Indholdsfortegnelse for July/August 2018 i Modern Patchwork

THIS MORNING, I GOT UP AT THE USUAL TIME, SWITCHED OFF MY ALARM, AND STUMBLED OUT OF BED. After a trip to the gym and a cup of coffee, I showered and dressed. I chose my clothes the night before: Jeans. T-shirt. Striped socks. Clogs. It is an outfit I’ve worn dozens of times, and it never varies. Whenever I wear that particular shirt, I always pair it with the same socks, shoes, and jeans. Always. A good thing about being a creature of habit is that I don’t have to waste time choosing my wardrobe. But that also means I am less adventurous in my choices and relatively predictable. Woe is me if I lose one of those socks! Most everyone has preferences and predilections, not only in their…

Diamonds come in an array of hues from colorless white to charcoal black and every other color under then sun. Seeing these multi-colored gems in a display case is breathtaking. This quilt was inspired by a picture of different gems, real and imagined, sitting beautifully on a velvet cushion just waiting for the chance to shine. MATERIALS Finished Size: 60" × 78" 3 yards cream for background 1¼ yards gray ⅞ yard pink for piecing and binding ⅜ yard whiteblackorange, aqua, yellow, stripe, check ¼ yard lightpinkdarkpink, light orange, dark orange, light aqua, dark aqua, light yellow, dark yellow Templates A + B Template material 4¾ yards backing Queen-size batting Fabric requirements assume 40" usable width of fabric. NOTE: Fabrics used in the quilt shown are Kona® Cotton Solids by Robert…

Gosia loves to make fashionable and modern accessories for herself and as gifts. This versatile and sturdy clutch is the perfect size for all your essentials—and can hold everything you need for a night on the town or a sewing retreat. MATERIALS Finished Size: 8" × 11" Makes 1 clutch in white, gray, and black (see Note) Fat quarter* white print Fat quarter gray print 5" × 13" rectangle black solid Fat quarter for lining 12"–14" zipper with plastic teeth ¼ yard single-sided fusible foam stabilizer (Such as In-R-Foam by Bosal.) ½ yard 20"-wide woven fusible interfacing (Such as SF101 Shape-Flex byPellon Zipper foot Optional Walking foot * Fat quarter = 18" × 20" NOTE: To make the other clutch pictured, substitute pink for white, navy for gray, and chartreuse…

A simple Windmill Block is the basis for this design. When Andy Knowlton (abrightcorner.com) shared a technique online called Scrap Bin Geese quilt block, Diane adapted it to become three-dimensional, then rotated and repeated it to create the large blocks. MATERIALS Finished Size: 72" × 72" Finished Blocks: 36 (12") blocks 10–14 fat quarters* assorted light, low-volume prints for background (See note.) 10–14 fat quarters assorted medium and dark gray prints for background Fat quarter* of9brightprintsfor Flying Geese triangles 4½ yards backing ⅝ yard binding * Fat quarter = 18" × 20" Fabric requirements assume 40" usable width of fabric. NOTE: For maximum variety of background fabrics, dip into your fabric-on-hand first. This is a great project to use scraps, leftover 2½" strips from precut rolls, and other bits. Supplement your…

Daisy’s favorite Inaluxe art prints—from artists Kristina Sostarko and Jason Odd—have irregularly curved shapes stacked playfully on each other. She used the palette from one of their prints and created a design inside her own usual rules for symmetry and precision. The result is an unexpected plaid with an unpredictable pattern of punched out holes. MATERIALS Finished Size: 78" × 90" 2 yards pale pink (Shell) for blocks and background ½ yard ofblueStratosphere, gray (Graphite), light green (Pond), yellow (Canary), and light blue (Baby Blue) ⅝ yard ofgreenOldGreen), gold (Yarrow), pink (Blush Pink), black (Pepper), dark blue (Teal Blue), light gray (Ash), bright pink (Pomegranate), and white (White) Templates A + B Template material 2½ yards 108"-wide backing or 7½ yards 40"-wide backing ¾ yard binding Queen-size batting Optional 28mm…

There is so much fun text fabric available—faux newsprint, word puzzles, handwritten ‘diary’ pages—as well as numerals and ledgers, library-themed fabric, and lined-paper prints. This pillow is the perfect project to put your collection of these fabrics to good use, and it would make a great gift for your favorite bibliophile. MATERIALS Finished Size: 17 ½ " × 17 ½ " Fat eighth* text print graydarkgray black, and white Fat quarter** text print lightgrayandcream Fat quarter muslin for lining ¾ yard gray solid for backing Craft-size batting Pillow form, 18" × 18" * Fat eighth = 9" × 20" ** Fat quarter = 18" × 20" Fabric requirements assume 40" usable width of fabric. CUTTING Measurements include ¼ " seam allowances. Label pieces as they are cut and keep separate…

