601 Chapters
  Title Author Publisher Format Buy Remix
Medium 9781617450112

Sultan’s Cushions and Bed Scarf

Harvey, Tamsin C&T Publishing ePub

Cushions and Bed Scarf hand appliquéd and hand quilted by Angela Perry. Fabrics featured in these projects are from the ColorWorks collection by Northcott.

FINISHED SIZE: Cushions, 24˝ × 24˝ (61cm × 61cm) Bed Scarf, 16˝ × 100½˝ (41cm × 255cm)

The sultans of the Ottoman dynasty ruled the Ottoman Empire from 1299 to 1922. The Ottoman sultan was the absolute ruler of the territory, and his words were law. A total of 36 sultans ruled during the Ottoman dynasty. This empire was one of the most powerful states in the world. In the seventeenth century, it contained 32 provinces. The location of the Ottoman capital of Constantinople (modern-day Istanbul) was ideal, at the center of trade between Europe and Asia on the Mediterranean Basin.


Yardage is based on 42˝-wide fabric.

Cushion A

■Blue: 1¾ yards (160cm) for front, back, and appliqués

■White: ⅓ yard (23cm) for front

■Red: ⅛ yard (12cm) or small scraps for flowers

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Medium 9781617450099

Chapter Five: Gallery

Kate Carlson Colleran C&T Publishing ePub



Rebecca’s Quilt
Pieced by Alyssa Colleran DesRosier and quilted by Connie White (from the project Bella)

Winter Garden Path
Pieced by Virginia Charmion Ganucheau and quilted by Linda Forsyth (from the project Down the Garden Path)

Evelyn with Crayons
Pieced by Sharon Jarvis and quilted by Sally Mowers (from the project Sassy 16)

Not a Plain Jane
Pieced and quilted by Kate Colleran (from the project Plain Jane)

Wendy’s Line Dance
Pieced and quilted by Wendy E. Arend (from the project Line Dance)

Picturesque Holiday
Pieced by Sandra Carminati and quilted by Mary Ellen Ruhling (from the project Picturesque)

Irene’s Quilt for Wayne
Pieced by Irene Markman and quilted by Dorothy Gionet (from the project Wayne’s Quilt)

Martinis Make Me Dance
Pieced by Karen Ayotte and quilted by Michelle Eno (from the project Dance Party)

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Medium 9781617450099

Chapter Two: Important Information and Nifty Techniques

Kate Carlson Colleran C&T Publishing ePub


Important Information and Nifty Techniques

The Basics

■Read through the pattern instructions before getting started.

■Seam allowances are included in the cutting instructions.

■Sew with a ¼˝ seam allowance unless otherwise specified.

■All pieces are sewn with right sides together unless otherwise specified. Follow the arrows for pressing suggestions.

■Each project allows for enough fabric to piece borders and binding strips end to end or diagonally—your choice!

■Typically a jelly roll contains 40 strips 2½˝ × width of fabric (approximately 42˝). Charm packs contain 40–42 squares, each 5˝ × 5˝. And, fat quarters are 18˝ × 22˝.

For each project, we used a specific type of precut. However, we have included tips on other precuts you can use for a project when appropriate. Just look for the Precut Options box!

Bonus Tips

Kate’s Bonus Tip

Slow it down! I know the current mantra is, “Pedal to the metal!” But if you slow it down a little, you may find that you enjoy the process more and are happier with the end result. For me, I know I am more accurate when I sew just a little bit slower.

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Medium 9781607058649

Tile Tango

Becky Goldsmith C&T Publishing ePub

tile tango


Made by Becky Goldsmith.

On a visit to Santa Fe, I was struck once again by the beauty of the Mexican tiles around the city square. They are beautiful and utilitarian at the same time—in much the same way that a quilt is.

This design is traditional at heart, but it can feel either contemporary or traditional depending on the colors you use. I chose a variety of blues for the flowers and then added purples that blend into the blues. I added orange (the complement of blue) and gold as accent colors. Next came greens for the leaves.

