612 Chapters
  Title Author Publisher Format Buy Remix
Medium 9781617454820

On the Web

Riel Nason C&T Publishing ePub

A single spiderweb is the basic decoration on these pieces. Either selvages or ribbons can be used in a simple appliqué. Selvages are fun to incorporate, as they are white, just like a real web, but they also lure you in for a closer look with their unexpected bits of text. Choose selvages from Halloween fabrics and your wordy web may be filled with scary seasonal statements. Using ribbon allows you to choose any color—or even pattern, such as polka dots.

basic spiderweb design

Instructions are for making a single spiderweb.

MATERIALS

Background fabric: To fit the size of your project

Selvages or ribbon

Marking pen

Ruler with 45°-angle marking

Glue stick: For fabric use, nontoxic, washable

Thread: White (if using selvages) or colored (to match ribbon)

The length of ribbon and selvages needed for the projects will vary, depending on how you draw the web. The pattern estimates for the ribbon will be close to accurate, as ribbon can be cut continuously from a roll. For selvages, however, it is difficult to estimate because your selvage collection will likely consist of many pieces in various sizes. Before you start a project using selvages, look at what you have and do a trial-run layout to be sure you will have enough.

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Medium 9781607054412

Runners

Kim Schaefer C&T Publishing ePub

Quilted by Diane Minkley of Patched Works, Inc.

finished block sizes: block a 20″ × 20″ block b 20″ × 5″ block c 10″ × 10″ block d 5″ × 5″ finished runner: 20½″ × 60½″

Contrasting colors and simple pieced blocks are combined to create this whimsical runner.

•  1¾ yards total assorted purples, greens, and teals for pieced blocks

•  1 yards for backing and binding

•  25″ × 65″ batting

The pieces for each matching set of squares and rectangles are listed together.

Cut from assorted colors:

•  1 square 8½″ × 8½″

•  2 rectangles 3½″ × 8½″ and 2 rectangles 3½″ × 14½″

•  2 rectangles 3½″ × 14½″ and 2 rectangles 3½″ × 20½″

Cut from assorted colors:

•  2 rectangles 1½″ × 16½″

•  4 rectangles 2½″ × 16½″ and 4 rectangles 2½″ × 5½″

Cut from assorted colors:

•  4 squares 2½″ × 2½″

•  8 squares 2½″ × 2½″ and 8 rectangles 2½″ × 6½″

•  8 rectangles 2½″ × 6½″ and 8 rectangles 2½″ × 10½″

Cut from assorted colors:

•  8 squares 1½″ × 1½″

•  16 rectangles 2½″ × 5½″ and 16 rectangles 1½″ × 2½″

Piece Block A as shown. Press.

Piece Block B as shown. Press.

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Medium 9781617450112

Istanbul

Harvey, Tamsin C&T Publishing ePub

Hand appliquéd by Angela Perry, machine quilted by Tamsin Harvey. Fabrics featured in this quilt are from the Shadow Play collection by Maywood Studio. The white background is from the Pearl Essence collection from Galaxy Fabrics.

FINISHED SIZE: 62˝ × 62˝ (157cm × 157cm)

This quilt was inspired by the numerous İznik tile designs that include floral sprays of tulips, carnations, roses, peonies, and violets. The tulip created a craze within the Ottoman court society between 1718 and 1730. During the reign of Sultan Ahmed III, improving trade relations and developing commercial revenues was of major interest. There was a return to the gardens, and tulips were a favorite of the Ottoman court. Tulips appear often in Ottoman art from this period, not only in the decoration of İznik tiles, but also in carpets and paintings.

MATERIALS

Yardage is based on 42˝-wide fabric.

■Red: 2½ yards (183cm) for inside and outside borders

■White: 1⅝ yards (149cm) for center background and inside border

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Medium 9781617452697

Presentation

Wen Redmond C&T Publishing ePub

Presentation offers another opportunity for creativity. You can always finish pieces as you would a quilt, but there are also many other ways to finish a fiber art piece.