Kim Eichler-Messmer dips a cup into a five-gallon bucket filled with frothing indigo dye. The pigment saturates her skin, curving around fingernails, staining her hands in shades of blue, like an ombré Smurf. If the eyes are the windows to a soul, then Kim’s hands are a window into her day’s work. If they are tinted blue, she has been working with indigo; if gold, she has likely been experimenting with weld; and if brown, she has been boiling black walnuts again trying to get the darkest natural dye she can. Clean, unstained hands indicate she is using her previously dyed fabrics in a sewing project, likely one of her striking color block quilts. Kim’s work is rooted in a love of color and geometry. As an artist, she takes…

If you’ve been quilting for a while, you might notice the same color combinations appearing over and over again in your projects. I’m definitely guilty of that—navy and aqua are my weakness—and having a signature palette is not a bad thing. But if you are feeling stuck in your work, perhaps it’s time to shake things up a bit and exercise your creativity in a new way. Have you ever seen a color palette you love, but is totally different than anything you’ve tried? Do you wish you could use color in a daring way, but don’t know where to begin? With these five exercises, we’ll identify your color go-tos and then work on pushing past your color boundaries. First, start by identifying your color habits. That way, you will…

So, you’ve decided to buy a longarm quilting machine—yay, and welcome to the club! Longarm ownership is a major commitment—in dollars and studio space. Whether you plan to set up a longarm quilting business or to quilt for yourself, you will want your studio to be as comfortable and functional as possible. Here are a few tips to help you get set up so you can start experimenting and having fun quilting with your new machine. Studio comfort Make sure you have enough room around your machine to easily walk around it. Don’t forget to factor in how far the machine head moves toward the back of the machine. You don’t want it to accidentally hit a wall. If you plan to use pantograph designs, you will work from the…

Fade Away was created to play with value—creating a harmonious gray scale using prints pulled from fabrics the designer had on hand. A visually interesting, yet easy-to-construct block was chosen, and then work began on creating the gradation. MATERIALS Finished Size: 40" × 40" Finished Blocks: 16 (10") blocks 1½ yards white (1) for background and binding ¼ yard ofprintswiththefollowing values: very light gray (2), very dark gray (7), and black* (8) ½ yard ofprintswiththefollowing values: light gray (3), gray (4), medium gray (5), and dark gray (6) Crib-size batting 2¾ yards backing Fabric requirements assume 40" usable width of fabric. * Only 1 (6¼ ") square of black print is needed—check your stash or scrap basket first. CUTTING Measurements include ¼ " seam allowances. Label pieces as they are…

Celebrating the modern quilt movement in all its glory. Want to be published? Share your work with MODERN PATCHWORK. MODERN PATCHWORK is packed with informative articles and beautiful projects for today’s quilters and sewists. The contemporary and fresh aesthetic of these projects pays tribute to the modern revival of patchwork, integrating traditional and innovative techniques. Feature article submissions To submit a proposal on topics related to modern quilting, send a detailed outline of your idea with related images, websites, or resources. Feature articles are up to 1,500 words. We are particularly interested in: ■ Creative machine quilting: longarm, domestic, ruler-guided, free-motion ■ Functional design hacks for tried and true techniques ■ Exploring elements of design ■ Innovative group quilts ■ Working in a series ■ Color theory ■ Evolution of…

A well-made binding will protect the edges of your quilt, add to the overall design, and make it last longer. The following technique is for creating a French-fold binding, also known as a double-fold binding. PREPARE THE BINDING 1. Measure the perimeter of your quilt and add approximately 24". The additional length will accommodate the mitered corners and the finished ends of the binding, and give you a few inches to spare. 2. Cut enough 2 ¼ "-wide strips to equal the desired length. 3. Join the strips together using diagonal seams. To do this, place two strips, right sides together at right angles. The area where the strips overlap forms a square. Sew diagonally across the square. Trim the excess fabric ¼ " from the seam line and press…

Inspired by Elder Joseph Brackett’s lyrics in the Shaker tune “Simple Gifts,” this quilt celebrates the beauty of that which is clean and straightforward. It is graphic, direct, and decidedly modern… yet it has a gentleness and quiet presence reminiscent of a simple Shaker chair—capable of turning a contemporary home into a “place just right.” MATERIALS Finished Size: 77" × 72" 15 fat quarters* assorted solids 5¼ yards black for background and binding 4¾ yards backing Full-size batting * Fat quarter = 18" × 20" Fabric requirements assume 40" usable width of fabric. NOTE: Fabrics used in the quilt shown are Kona® Cottons Solids from Robert Kaufman Fabrics in Terra Cotta, Rose, Ice Peach, Curry, Deep Rose, Baby Pink, Garnet, Wasabi, Pickle, Spring, Sky, Seafoam, Ice Frappe, Shale, and Cayenne with…

