Innholdsfortegnelse for July - August 2018 i Quiltmaker

Part of the fun of quilting is looking for new and interesting blocks. Sometimes, new blocks emerge when you combine blocks in different ways. Asymmetrical blocks can produce a multitude of intriguing secondary designs just by rotating their placement within the quilt. Another surprising way to look for blocks is within other blocks. If you look closely you can find simple blocks hiding within complex blocks. The possibilities are endless. Can you find all the blocks hiding in this issue? Take a look at Trickster (page 12) for some ideas on how to find simple blocks within complex blocks. Check out Now You See Me (page 18), Garden Gala (page 24), Triple Exposure (page 30), Monaco (page 36) and Just Peachy (page 72) to see how combining blocks can lead…

JOIN US FOR THE COUNTRY’S LARGEST QUILT SHOW! SEE more than 1,500 great quilts and fiber art works in scores of exhibits! SHOP at more than 1,100 booths! LEARN in 500+ classes for all skill levels! FREE educational activities on the show floor including Open Studios, Tool Time, Demo Alley, and Meet the Teachers! JUST SOME OF THE EXHIBITS INCLUDE: The 1876 Centennial Quilt Project ‚ 25 Years of American Patchwork & Quilting Cover Quilts ‚ Along the Road ‚ The Best of Dinner at Eight Artists ‚ A Celebration of Color ‚ A Collection of Color Stories ‚ Easy Stack Quilts ‚ Flowers of My Mind, Florence in My Heart ‚ Genesis ‚ Hands All Around ‚! In Celebration of the Doll ‚ In the American Tradition ‚ In…

Quilters are always looking for new blocks and quilt designs. Sometimes all that is necessary to find new blocks is to look inside the traditional blocks. Many of them contain hidden designs that are just begging to be used. There are many ways to find hidden blocks. In blocks that have numerous divisions, the possibilities are almost endless. It becomes a question of what looks best or how much openness you want in the new block. New blocks are created by changing the color and/or position of some patches. These blocks work well as companions to the original blocks because they have line, color, and patches in common. When two or more of these blocks are combined, exciting new quilt designs emerge. In this quilt the original block contained over…

I first designed this block for Quiltmaker’s 100 blocks magazine. And when I put the block into a quilt, with all the blocks going the same way, it reminded me of butterflies. Abstract ones, but still butterflies. The real magic of the block came when I turned the blocks around. Not only did I get the hidden block with the dark purple in the center, I also found a second hidden block in the stars! The colors in the block really help to reinforce the design. Using cool colors in the corners and warm colors along the diagonal really helps to emphasize the different areas of the design. The stars and the yellow half square triangles look like sashing around the hidden block!…

Easy Finished Size: 65” x 77” Finished Blocks: 12” materials Assorted Green, Red, Orange and Gold Batiks 1 ⅞ yards total for blocks White Solid 2 ⅞ yards for blocks and border Assorted Blue and Teal Batiks 1 ⅞ yards total for blocks Blue Batik ¾ yard for binding Backing 5 ⅛ yards Batting 73”x 85” cutting Assorted Green, Red, Orange and Gold Batiks 360 squares (A) 2 ½” x 2 ½” White Solid 8 strips 3” x 40” for border 180 squares (A) 2 ½” x 2 ½” 180 squares 2 ⅞” x 2 ⅞” cut diagonally to yield 360 triangles (B) Assorted Blue and Teal Batiks 90 squares 4 ⅞” x 4 ⅞” cut diagonally to yield 180 triangles (C) Blue Batik 8 strips 2 ½” x 40”…

Nancy Mahoney turned her years of experience using Electric Quilt software for designing quilts into her popular online course “Design Quilts with EQ7 and Nancy Mahoney.” When Electric Quilt debuted the EQ8 version, we asked Nancy what EQ7 users should look out for in the upgrade. From the first time I used EQ3 in the early 1990s, I knew I’d never go back to drawing block and quilt designs on graph paper. A few months ago Electric Quilt released their newest version, EQ8. If you are not familiar with Electric Quilt, it’s a computer software program for designing blocks and quilts. EQ8 has all the same tools and features as EQ7, but the appearance has changed and new features have been added to make it easier to use. You can…

