Tabla de contenidos para March/April 2018 en Modern Patchwork

MUCH OF THE EARLY WINTER IN THE UNITED STATES THIS YEAR WAS PUNCTUATED BY COLD WEATHER. FREEZING COLD. Sub-zero blasts that lasted for weeks. Most of us New Englanders (and for that matter, anyone having lived with long winters) have a long history dealing with Arctic air: we dress in layers, stoke the fires to conserve heat, install storm windows to keep out the chill, and notably, we sleep under quilts. My bed is covered with at least two quilts all year long. One is for warmth, and the other, for beauty. And, like a spring coat and winter parka, I rotate the “beauty quilt” with the seasons. How lucky I feel when I slip under a freshly laundered quilt the first night of Spring. No matter the temperature or…

Curved Piecing 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…

Meet Carolyn Friedlander, an artist from central Florida whose distinctive fabric designs and beautifully executed quilts have sent her on a career path that is paving the way for a new generation of modern quilters. Carolyn’s design sensibility has set her apart from the crowd. While many modern quilts are made with precision piecing using solid fabrics, she works intentionally with a variety of prints, pulling from her background and professional training as an architect. She manipulates color, texture, line, and value in each of her designs, often incorporating the unexpected. Carolyn’s fabrics are bold line drawings, pulling inspiration from aerial views, blueprints, tiled patterns, and nature. Her quilts combine soft curves with pieced blocks. Nothing is expected, yet every element works together to form an interesting and unique composition.…

Taken at face value, making a quilt is an absurd act. Cutting large pieces of cloth into small pieces of cloth only to put those pieces back together into a large piece of cloth would seem to make very little sense, if quilts were merely a matter of materials. But with quilts there is something more essential than cloth and thread at stake. More than anything, quilts are about their materiality: their material being as a whole, which transcends their component materials. Indeed, the material reality of every quilt is imbued with the labor of its making Materiality goes beyond the surface of things, the superficial examination. Yes, it encompasses the pattern and the chosen fabrics, the seams, and the stitches, but it is also comprised of more subtle decisions.…

An excerpt from LONGARM QUILTING WORKBOOK: BASIC SKILLS, TECHNIQUES & MOTIFS FOR MODERN LONGARMING by Teresa Silva Quilting is much easier once it becomes intuitive, and doodling can help with developing that ability. Doodling is not only a great way to learn new designs; it can help you improve your hand-eye coordination, which is essential to longarm quilting. The more you think about what you’re doing the harder it will be, so it’s good to just relax and let the quilting happen. I quilt best when I get in my “quilting zone,” where I’m in my own world, and the quilting feels natural and free. The process becomes fluid, and my brain knows where to go with the design almost without me consciously thinking about it. This happens partly because…

The song “Little Lies” by the band I’m With Her was the inspiration for this quilt. The harmonies of the band’s three singers are reflected in the colorful blocks, and negative space allows for creative quilting. Choose warm and cool prints to harmonize on a solid background. CUTTING Measurements include ¼ " seam allowances. Background rectangles are exact length needed. You may want to make them longer to allow for piecing variations. Before cutting, arrange the cool colors in order from 1–12. Use the Quilt Assembly Diagram as an example for transitioning the color families. Use the fat eighths for sections 1, 2, 11, and 12. Likewise, arrange the warm colors in order from 1–8. Use the fat eighths for sections 1, 2, 7, and 8. From each of 4…

The traditional Quarter Log Cabin block gets a modern twist— both in fabric choice and construction. Contemporary prints and a neutral gray provide a modern feel while strip sets speed up the piecing. Use 2 ½ " precut strips to eliminate hours of cutting. Now that’s modern! CUTTING Measurements include ¼ " seam allowances. Press seams open. If you choose not to use precut strips: From gray, cut: — 92 (2 ½ " x 40") strips. Set aside 11 strips for binding. From each print, cut: — 5 (2 ½ " x 40") strips. Keep these same-print strips grouped together. ASSEMBLY Create the units 1. Pair 5 (40") same-print strips with 5 (40") gray strips. 2. Sew the long edge of a gray strip to a print strip to create…

Enlarged scale; a checkerboard of interwoven “thread”; and a focus on negative space, color theory, and transparency come together for a modern take on a traditional Spool block. CUTTING Measurements include ¼ " seam allowances. Label pieces as they are cut. From dark purple print, cut: — 3 (3 ½ " x 20") strips. From the strips, cut 13 (3 ½ ") G squares. From light purple print, cut: — 3 (3 ½ " x 20") strips. From the strips, cut 12 (3 ½ ") G squares. From dark turquoise print, cut: — 1 (5 ½ " x 40") strip. From the strip, cut 1 (5 ½ " x 20 ½ ") A rectangle. — 3 (3 ½ " x 40") strips. From the strips, cut 3 (3 ½ "…

