless ideas. What figured into my decision-making process was not only what would be fun to wear, but what would be fun to make—to create. When I was young, my crafty mother brought my ideas to fruition and never disappointed me. As I got older, it was I who, even though I didn’t sew much, continued to gather, construct, draw, paint, glue, and otherwise assemble my costumes.

Now that I have children of my own, the innovation and improvisation haven’t stopped. They come up with the ideas, and I, often with their help, make the costumes. For example, when my son was four, he sure made a cute lighthouse.

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Medium 9781571209580

Small Lone Star Wall Quilt: Star of Sonora

Helen Frost C&T Publishing ePub

Quilt size: 28” × 28” • Cut strip width: 1¾” • Finished diamond width: 1¼”

The border print, so reminiscent of the prickly flora of the Sonoran Desert, dictated the fabric choices. The darker fabric in the background lets the star shine.

Machine pieced and machine and hand quilted by Helen Frost, 2008.

Materials

Fabric 1 is for the center and outer tips of the star points. Fabric 3 is for the widest part of the star points.

¼ yard of Fabric 1

1/3 yard of Fabric 2

3/8 yard of Fabric 3

½ yard for background and first border

1/8 yard for second border

2/3 yard for third border

3/8 yard for binding

1 yard for backing

Batting: 32” × 32”

Read pages 7–24 before starting. Refer back to those pages as needed when constructing the quilt.

Cutting

Fabric 1

Cut 1 strip 5” × width of fabric; subcut into 16 strips 1¾” × 5”

Fabric 2

Cut 1 strip 7½” × width of fabric; subcut into 16 strips 1¾” × 7½”

Fabric 3

Cut 1 strip 10” × width of fabric; subcut into 8 strips 1¾” × 10”

Background and first border

Note: Make the star first and measure before cutting the background pieces; see page 22.

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Medium 9781571204042

Pony Express Star

M'Liss Rae Hawley C&T Publishing PDF

I love this block! The Pony

Express Star uses six fat quarters to create a 36-patch square in the center of each star. The fabrics are staggered in a Streak of Lightning format. Sashing with cornerstones separates the blocks.

A theme is a great starting point for this project. My quilt Deputy

Sheriff is a reminder of my visit to a guild in San Antonio, Texas. My daughter, Adrienne, and I also visited the Alamo, and the fabrics

I used reflect the history of the era.

For a while, I considered calling my quilt Texas Ranger, but my husband, the sheriff of our county, insisted on its current title.

Materials

Fat quarters require 171⁄2˝ × 20˝ of usable fabric. All other yardages are based on 40˝-wide fabric. See

Creative Options (page 68) for additional border options.

■ Fat quarters of 6 assorted

fabrics for block centers

■ 1 yard of fabric for star points

■ 2 yards of fabric for block backgrounds

■ 7⁄8 yard of fabric for sashing

■ 1⁄4 yard of fabric for lattice cornerstones

■ 1 yard each of 2 fabrics for outer border

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Medium 9781607054412

Lap Quilts

Kim Schaefer C&T Publishing ePub

Quilted by Diane Minkley of Patched Works, Inc.

finished block size: 8″ × 8″ | finished lap quilt: 63½″ × 99½″

A collection of fun stripes was used to create this top. The solid fabric lattice strips break up the design and provide a grid for the pieced blocks. In each block, cool colors surround warm colors (and vice versa) to create a subtle secondary design. You’ll need to gather up equal amounts of warm- and cool-colored fabrics.

•  5 yards assorted stripes for pieced blocks and pieced border

•  1¾ yards black for lattice and borders

•  6 yards for backing and binding

•  68″ × 104″ batting

Cut 308 squares 4½″ × 4½″ from assorted stripes for pieced blocks and pieced border.

Cut from black:

•  50 rectangles 1½″ × 8½″ for vertical lattice

•  9 strips 1½″ × 53½″ for horizontal lattice

•  2 strips 1½″ × 89½″ for side inner borders

•  2 strips 1½″ × 55½″ for top and bottom inner borders

•  36 rectangles 1½″ × 4½″ for outer pieced border

 

1. Piece Block A as shown. Press. Make 16 blocks.

Block A—Make 16.

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Medium 9781617452826

Hello, Orion

Emily Breclaw C&T Publishing ePub

MADE BY Emily Breclaw

Fabrics: Japanese indigo, taupe, and dobby weave fabrics

A variety of single stars and hexagons gives this quilt the illusion of a constellation. The off-center hexagons are created with a unique Log Cabin technique that creates lots of scraps. Save them for the stars in Stardust and Moonbeams.

materials

WHITE: ⅝ yard

YELLOW: ⅛ yard

ORANGE: ½ yard

INDIGO: 8 yards

BORDER: ¾ yard

BACKING: 3¾ yards

BINDING: ⅝ yard

BATTING: 66˝ × 77˝

cutting

Use the 3˝ hexagon family of patterns. In the instructions that follow, large shapes measure 3˝ on a side, small shapes measure 1½˝ on a side, and very small shapes measure ¾˝ on a side. Refer to Cutting and Preparing Patchesas needed.