MOUNTING

Mount your fabulous finished work! Try watercolor paper, commercial mounted canvas, wooden panels, or a frame with mat board.

TIP

Be creative and use recycled items or found wood for an unusual presentation.

Preparing Mounting Panels

If you are using a finished canvas, wood panel, or other mount with edges, paint the edges in a color that complements the finished work.

A large canvas is painted with black gesso. The center of the panel will be covered and wasn’t painted. Do make sure there’s no white showing when the print is glued on. If your substrate is transparent, or is applied in sections, paint accordingly.

1. To mount, apply a butter-thin layer of gel medium to the mounting surface or the back of the trimmed collage. When applying medium to the mount, brush from the center out, lifting the brush as you get close to edge so the medium doesn’t ooze out when you apply the item to be mounted. When applying medium to the back of the piece to be mounted, brush on a thin layer so the edges and corners of the finished work are secure and won’t peel up later.

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Medium 9781617450242

Spiral

Cameli, Christina C&T Publishing ePub

  SPIRAL

Spirals can take on a lot of looks and are great space fillers. Most often you will make a path into the middle of a spiral, come to a point, and then work your way back out in the open space of the inward spiral path.

If you’re filling a space with a spiral, the spiral should go right up against the first edge you pass. But make sure to leave room along the opposite edge (as well as between the spiral revolutions) to allow space to work back out of the spiral.

Spirals can be just a hint of a whirl or tightly wound, or made skinny by traveling back out along the original inward spiral path. You will often use spirals in rows.

Occasionally, your design will depend on exiting the spiral along the inside or the outside. In these illustrations, the blue line travels along the inside and the red line travels along the outside of the spiral.

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Medium 9781607051923

Dinner for Two

Nancy Lee Murty C&T Publishing ePub

Finished blocks: 12″ × 12″

Finished table runner: 17″ × 51″

Skill level: Intermediate

In my family, dinnertime has always been much more than just a meal. It's a time to share the day's triumphs and challenges, time to share a laugh or tell an old story. I love the idea of incorporating quilts into everyday life, and what better way than with a table runner. Pick fabrics that complement your decor, or make several in different colors to highlight the seasons. Have dinner for two tonight but order out—you've been sewing all day.

Cream: ½ yard for block background

Pale pink: yard for setting triangles

Pink: yard for setting triangles

Red: ¼ yard for blocks

Green: ¼ yard for blocks

Brown: ½ yard for blocks

Binding: yard

Backing: 1 yards

Batting: 25″ × 59″

The letter following each cut size corresponds to the letters in the block assembly diagrams.

Cream

• Cut 1 strip 4½″ × width of fabric; subcut into:

12 rectangles 2½″ × 4½″ (A)

• Cut 2 strips 2″ × width of fabric; subcut into:

12 squares 2″ × 2″ (B)

12 squares 2″ × 2″; cut in half diagonally (C)

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Medium 9781607054863

Hot Spot

Alissa Haight Carlton Stash Books ePub

50″ × 60″

This small throw is made up of six different shades of red solids that range from light to dark. The range of colors creates an optical illusion of depth.

When making this quilt, picking the right grouping of fabrics is key in order to duplicate the gradual color graduation. When picking fabrics like this, I tend to stack them up and slightly blur my eyes as I look at them. This helps me see if one fabric “pops” in a way that I don’t like. This pop often means that a fabric has the wrong value. Even if it seems to be the right color, sometimes it is too saturated when placed next to the other fabrics.

This quilt top is made by cutting the framing strips as rectangles and then trimming them to create the off-kilter framing.

Based on 42″ fabric width.

Fabric A (red 1*): 5½″ × 10½″

Fabric B (red 2*): ½ yard

Fabric C (red 3*): ½ yard

Fabric D (red 4*): ¾ yard

Fabric E (red 5*): 1 yard

Fabric F (red 6*): 1¾ yards

Backing: 3 yards

Binding: ¾ yard

* Use 6 shades of red, from I (lightest) to 6 (darkest)—coral, red, rich red, wine, crimson, and burgundy are the names of the Kona cottons I used.