Intermediate Finished Size: 88” x 100” Finished Blocks: 12” materials Green Tone-on-Tone and Black Print 1 ⅝ yards each for blocks Gray Tone-on-Tone 3 ½ yards for blocks Dark Peach and Light Peach Print 1 ⅝ yards each for blocks Black Tone-on-Tone ½ yard for border #1 Peach Floral 3 ⅛ yards for border #2 and binding Backing 8 ½ yards Batting 96”x 108” cutting Green Tone-on-Tone and Black Print from each 21 squares (A) 2 ½” x 2 ½” 42 rectangles (E) 1 ¾” x 10” 42 rectangles (F) 1 ¾” x 12 ½” Gray Tone-on-Tone 84 rectangles (B) 1 ¾” x 2 ½” 84 rectangles (C) 1 ¾” x 5” 84 rectangles (D) 1 ¾” x 7 ½” 84 rectangles (E) 1 ¾” x 10” 84 rectangles (G)…

1 If you are using acrylic templates the process could not be simpler! Place the template right side up on the face of the fabric. 2 Trace around the template with a marking pencil. 3 Cut on marked lines. 4 Your patch is now ready to sew. • OLFA Splash Rotary Cutters come with a Quick-Change Handle for fast blade replacement and a Blade Cover for safety. • Using an OLFA self healing Cutting Mat with your Rotary Cutter will eliminate damage to your work surface and prolong the life of your blade. • OLFA Frosted Advantage™ Acrylic Rulers are non-stick for stable and safe cutting. The frosted finish makes it easier to see your ruler markings on both dark and light fabrics. Available in 10 convenient sizes. • OLFA…

Getting Started About our Patterns We recommend that you read all of the instructions before starting a project and that you cut and sew one block before cutting all of your fabric. Using a rotary cutter, mat and an acrylic ruler, cut the shape to the size indicated in the cutting list. Pressing tabs indicate the direction to press the seam allowances. Our patterns list finished block sizes, which are typically ½" smaller than unfinished block sizes because they do not include seam allowances. Basic Quilting Supplies • Rotary cutter and mat • Acrylic ruler: Many shapes and sizes are available; a good one to start with is 6"x 24" with ¼" and 1/8" markings • Scissors: A separate pair for paper and fabric • Sewing machine • ¼" foot…

Aurora Borealis This is my version of Aurora Borealis from the Jan/Feb 2017 issue (No. 173). I increased the blocks from 9 to 30—what a chore! It’s 102”x 102” and so big I couldn’t get a picture of the entire quilt. I made it for my son and daughter-in-law for their first anniversary in the fall of 2017. Jenny Kapela • Longmont, Colorado Malachite When I first saw Malachite by Scott Flanagan in the May/June 2017 issue (No. 175), it reminded me of the Southwest. As I live in Arizona in a traditional territorial-design home, I thought it would be a great accent to my guest bedroom. I made it much smaller at 51”x 70” and cut all the pieces using desert colors. I’m very happy with the results. Laura…

When I first discovered Hidden Blocks and the magic they made, I wondered if the name described them well or would something else work better. Then I realized they really are blocks hiding inside other blocks, waiting for their chance to come out and play. Hidden Blocks are a version of the parent block minus a line, square or triangle here and there. They are good tools to use when designing quilts because they work well with their parent blocks. Let’s use two blocks on either end of the spectrum, from simple to complex, to show how they work. Weathervane, shown below on the far left, is a simple block that offers a limited number of Hidden Blocks. If you replace the side units with solid patches, you are left…