WHITE

•Cut 2 strips 3⅛˝ × width of fabric; subcut into 14 small hexagons.

•Cut 5 strips 113/16˝ × width of fabric; subcut into 16 very small hexagons and 96 small triangles.

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Medium 9781607054412

Kaleidoscope

Kim Schaefer C&T Publishing ePub

Quilted by Diane Minkley of Patched Works, Inc.

finished block size: 10″ × 10″ | finished wall quilt: 56½″ × 56½″

Large blocks cut into quarters and then pieced back together make this quilt look much more complicated than it really is. For best results, alternate warm and cool colors throughout the quilt.

•  3¼ yards total assorted bright prints for pieced blocks

•  1 yard green for lattice and borders

•  3¾ yards for backing and binding

•  61″ × 61″ batting

Cut from assorted bright prints for pieced blocks:

•  25 squares 7″ × 7″

•  50 rectangles 2½″ × 7″

•  50 rectangles 2½″ × 11″

Cut from green:

•  20 rectangles 1½″ × 10½″ for vertical lattice

•  6 strips 1½″ × 54½″ for horizontal lattice and side borders

•  2 strips 1½″ × 56½″ for top and bottom borders

 

1. Piece the blocks as shown. Press. Make 25 blocks.

2. Cut the 25 pieced blocks into quarters, each measuring 5½″ × 5½″. Make 100 quarters.

Cut blocks into quarters.

3. Arrange and sew the quarters into blocks. NOTE: I placed the pieces randomly and didn’t worry whether the direction of the seams was consistent. Press. Make 25 blocks.

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Medium 9781607059608

Spark 11. Jar of Markers

Carrie Bloomston Stash Books ePub

THESE JARS HAVE BEEN ON OUR TABLE LIKE ARTFUL BOUQUETS FOR FIVE YEARS. THE PAPER IS ON A NEARBY BOOKSHELF. WE DRAW WITH THEM EVERY DAY.

No matter if your creative passion is playing guitar or glassblowing, you need a jar of markers or colored pencils on your dining table (or some other table that you sit at regularly). We have several at our house—one for markers, one for colored pencils, and one for plain yellow pencils and scissors. They have been there for five years. I use beautiful Japanese ceramic cups and mason jars to hold the markers. They sit in the center of the dining table where we eat every day, three times a day (plus snacks and homework), like an artful bouquet of creative possibility. Granted, I am a mom to small children, and granted, I have written that this is my very most favorite tip for fostering creativity in children. But doesn’t it apply to grown-ups as well?

You know what these jars are? They are an invitation to creativity. Whenever we want to draw, sketch, or write, they are there. We don’t have to go find the materials. The paper sits on a nearby shelf—within arm’s reach of the table, we keep journals, drawing pads, and stacks of recycled printer paper.

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Medium 9781607051909

Crazy Eights

Monique Dillard C&T Publishing ePub

Designed by Monique Dillard.
Made and quilted by Sue Glorch.

Cutting Instructions

• Light fabric: 10 fat quarters

• Blue fabric: 10 fat quarters

• Red fabric: 10 fat quarters

• Border fabric: 1½ yards

• Binding: yard

• Backing: 4 yards

• Batting: 68″ ×80″

Before beginning, match the light, blue, and red fat quarters into sets for piecing. Cut the fat quarters separately. Each set will make 9 blocks.

LIGHT FAT QUARTERS

• From each light fat quarter:

Cut 3 strips 3½″ × width of fabric; cut into 30 pieces 3½″ × 2″ (A).

Cut 3 strips 2″ × width of fabric; cut into 18 squares 2″ × 2″ (C) and 6 pieces 2″ × 3½″ (A).

BLUE FAT QUARTERS

• From each blue fat quarter:

Cut 4 strips 2″ × width of fabric; cut into 18 squares 2″ × 2″ (D), and reserve the 2 leftover strips for Four-Patches.

RED FAT QUARTERS

• From each red fat quarter:

Cut 6 strips 2″ × width of fabric; cut into 36 squares 2″ × 2″ (B), and reserve the 2 leftover strips for Four-Patches.

BORDER

• Cut 7 strips 6½″ × width of fabric.

BINDING

• Cut 7 strips 2¼″ × width of fabric.

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