Use these simple directions to finish pillows with an envelope closure. Binding or no binding? That’s up to you. MATERIALS Pillow top Backing fabric Pillow form Point turner Binding strips: 2 ¼ " × (the pillow perimeter + 5") (for the Envelope Back with Binding option only) ENVELOPE BACK WITHOUT BINDING 1. Cut 2 pieces of backing fabric, each the height of the finished pillow plus½ " (for seam allowances) and the width of the finished pillow plus 6" (for overlap). As an example, for a 16" × 16" pillow, cut 2 rectangles, each 16½ " × 22". 2. Fold and press the rectangles in half widthwise, wrong sides facing. (In our example, the rectangles would be 16½" × 11".) 3. Overlap the pressed edges, making a square the size…

Half-Square Triangles (HSTs) are a staple in the modern quilter’s toolbox. This time-saving method helps you make 8 HSTs at a time—quickly and accurately. 1. Using a ruler, draw diagonal lines on the lighter square from the upper left to lower right and from the upper right to the lower left. 2. Draw center vertical and horizontal lines. 3. With right sides together, pair a dark square with the marked light square. 4. Stitch ¼ " on each side of the diagonal lines only. 5. Cut along the drawn diagonal lines, and again at the center vertical and horizontal line, creating 8 HSTs. 6. Press the seam allowances either open or toward the darker fabric. Trim the dog ears. 7. Voilà! You now have 8 HST blocks to use in…

Half-Square Triangle blocks (HSTs) are some of the most versatile blocks we use in quilting, but the bias-edge seam makes them a bit of a challenge. This quick method for making two identical HST blocks at once eliminates the need to sew along a cut bias edge—you get more blocks with less fuss. 1. Cut 2 squares ⅞" larger than the desired finished size of your block. 2. Using a ruler, draw a diagonal line on the wrong side of the lighter square from the upper left to the lower right corner. 3. With right sides facing, pair a dark square with the marked light square. 4. Stitch¼" on each side of the drawn line. 5. Cut along the drawn line, creating 2 HSTs. 6. Press the seam allowances either…

I’m one of the lucky ones. The fifth QuiltCon conference was held in Pasadena, California, this past February and I have attended each one. Lucky indeed. But not just fortunate to have been immersed in a sea of world-class modern quilts, exposed to cutting edge exhibits, or caught up in the exciting vibe of classes, lectures, and awards ceremonies at each of the shows. I feel like I’ve had a front row seat as the modern quilt movement has matured into a cultural event that has shaped the trajectory of the craft. QuiltCon 2013, held in Austin, Texas, was the first opportunity for the Modern Quilt Guild (MQG) to put on its own independent show. In essence, the first QuiltCon was an event that helped change the direction of 21st…

Taxonomy is a word often used in the scientific community to refer to a method of systematically classifying plants and animals. Some classifications are obvious, others are more subtle. The taxonomy of quilts, at times, can be an equally complicated thing. With the dichotomies between modern and traditional quilts, and between traditional and artistic quilts—not to mention wearables—figuring out just where our own quilts fit can seem a virtual minefield. While the terms we use may seem self-evident on the surface, when we look more closely we cannot help but find vast regions of gray area between the categories that appear ready-made to confound us. Just what makes a quilt traditional? When compared to a modern quilt, traditional conveys a certain aesthetic sensibility, one grounded in quilting’s past. But when…

What is cork—and when did it become a fabric? The most common use of cork is the familiar wine stopper. Students will also recognize it as the stuff of message boards. Recently, mixed-media artists and quilters are finding cork in fabric form in their favorite shop—and not just in bulletin board tan—colors abound! By bonding thin sheets of cork to a lightweight, cotton/poly blend or polyurethane fabric, cork fabric is easily sewn, soft to the touch, and surprisingly flexible. What are people making? Cork is the new darling of the accessories world. Bags, totes, garment trim, zipper clutches, and straps—cork fabric has found its way into all these projects. Because it is available in a multitude of colors, cork fabric pairs well with printed quilting cottons, linen, or denim. Some…

Roxanne Glue-Baste-It Dip and Dab Your favorite Glue-Baste-It glue is now in a convenient size for travel and workshops. The new applicator wand mimics that of a lip-gloss—perfect for precise glue application for flexible, wash-out basting. $3.38 • colonialneedle.com Seam Roller Violet Craft If you find finger pressing too tiring and imprecise, but using an iron for short seams too cumbersome, seam rollers are the answer. Violet Craft has created a lovely wooden seam roller perfect for paper piecing and other small seams. The rounded wooden barrel helps focus pressure on the seam—for easy, on-the-go pressing. $14 • violetcraft.com Longarm Quilting Rulers Angela Walters Expand your quilting repertoire with these machine quilting rulers. These rulers offer stable edges to glide the quilting foot. Depending on the placement, each ruler can…