Easy Finished Size: 65” x 77” Finished Blocks: 12” materials White Tone-on-Tone 4 yards for blocks and border Green Tone-on-Tone ⅝ yard for blocks Dark Orange Tone-on-Tone ½ yard for blocks Light Orange Tone-on-Tone ¼ yard for blocks Dark Purple Tone-on-Tone ⅞ yard for blocks Light Pink Tone-on-Tone ⅜ yard for blocks Dark Blue Tone-on-Tone ⅜ yard for blocks Light Blue Tone-on-Tone ⅛ yard for blocks Dark Red Tone-on-Tone ½ yard for blocks Light Red Tone-on-Tone ¼ yard for blocks Dark Teal Tone-on-Tone 1 yard for blocks and binding Light Teal Tone-on-Tone ¼ yard for blocks Backing 5 ⅛ yards Batting 73”x 85” cutting White Tone-on-Tone 8 strips 3” x 40” for border 180 squares (A) 2 ⅞” x 2 ⅞” 300 squares (B) 2 ½” x 2 ½” 60…

Intermediate Finished Size: 59” x 59” Finished Blocks: 12” materials Medium Aqua, Pink, Green and Yellow Solids ½ yard each for blocks Light Aqua, Pink, Green and Yellow Solids ⅜ yard each for blocks Dark Aqua, Pink, Green and Yellow Dots ½ yard each for blocks Medium Blue and Red Solids ⅜ yard each for blocks Light Blue and Red Solids ⅜ yard each for blocks Blue and Red Dots ⅜ yard each for blocks White Solid 2 ½ yards for blocks and sashing Black Dot 2 ⅛ yards for blocks and border #2 Black Solid 1 yard for cornerstones, appliques, border #1 and binding Backing 4 yards Batting 67”x 67” (Although fabric amounts are adequate for foundation piecing, you may need more if you cut very generous patches.) cutting…

I enjoy playing with traditional blocks to create quilt designs. When asked to create a quilt design in which the blocks would be hidden, I knew I wanted to use an asymmetrical block. And, I wanted to manipulate the block to create a visual puzzle which would disguise the block lines. So I started with a Jacob’s Ladder block in the Electric Quilt (EQ8) computer program. Then I deleted and added lines until I was happy with the new block, which I call Stepping Stones. I decided to set the blocks in six rows of five blocks each. I used the Symmetry tool in EQ8 to randomly rotate the blocks until a unique design emerged. The last decision was to use a variety of bright batiks to create a scrappy…

Intermediate Finished Size: 68” x 56” Finished Blocks: 8” materials Blue Tone-on-Tone 1 yard for blocks White Solid 4 ½ yards for blocks, border and binding Medium Red Tone-on-Tone 1 ¾ yards for blocks Dark Red Tone-on-Tone 1 ¼ yards for blocks Backing 3 ⅞ yards Batting 76”x 64” (Although fabric amounts are adequate for foundation piecing, you may need more if you cut very generous patches.) cutting Blue Tone-on-Tone 13 squares (A) 4 ½” x 4 ½” 8 squares 4 ⅞” x 4 ⅞” cut diagonally to yield 16 triangles (C) foundation patches White Solid 7 strips 2 ½” x 40” for border 7 strips 2 ½” x 40” for binding 20 squares 5 ¼” x 5 ¼” cut diagonally twice to yield 80 triangles (B) foundation patches Medium…

Challenging Finished Size: 37” x 47” Finished Blocks: 15” x 20” materials Light Blue Solid 2 ¼ yards for background and borders Dark Brown and Gold Solids ¼ yard each for mermaid hair Cream Solid ¼ yard for mermaid skin Light Pink Solid ⅛ yard for shells Orange and Dark Pink Solids ⅜ yard each for mermaid bodies Assorted Blue, Aqua, Green, Teal and Pale Yellow Solids ¼ yard total for sections Green Solid ⅜ yard for border #2 Dark Blue Solid ½ yard for binding Backing 1 ½ yards Batting 41”x 51” (Although fabric amounts are adequate for foundation piecing, you may need more if you cut very generous patches.) cutting Light Blue Solid 5 strips 1 ½” x 40” for border #1 5 strips 2” x 40” for…

