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Medium 9781571205797

Diagonal Rows

Terrie Sandelin C&T Publishing PDF

DIAGONAL ROWS

◆ FINISHED FOUNDATION:

7˝ × 8˝

◆ TIME:

3

HOURS

Fabric Requirements

Cream: ⁄ yard or scraps

Pale green: ⁄ yard or scraps

Light brown: ⁄ yard or scraps

Four dark browns: ⁄ yard or scraps of each

Dark brown inner border: ⁄ yard

Light to medium green outer border: ⁄ yard

Backing: 1 fat quarter

Binding: ⁄ yard

Cutting Instructions

Letters indicate fabric placement on the quilt layout diagram for the Pyramid

Triangle—Diagonal Rows variation, right.

Patches

You may want to add an extra ½˝–1˝ to each strip length for minor cutting adjustments.

Cut a 1½˝ × 2˝ rectangle for each patch. Use the Pyramid Triangle patch template on the pullout to trim the rectangles to size.

Cream (H, M): Cut a strip

1½˝ × 32˝. Crosscut into 16 patches.

Light brown (A, B, I, L, S, T):

Cut a strip 1½˝ × 44˝. Crosscut into

22 patches.

November Rain, 11¾˝ × 12¾˝, Terrie Sandelin, 2007

Dark brown (G, N): Cut a strip

1½˝ × 28˝. Crosscut into 14 patches.

Pale green (C, F, O, R): Cut a strip 1½˝ × 36˝. Crosscut into 18 patches.

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Medium 9781607054863

Red Square

Alissa Haight Carlton Stash Books ePub

60″ × 75″

This incredibly simple quilt is the ideal gift for that friend who is a lover of neutrals. This throw will add just the smallest pop of color, but a lot of sophistication, to any couch. For the background fabric, I used some lovely natural linen that has a wonderful texture and adds a great weight and drape to the quilt.

Quilting with linen can prove to be a touch difficult. It doesn’t “stick” to cotton batting the way quilting cottons do, and it can shift more as you quilt through the layers. I pin baste more densely than normal to compensate for this shifting. This could be an opportunity to try spray basting to see if you like it (page 133).

Based on 42″ fabric width.

Fabric A (light brown): 2¾ yards (60″-wide linen)

or 3 yards (42″-wide cotton) for background*

Fabric B (tan): yard

Fabric C (red): 14½″ × 13½″

Backing: 4¼ yards

Binding: yard

*Because linen comes wider than quilting cottons, fabric requirements and cutting instructions for both are included here.

Please be sure to read Notes on Making the Quilts in This Book (page 6). Label the pieces as you cut.

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Medium 9781607059608

Spark 9. Grace

Carrie Bloomston Stash Books ePub

SUSAN SILVERMAN HAS DANCED HER WHOLE LIFE. SHE TEACHES AND

CO-OWNS A SMALL STUDIO IN PHOENIX, ARIZONA, CALLED DANCE THEATER WEST. SHE IS FILLED WITH GRACE. SHE’S IN IT FOR THE LOVE. GRACE IS THE HINGE BETWEEN EFFORT AND EFFORTLESS, AND IN THIS IMAGE YOU CAN SEE HER AT THAT EXACT MOMENT.

Grace comes from within; it is the hinge between effort and effortless.

We are programmed to think that work has to be hard to be valuable— that we are supposed to struggle in order to yield the most prized outcome. Nothing could be further from the truth. In fact, I would say that the opposite is true. Work can often be easy. Taking the path of least resistance will serve you. Doors swing wide on their hinges when we move from the heart. Creativity is a flowing thing. You can’t white-knuckle it into existence. Loosen your grip and give it some space to flow.

In yoga there is a name for this, from the very old yoga sutras of Patanjali (Yoga Sutra 2, “Sadhana Pada”)—Sthira Sukham Asanam is Sanskrit for “balancing ease and grace with work and effort.” This is absolutely critical for a creative practice. If we are only full of effort and we are trying to muscle and power our way through our work, our yoga, our project, then it will seem harder than it should. We might feel tense or uptight as we work.

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Medium 9781571206220

Merry Go Round

Kim Schaefer C&T Publishing ePub

Quilted by Diane Minkley

FINISHED BLOCK SIZES: 10″ × 10″, 5″ × 5″ FINISHED LAP QUILT: 79½″ × 79½″

Rich, textured solids in a variety of colors make this quilt lusciously vibrant. The pieced border frames the quilt top for a traditional look. Leave off the border for a more modern-looking quilt top.

