2021-01-01 McCall s Quilting

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P lusHow to Work WithWOOL, KRAFT-TEX, CORK, & MORE!

Flora Joy Plays with Sunbonnet Sue

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2 McCall’s Quilting January/February 2021

ContentsUp Front4 Editor’s LetterExpanding our existing skills.

6 Fresh PicksCheck out our latest finds.

8 McQ&AOur staff members tell about theirmost used tool for quiltmaking.

76 Quilt BasicsThe quiltmaking techniques you needto make the patterns in this issue.

January/February 2021Vol. 28, No. 1T H E B E S T O F A M E R I C A N Q U I LT I N G

Special Interest32 From Rags to StitchesSee the story of a special Sunbonnet Sue quilt.

46 Getting StartedMachine embroidery on quilts.

54 ChambrayA Material Difference.

80 I Love This Quilt!Anissa Arnold found flannel to make her favorite McCall’s pattern.

QuiltingDaily.com January/February 2021 McCall’s Quilting 3

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36

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Patterns10 Warm Apple PocketsRepurposed shirts make this striking one-patch Apple Core quilt.

16 DuskNatalie Crabtree’s quilt border has curved piecing to challenge you.

22 Folk HeartExplore unusual materials with this table runner using kraft-tex.

26 HeartstopperCharisma Horton’s pieced hearts are a celebration of love.

36 Heart BanditThis foundation-pieced mug rug is SO cute!

40 Meadow BurstJoanie Holton used chambray for something special in her quilt.

48 HeartthrobFocus on Valentine’s Day with appli-quéd hearts on this sweet throw.

56 Riverbank FlowersCombine cork and machine embroi-dery to make this table runner.

61 Denim Star QuiltDenim, linen, and appliqué are all part of this fun quilt.

64 Bloomin’ HeartsWool, vintage satin, and velvet com-bine in this stunning table topper.

70 Blue Bear HugReed Johnson’s two-color quilt sparkles.

Free Extras at quiltingdaily.com/mccalls-quilting-january-february-2021/Download the Solaris pattern from I Love This Quilt! (page 80).

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McCall’s Quilting (ISSN 1072-8295) Vol. 28, #1, is published is published six times a year in Jan/Feb, Mar/Apr, May/Jun, Jul/Aug, Sept/Oct, Nov/Dec by Peak Media Properties, LLC, dba Golden Peak Media, 4868 Innovation Drive, Fort Collins, CO 80525-5596. Periodicals’ postage paid at Fort Collins, CO 80525 and additional mailing offi ces.

A while back when we were talking about free-motion machine quilting possibilities, my friend (and quiltmaker extraordinaire) Ramona Sorensen said, “What do you already know how to do and what else can it be?” Then she sent me a drawing of ways to expand on a simple concentric teardrop design I had quilted and examples of how to add more quilting to make it much “fancier”. That idea of taking an existing ability and adding to it was so helpful that I made a sign and put it on the wall in my studio to remind me to keep growing my skills.

As we move into the new year, we are all thinking of ways that we can make ourselves better—how we can do more.

I think Ramona’s idea can be applied to so many things. I quilt; how can I make my quilts better? Are there organizations that need a quilt I could donate? What about dropping some pretty small projects like pin cushions or pot holders anonymously in the park with a note saying, “Take me home and have a wonderful day.”? I cook; can I make something for my neighbor who is working from home as well as being the mother of four? Can I step up my game and do more random acts of kindness?

I can see that I have things I can do better in this new year. How about you? Let’s do what we can to make 2021 a landmark year.

Happy quilting and stay safe,

Expanding Skills

Editor, McCall’s Quilting

EDITORIAL EDITORIAL DIRECTOR Denise Starck EDITOR Tracy Mooney MANAGING EDITOR Anissa Arnold ACQUISITIONS EDITOR Lori Baker SPECIAL PROJECTS EDITOR Vanessa Lyman ASSOCIATE EDITOR Eileen Fowler TECHNICAL EDITOR Annette Falvo ADMINISTRATIVE ASSISTANT Melina Piotrowski

CREATIVE SENIOR GRAPHIC DESIGNER Genevieve Stafford Hook PHOTOGRAPHER Molly Stevenson CONTRIBUTING STYLIST Emily Smoot

ADVERTISING ADVERTISING DIRECTOR Cristy Adamski [email protected] ADVERTISING DIRECTOR Diane Kocal [email protected] ADVERTISING SALES MANAGER Mary-Evelyn Dalton [email protected]

BUSINESS EXECUTIVE DIRECTOR OF CONTENT, CRAFT Tiffany Warble DIRECTOR OF CONTENT Vivika Hansen DeNegre GROUP ART DIRECTOR Emily Simpson MEDIA SALES DIRECTOR Julie Macdonald

CHIEF EXECUTIVE DIRECTOR Gregory J. Osberg SVP, CONSUMER MARKETING Paula Backer VP, FINANCE Jordan Bohrer VP, DIGITAL Melanie Darienzo VP, PRODUCT AND STRATEGY Josiah Klebaner NEWSSTAND SALES Scott T. Hill

[email protected]

EDITORIAL COMMENTS OR CONCERNS:[email protected]’s Quilting, 500 Golden Ridge Rd., Suite 100, Golden, CO 80401

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SUBSCRIPTIONS: To subscribe to McCall’s Quilting, renew your subscription or change the address of your current subscription, visit Subscriber Services at QuiltingDaily.com. Or contact: McCall’s Quilting, PO Box 37869, Boone, IA 50037-0869 (800) 388-7023. Email: [email protected]

SHOPS: If you are interested in carrying this magazine in yourstore, email [email protected].

ERRATA: Visit QuiltingDaily.com/errata if you suspect a problem

Reproduction in whole or in part in any language without writ-ten permission from McCall’s Quilting is prohibited. No one may copy, reprint or distribute any of the patterns or material in this magazine for commercial use without written permis-sion of McCall’s Quilting.Templates and patterns may be photocopied as necessary tomake quilts for personal use only. Quilts made from any element of a McCall’s Quilting pattern may be publicly dis-played at quilt shows or donated to charity with credit given to the designer and McCall’s Quilting magazine.

POSTMASTER: Send address changes to:McCall’s Quilting, PO Box 37869, Boone, IA 50037-0869.

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T H E B E S T O F A M E R I C A N Q U I LT I N G

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Fresh Picks • trends• tools• cool stuff

Color, Thread & Free-Motion QuiltingThis delightful book by Teri Lucas (subtitled Learn to Stitch with Reckless Abandon) includes discussions on color, thread, and of course, machine quilting with lots and lots of motifs included.

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Wool Pressing Mat

The fi rm surface of wool makes a great surface for pressing and pinning your quilting, sewing, and other craft projects. Mountain Mist's mats are available in sizes from 4" x 4" up to 24" x 48".

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Applipops

Thinner than a dime, the metal circles help you create perfect circles for your appliqué. Available in a 3/8" variety pack of 4 circle sizes, a ½" variety pack of 4 circle sizes, or the pro pack that includes both sizes.

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Reliable Velocity 261ir Compact Vapor Generator Iron

A powerhouse of an iron, Reliable's Velocity creates steam from the water before it reaches the soleplate, so there is no more spitting. Decide just what you want to press and choose from the 8 pre-programmed settings.

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Denise StarckEditorial DirectorI was recently given a wool pressing mat by my mother. I was skeptical the fi rst time I tried one, thinking “Why would I need something like this? My ironing surface is just fi ne.” Oh my gosh! It works like a dream to keep your fabric in place as you press, preventing distortion of those bias edges. I love it when I have a stack of triangle-squares I have to press open. It’s a nice fi rm, grippy surface for pressing so you get crisp seams and things don’t scoot around!

For this issue, we asked the staff to tell us about their most used tool but we said they couldn’t respond with their sewing machine, rotary cutter, or a standard ruler.