Easy Finished Size: 74” x 74” Finished Blocks: 12” materials Dark Peach Print 2 ⅜ yards for blocks and border #2 Cream Solid 1 ¼ yards for blocks Light Peach Tone-on-Tone ⅝ yard for blocks Aqua Print ¾ yard for blocks Yellow Print 1 yard for blocks Aqua Stripe 1 ⅜ yards for border #1 and binding Backing 4 ⅞ yards Batting 82”x 82” cutting Dark Peach Print 8 strips 5” x 40” for border #2 9 squares (A) 7 ¼” x 7 ¼” 18 squares (B) 3 ⅞” x 3 ⅞” 36 squares (C) 3 ½” x 3 ½” Cream Solid 52 squares (B) 3 ⅞” x 3 ⅞” 3 squares 13 ¼” x 13 ¼” cut diagonally twice to yield 12 triangles (D) Light Peach Tone-on-Tone 4 squares…

What do you do with all the scraps you save? “Use them!” declares Bonnie. In every issue, find Bonnie’s ideas for making blocks from your leftovers in Addicted to Scraps. Chain & Hourglass Another vintage beauty caught my eye while visiting an antique mall in Texas. Inspiration was everywhere, and I quickly took photos and started making notes. When set side by side without sashings, the triangles and rail units connect to make light and dark chains. I love blocks that create interesting designs when they are sewn together. I made these 9" blocks quickly and easily using 1 1/2" strips and 2" strips for the quarter square triangles using my Essential Triangle Tool. If you place your dark and light fabrics with right sides together, you get a matched…

Easy Finished Size: 63” x 63” Finished Blocks: 12” materials Cream Batik 2 ⅞ yards for blocks Medium Brown Batik ⅝ yard for blocks Blue Batik 1 ¼ yards for blocks and border #1 Dark Brown Batik ½ yard for blocks Multicolor Batik 1 ¾ yards for blocks, border #2 and binding Backing 4 ¼ yards Batting 71”x 71” cutting Cream Batik 120 squares (A) 2 ⅜” x 2 ⅜” 10 squares (B) 3 ⅞” x 3 ⅞” 12 squares (C) 4 ¼” x 4 ¼” 48 squares (D) 2” x 2” 24 squares 2 ⅜” x 2 ⅜” cut diagonally to yield 48 triangles (E) 2 squares 3 ⅞” x 3 ⅞” cut diagonally to yield 4 triangles (F) 4 squares (G) 3 ½” x 3 ½” 24 rectangles…

Easy Finished Size: 72” x 87” Finished Blocks: 15” materials White Solid 2 yards for blocks Green, Purple, Blue, Red, Light Gold and Medium Gold Tone-on-Tones ½ yard each for blocks Medium Aqua Tone-on-Tone 3 ½ yards for blocks Dark Orange Tone-on-Tone ¾ yard for blocks and border #1 Medium Orange Tone-on-Tone ⅜ yard for blocks Dark Aqua Tone-on-Tone ¾ yard for binding Backing 5 ¾ yards Batting 80”x 95” cutting White Solid 160 squares (A) 3 ⅜” x 3 ⅜” 40 squares (B) 3” x 3” Green, Purple, Blue, Red, Light Gold and Medium Gold Tone-on-Tones from each 40 squares (A) 3 ⅜” x 3 ⅜” Medium Aqua Tone-on-Tone 9 strips 5 ½” x 40” for border #2 80 squares (A) 3 ⅜” x 3 ⅜” 160 squares (B)…