French-fold Binding 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…

Is it Modern or Traditional? That is a current hot topic within the quilting industry as the lines between modern and traditional quilts become more blurred and the current trend of "modern traditionalism" comes into play. Can a quilt be labeled modern only if it uses brightly colored prints and solids, or does the label depend on the design concepts of negative space, improvisation, asymmetry, and scale? So what happens if a modern quilt pattern is made with traditional fabric? Is the resulting quilt suddenly traditional? In many cases, it is up to the viewer. We’ve all seen quilts from the last century that defy their traditional roots and are strikingly modern in so many ways. It only takes a few clicks of the mouse to find examples that could…

Minimalism and negative space have long been used together to create simple and stunning quilts, proving it doesn’t take intricate piecing or patterns to create something special. So how do we create this aesthetic in our own work? There are several ways, but one of the easiest and most effective is to combine these two modern quilting pillars of design. Minimalism is a paring down of elements, stripping away unnecessary parts of the design to create a nice, clean aesthetic. Often, minimalist quilts use only a few colors. The focus is on simplicity in design and execution. Negative space is the opposite of positive space in design. If positive space is the focal point (the place where our eye naturally gravitates), the negative space is the background, the space around…

SKILL LEVEL: CONFIDENT BEGINNER This bright and happy collection of fabrics pairs perfectly with the textured look of the gray background. Arrange the Half-Square Triangle blocks in a rainbow-like setting, as in the quilt shown, or any way you wish! CUTTING Measurements include ¼ " seam allowances. From gray, cut: — 12 (5 ¼ " x 40") strips. From the strips, cut 84 (5 ¼ ") squares. From each of 9 fat quarters, cut: — 4 (5 ¼ ") squares. From each of 16 fat quarters, cut: — 3 (5 ¼ ") squares. From binding, cut: — 6 (2 ¼ " x 40") strips. ASSEMBLY Following Modern Basics: Half- Square Triangles—Two at a time on page 62, pair a colored square with a gray square to make 2 Half-Square Triangle…

This paper-pieced quilt was inspired by the rafters and oversized ceiling fans found in the Horticulture Building at the Ohio State Fair. Cassandra masterfully created organic free-motion quilting to reflect the plants displayed within the exhibition. CUTTING Measurements include ¼ " seam allowances. Triangle cutting template is on page 51. Trace onto template material. Label the trimmed fabric pieces and separate by color. The paper-piecing pattern is on page 52. NOTE: Cutting diagrams are provided for rough cutting the fabric for paper piecing, reducing fabric waste and making construction easier. From light blue, cut: — 12 (4 ¼ " x 40") strips. From the strips: — Use the triangle cutting template to rough cut 100 pieces for Section 2. — Cut 50 (4 ¼ " x 3 ¼ " rectangles).…

Sometimes design inspiration comes when you least expect it— as when Kacia saw some interesting tile work in a public space and decided to recreate it in a quilt. This is the perfect project for that 20-piece collection of fat quarters you’ve been saving. Prints and colors just pop off of the white background! CUTTING Measurements include ¼ " seam allowances. Label pieces as they are cut. Templates are on page 61. Trace onto template material. Cut out and label the templates. Alternatively, use an equilateral triangle cutting ruler. See Cutting Diagrams for most efficient use of fabric. From each of 17 fat quarters, cut: — 2 (5 ½ " x 20") strips. From the strips, cut 8 template A, 2 template B, and 2 template B reversed. TIP: When cutting template B…

Moira is a big fan of ombre fabric and was delighted when she found this collection with metallic elements. This design uses the gradating colors of the ombré to maximum effect and shimmer. By paper-piecing the blocks, the results are accurate and make it easy to assemble. CUTTING Measurements include ¼ " seam allowances. Paper-piecing pattern is on page 73. Make 64 copies. From each fat quarter, cut: — 1 (2") A square from dark portion of ombre. — Reserve the remainder of the fabric for paper piecing. From background, cut: — 13 (2" x 40") strips. From the strips, cut 64 (2" x 8") B strips for sashing. — 12 (5" x 40") strips. From the strips, cut 96 (5") squares. Cut the squares diagonally in half to create…

Celebrate spring with fresh dogwood blooms. Saturated colors, curved piecing, and an asymmetrical layout make a bold statement in this quilt. To ensure accuracy, these gently curved pieces are slightly oversized so the blocks can be trimmed to just the right size. CUTTING Measurements include. " seam allowances. Label pieces as they are cut. Templates are on page 85. Trace onto template material. Cut out and label the templates. Refer to Nesting Diagrams for most efficient use of fabric when cutting templates D + E. Border strips are exact length needed. You may want to make them longer to allow for piecing variations. NOTE: Templates A, B, and C are each half of the shape needed. Fold the strip of fabric in half lengthwise and place the marked line of the template…