Look at Pot of Flowers with One Blue Pot. The blue fabric (that ought to be green) in the one block really stands out, which is both exciting and quirky. In my quilt, there is one differently colored block, but it is quieter—with less color rather than more color. It asks to be noticed, rather than shouting to be seen (refer to What Do You See?).

The use of light, medium, and dark values is consistent throughout the quilt, allowing the gray shapes to hold their own visually with the clear colors. I did use some of those gray fabrics in other spots in this quilt. They don’t jump out so much because they look grayer in one context than they do in another (refer to The Changeable Nature of Color).

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Medium 9781607058649

Color Schemes

Becky Goldsmith C&T Publishing ePub

color schemes

An unlimited number of color combinations exist. In fact, so many choices are possible that some quilters find it hard to know where to begin.

When in doubt, you can look to the color wheel for inspiration. You will find color combinations that are practically without fail. This is one reason understanding how the color wheel works is so valuable.

As you become more comfortable working with color, you’ll find yourself putting together colors that don’t fit into a tidy color scheme. This is perfectly fine; not all color schemes need to be an “official” color scheme.


You may find that the color wheel is most helpful when you have a problem. Perhaps you have found the perfect two fabrics for a quilt, but you need one more. If you know how the color wheel works, finding that third color is much easier.

If you are not comfortable combining colors, it’s a good idea to buy a small color wheel—one that you can carry with you. Joen Wolfrom’s Ultimate 3-in-1 Color Tool (by C&T Publishing) is a very good choice. Spend some time with it.

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Medium 9781607052708


Amy Walsh C&T Publishing ePub

by Amy Walsh, 70″ × 70″



I have always wanted to live in a loft in downtown Chicago. I love the idea of escaping the frenetic energy of the streets in a cool, industrial-feeling apartment that overlooks our beautiful city. This is the type of quilt that would fit in perfectly with my idea of the perfect interior of such a home.

The following yardage makes a throw-sized quilt. Refer to the LOFT chart (page 27) for alternate sizes and yardage requirements.

Assorted pastel solids: 10 strips 6½″ × 42″ or 2 yards total

Solid gray: 5 yards for block centers, sashing, and outside borders

Binding: ½ yard

Backing: 5½ yards

Batting: 80″ × 80″


Don’t forget to wash your solids with Retayne (pages 15 and 70)!

From the assorted pastels, cut:

10 strips 6½″ × 42″

Cut each 6½″ strip into:

10 rectangles 2″ × 6½″ (Unit C)

10 rectangles 2″ × 3½″ (Unit B)

Cutting diagram


Each 6½″ strip will yield enough frames for 5 LOFT blocks.

From the solid gray, cut:

3 strips 6½″ × 42″

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Medium 9781571205797

There and Back Again Projects

Terrie Sandelin C&T Publishing PDF

There and Back Again Projects ust as with traditional piecing, butting seams that lie in opposing directions helps create flatter seams. The trick to this is easy: double sew the foundation. Use the Sew and Skip method to sew patches onto every other row, moving from left to right. Then pivot the foundation 180° so that what was the top is now the bottom. Then sew the remaining rows, left to right. The alternate row seams will lie in the opposite direction to your first round.


Duck and Ducklings


7 1⁄2˝ × 7 1⁄8˝




Full-size Duck and Ducklings foundation pattern is on the pullout.

Lancaster, 12˝ × 12˝, Terrie Sandelin, quilted by Vickie Bajtelsmit, 2007

Fabric Requirements

Black for outer border and foundation: 1⁄4 yard

Nine assorted solids: scraps of each

Cutting Instructions

Letters indicate fabric placement on the quilt layout diagram for Duck and Ducklings, page 61.

Blue: 1⁄8 yard or scraps


Light blue: 1⁄8 yard or scraps

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

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Medium 9781617452697

Fabric as a Substrate

Wen Redmond C&T Publishing ePub

You can digitally print on almost any type of fabric. Using commercially prepared-for-inkjet-printing fabrics is fast and easy, but the selection is somewhat limited and it’s a little expensive. Preparing and using your own fabric opens up myriad possibilities but can be more work. You don’t have to go one way or the other; use whatever makes sense for the project at hand.