When I first thought about the concept of “hidden blocks,” I thought about designs that appear from the corners of adjoining blocks. In the case of Triple Exposure, when you add a sashing with cornerstone between the blocks, the result is a shoo-fly block. This pinwheel block itself has the appearance of three pinwheels, one on top of another—essentially having a lighter value pinwheel “hiding” behind the one above it. This also gives the pinwheels a sense of movement—almost like they are spinning. Lastly, at the center of each block, black-and-white dotted fabric replaces what would normally be the white background fabric; the result is yet another embedded pinwheel in the design. I titled the quilt Triple Exposure not only because of the three colors in each pinwheel, but as…

1 Sew together 2 squares (2½” x 2½”) and 2 rectangles (2½” x 3¼”) as shown. The seams will not match in the center. Clip the center seam and press as shown. Mark small dots ⅜" from each white corner as shown. 2 Align ruler with marks and align 45-degree mark on ruler with the raw edge and draw a line. 3 Layer the pieced unit on a 5”x 5¾” rectangle, right sides together. Sew ¼” both sides of the line. 4 Cut on the drawn line. 5 Press the unit. Trim the large triangle even with the pieced section, aligning the 45-degree mark with the seam as shown. 6 This technique makes 2 pieced units. These units finish at 4"x 4". Products used: OLFA Rotary Cutter, OLFA Cutting Mat,…

Intermediate Finished Size: 48” x 48” Finished Blocks: 12” materials Black Tone-on-Tone 3 ⅛ yards for blocks and binding Green Check ⅝ yard for stems Pink Tone-on-Tone #1 ⅝ yard for large flowers Pink Tone-on-Tone #2 ⅜ yard for large flowers Pink Tone-on-Tone #3 ⅜ yard for large flowers Gold Tone-on-Tone #1 ⅛ yard for large flower centers Gold Tone-on-Tone #2 ⅜ yard for side flowers Pink Tone-on-Tone #4 ⅜ yard for side flowers Gold Tone-on-Tone #3 ¼ yard for side flowers Green Tone-on-Tone #1 ½ yard for flower buds Green Tone-on-Tone #2 ½ yard for leaves Blue Tone-on-Tone ⅜ yard for star points White Print ⅛ yard for Four-Patches Backing 3 ⅛ yards Batting 52”x 52” Fusible web cutting Black Tone-on-Tone 6 strips 2 ½” x 40” for binding…

Intermediate Finished Size: 29 ½”x 41 ½” materials Assorted Red Prints and Assorted White Prints from each 1 ⅜ yards total for units Blue Tone-on-Tone ⅝ yard for units White Print ¼ yard for stars Red Tone-on-Tone ⅝ yard for bias binding Backing 1 ⅜ yards Batting 34”x 46” Template plastic Fusible web cutting Assorted Red Prints and Assorted White Prints from each 24 strips 1 ¾”x 40” for bands Blue Tone-on-Tone 30 template A White Print 50 pattern B Red Tone-on-Tone 2 ½”-wide bias strips to total 154” The templates and applique pattern are on the pattern sheet. This traditional quilt design turns patriotic with red, white and blue fabrics and strip piecing. 1 About This Quilt Judy used the traditional Apple Core patch and strip piecing to create…

Easy Finished Size: 26” x 28” Finished Blocks: 4” materials Assorted Blue Prints ⅜ yard total for blocks Assorted Cream Prints ⅜ yard total for blocks Cream Tone-on-Tone ⅝ yard for piecing Red Dot ⅝ yard for piecing Red Tone-on-Tone ½ yard for binding Backing ⅞ yard Batting 30”x 32” cutting Assorted Blue Prints 13 matched sets of: 1 square (A) 3 ¼” x 3 ¼” 4 squares (E) 1 ½” x 1 ½” Assorted Cream Prints 13 matched sets of: 4 squares (B) 1 ⅞” x 1 ⅞” 1 square (F) 2 ½” x 2 ½” Cream Tone-on-Tone 26 squares (C) 2 ⅞” x 2 ⅞” 22 rectangles (D) 1 ½” x 2 ½” 13 squares (E) 1 ½” x 1 ½” 26 squares (F) 2 ½” x 2…