McQ&A

Anissa ArnoldManaging EditorI have a steam iron that I bought for sewing home décor projects. Although it is much too big for pressing small patches, I use it anyway because I love how fl at and crisp my pieced patches turn out. I’ve steam-burned many fi ngers but I still fi nd it worth it!

Annette FalvoTechnical EditorI initially bought Highlighter Tape to mark whatever line I was working on in knitting patterns, but I found it has some great additional uses for quilting. When I need to make several cuts of the same width, I use Highlighter Tape to mark the width on my ruler or cutting mat, which helps me be consistently accurate. I also use it to mark seam allowances on my sewing machine. It adheres to surfaces temporarily and doesn’t leave any residue. It doubles as a project box label, and pencil markings erase easily. It also comes in several colors!


Check out the wool pressing mat and steam iron we’ve found

on our Fresh Picks page!

McCallsQuilting.com January/February 2021 McCall’s Quilting 9

Kristine LundbladManaging EditorMy design wall. I upgraded from a king-size batt pinned to the wall to a homemade, fl annel-covered one made of two insulation boards.

Lori BakerAcquisitions EditorI love my design wall. It is a homemade one. We purchased an outdoor roller shade at Home Depot and hung it clear up at the ceiling. I’ve attached fl annel sheets to the bottom of the roller shade so I can roll it down to easily attach the top parts of quilt and then roll it back up to work on the middle and bottom of the quilt. It’s so much easier on my back.

Vivika DeNegreDirector of Content#1 favorite new tool: Sometimes a tool comes across your desk and you think, “How did I ever live without this?” That’s how I feel about my combination light table/cutting mat made by Cutterpillar. The light table is thin and the light goes from dim to bright with a touch of a button—perfect for tracing appliqué patterns or positioning seams for piecing. But the best part about it is the full-size clear cutting mat that covers the table. I can cut right on top of the light table so I don’t have to store it.

#2 favorite tool: My phone! I stream podcasts and audio books on my phone while quilting, and those keep me going far into the night. But the best feature is the camera. I can take a photo of a block, then rearrange it in a layout app and come up with a quick new design. I can also change the fi lter settings on an image to evaluate color value. It is a great design tool.

Lori’s Design Wall

Kristine’s Design Wall


Quilt Designed & Made byPepper Cory

Machine Quilted bySandi Irish

Skill LevelIntermediate

Finished Size62˝ x 62˝

NOTE: See Pattern Pull-Out Section fortemplate.

Warm Apple PocketsUse upcycled shirts for a warm, cozy, masculine throw.

Fabric RequirementsFabric yardage assumes 40” usable width of fabric (WOF) unless otherwise noted.

• Brown tonal and brown plaid⅞ yd. each for piecing

• Light blue tonal⅝ yd. for piecing

• Assorted plaid shirts12 shirts (size large or extra-large) for piecing

• Medium blue tonal¼ yd. for piecing

• Dark blue tonal⅞ yd. for piecing and binding

• Dark red tonal3¾ yds. for background

• Backing4¼ yds.

• Batting70˝ x 70˝

NOTE: All tonal fabrics in the quilt shown are from the Peppered Cottons collec-tion by Pepper Cory for Studio E Fabrics.

Cutting InstructionsPatches are lettered in order of use. Mea-surements include ¼˝ seam allowances.

• Brown tonal and brown plaid12 Template A from each

• Light blue tonal6 Template A

• Assorted plaid shirts1 Template A from each

• Medium blue tonal4 Template A

• Dark blue tonal7 strips 2½˝ x WOF for binding3 Template A

• Dark red tonal2 rectangles 31¼˝ x 62˝ (B)

PlanningPepper found men’s plaid shirts at a thrift store. She used the pockets of the shirts to add extra fun to her design. Pepper notes, “In order to keep the quilt’s overall effect balanced, when designing this quilt make sure to plan for an odd number of pieces across and an odd number of rows. This Odd-By-Odd formula ensures that every other Apple Core piece—the ones you cut from the pocket sides of shirts—remain upright. You don’t want some pockets sewn sideways so things can spill out!”

Pepper used 108" wide fabric meant for backing a quilt for the background. If you choose to do likewise you will need 1⅞yards of the extra-wide red tonal.

Use an accurate ¼" seam allowance throughout to ensure all elements of the quilt fi t together well.

Handle all bias edges carefully to avoid distortion.


Piecing the Blocks1 Referring to Curved Piecing in Quilt Basics and to Diagram I,

join brown tonal A’s and brown plaid A’s as shown to make sec-tion 1. Make 4 section 1’s total referring to Assembly Diagram for color placement.

2 Referring to Diagram II, use brown plaid A’s, light blue tonal A’s, and assorted shirt A’s to make section 2 as shown. Make 3 section 2’s total referring to Assembly Diagram for color placement.

Section 1Make 4

Diagram I

A

Section 2Make 3

Diagram II

A

Pepper’s InspirationI love thrift stores and often wander through the men’s clothing section since expensive dress shirts sometimes wind up on those racks. But this winter trip on a thrifting expedition, I was thinking ‘cozy, warm, masculine’ and found myself fondling plaid shirts. Inspiration struck. Plus, there was a bag sale and for $5 I could fi ll a grocery bag with clothing items. Twenty shirts and $10 later, I was out the door with my loot and eager to start drawing.At the drawing board (a huge pad of graph paper propped up on the cutting table) I sketched out some patchwork using the Apple Core template. The Apple Core is a one-of template, meaning only that shape is used in the whole quilt. While one shape might seem to make the job of constructing the quilt easier, the Apple Core shape has both convex (outer) and concave (inner) curves so it can be a bit of a challenge. I like challenges.The idea for this quilt had been brewing in the back of my head since I live with someone who daily misplaces his glasses, sunglasses, car keys, wallet, phone, and TV remotes. Since he likes to sit in his recliner to watch TV and in the winter covers up with a quilt, might there be a quilt that could help him corral those misplaced items? The idea of the Warm Apple Pocket quilt was born and those thrifted shirts were just the ticket. Now all those misplaced things, at least while he’s covered up and reclining, would have a safe pocket. Remember: when washing this quilt, do check all pockets!


Assembly

Diagram III

Section 1

Section 1

Section 2

Section 2

Section 2

3 Referring to Diagram III, sew together 4 section 1’s and 3 section 2’s alternating as shown.

The quilting in Warm Apple Pockets canget a whole different look with the Pond Ripple quilting motif. The curvy lines create movement across surface of the quilt.

Alternate Quilting Placement Diagram

Pond Ripple QuiltingGo to QuiltingDaily.com/fi nishing-touchto download the Pond Ripple quilting motif.

Finishing Touch


Appliqué Diagram

62˝ x 62˝

Assembling the Quilt TopNOTE: Refer to Assembly Diagram for following steps.4 Join red B’s to make background.

Finger-press background in half twice; use folds as placement guide and position center section, turning under ¼˝. Appliqué in place.

Quilting and Finishing5 Layer, baste, and quilt. Sandi stitched

machine echo quilting ¼˝ from the seams in the apple cores and extended the curved lines onto the background. Bind the quilt.

Designer InformationSee more quilts by Pepper at peppercory.com


Quilt Designed & Made byNatalie Crabtree

Machine Quilted byHolly Seever

Skill LevelChallenging


Finished Blocks1 Block 20˝ x 20˝

NOTE: See Pattern Pull-Out Sectionfor templates.

DuskDeep blue combines with fresh colors to bring to mind sunset skies.


• Navy solid2⅛ yds. for block and piecing

• Medium blue solid⅞ yd. for block, piecing, and border 1

• Aqua solid ⅞ yd. for block, piecing, and border 3

• Gold solid⅞ yd. for block and piecing

• Chartreuse solid⅞ yd. for block, piecing, and binding

• Backing3⅝ yds.


NOTE: Fabrics in the quilt shown are from the Ruby and Bee Solids collection by Heather Ross and Annabel Wrigley for Windham Fabrics.