4¼ yards total assorted brights for pieced blocks

¾ yard teal for inner border

1¾ yards total assorted brights for pieced border blocks

1⅛ yards brown for lattice in pieced border

7¼ yards backing and binding

84″ × 84″ batting

Cut from the assorted brights for the pieced blocks:

36 squares 3½″ × 3½″

72 rectangles 1½″ × 3½″

144 rectangles 1½″ × 5½″

144 rectangles 1½″ × 7½″

72 rectangles 2″ × 10½″

Cut from the teal for the inner border:

2 strips 3″ × 60½″ for the side borders*

2 strips 3″ × 65½″ for the top and bottom borders*

* Cut 7 strips 3″ × fabric width, piece the strips end to end (see page 9), and cut the border pieces.

Cut from the assorted brights for the pieced border blocks:

144 squares 1½″ × 1½″

192 rectangles 1½″ × 3½″

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Medium 9781617450426

Remake: Contrast-Sleeve Tee

Suzannah Hamlin Stanley Stash Books ePub

Remake

Contrast-Sleeve Tee

I like the trend of contrasting sleeves, but I’d much rather remake tees I already have than buy new ones. This project is an easy way to transform a basic, boring, short-sleeved crewneck tee into something way more fun. Try this with two loose tees, two lightweight tees, or two stretch tees for different looks and silhouettes. What a clever way to salvage a tee with a great texture or color when part of it gets stained or damaged!

You Will Need:

•Two tees, same size and fit

•Standard sewing supplies

•Walking foot (recommended)

Get It Done

1. On both tees, carefully cut away the sleeves, leaving the serged seam allowances on the body side of the tee.

2. Matching the shoulder seams and underside seams of the sleeve and armhole, pin together the right sides, turning the tee inside out and keeping the sleeve right side out.

3. At the machine, use a walking foot to prevent excess stretching, and stitch just inside the original serged seam on the main tee. (This is probably between ¼˝ [6mm] and ⅜˝ [9mm]).

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Medium 9781607051923

Family and Friends

Nancy Lee Murty C&T Publishing ePub

Finished blocks: 18″ × 18″ and 6″ × 6

Finished quilt: 60″ × 60″

Skill level: Experienced Beginner

Over the years, quilts have often given insight into the lives of the quilter who crafted the piece. We all have admired the e×quisite Baltimore Album, which recounts with beautiful detail the highlights of a family's life. I am equally moved by the simple patchwork quilt, in which pieces of Grandma's favorite dress or the drapery fabric from Great-grandma's house hide. How wonderful to pass along such cherished memories to future generations.

Family and Friends offers a design that will truly be cherished for years and generations to come. The quilt includes several opportunities for personal touches, such as names, pictures, or favorite fabrics. I chose to place old family photos in the centers of my Star blocks.

Assorted dark fabrics: 1¼ yards total for stars, leaf, and berry appliqués, or ¾ yard assorted dark fabrics and 7 inkjet fabric sheets if you are using photos for the star center (I like Printed Treasures Inkjet Fabric Sheets by Milliken.)

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Medium 9781617450112

Blue Çini

Harvey, Tamsin C&T Publishing ePub

Hand appliquéd and hand quilted by Angela Perry

FINISHED SIZE: 58˝ × 58˝ (147cm × 147cm)

This was one of the first quilts I created for this book and, as an homage, I named it Blue Çini. Çini translates from the Turkish as “china.” The early examples of İznik wares mainly consisted of two colors—cobalt blue and white. As the skills of the artists developed, they used more colors and varied designs to create the İznik tiles. Many of the first tiles created in İznik were heavily influenced by Chinese porcelain and were a blend of these elements and arabesque patterns. The center star is influenced by the Seljuq tile designs, which predated the İznik tile designs.

MATERIALS

Yardage is based on 42˝-wide fabric.

■White: 2⅔ yards (245cm) for background and appliqués

■Dark blue: 1⅔ yards (150cm) for inside border and appliqués

■Pale blue: ⅔ yard (60cm) for appliqués

■Light blue: ½ yard (45cm) for appliqués

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Medium 9781607059608

Spark 28. Give It Away

Carrie Bloomston Stash Books ePub

LONDON-BASED FASHION DESIGNER HOLLY DUNLAP IS CHANGING THE WORLD. HER COMPANY, MAKONO, EMPLOYS DISABLED WORKERS TO PRODUCE GOODS AT HER FACTORY IN MALAWI, AFRICA. HER DESIGNS REFLECT REGIONAL CRAFTS WITH A HIGH-FASHION SPIN. HOLLY LETS HER DESIRE TO GIVE BACK AND HEAL THE WORLD LIGHT HER BUSINESS PATH. BUT HER GLOW LIGHTS THE PATH FOR ALL OF US TO GIVE BACK EVEN IN MODEST WAYS.

“Find love, then give it all away.”

CLEM SNIDE

As you have learned in this book, creativity is a way of being—a way of thinking, living, and expressing. It isn’t limited to art or even to something we make. It is a way of releasing the contents of the human heart. We find love; then we give it all away.