This quilt design is a modern interpretation of sound waves and how they move—alternating direction but following a continuous, maze-like path. MATERIALS Finished Size: 86" × 86" 4⅜yards blue for blocks and binding 3½ yards white for blocks and binding accent 2⅝ yards 108"-wide backing (or 6⅝ yards 40"-wide fabric) King-size batting Fabric requirements assume 40" usable width of fabric. NOTE: Fabrics used in the quilt shown are Kona® Cotton Solids from Robert Kaufman Fabrics. Precut Friendly Option This quilt can easily be adapted to packs of 2½ " precut strips. Most rolled packs contain 40 strips and the total yardage is noted on the package. ■ Set aside 10 binding strips before cutting. ■ Cut the longest A and E rectangles first and piece the remaining strips, as needed,…

Colored tiles appear to change their mood and personality as they float across a two-toned background on this complex looking, yet easy-to-piece, quilt. MATERIALS Finished Size: 53" × 69" 1¼ yards off-white (Putty) background 1¾ yards purple (Diva) background and binding Fat quarter* ofpalegreenGlacier), medium blue (Cerulean), mint green (Seabreeze), and green (Julep) ½ yard ofgreen-blueAegean and medium pink (Freesia) ⅜ yard lavender (Sweet Pea) ½ yard dark pink (Cosmo) 4¼ yards backing Twin-size batting * Fat quarter = 18" × 20" Fabric requirements assume 40" usable width of fabric. NOTE: Fabrics used in the quilt shown are Tula Pink’s Designer Essential Solids collection for FreeSpirit Fabrics. Color names are in parentheses. CUTTING Measurements include ¼ " seam allowances. Border strips are exact length needed. You may want to make them…

Curved piecing is ubiquitous in modern quilts, but some quilters ignore it because they’ve avoided learning how to sew curves. Like many things, piecing curves takes a little practice. With these tips, you’ll soon be creating smooth curved seams like a pro! NOTE: These illustrations show the Drunkard’s Path block but these tips are true for all blocks with curved pieces. 1. Cut a convex quarter circle piece and a concave L-shaped piece from contrasting fabrics. Fold each piece in half. Finger press at the curved centers. 2. With right sides together and the L-shaped piece on top, align press marks and pin in the center of the block. 3. Pin the outside edges together with the straight edges matching. 4. You might find it necessary to add more pins…

A simple combination of Half-square Triangles with squares and rectangles in a limited palette gives the illusion of things moving left and right. Fabrics with high contrast will make these stylized birds soar! MATERIALS Finished Size: 40" × 48" ⅛ yards dark blue 1¼ yards light gray ½ yard binding 2½ yards backing Crib-size batting Fabric requirements assume 40" usable width of fabric. NOTE: Fabrics used in the quilt shown are from the Canvas collection by Deborah Edwards for Northcott. CUTTING Measurements include ¼ " seam allowances. From dark blue, cut: – 2 (5" × 40") strips. From the strips cut 14 (5") A squares. – 5 (4½" × 40") strips for the outer border. From light gray, cut: – 2 (5" × 40") strips. From the strips cut 14 (5")…

This quilt was conceived and executed at an all-day sewing marathon at QuiltCon. Stacey was halfway through her original project when her pile of fabric fell over and these three colors magically grouped together. She was immediately drawn to them and had a flash of what to do. Since she was determined to finish her original idea first, after the dinner break she got to work on this quilt—the best kind of dessert! MATERIALS Finished Size: 38" × 54" 2 yards tan for blocks and binding ½ yard red-violet Fat quarter* purple Fat eighth** chartreuse 2½ yards backing Crib-size batting * Fat quarter = 18" × 20" ** Fat eighth = 9" × 20" Fabric requirements assume 40" usable width of fabric. CUTTING Measurements include ¼ " seam allowances. A…

Alternating white and gray strips and tiny pops of light and dark color create the illusion of the in-and-out movement of an accordion. The color play is almost musical. Bonus: Learn an easy faux-flange binding technique! MATERIALS Makes 4 place mats Finished Size: 18" × 14" each ⅛ yard darktealGulfStream), dark orange (Carrot), dark green (Jolly), and light purple (Orchid) ¼ yard lighttealPaleAqua), light orange (Clementine), light green (Island), and dark purple (Violet) ¾ yard white 1 yard gray (Silver) 1 yard backing Craft-size batting Fabric requirements assume 40" usable width of fabric. NOTE: Fabrics used in the place mats shown are from the Painter’s Palette Solids collection from Paintbrush Studio. Color names are in parentheses. CUTTING Measurements include ¼ " seam allowances. Label pieces as they are cut. From light…