PlanningThe angular parts in the center of Nata-lie’s quilt are beautifully framed by the curving units in the outer border.

Natalie suggests that you test out the curves using scrap fabrics before piecing with your actual quilt fabrics. That way you can really hit your stride before at-tempting the small curves with your quilt fabrics.

Use an accurate ¼˝ seam allowance throughout to ensure all elements of the quilt fi t together well.




• Navy solid2 squares 6¼˝ (A)4 squares 4¼˝ (E)32 squares 3⅞˝ (D)8 squares 3⅜˝ (B)8 squares 3˝ (J)16 squares 2˝ (L)108 Template H4 Template I

• Medium blue solid3 strips 2½˝ x WOF for border 14 squares 3⅜˝ (B)16 squares 2⅜˝ (F)56 Template G

• Aqua solid5 strips 2˝ x WOF for border 34 squares 7¼˝ (C)1 square 6¼˝ (A)1 square 5½˝ (K)4 squares 3½˝ (M)4 squares 3˝ (J)

• Gold solid2 squares 7¼˝ (C)8 squares 3⅜˝ (B)8 squares 3˝ (J)60 Template G

• Chartreuse solid6 strips 2½˝ x WOF for binding2 squares 7¼˝ (C)8 squares 3⅜˝ (B)

Piecing the Blocks1 Referring to Fast Flying Geese in

Quilt Basics and to Diagram I-A,use navy solid A and medium bluesolid B’s to make 4 Flying Geese 1’stotal.

3 Referring to Curved Piecing in QuiltBasics and to Diagram III-A, join me-dium blue G and navy H as shown tomake unit 3. Make 48 unit 3’s total.

Flying Geese 1Make 4

Diagram I-A







Diagram I-B

Unit 1Make 8

Diagram II-A

Unit 2Make 8

Diagram II-B

Unit 3Make 48

Diagram III-A

G

H

Unit 4Make 60

Diagram III-B

In a similar manner, referring to Dia-gram I-B and using A’s and B’s, make Flying Geese 2’s–3’s in colors and quantities shown. Using C’s and D’s, make Flying Geese 4’s–6’s in colors and quantities shown. Make 16 Fly-ing Geese 7’s using navy E’s and medium blue F’s as shown.

2 Referring to Triangle-Squares in Quilt Basics and to Diagram II-A, use navy B’s and chartreuse solid B’s to make 8 unit 1’s as shown.

In a similar manner, referring to Diagram II-B, use navy B’s and gold solid B’s to make 8 unit 2’s as shown.

In the same manner and referring to Diagram III-B, join gold G’s and navy H’s to make 60 unit 4’s.


Unit 5Make 4

Diagram IV

G

I

Section 1Make 1

Diagram V

FG1

K

J

Section 2Make 4

Diagram VI

J

Section 3Make 4

Diagram VII

U2

J FG2

FG3

Section 4Make 8

Diagram VIII

FG5

FG4

FG6

6 Referring to Diagram VI, join navy J, aqua J, and 2 unit 1’s as shown to make section 2. Make 4 section 2’s total.

4 Referring to Diagram IV, join 2 medium blue G’s to navy I as shown to make unit 5. Make 4 unit 5’s total.

5 Referring to Diagram V, join 4 navy J’s, 4 Flying Geese 1’s, and aqua K as shown to make section 1.

7 Referring to Diagram VII, join 2 unit 2’s, Flying Geese 2, Flying Geese 3, and 2 gold J’s to make section 3 as shown. Make 4 section 3’s total.

8 Referring to Diagram VIII, join 2 Flying Geese 4’s, Flying Geese 5, and Flying Geese 6 as shown to make section 4. Make 8 section 4’s total.

Finishing TouchWe like Dusk when it’s quilted with the Pond Ripple quilting motif. The curvy lines set apart at different distances make a whole new look.

Alternate Quilting Placement Diagram

Pond Ripple Quilting

Go to QuiltingDaily.com/fi nishing-touchto download the Pond Ripple quilting motif.


Designer InformationSee more quilts by Natalie atInstagram @njcrabtree

Assembling the Quilt TopNOTE: Refer to Assembly Diagram for following steps.11 Join 2 section 4’s to make pieced

border 2. Make 4. Join section 5 to both sides of a pieced border 2 to make pieced top border 2. Repeat to make pieced bottom border 2.

12 Join 12 unit 3’s and 12 unit 4’s to make pieced side border 4 as shown. Make 2. In a similar manner, join 12 unit 3’s, 18 unit 4’s, and 2 unit 5’s to make pieced top border 4. Repeat to make pieced bottom border 4.

13 Refer to Borders in Quilt Basics. Join border 1 strips and cut to sizes shown in Assembly Diagram. Match-ing centers and ends, sew border 1 side strips to quilt; repeat to add top and bottom strips. In similar manner, add borders 2–4.

Quilting and Finishing14 Layer, baste, and quilt. Holly

machine quilted grids in the aqua squares; circles in borders 1 and 3; arcs in the Flying Geese; and grids, swirls, pebbles, and echoed half-circles in border 4. Bind the quilt.

BlockMake 1

Diagram X

Sect. 1

10 Referring to Diagram X, sew sec-tions together as shown in rows. Sew rows together to make block.

Section 5Make 4

Diagram IX

L

M

FG7

9 Referring to Diagram IX, join 4 navy L’s, 4 Flying Geese 7’s, and aqua M as shown to make section 5. Make 4 section 5’s total.

https://avxlive.icu/

https://avxlive.icu/


Assembly Diagram

2½" x 24½"

2˝ x 39½˝

2½˝ x

20½

˝

2˝ x

36½

˝

Block

Project Designed & Made bySophie Scardaci

Skill LevelEasy


NOTE: See Pattern Pull-Out Section for appliqué templates, which are printed without seam allowances.

PlanningSophie’s table topper incorporates kraft-tex which she describes as “a crazy cross between vegan leather, paper, and fabric”. See her hints for working with kraft-tex below.

Kraft-tex is washable and comes in many colors so this idea can be adapted to make easy table toppers for every season.

Sophie designed her project so the scalloped border also functions as the binding.

Sophie’s hints for working with kraft-tex: Do not use pins. They will leave holes. Clips, fabric glue, or Maker’s tape work best to keep things in place.

Press kraft-tex with steam before cutting. Cut kraft-tex with scissors or utility knife. Stitch slowly when appliquéing hearts and border to background fabric.

Folk HeartAn easy and eye-catching table topper with unusual “fabric.”


Fabric RequirementsFabric yardage assumes 40” usable widthof fabric (WOF) unless otherwise noted.

• Lavender tonal¾ yd. for background

• Orchid kraft-tex*1⅛ yds. for appliqué and border/ binding

• Backing⅝ yd.

• Batting15½˝ x 23½˝

*Width of kraft-tex is 19˝.

Fabrics in the quilt shown include kraft-tex from C&T Publishing and fabric from Sophie’s personal collection of assorted fabrics.


• Lavender tonal1 rectangle 17½˝ x 25½˝ (A)

• Orchid kraft-tex1 rectangle 18˝ x 26˝**4 each Templates D, C and B

**Cutting instructions. Referring to Ap-pliqué and Assembly Diagram, trace template E on back of orchid kraft-tex. Use scissors or utility knife to cut out E. Cut away corners to eliminate bulk. Cut the hearts from the remaining kraft-tex.

Piecing the Blocks1 The lavender tonal appliqué back-

ground rectangle is cut oversizedto allow for shrinkage during appli-qué. Finger-press lavender A in halfvertically and horizontally; use foldsas placement guide. Referring toAppliqué and Assembly Diagramposition B’s–D’s as shown, keeping inmind that rectangle will be trimmedto 15½˝ x 23½˝. Appliqué in placewith straight stitches about ⅛˝ fromedge using matching thread.Center and trim to 15½˝ x 23½˝.