Commercially prepared inkjet-ready fabrics are a huge time-saver. They come prepared (you don’t need to use a pre-coat) and already bonded to a carrier sheet, ready to feed into your printer. And there is quite a collection of fabrics to try.

Printed commercial cotton duck—the image is clear and bright

Printed commercial Fuji silk—luscious

Most suppliers offer natural and synthetic fabrics with a choice of washable or nonwashable pre-coats.

Printed commercial glossy Epson canvas

There are a number of companies that sell prepared fabrics. ProCoat and FabriSign are inkjet-ready fabrics by Jacquard Inkjet Fabric Systems (inkjetfabrics.com/products/fabric). The fabrics range from sturdy canvas to delicate silk.

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Medium 9781607058861

Chapter 10. Royal Family

Salley Mavor C&T Publishing ePub

Shiny metallic thread and gold acorn cap crowns help make the king, queen, prince, and princess look impressively regal. In addition to the royal family, a crew of characters including a jester, knight, and wizard add to the medieval entourage.

For more specific directions, see these sections:

Basic Materials for Most Dolls

Faces, clothing, and accessories: See Making Wee Folk and Fairies.




Legs and Arms

Wind metallic thread around the arms and legs after the dolls’ armatures have been wrapped with embroidery floss. Crisscross the thread up and down, making a pattern on top of the original layer of floss wrapping.


Use a combination of floss and metallic thread to decorate the felt clothing with embroidery stitches.


Spray paint the acorn caps, covering only the outside, because glue will adhere better to the unpainted inside surface.

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Medium 9781571206220

Side Stripe

Kim Schaefer C&T Publishing ePub

Mix and match a set of placemats for yourself or to give as a gift to someone special. There are six different designs to choose from. I used a variety of neutrals, which look stunning on a dark table. However, the placemats will look great no matter what palette you choose.


⅓ yard light print for center

⅛ yard light tan for inner border

¼ yard tan paisley for outer border

¾ yard for backing and binding

16″ × 22″ batting

Cut 1 rectangle 14½″ × 8½″ from the light print for the placemat center.

Cut from the light tan:

2 strips 1″ × 8½″ for the side inner borders

2 strips 1″ × 15½″ for the top and bottom inner borders

Cut from the tan paisley:

2 strips 2″ × 9½″ for the side outer borders

2 strips 2″ × 18½″ for the top and bottom outer borders

1. Sew the 2 side inner borders to the placemat. Press toward the borders.

2. Sew the top and bottom inner borders to the placemat. Press toward the borders.

3. Sew the 2 side outer borders to the placemat. Press toward the borders.

4. Sew the top and bottom outer borders to the placemat. Press toward the borders.

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Medium 9781607059714


Montilone, Jenelle C&T Publishing ePub


SUMMER FLOUNCE DRESS Cloud-soft, pajama-comfortable, and especially sassy thanks to the flounce,* this dress may be your favorite by the time summer ends. Pair with a cardigan for fireside wear, or wear it every day to and from the beach.

* A flounce is strip of decorative, usually gathered or pleated material attached to an edge of a garment.

Change will not come if we wait for some other person, or if we wait for some other time. We are the ones we’ve been waiting for. We are the change that we seek.
— Barack Obama —


3 yards of 54˝ jersey or interlock knit fabric or approximately 6 extra large T-shirts made into yardage

Coordinating thread

Marking tools (chalk or chalk pen, etc.)

T-shirt yarn—enough to wrap around your waist twice


1. Using the patterns, cut:

1 Bodice Front (on fold) • 1 Bodice Back (on fold)

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Medium 9781617451867

Jack In The Window

Kim Schaefer C&T Publishing ePub

jack in the window

Add to your Halloween decor with this fun-to-make wall quilt.

Quilted by Diane Minkley of Patched Works, Inc.

finished quilt: 38½˝ × 38½˝ | finished block: 10˝ × 10˝


Assorted white-and-black prints: 1 yard total for appliqué backgrounds

Black: ⅞ yard for lattice and appliquéd faces

Assorted oranges: ¾ yard total for pumpkins and lattice squares

White: Scrap for teeth

Paper-backed fusible web: 2½ yards

Batting: 43˝ × 43˝

Backing and binding: 2½ yards


Cut from assorted white-and-black prints:

9 squares 10½˝ × 10½˝

Cut from black:

24 rectangles 2½˝ × 10½˝

Cut from assorted oranges:

16 squares 2½˝ × 2½˝


Refer to Appliqué. Use the Jack in the Window patterns (pullout).