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Medium 9781571206220

Mint Chocolate

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 9781607059608

Spark 8. Process

Carrie Bloomston Stash Books ePub

AYUMI TAKAHASHI IS A SUPERSTAR BLOGGER, MODERN QUILTER, AND DESIGNER LIVING IN JAPAN. HER STUDIO AND PROCESS REFLECT THE SMALLER SCALE OF JAPANESE HOMES. ORGANIZATION IS A MUST IN A SMALL SPACE. AYUMI’S FUNKY, FRESH SENSIBILITY IS MIRRORED IN HER STUDIO. INSPIRING PROJECTS AND PATCHWORK HANG ON THE WALLS.

Each day is a microcosm of the larger picture of your life. Each moment you spend tending to the Spark, the more your life will go in that direction. As your working process evolves, begin to notice it so you understand what helps you as you work.

After a while, you will learn how to incorporate the creative process into your days—how to integrate your dream into your reality. The more energy you spend on your passion, and the more your creative passion reveals itself to you, the more it will grow.

“How we spend our days is, of course, how we spend our lives.”

ANNIE DILLARD

REMEMBER:

HOW YOU DO ANYTHING IS

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Medium 9781607059608

Spark 1. Just Start

Carrie Bloomston Stash Books ePub

Beginning is the hardest part for many creative people. I tend to procrastinate about starting any new project. I put a whole bunch of things in my way before I start: to-do lists, errands, cleaning—it’s as if I am trying to delay or defer my pleasure.

STARTING TAKES GUTS.

What if I’m terrible?

What if I fail?

What if I ruin it and waste all these materials?

You might be terrible at first. You may fail. You are definitely going to waste materials and make a mess. Then you won’t. In that order.

When you are ready to begin and you feel that fear popping up, ask yourself a simple question: “What is the worst thing that might happen if I fail, make a mess, fall on my face, waste some materials, or am terrible?” Your answer might be: “I’ll waste money that I don’t have and I won’t be able to pursue this anymore.” Or, “If I mess this up, then I’ll prove my parents (or spouse) right—that I’m not talented and I can’t do this—and I’ll be truly embarrassed.”

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Medium 9781571209603

Flying Geese

Emily Cier C&T Publishing ePub

FINISHED BLOCK SIZE

81″ × 81″

Flying Geese quilts are traditionally very geometric, with orderly designs. This quilt takes the order to another level entirely by arranging square versions of a Flying Geese block in mathematical precision.

Note: If you are curious, this pattern follows the Sierpinski carpet fractal. Those aren’t typos in the cutting chart! This quilt is made of 3,803 pieces, almost all of which are easily foundation pieced.

Notes:

1. Quilter’s Freezer Paper Sheets or Carol Doak’s Foundation Paper (see Resources, page 63) make paper piecing easy.

2. These foundation pieces are cut with a ″ seam allowance all around, for ease of paper piecing.

3. Use your favorite method to foundation piece these blocks.

Photocopy or trace the foundation pattern on page 55 and make 512 of Block A, using Solid 1 (dark and light) and background fabrics placed as shown in the following illustration. Trim blocks, leaving a ¼″ seam allowance all around (3½″ × 3½″). Remove the foundation paper.

Tip

After trimming the blocks, remove the foundation paper to reduce bulk when continuing with the next step. Some quilters prefer to leave the paper on to keep the block square. It comes down to a personal preference.

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Medium 9781607059899

The Bachelor

Amy Garro Stash Books ePub

THE BACHELOR

FINISHED BLOCK: 12˝ × 12˝

FINISHED QUILT: 80˝ × 101˝

This manly quilt is great for the bachelor in your life—perhaps a son or brother, or even a husband who might like his own quilt. Its large size accommodates a snooze on the couch for even the tallest of men. Modified Log Cabin blocks with ⅛˝ details are surrounded by simple strip piecing, making this a quick quilt to pull together.