Quilting and Finishing2 Layer top, batting, and backing; baste

¼˝ from edge. Place the table topperface down on E so edges of E extendbeyond table topper. Fold short sidesof E over edges and clip in place.Repeat with long sides. Topstitch ¾˝from the folded edge to complete.The scalloped edge is not stitcheddown.

Sophie’s Notes I design and create out of a she-shed studio. I owned a yarn store for 8 years but have always identifi ed as a multi-crafter. I changed careers and started working for C&T Publish-ing in sales and marketing in 2019. I’m a huge believer in buying most of my fabric from local, independent fabric stores. I love chatting with them and learning what their customers are excited about. It was sug-gested to me to use hearts by a co-worker so I took the chal-lenge. I tried to keep the lines clean and slightly modern while bringing a folk art feel to this piece. I’ve already made a sec-ond version in black and cream for my dining room and plan to gift the pink version to the co-worker who suggested hearts. And although it may be hard to believe from what I wrote above, I’m quite funny...at least that’s what I tell my husband.

Designer InformationSee more quilts by Sophie at @create.with.sophie on Instagram

Appliqué and Assembly Diagram

B

A

Fold Around on Dotted Line

Cut Away Corners

CD

E

QuiltingDaily.com

Sophie Says...Creating new ways to use kraft-tex constantly fascinates me. It doesn’t fray, it’s easy to cut, it can get wet and handle the heat of an iron. I love its crafting versatility when I begin a new project. For instance, I can create different fi nishing touches, borders, and edges and easily topstitch the fi nal project in place. I’ve even created a scalloped eyelet look held together by a sturdy hole punch. In this project, the kraft-tex makes for a sturdy edge to the table topper as well as the ”appliqué” motif in the middle. It’s reversible, so add your own motif or words to the back if you choose. Kraft-tex comes in a variety of hand-dyed colors to choose from as well as basic neutrals. There’s something to go with any home décor or fabric choice.


Quilt Designed & Made byCharisma Horton



Finished Blocks9 Blocks 24˝ x 24˝

HeartstopperHearts, hearts, and more hearts

brighten this fun quilt.


• Assorted pink prints2⅛ yds. total for blocks

• Cream print 1⅞ yds. for blocks

• Tan print2⅛ yds. for blocks and binding

• Assorted green, pink, and cream prints1¼ yds. total for blocks

• Backing4⅞ yds.


NOTE: Fabrics in the quilt shown are from the Sensibility collection from May-wood Studio.


• Assorted pink printscut 9 matching sets of: 1 square 11⅞˝ (G)

4 Template A• Cream print

5 squares 11⅞˝ (G) 20 Template B10 rectangles 1½˝ x 12½˝ (I)10 rectangles 1½˝ x 11½˝ (H)10 rectangles 1½˝ x 6½˝ (F)10 squares 1½˝ (C)

• Tan print8 strips 2½˝ x WOF for binding4 squares 11⅞˝ (G) 16 Template B8 rectangles 1½˝ x 12½˝ (I)8 rectangles 1½˝ x 11½˝ (H)8 rectangles 1½˝ x 6½˝ (F)8 squares 1½˝ (C)

• Assorted green, pink, and cream prints cut a total of:18 squares 6½˝ (D)18 rectangles 5½˝ x 6½˝ (E)

PlanningCurved piecing makes the top of the hearts. If you’ve not done curved piecing, this quilt is a super way to learn how to do that.

Charisma used ⅝ yard of each of 5 dif-ferent pink prints to make the hearts.




Piecing the Blocks1 Referring to Curved Piecing in Quilt

Basics and to Diagram I-A, joinassorted pink print A to cream print Bas shown to make unit 1. Make 5 setsof 4 matching unit 1’s total.

Designer InformationSee more quilts by Charisma at charismascorner.com

Unit 1Make 5 sets

of 4 matching

Diagram I-A

B

Unit 2Make 4 sets

of 4 matching

Diagram I-B

Unit 3Make 10

Diagram II-A

C

D

Unit 4Make 8

Diagram II-B

Diagram III-A

Unit 5Make 10

F

Diagram III-B

Unit 6Make 8

Unit 7Make 5 sets

of 2 matching

Diagram IV-A

Unit 8Make 4 sets

of 2 matching

Diagram IV-B

In a similar manner, referring to Dia-gram I-B, join assorted pink A to tan print B to make unit 2. Make 4 sets of 4 matching unit 2’s total.

2 Referring to Stitch-and-Flip in Quilt Basics and to Diagram II-A, use cream C’s and assorted green, pink, and cream print D’s to make 10 unit 3’s as shown.

In a similar manner, referring to Dia-gram II-B, use tan C’s and assorted green, pink, and cream print D’s to make 8 unit 4’s as shown.

3 Referring to Diagram III-A, sew together assorted green, pink, and cream print E’s and cream F’s to make 10 unit 5’s.

In a similar manner, referring to Diagram III-B, sew together assorted green, pink, and cream print E’s and tan F’s to make 8 unit 6’s.

4 Referring to Triangle-Squares in Quilt Basics and to Diagram IV-A, use cream G’s and assorted pink G’s to make 5 sets of 2 matching unit 7’s.

In a similar manner, referring to Dia-gram IV-B, use tan G’s and assorted pink G’s to make 4 sets of 2 matching unit 8’s.


Section 1Make 5

Diagram V-A

Section 2Make 4

Diagram V-B

Section 3Make 5

Diagram VI-A

Unit 3

Unit5

Uni

t3

Section 4Make 4

Diagram VI-B

Section 5Make 5

Diagram VII-A

H H

I I

Section 6Make 4

Diagram VII-B

5 Referring to Diagram V-A, sew together 4 matching unit 1’s as shown to make section 1. Make 5 section 1’s total.

In the same way, referring to Dia-gram V-B, sew together 4 matching unit 2’s as shown to make section 2. Make 4 section 2’s total.

6 Referring to Diagram VI-A, use 2 unit 3’s and 2 unit 5’s to make sec-tion 3. Make 5 section 3’s total.

In the same way, referring to Dia-gram VI-B, use 2 unit 4’s and 2 unit 6’s to make section 4. Make 4 section 4’s total.

7 Referring to Diagram VII-A, join 2 unit 7’s, 2 cream H’s, and 2 cream I’s as shown to make section 5. Make 5 section 5’s total.

In a similar manner, referring to Diagram VII-B, join unit 8’s, tan H’s, and tan I’s to make section 6. Make 4 section 6’s total.


8 Referring to Diagram VIII-A, join section 3 and matching section 1 and section 5 to make block Y. Make 5 block Y’s total.

In the same way, referring to Dia-gram VIII-B, join section 4 and match-ing section 2 and section 6 to make block Z. Make 4 block Z’s total.

Assembling the Quilt TopNOTE: Refer to Assembly Diagram for following steps, watching block placement.9 Sew 3 rows of 3 blocks each. Join rows

together.

Quilting and Finishing10 Layer, baste, and quilt. Charisma ma-

chine quilted an edge-to-edge design of swirling feathers. Bind the quilt.

Block YMake 5

Diagram VIII-A

Block ZMake 4

Diagram VIII-B


Assembly Diagram

Charisma’s InspirationWhen I think of Valentine’s day, I think of love, candy, and hearts. Each heart represents a type of love in my life. I think about unconditional love. The most unconditional love that I have experienced is from the dogs that have come into my life. I have learned so much from my dogs. They have healed things in me I didn’t know needed healing.My love for my children is like no other. I have done things outside my comfort zone to protect my children. I would face confrontation because I was the mom when I wouldn’t even do that for myself. That love for our children is everlasting and transforming.There is friendship. I am not sure I could navigate the

world without the love from my friends. They are the best cheerleaders around!And romantic love. I married my Mr. Darcy. He has taught me what it feels like to be protected, secure, and wanted. One of my hearts is dedicated to sibling love. A person who knows where you came from, knows all the family secrets, and shares the same struggles.As a Christian, a type of love we recognize is sacrifi cial love. It’s shown to us by Jesus in my culture. I could go on about the types of love in my life and what each heart represents. Each one is beautiful, real, and necessary in my life.