I have so many friends, mothers my age, who tell me they aren’t creative but they wish they were. They organize their families and their homes, and they fill up bento boxes with colorful, nutritious lunches every day. Often, they give their time to charities—organizing the gala or school auction. I look at them, mystified by their inability to see their own gifts, and say, “But you organized that entire auction, from top to bottom, and a hundred people, and all those gift baskets!” The light goes on when I say this. They can see that it is a very creative act.

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Medium 9781571205797

Diagonal Rows

Terrie Sandelin C&T Publishing PDF

DIAGONAL ROWS

◆ FINISHED FOUNDATION:

7˝ × 7˝

◆ TIME:

3

HOURS

Fabric Requirements

Two dark browns: ⁄ yard or scraps of each

Two medium browns: ⁄ yard or scraps of each

Two light browns: ⁄ yard or scraps of each

Dark pink: ⁄ yard or scraps

Two medium pinks: ⁄ yard or scraps of each

Light pink: ⁄ yard or scraps

Dark brown inner border: ⁄ yard

Pink outer border: ¼ yard

Backing: 1 fat quarter

Yesterday’s Roses, 11¾˝ × 11¾˝, Terrie Sandelin, 2007

Binding: ¼ yard

Cutting Instructions

Letters indicate fabric placement on the quilt layout diagram for the Tumbler—Diagonal Rows variation, page 37.

Patches

You may want to add an extra ½˝–1˝ to each strip length for minor cutting adjustments.

Cut a 1¼˝ × 1¾˝ rectangle for each patch. Use the Tumbler Triangle patch template on the pullout to trim the rectangles to size.

Dark brown (A, S): Cut a strip

1¼˝ × 3½˝. Crosscut into 2 patches.

Dark brown (C, Q): Cut a strip

1¼˝ × 10½˝. Crosscut into 6 patches.

36

36

Miniatures in Minutes

Medium brown (E, O): Cut a strip

1¼˝ × 17½˝. Crosscut into 10 patches.

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Medium 9781607059974

Patchy Sewn Mirror

Annabel Wrigley FunStitch Studio ePub

take your time and ask for help

Patchy Sewn Mirror

Finished Size: 9˝ × 10˝

What Do I Need?

Various sizes of fabric scraps

⅓ yard of Peltex One-sided Fusible 71F interfacing (very stiff)

5˝ × 5˝ mirror plate or thrifted small mirror (You can find mirror plates in the candle section of arts and crafts stores.)

9˝ × 10˝ piece of felt

Approximately 15˝ of thick twine for hanging

Bright fun-colored thread

Hot glue gun

Cardstock or cardboard

Basic sewing supplies

special skills

•Refer to The Rules of Sewing

• Using a hot glue gun

• Using an iron

• Making and using templates

• Sewing around a corner

Prepare the pieces

1.Cut 2 pieces of fusible interfacing each to measure 9˝ × 10˝.

2.Cut a few strips of fabric in different widths between 1˝ and 2½˝ and several inches long. You won’t need to worry about exact widths or lengths at this point. We will be following the idea of a Log Cabin quilting block for this. We will be working from a central piece and then adding strips to build outward.

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Medium 9781571205797

Border Frame

Terrie Sandelin C&T Publishing PDF

BORDER FRAME

◆ FINISHED FOUNDATION:

10½˝ × 11¼˝

◆ FINISHED MEASUREMENT OF CENTER TOILE MOTIF

WITH

¼˝ FRAME: 7½˝ × 8¼˝

7˝ × 7 ¾˝

(UNFINISHED 7½˝ × 8¼˝)

◆ FINISHED CENTER MOTIF:

Full-size Border Frame Triangle Strips foundation patterns are on pages 58 and 59.

This is the only quilt in the book that leaves the fold out of Fold and Sew.

It also has two foundations rather than one. One foundation is for the border strips and one is for the border cornerstones.

Birdsong, 13¾˝ × 14½˝, Terrie Sandelin, 2007

tip

It is easy to adjust this pattern to fit a center motif that is smaller in size:

Make the inner framing border wider and/or reduce the number of triangles you finish on the foundation.

Cutting Instructions

There is no quilt layout diagram for this miniature. As you place your patches, alternate light and dark.

Triangles

Fabric Requirements

Blue for inner border and foundation triangles: 1⁄4 yard

Cream: 1⁄4 yard

Brown floral for outer border and foundation triangles: 1⁄4 yard

You may want to add an extra ½˝–1˝ to each strip length for minor cutting adjustments.