Materials

For this quilt, I chose Essex Yarn Dyed Linen in Steel and Black, Kona Poppy, Michael Miller Couture Cranberry, Kona Ruby, and Kona Crimson fabrics. I used Essex Yarn Dyed Linen for its masculine feel; it also provides some texture and subtle patterning to an area of large negative space, giving it more interest than regular quilting cotton solids. Because Essex Linen is more prone to raveling than quilting cottons, I suggest using a ½˝ seam allowance and reinforcing all seams with an overlock or zigzag stitch in the seam allowance. For the paper-pieced block itself, I chose to use a ¼˝ seam allowance to reduce bulk and reinforced the block by ironing fusible interfacing onto the back. If you would prefer to use ½˝ seam allowances in the block, I suggest adding ½˝ to each dimension of the reds included in the block. Instead of using an Add-A-Quarter ruler, use a regular Omnigrid acrylic ruler to add the ½˝.

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Medium 9781617453366

Projects Using Squares

Amanda Jean Nyberg Stash Books ePub

PROJECTS USING

S q u a r e s

Mini Nines

Finished block: 3½˝ × 3½˝    •    Finished quilt: 59½˝ × 70˝

When I first started making this quilt, I cut individual 1˝ × 1˝ squares and sewed them together to make the Nine-Patches. Thankfully a friend suggested that I use strip-piecing methods to make the Nine-Patch blocks in order to speed up the process. At first I was hesitant to do so, but after making a few blocks, I knew it was the only way to go. My speed dramatically increased and my piecing accuracy improved.

Pieced and quilted by Amanda Jean Nyberg

Tips

Tiny Piecing

Tiny piecing can be frustrating, especially if you aren’t an extremely accurate sewist. (I know I fit into that category.) Before cutting out all of the pieces for this quilt, I highly recommend that you make a few test blocks following the tips below and that you test the accuracy of your seam allowance (see Testing Your Seam Allowance).

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Medium 9781571208330

April—Umbrella Quilt

Kim Schaefer C&T Publishing ePub

Umbrella Quilt, 20½˝ × 28½˝, made by Kim Schaefer, quilted by Diane Minkley of Patched Works, Inc.

   ½ yard total assorted light blues for pieced background and appliqué pieces

    yard total assorted rainbow colors for pieced border and appliqué pieces

    yard black for umbrella

    yard for umbrella handle

   ¼ yard yellow for galoshes

   1 yard for backing and binding

   24˝ × 32˝ batting

    yard paper-backed fusible web

Appliqué patterns are on pattern page P4. Refer to page 3 for preparing the appliqué.

Cut 15 squares 4½˝ × 4½˝ from the assorted light blues for the pieced background.

Cut 20 squares 4½˝ × 4½˝ from the assorted rainbow colors for the pieced border.

Cut 1 each of appliqué pieces 1–17.

Cut 5 of appliqué piece 18.

Refer to page 3 for general piecing and appliqué instructions.

1. Make the pieced background.

2. Make the pieced borders, and sew them to the quilt top.

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Medium 9781607058649

The Color Wheel

Becky Goldsmith C&T Publishing ePub

the color wheel

Color wheels are pretty, and that’s why we like looking at them. Beyond being pretty, however, a color wheel is a powerful tool that shows the relationships between colors. This is important because knowing how colors work together will help you use color better in your quilts.

Some people have spent their lives studying color theory. I am not one of them. I do have a degree in interior design, and what I learned in school has been valuable—but you do not need a college degree to be able to use a color wheel. I promise.

The color wheel

FOR MORE INFORMATION

Remember that this book is a practical guide to color. If you are interested, you can study more (much, much more) about color theory than I will tell you in this book. Where to start? Search the Internet for “color theory” and start clicking. Read books; a lot of them have been written on color. Refer also to Online Color Resources for some of my favorite websites about color.

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