From Rags to Stitches

Here is more information from Flora. After I decided this quilt would metaphorically tell the story of my fabric life, I began thinking about my sewing and quilting past. As soon as my mom made the Dutch Doll/Sunbonnet Sue quilt for me, she started teaching me to sew. She began by showing me how to baste the hem of a handkerchief. Soon she let me stitch on a quilt she was making (using those antique wooden quilting frames that filled our living room), and she would always find something positive to say about my work—rather than being critical or judgmental. I didn’t learn until much later that she would replace my much-too-long quilt stitches at night after I had gone to sleep. Gradually I learned to make garments, and by the time I was about ten years old, I was making many of my own clothes. Those sewing skills became amazingly helpful when I later began quilting. We grew up in an environment with little money, so I could have “new” clothes only if I made them. When I left for college, I took my garment patterns with me and would make clothes for others over the weekends in order to earn some spending money. I can recall making a fully-lined raincoat for the tidy sum of $2.00. Yep! That was my fee in the early 60s.

When my mom died a few years ago, I brought her sewing supplies to my house, including ALL the fabric scraps from her quilts and garments. As I went through them, I began thinking of MY fabric history, and the ideas for this quilt began their journey in my brain.

The text in the sections labeled “Some things I learned…” appeared on the backs of the top flaps, and the “Story Behind This Block” could be seen in the background when each flap was lifted.

BLOCK 5 – FRINGE BENEFITS:

The Story Behind This Block: I have always been intrigued with FRINGE! It comes in all colors, styles, textures, and thicknesses. But what can one do with the leftovers after an upholstery or drapery project has been completed? The fringe shown in this block strongly

This page is usually a place where we share photos of our readers quilts, ones they made with patterns from McCall’s Quilting. But we recently sponsored a contest and we’d like to share one of the honorable mention quilts with you.

The maker of From Rags to Stitches is Flora Joy, of Johnson City, Tennessee. Here is the artist's statement that she submitted with her entry.

ARTIST'S STATEMENTI slept under a Dutch doll quilt (hand-made by my mom) during my entire childhood, and that experience made me want to BE a quilter. Numerous efforts gradually progressed to THIS quilt, which I now call my “fabric/quilting autobiography.” The fabric and embellishments in each doll reflect a different time in my sewing/quilting life. Twelve separate, free-standing curvy blocks have been sewn (at their top borders) to a separate base quilt. Viewers can lift each Dutch Doll/Sunbonnet Sue to read that block, unusual (true) story and glean numerous tips for making their own similar blocks.

QuiltingCompany.com January/February 2021 McCall’s Quilting 33

resembles the curls I had to wear in my hair when I was preschool age. Mom curled my hair at night (on those heavy STEEL curlers), and when she pulled them out the next morning, my hair hung in long uneven and knotted curls. (Hey, that was the 40s!) I don’t know if Sunbonnet Sue (or the Dutch doll) ever had long curls, but I used my “quilting/poetic license” to include curls in this block.

Some things I learned while making this “Fringe” Benefits block: (1) Fringe that is made from parallel, separate thread strands can be a major challenge to work with. I finally decided to leave some of the unruly threads as-is because that is how actual hair CAN look. It was also very challenging to attach these sections so individual strands wouldn’t pull loose. Some of the unused “curls” were untied to make the straight fringe around the block and the hair above the cap. It was fun to make a sun VISOR rather than a hat for this block because I could echo-stitch both the band and the bill.

BLOCK 6 – GRASS “WRAP”/BATHING SUIT:

The Story Behind This Block: Remember the first time you were in the grocery store and saw the mesh bags that held items of produce? When I first noticed them, my inner “future fiber artist” was intrigued! My mom bought some produce in a green mesh bag, and I thought that if I saved enough of them, I could eventually make a “grass skirt.” After about three years of saving (we mostly grew our own produce instead of purchasing it), I had only enough to make a large handkerchief. However, I didn’t forget the fun of thinking about that grass skirt (which would have been totally useless), but NOW I reached my goal by making this quilt block—although it is a “wrap” instead of a skirt. (In this block, the wrap doesn’t go AROUND the girl, and that is intentional (so the wrap can be lifted). I’ll bet you didn’t know that Sunbonnet Sue ever wore a bathing suit! (At least I’ve never SEEN such an image.) This block, though, begged for a bathing suit, and I drew it as I imagined it should be. Carefully lift the grass “wrap” to see this suit for yourself.

Some things I learned while making the Grass “Wrap”/Bathing Suit block: (1) This type of mesh is extremely challenging to work with! It doesn’t behave at all, and it (of course) can’t be ironed. When cut, it shreds into a bazillion tiny pieces. But I still LOVE this block! One of the neat things about the mesh is that it’s a TUBE—and thus it has no side seams. Yay! (2) One of my stash’s packs of rickrack used in this block had a price tag of 15 cents. It was from my mom’s stash, and I have always loved exploring with rickrack to see the different effects that could be created. I like the double-wrap with the two large sizes and the “topping” with the tiny size. (3) I wanted to make thong shoes with buttons, but that was tough. Fortunately, I had some tiny matching green buttons. FUN!

Added thoughts: To stitch the rickrack around the bottom of the grass skirt, I joined the top and bottom pieces of rickrack (with ⅛” double-sided tape) at the same time—so the tape stuck only to the bottom of the skirt. THEN I stitched the two pieces of rickrack at the TOP. I stitched another row through the MIDDLE. BEFORE stitching the row at the bottom, I removed the piece from the sewing machine and separated the flaps of rickrack and snipped the edges of the grass skirt. It CAN be done after the third row has been stitched, but it is soooooooo much easier to do so beforehand. The less “handling” this mesh netting gets, the fewer opportunities for it to be damaged. It is more delicate than most fabrics.


We want to hear from you!Share your high-resolution digital photos of your McCall’s Quilting projects. Email to [email protected]. Include people in your project photos. Submitted materials cannot be returned and may appear in print or online. If your submission is used on this page, The Warm™ Company will send you a complimentary queen-size batt, and we’ll send you 2 free copies of the issue in which your contribution appears.

BLOCK 7 – BRA:

The Story Behind This Block: What woman doesn’t remember her first bra? At an early age when I realized that most of my female friends and classmates were wearing a bra, I simply had to have one too. There was no money to buy one, so I decided I’d just STITCH one! I can’t recall just what fabrics I used, but I’m quite sure it wasn’t one for the boardwalk! Up until I started college, I continued to make my bras, and then one of my aunts decided to buy them for me so I wouldn’t be embarrassed in the university dormitory. Although the bra used to make this quilt block wasn’t one I ever actually wore, that early clothing situation is still an emotional one for me many decades later. For this quilt block, the left cup of a purchased bra formed the “skirt” of the doll, and the right cup (with padding removed) formed the bill of the cap.

Some things I learned while making this Bra block: (1) Deconstructing a bra is certainly not an easy task! (2) If you plan to have intricate borders/bindings/decorative stitching, do those BEFORE stitching on the bra pieces (especially if any padding will be used). (3) If I were making this block again, I would work in the strap and/or the hooks somewhere in the design. (4) I like the effect created from leaving the padding in the skirt section, but it would have been too distracting if the padding had been kept in the cap. If you make such a quilt block, consider buying the fanciest and wildest bra you can find, but maybe not one of your own!

BLOCK 9 – ZIPPERS - ZIP-A-DEE-DOO-DAH:

The Story Behind This Block: Most seamstresses have quite a collection of zippers—from both purchases they “just couldn’t resist” and from those they’ve ripped out of worn garments before throwing them away. (The fabric in the garments can quickly wear out, but the zippers tend to remain in decent shape and can be used again.) My original intent with this block was to repurpose some colorful ripped-out zippers, but I became captivated with the more modern “wedding” zippers and decided to use them instead. They can actually unzip, but there is no “view” behind them. This block was definitely a challenge!