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Medium 9781607059608

Spark 3. Take a Class

Carrie Bloomston Stash Books ePub

JAIME JENNINGS AND AMBER CORCORAN OWN FANCY TIGER CRAFTS, A RETAIL CRAFT AND CLASS SHOP IN DENVER, COLORADO. THEY HAVE HOSTED AN OPEN CRAFT NIGHT EVERY TUESDAY NIGHT FOR SEVEN YEARS. “BEING IN THIS COMMUNITY IS ONE OF OUR TOP REASONS FOR DOING WHAT WE DO, AND IT DRIVES OUR LOVE OF OUR CRAFTS,” SAYS JAIME.

The main thing I hear from people about what keeps them from their creative dreams is: “But I didn’t go to school for that.” This lack of training can make people feel paralyzed. While an education is not the only route to achieving your dreams, studying something definitely has its perks. You get an amazing energy and buzz from taking a class. You learn about technique, craft, and process—the bones of a working practice. You get tips from others in the field about integrating that practice into your life. You develop a vocabulary and learn how to see and discuss what you make (critique).

Formal training instills in you a sense of confidence. Confidence comes from gaining fluency. Classes will help you feel comfortable exploring your creativity. When you start something new, you are not expected to be good. You just need to have an open heart and be gentle with yourself as you learn.

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Medium 9781457182938

16. Dream Machine

Anna Kaziunas France Maker Media, Inc ePub

Dissolving the boundaries between imagination and physical reality.

Kevin Mack

Kevin Mack

As an artist, I’ve always been driven to create art that no one has ever seen before. My search for the innovative led me to computers in the early ’80s. I recognized the potential for digital technology in art and immersed myself.

A career in visual effects put me at the cutting edge of this technology, where I could explore and experiment with digital 3D tools like procedural modeling and volumetric sculpting, and apply them in unintended ways. I learned to build brand-new tools and processes that made no attempt to emulate traditional methods. These processes resulted in unique virtual artifacts that imbued my digital objects with a surreal and mysterious quality. They were new.

As these newfound capabilities enabled my wildest art ambitions, along came 3D printing, which made it possible to manifest my digital creations in the physical world. It was like a science fiction dream come true.

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Medium 9781457183225

7. Advanced Project: FLORA NeoGeo Watch

Becky Stern Maker Media, Inc ePub

Make your own LED timepiece (Figure 7-1)! Use FLORA and the FLORA GPS module to tell time with a ring of pixels. A leather cuff holds the circuit and hides the battery. The watch is chunky, but it still looks and feels great on tiny wrists!

The circuit sandwich becomes the face of the watch, and you’ll use a tactile switch to make a mode selector. The watch has timekeeping (one LED for hours and one for minutes), GPS navigation (customize your waypoint in the Arduino sketch that you’ll see later in this chapter), and compass modes.

For this project you will need:

FLORA main board

NeoPixel ring

FLORA Wearable Ultimate GPS module

FLORA accelerometer/compass sensor

Tactile switch, such as Adafruit part # 1119

Tiny LiPoly battery with charger, such as Adafruit part #1317 with Adafruit part #1304

Leather watch cuff; we got ours from LabyrinthLeather

Small scrap of fabric

E6000 craft adhesive

Binder clips

Thin-gauge stranded wire

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Medium 9781607059608

Spark 18. The Pleasure Principle

Carrie Bloomston Stash Books ePub

I LEARNED TO KNIT IN FOURTH GRADE FROM MY GRANDMOTHER’S NEIGHBOR, MARION EPSTEIN (MANNY) AND FROM MRS. BROUGHTON, WHO WOULD TEACH US AFTER SCHOOL. EVER SINCE, KNITTING HAS SOOTHED MY SOUL. EVEN IN ART SCHOOL, I WOULD COME HOME FROM THE INTELLECTUAL RIGORS OF THE STUDIO AND CLIMB IN MY BED WITH SKEINS OF COLORFUL CHENILLE. I’D KNIT SCARVES AND READ MARTHA STEWART LIVING MAGAZINE LIKE IT WAS SOME FORBIDDEN PLEASURE. CRAFTING SEEMED LIKE A DIRTY SECRET TO ME THEN, BUT IT KEPT ME SANE IN THE IVORY TOWER.

“Let the beauty of what you love be what you do.”

RUMI

What makes you feel good? Why would you need to be reminded about seeking pleasure? We are all so good at that, right? No, not really. But you once were. And certainly you knew what made you happy as a child.

When was the last time you watched a seven-year-old, or a four-year-old, at play? I do every day. Here is what it looks like: they flit, they fly, they wander passionately from one creative enterprise to the next. Now playing with tiny plastic Littlest Pet Shop critters, now drawing, now LEGO, now back to Pet Shops, and on it goes. Constant desire. Constant movement. Constant momentum, even when they take breaks: Look! Here’s a roll of duct tape! Look! I can write my own comic book! Look! Ice cream! Pleasure, pleasure, pleasure the whole way through. Children seek pleasure at every turn. They don’t need reminders about how to play, how to have fun, or how to make room for themselves. They know what feels good.

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