Flying Geese Blocks Four at a time Flying Geese blocks are made up of the ‘Geese,’ which is a large, centered triangles in the unit, and the ‘Sky’ which are the triangles on the sides. There are several ways to make Flying Geese blocks, but if your quilt pattern calls for several in the same color combination, this method can’t be beat. There is absolutely no wasted fabric, and no need to work with unstable bias edges. The Geese section begins as a single large square and 4 smaller squares make up the Sky. 1. First, to determine the size of squares to cut, write down the size of the finished block. For our example, we’ll use a 2" × 4" finished block. For the large Geese piece, cut a…

Owl Eyes is a quilt design that will stretch your curved piecing muscles. While the shape is simple to sew, the color placement is critical. Keep the blocks in order by placing them right next to your machine while sewing. Jen designed the quilting on Owl Eyes as a combination of a topographic map and tree bark— things that an owl might see from overhead. For the quilting on the William Morris quilt—done by Nancy Stovall—Jen mischievously decided on a motif including strawberries because one of the most famous prints in the collection is called Strawberry Thief. The directions and materials provided here are for the Owl Eyes quilt. See the sidebar “A Jaunt with William Morris” for a materials list to create Jen’s William Morris variation. Full directions and…

Experiment with using minimalism and negative space in your work with this pillow project. Big stitch hand quilting finishes it off perfectly. CUTTING Measurements include ¼ " seam allowances. Label pieces as they are cut. From orange, cut: — 1 (3 ¼ " x 40") strip. From the strip, cut 2 (3 ¼ " x 12 ½ ") A rectangles for the ‘crown’ and 1 (3 ¼ " x 9 ½ ") rectangle for right border. — 1 (24" x 40") strip. From the strip, cut 2 (12 ½ " x 24") backing panels parallel to the selvedge. From the remaining fabric strip, cut: — 1 (4" x 9 ½ ") rectangle for left border. — 1 (7 ¾ " x 13 ½ ") rectangle for top border. — 1…

Q: When you create a set of stripes, do you know what their final purpose will be? A: Sometimes I know what I will use the stripes for when I stitch them, but most of the time I do not. I call it “stitching towards discovery.” I do not have an exact method for choosing what I do. It is very intuitive and has a lot to do with color. I am always checking a composition to make sure it is balanced in its use of color. I am always experimenting— asking myself what would happen if I did this or that. Q: Do you have a stash of stripes you pull from? A: I have a very large stash of pieced prints and stripes that I pull from—I call…

Foundation Paper Piecing 1. The shapes on paper piecing blocks are numbered. 2. Using fabric pieces that are larger than the numbered areas, place fabric 1 on the unprinted side of the paper, right side up. 3. Position fabric 2 on top of fabric 1, right sides facing and edges aligned. Make sure the edges of fabric 2 will extend at least ¼ " beyond the printed lines when pressed back into place. 4. With the paper on top, stitch directly on the pattern line between pieces 1 and 2, extending the stitching into the seam allowances at the end of the seams. 5. Press fabric 2 back. Fold the paper back along the stitched line and trim the seam allowance. 6. Continue to add pieces in numerical order. 7.…

Half-Square Triangle Blocks Two at a time 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 7⁄8" 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. Stitch ¼ " on each side of the drawn line. 5. Cut along the drawn line,…

This design was inspired by the wild adventures of Kelli’s three small boys, chasing each other all hours of the day for adventure and fun, from sunrise to sundown. This two-block quilt owes its complex feel to a simple rotation of the Arrow block in the layout. CUTTING Measurements include ¼ " seam allowances. Label pieces as they are cut. From white, cut: — 4 (5 ¼ " x 40") strips. From the strips, cut 25 (5 ¼ ") A squares for ‘Geese.’ — 7 (2 ½ " x 40") strips. From the strips, cut 100 (2 ¼ ") C squares for Star blocks. — 6 (5" x 40") strips. From the strips, cut 48 (5") E squares for Arrow blocks. From each of light blue and light gray, cut:…

Racing Fade was inspired by the many car enthusiasts in my life. A checkerboard pattern that I noticed on the side of a performance car part distribution center prompted me to explore what a modern interpretation of a racing quilt might look like. The key to fabric selection is using a gradient color palette and solids or very subtle prints. CUTTING Measurements include ¼" seam allowances. Label pieces as they are cut and sort them by color and size. Label the darkest color 1 through to the lightest color as 5. The quilt shown was made with purple (P), green (G), and blue (B); label your pieces in a similar way (e.g., P1=the darkest purple) to stay organized. From each purple, green, and blue, cut: — 2 (3" × 20")…