Some things I learned while making this Zip-a-Dee-Doo-Dah block: (1) I LOVED creating the quilting design for this block’s background! It wasn’t easy to make “stitching” look like a zipper, but I got close. (2) Dealing with the multiple layers proved to be its own challenge, but craft glue came to my rescue. I was fortunate to have some lace that so nicely blended with the texture in the wedding zippers.

BLOCK 12 – SHOESTRINGS:

The Story Behind This Block: Do you remember when colorful shoestrings hit the market? I decided that when I grew up and got “rich,” I would buy a pair in every color! I would even put non-matching colors on each separate shoe (just to see if anyone noticed). As a fabric artist/quilter, I found an even better use for them: Put

them on a wall quilt! I began by experimenting with wall art for a number of friends, and their responses were encouraging. I learned, though, that stitching on shoestrings is far more difficult than I had imagined, and the textures of the product differ greatly from one brand to another. The shoestring itself scooches around and is almost impossible to manage. However, shoestrings aren’t intended to be 100% in line and symmetrical, so I let the process become organic and decided I was happy with the results.

Some things I learned while making this Shoestring block: (1) For a unique inner edge on this block, I decided to cut some of the remaining shoestrings into two-inch lengths. I curled them and stitched them down at the edge that would be hidden by the binding. Such shoestring loops aren’t commonly (if ever) seen on other projects. There was much “scooching,” but I liked the outcome. (2) Surprise:

I had ONE shoestring long enough to go around the outer border (and enough for a bow). (3) For the arm/hand, I didn’t think the piece would lie flat because of the uneven layers beneath it. Therefore, I stitched this unit separately (with four extra layers of tear-away stabilizer)—then I stitched that unit atop the shoestrings.

BINDING: One of my most unexpected challenges was the outer binding. I wanted this to be vastly different, and it certainly turned out to be—but I loved the results! This binding took four layers of the largest rickrack made—two separate sets of intertwined white and blue sections that would go completely around the edges of the quilt. I hand-stitched the inside of the top row to the quilt, then the back intertwined double row to the bottom of the front rickrack binding, then the back double row to the back side. Double-whew! That was when I realized that having the teensy-tiny

Sues atop these four layers of rickrack would add tremendously to the appeal of the binding. THEN the idea of adding crystals occurred to me. This binding process required almost a month of tedious hand stitching! I’ve never seen an edging like this, and I was incredibly happy with it.

MATCHING LETTERS:Few people have noticed this, but the fabrics in the TWELVE large letters of RAGS/STITCHES (at the top) MATCH the fabrics/embellishments in the twelve blocks—in the same order. Triple-whew! (Wow, now that was an amazingly FUN challenge!)

QuiltingCompany.com January/February 2021 McCall’s Quilting 35

See more of Flora's quilts at storytellingworld.com


Quilt Designed & Made byMary Hertel


Finished Size9½˝ x 12½˝

NOTE: See Pattern Pull-Out Section forfoundation sections.

Heart BanditThis sweet mug rug will steal your heart.


• White solid, black solid, gray tonal, and pink large dot

1 fat eighth* each for block• Light blue tonal

1 fat quarter** for block • Pink print

scrap for block• Medium blue tonal

1 fat eighth* for block• Pink medium dot

1 fat quarter** for binding• 2 white buttons ⅜˝ for eyes• 2 black buttons ¼˝ for eyes• 1 black button ⅝˝ for nose• Backing

½ yd.• Batting

14˝ x 17˝*fat eighth = 9˝ x 20˝**fat quarter = 18˝ x 20˝

(Although fabric amounts are adequate for foundation piecing, you may need more if you cut very generous patches.)

Cutting InstructionsPatches are lettered in order of use. Mea-surements include ¼˝ seam allowances. Cut foundation patches at least 1˝ larger than the corresponding foundation area.

• White solid, black solid, gray tonal, pink large dot, light blue tonal, and pink printFoundation patches

• Medium blue tonal2 rectangles 3˝ x 10˝ (B)2 rectangles 1½˝ x 8˝ (A)

• Pink medium dot3 strips 2½˝ x WOF for binding

PlanningFoundation piecing makes it possible to very precisely construct the parts you need for the Mary’s Valentine mug rug.


NOTE: Fabrics in the mug rug shown are from Mary’s personal collection of assorted fabrics.


Piecing the Blocks1 Make accurate copies of foundation sections 1–7. Refer to Foun-

dation Piecing in Quilt Basics. Refer to foundation sections 1–7 and Diagram I to make sections in the colors shown.

2 Referring to Diagram II, join sections as shown.

Section 1Make 1

Section 2Make 1

Section 3Make 1

Section 4Make 1

Section 5Make 1

Section 6Make 1

Section 7Make 1

Diagram IBlock

Make 1

Diagram II

Mary Tells About Her Inspiration. ”I just really love raccoons, OK? They are soooo clever!

We keep a 20-pound barrel of cat food in the barn, but noticed that the raccoons fi gured out how to pry the lid from the barrel, so we wired the lid onto the barrel. The next day, the barrel was missing! The raccoons had rolled the barrel all the way across the barn fl oor to the back of the barn, where they handily removed the wire and enjoyed a cat food snack. Crafty! Ya gotta love em!”


Designer InformationSee more quilts by Mary atmadebymarney.com

A

B

Assembly and Button Placement Diagram

3 Refer to Assembly and Button Placement Diagram. Matching centers and ends, sew medium blue tonal A’s to top and bottom; repeat to add medium blue B’s to sides. Care-fully remove the foundation papers.

Quilting and Finishing4 Layer, baste, and quilt. Mary machine

quilted vertical straight lines. Sew on buttons as shown for eyes and nose. Bind the quilt.

January/February 2021 McCall’s Quilting 41

Quilt Designed & Made byJoanie Holton of Tailormadeby Design

Machine Quilted bySheri Zalar


Finished Size67¾˝ x 91¼˝

Finished Blocks18 Block Y 12¾˝ x 12¾˝17 Block Z 12¾˝ x 12¾˝

Meadow BurstChambray and pretty fl oral fabrics make this interesting quilt.

Fabric RequirementsFabric yardage assumes 40” usable widthof fabric (WOF) unless otherwise noted.

• Cream chambray3¼ yds. for blocks

• Gray print #1⅝ yd. for blocks

• Dark purple print1⅛ yds. for blocks

• Pink chambray1 yd. for blocks

• Gray print #2⅞ yd. for blocks

• Red print2¼ yds. for blocks, border, and binding

• Lavender chambray½ yd. for blocks

• Medium purple print⅝ yd. for blocks

• Backing6 yds.


PlanningThe two blocks in this quilt take time to build but are not diffi cult and with the consistent repetition of the process and skills, this is a rewarding quilt to com-plete.



NOTE: Fabrics in the quilt shown are from the Woodland collection and Chambray Basics by Tilda Fabrics.


= cut in half once diagonally = cut in half twice diagonally

• Cream chambray18 squares 5½˝ (B)17 squares 5½˝ cut to make 68 triangles (F)17 squares 4¾˝ (G)144 squares 3˝ (A)68 squares 3˝ cut to make 136 triangles (D)72 squares 2⅝˝ (C)

• Gray print #172 squares 3˝ (A)

• Dark purple print18 squares 5½˝ (B)72 squares 3˝ (A)

• Pink chambray17 squares 5½˝ cut to make 68 triangles (F)68 squares 2⅝˝ (C)

• Gray print #234 squares 5⅛˝ cut to make 68 triangles (E)

• Red print14 strips 2½˝ x WOF for side borders and binding4 strips 1½˝ x WOF for top/bottom

borders34 squares 5⅛˝ cut to make 68 triangles (E)

• Lavender chambray72 squares 2⅝˝ (C)

• Medium purple print18 squares 4¾˝ (G)


Piecing the Blocks1 Referring to Triangle-Squares in Quilt

Basics and to Diagram I, use creamchambray A’s and gray print #1 A’s tomake 144 unit 1’s as shown.