1. Cut 9 each of pattern pieces 1–3. Cut 18 of pattern piece 4. Cut 1 each of pattern pieces 5–13. Cut 1 and 1 reverse each of pattern pieces 14 and 15. Cut 6 strips of varying lengths between ¾˝ and 1¼˝, all at ¼˝, for 16.

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Medium 9781571201478

Tippecanoe Mosaic

Claudia Olson C&T Publishing PDF

Tippecanoe Mosaic

Finished size: 72" x 72"

Blocks: Mosaic and Tippecanoe

Using bright, vibrant colors in the Mosaic blocks will bring them to the forefront, and soft colors in the Tippecanoe blocks will cause them to recede into the background.

Materials: 42"-wide fabric



Bright pink

Dark green (includes binding)





Medium green





21⁄ 2 yards

5⁄ 8 yard

2 yards

23⁄ 8 yards

1⁄ 3 yard

1⁄ 2 yard

1⁄3 yard

11⁄ 3 yards

41⁄ 4 yards

76" x 76"

Tippecan oe

Cut the following 42"-long strips and pieces.

Cutting sizes are given in inches.




Number of strips













Bright pink

Dark green


Finished size: 12"


31 ⁄ 2



31 ⁄ 2

61⁄ 2






1 5 Tw o - B l o c k Q u i l t s

First Cut


61⁄ 2


Make 13








Finished size 12"









37⁄8 x 37⁄8

37⁄8 x 37⁄8

31⁄ 2 x 31⁄ 2

37⁄8 x 37⁄8

37⁄8 x 37⁄8

31⁄ 2 x 31⁄ 2

31⁄ 2 x 61⁄ 2

Make 12

37⁄8 x 37⁄8

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Medium 9781607058649

Fabric Basics

Becky Goldsmith C&T Publishing ePub

fabric basics


A quilt shop can seduce you with color. New fabric is likely to attract you first, but be sure to look at the other fabrics in the shop as well—you may be surprised at what you find.

When I shop, I spend more time looking at fabric that is typically “me.” However, every now and then I fall for a fabric that is outside of my normal range, which is why I look at all of the fabric in the shop.

Colorful fabric on display at Back Porch Fabrics in Pacific Grove, California

Solids are an important addition to your stash.

Prints are exciting, but don’t forget to look at solids. You need them in your stash.

How much fabric should you buy? I buy more fat quarters than anything else. I buy half-yards of fabric that I know I’ll use—dots, some stripes, unusual prints. I buy one-yard cuts of large-scale prints, of fabric that I think I might use for an appliqué background, or for quilt backs and binding. I rarely buy more than a yard of any fabric.

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Medium 9781607054863

Pick Up Sticks

Alissa Haight Carlton Stash Books ePub

80″ × 85″

Just two fabrics are used to make this graphic, eye-catching, double-size guilt.

The piecing of this guilt, like many others in this book, is not as involved as it looks. Many of the sections are the same, enabling you to piece long strips and then cut them into different portions and reassemble them with the remainder of the guilt top.

Based on 42″ fabric width.

Fabric A (blue): 4½ yards

Fabric B (yellow): 2½ yards

Backing: 4¾ yards

Binding: yard

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

Note Pieces that are labeled with a “.1” indicate that they are initially cut with their counterparts and are then trimmed off later.

Fabric A (blue)

1. 1 strip 10½″ parallel to the selvage; cut A1, A2, A3, A4, and A5.

Make sure you fold your fabric carefully before you cut. Line up the selvage so you know it’s square and your strips will be nice and straight.

2. Cut 1 strip 25½″ parallel to the selvage; cut A8, A9, A10, and All.

3. From the remaining fabric from Step 2, cut A6, A7, and A12.

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