Designer InformationSee more quilts by Joanie at sewquiltcraft.com

Unit 1Make 144

Diagram I


Diagram II-A


Diagram II-B

Unit 2Make 68

Diagram III

C D

E

Unit 3Make 68

Diagram IV

EF

F

Make 18Block Y

Diagram V

G

C

C

2 Referring to Fast Flying Geese in Quilt Basics and to Diagram II-A, use dark purple print A’s and cream B’s to make 72 Flying Geese 1’s total.

In the same manner, referring to Diagram II-B, use cream A’s and dark purple B’s to make 72 Fly-ing Geese 2’s total.

4 Referring to Diagram IV, sew together 1 red chambray E, 1 cream F, and 1 pink F to make unit 3. Make 68 unit 3’s total.

5 Using unit 1’s, Flying Geese 1’s, Flying Geese 2’s, cream C’s, lavender cham-bray C’s, and medium purple print G, sew into 3 rows as shown in Dia-gram V. Sew rows together to make block Y. Make 18 block Y’s total.

3 Referring to Diagram III, sew together 1 pink chambray C, 2 cream D’s, and 1 gray print #2 E to make unit 2. Make 68 unit 2’s total.


Make 17Block Z

Diagram VI

G

Assembly Diagram

1½ ˝ x 68¼ ˝

2½˝ x

89¾

˝

Assembling the Quilt TopNOTE: Refer to Assembly Diagram for following steps, watching block placement.7 Sew 7 rows of 5 blocks each. Join

rows together.8 Refer to Borders in Quilt Basics. Join

border strips and cut to sizes shown in Assembly Diagram. Matching centers and ends, sew border side strips to quilt; repeat to add top and bottom strips.

6 Using unit 2’s, unit 3’s, and cream G, sew into 3 rows as shown in Dia-gram VI. Sew rows together to make block Z. Make 17 block Z’s total.

Quilting and Finishing9 Layer, baste, and quilt. Sheri machine

quilted fans in the cream squares and gray triangles, swirls in the purple and cream diamonds, curved squares in the pink and lavender squares, curved triangles in the lavender and cream triangles, and orange peel in the me-dium purple squares. Bind the quilt.


Joanie said...Before sending it to the longarm quilter I took a couple photos of my quilt top in my three-season porch. The quilt just seems to fi t this space! I can imagine snuggling up under it on a cool morning with a cup of coffee while listening to the creek outside and the birds chirp. It has such a fresh feel to it. And with the more modern color-ing of Tilda’s line, it fi ts so well with my gray sectional set.

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Getting StartedGetting StartedBY LORI BAKER

Machine embroidery looks wonderful

on clothes, home décor items and, yes,

on quilts. An easy way to incorporate

machine embroidery into your

quiltmaking is to quilt with machine

embroidery designs.

QuiltQuilt ThisEXCERPT

Originally Published in Creative Machine Embroidery, 2017


Quilts are usually defined as having

three layers, consisting of a top and a

back with batting in between. If the

back is seamed or pieced, there may be

five or more layers at any one spot in

the quilt. The right tools, techniques and

supplies can help you achieve embroi-

dery and quilting success.

When selecting thread, use the same

criteria you’d use for other machine

embroidery projects. If you want high

sheen and the quilt will only be gently

used, try rayon thread. Polyester thread

is a little less shiny than rayon but stands

up better to wear. Cotton thread is the

least shiny of the three but is a great

choice as far as ease of laundering and

durability are concerned. Specialty

threads can be fun, but be sure to stitch

a sample before using them.

Match the needle you use to your

fabric and thread type. If you’re not

using special thread or unusual fabric,

start with an 80/12 microtex; change

to another type or size if you’re having

trouble with skipped stitches or poor

stitch formation. Remember to change

needles after every project. When you’re

stitching through three or more layers,

a fresh needle is the best way to ensure

good stitch quality.

Adding a layer or more of stabilizer is

the best way to prevent the embroidery

from distorting the size and shape of

your quilt. Choose your stabilizer based

on the density of the design and the

care the quilt will require. If it will be a

washable quilt, you can use water-solu-

ble stabilizer. If not, consider a tear-away

stabilizer. Don’t be afraid to use more

than one layer of stabilizer if needed to

avoid puckering.

Some embroidery machines have

special hoops intended for use with thick

layers like a quilt. If you can’t hoop your

quilt, hoop stabilizer and baste the quilt to

the stabilizer.

Quilt batting can be very thin and

flat—as thin as a layer of flannel—or it

can be much thicker to create more loft.

It varies by the look desired and the use

of the quilt. Read the instructions on the

batting packaging for recommenda-

tions on how close together the quilting

designs should be.

While doing a test stitchout is always

an important step, when working on

a quilt, it’s doubly important. With the

extra variable created by adding layers,

you’ll want to be certain you have the

right combination before starting on the

actual quilt. Those little samples can be

bound to make cute little mug rugs.

SOURCES

Baby Lock provided the Destiny machine:

babylock.com.

Warm & Plush batting was supplied by the

Warm Company: warmcompany.com.

Featured fabrics include the Royal Tea col-

lection by Connecting Threads: connec-

tingthreads.com.

Featured fabrics include the Graceful Moments

collection by Maywood Studio: maywoodstu-

dio.com.

Madeira provided the thread used to stitch the

sample: madeirausa.com.

QUILT BY DESIGN

GETTING STARTED

When selecting embroidery

designs for quilting, look for

designs that are designated as

such. However, don’t limit your

options. As a general guide, avoid

high stitch density designs and

focus instead on simple designs

that feature open running stitch

shapes. Or consider breaking

complicated designs down into

parts and use only the outline for

your quilting. Consider picking

designs that complement the

overall quilt design or work with

the theme of the main fabrics

you’re using.

Images courtesy of marthapullen.com.


Quilt Designed & Made bySharon Denney Parcel

Skill LevelEasy

Finished Size68˝ x 78½˝


NOTE: See Pattern Pull-Out Sectionfor appliqué template, which is printedwithout seam allowances.

HeartthrobPretty fl oral prints bring romance for all to see.


• Cream dot1½ yds. for blocks

• Medium green small fl oral and light pink small fl oral⅞ yd. each for blocks

• Light pink large fl oral and light green large fl oral⅜ yd. each for blocks

• Medium pink dot⅝ yd. for appliqué

• Light pink dot⅜ yd. for cornerstones

• Green stripe1¾ yds. for sashes and border 2

• Cream large fl oral2 yds. for border 1

• Green dot ¾ yd. for binding

• Backing5¼ yds.


NOTE: Fabrics in the quilt shown are from the Folktale collection by Lella Boutique for Moda Fabrics.

PlanningEasy blocks with heart appliqués for extra punch will make Sharon’s throw-size quilt a hit.


Cream large fl oral for border 1 is cut lengthwise. If you prefer to cut cross-wise, you will need 1¼ yard of fabric for border 1.

Decide whether you want to use fusible appliqué or turned-edge appliqué before cutting the appliqué patches. Both methods are explained in Quilt Basics. If you use the fusible appliqué technique, fuse the medium pink dot fabric with paper-backed fusible web before cutting out the templates.



• Cream dot16 strips 1¾˝ x WOF for bands 60 squares 3⅜˝ (A)

• Medium green small fl oral and light pink small fl oralcut from each: 8 strips 1¾˝ x WOF for bands 30 squares 3⅜˝ (A)

• Light pink large fl oral and light green large fl oralcut from each: 15 squares 4½˝ (B)

• Medium pink dot30 Template C

• Light pink dot42 squares 2˝ (D)

• Green stripe8 strips 2½˝ x WOF for border 271 rectangles 2˝ x 9½˝ (E)

• Cream large fl oral*2 strips 5½˝ x 65˝ for border 1 2 strips 5½˝ x 64½˝ for border 1

• Green dot9 strips 2½˝ x WOF for binding

*Cut lengthwise


Piecing the Blocks1 Referring to Triangle-Squares in

Quilt Basics and to Diagram I-A, usecream dot A’s and medium greensmall floral A’s to make 60 unit 1’s asshown.

Unit 1Make 60

Diagram I-A

Unit 2Make 60

Diagram I-B

Diagram II-A

Unit 3Cut 60

4½˝1¾˝ x WOF

Make 8Band A

Diagram II-B

Unit 4Cut 60

4½˝1¾˝ x WOF

Make 8Band B

Make 15Block Y

Diagram III-A

C

Make 15Block Z

Diagram III-B

C

In the same manner, referring to Diagram I-B, use cream A’s and light pink small fl oral A’s to make 60 unit 2’s as shown.

2 Referring to Diagram II-A, sew together cream and medium green 1¾˝ x WOF strips to make a band A. Make 8 band A’s total. Cut into 4½” wide segments to make 60 unit 3’s total.

In a similar manner and referring to Diagram II-B, sew together cream and light pink 1¾˝ x WOF strips to make a band B. Make 8 band B’s total. Cut into 4½” wide segments to make 60 unit 4’s total.

3 Using unit 1’s, unit 3’s, and light pink large fl oral B, sew into 3 rows as shown in Diagram III-A. Sew rows together to make block Y. Place C on block as shown and appliqué in place. Make 15 block Y’s total.

Similarly, using unit 2’s, unit 4’s, and light green large fl oral B, sew into 3 rows as shown in Diagram III-B. Sew rows together to make block Z. Ap-pliqué C in place. Make 15 block Z’s total.


Designer InformationSee more quilts by Sharon at Instagram @punkydoodle53

Assembly Diagram

5½˝ x 64½˝

2½˝ x 68½˝

5½˝ x

65˝

2½˝ x

75˝

Assembling the Quilt TopNOTE: Refer to Assembly Diagram for following steps, watching block place-ment and orientation.4 Sew 5 blocks and 6 green stripe E’s

together as shown to make a row. Make 6 rows.

5 Sew 6 light pink dot D’s and 5 green stripe E’s together to make sash. Make 7 sashes.

6 Join rows and sashes together, alter-nating.

7 Refer to Borders in Quilt Basics. Join border 2 strips and cut to sizes shown in Assembly Diagram. Matching centers and ends, sew border 1 side strips to quilt; repeat to add top and bottom strips. In similar manner, add border 2.

Quilting and Finishing8 Layer, baste, and quilt. Sharon

machine quilted meandering in the blocks, X’s in the cornerstones, alternating loops in the sashes, styl-ized fl owers in border 1, and swirls in border 2. Bind the quilt.


Sharon’s thoughtsI like to play “What if?” when I design on my computer. I simply open up EQ8, and start to play with quilt blocks and quilt settings. It nurtures my creativity, and slows down my “monkey mind”. Many times the quilts that I design on EQ8 go into my “bucket list” and sometimes I decide to submit to a magazine. If it’s accepted, it gets me in gear to make it and fi nish it!

This particular quilt started out on my design wall and EQ8 with a rectangular churn dash block, but went back to a traditional square block. I think it turned into a perfectly sweet and romantic quilt using a traditional block with a heart appliqué which is simple to make. Churn dash is one of my favorites! How about you?

STATEMENT OF OWNERSHIP, MANAGEMENT AND CIRCULATION (required by Act of August 12, 1970: Section 3685, Title 39, United States Code). 1. McCall’s Quilting. 2. (ISSN: 1072-8295). 3. Filing date: 10/1/20. 4. Issue frequency: Bi-Monthly. 5. Number of issues published annually: 6. 6. The annual sub-scription price is $21.98. 7. Complete mailing address of known office of publication: 4868 Innovation Drive, Fort Collins, CO 80525. Contact person: Kolin Rankin. 8. Complete mailing address of headquarters or general business office of publisher: Peak Media Properties, 4868 Innovation Drive, Fort Collins, CO 80525. 9. Full names and complete mailing addresses of publisher, editor, and managing editor. Publisher, Greg Osberg, 4868 Innovation Drive, Fort Collins, CO 80525; Editor, Lori Baker, 500 Golden Ridge Road, Suite 100 , Golden, CO 80401; Managing Editor, Anissa Arnold, 500 Golden Ridge Road, Suite 100 , Golden, CO 80401. 10. Owner: Peak Media Properties; Gregory J. Osberg, CEO, 4868 Innovation Drive, Fort Collins, CO 80525. 11. Known bondholders, mortgages and other security holders owning or holding 1 percent of more of total amount of bonds, mortgages or other securities: None. 12. Tax status: Has Not Changed During Preceding 12 Months. 13. Publisher title: McCall’s Quilting. 14. Issue date for circulation data below: Sept/Oct 20. 15. The extent and nature of circulation: A. Total number of copies printed (Net press run). Average number of copies each issue during preceding 12 months: 99,027. Actual number of copies of single issue published nearest to filing date: 98,667. B. Paid circulation. 1. Mailed outside-county paid subscriptions. Average number of copies each issue during preceding 12 months: 68,992. Actual number of copies of single issue published nearest to filing date: 74,965. 2. Mailed in-county paid sub-scriptions. Average number of copies each issue during preceding 12 months: 0. Actual number of copies of single issue published nearest to filing date: 0. 3. Sales through dealers and carriers, street vendors and counter sales. Average number of copies each issue during preceding 12 months: 6,519. Actual number of copies of single issue published nearest to filing date: 4,955. 4. Paid distribution through other classes mailed through the USPS. Average number of copies each issue during preceding 12 months: 0. Actual number of copies of single issue published nearest to filing date: 0. C. Total paid distribution. Average number of copies each issue during preceding 12 months: 75,511. Actual number of copies of single issue published nearest to filing date: 79,920. D. Free or nominal rate distribution (by mail and outside mail). 1. Free or nominal outside-county. Average number of copies each issue during preceding 12 months: 12. Actual number of copies of single issue published nearest to filing date: 8. 2. Free or nominal rate in-county copies. 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I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanction and civil actions.

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In the 1500s and 1600s, the French town of Cambrai seemed to

really have it goin’ on with woven fabric production. Batiste and

cambric (both fi ne woven fabrics using linen) were produced in

the area, and eventually, the weavers began to experiment with

a gingham-style weave and cotton. The classic checkerboard

design evolved, and when the weavers began cross-weaving

indigo-dyed thread with a white fi ll thread, it yielded what we

would call chambray.

Chambray started being produced in America at the very end

of the 18th century, and eventually found a permanent place as

a work shirt. And because chambray shirts are typically blue, it

gave rise to the term “blue collar worker.”

Surely you know Rosie the Riveter, probably the

most famous depiction ever of the blue-collar

worker? Yeah, she’s totally wearing a chambray

shirt.

No, chambray is not a wine. You are thinking of chardonnay. We are all thinking of chardonnay, because it’s wine and it’s tasty. But chambray is quite light and lovely, like chardonnay, and it also has a French-y connection.

A M A T E R I A L D I F F E R E N C E

Chambray

EXCERPT

BY VANESSA LYMAN


Otherwise it will felt, shrink, or shape

itself into something bizarre,” she says.

“But chambray can be pre-washed, and

then washed again, and washed again,

and it just gets softer and better.”

Pre-washing chambrays is recom-

mended to get any shrinkage out of the

way, especially if you’re combining it

with quilting cottons. Under the heading

of better-safe-than-sorry, some of those

darker chambrays could use a color

fixative, too, like Retayne or Rit Dye

Fixative. (Ours did fine without it, but

hey, we’re wild and crazy like that.)

Chambray works great for garments,

Hook says, because “It has a blue jeans

look, so it goes with everything.” The

same could be said in your living room

or bedroom. I mean, really, chambray

could be the blue jeans of quilting—you

Chambray is not simply a lighter-weight

version of denim, for all that some

people (read: me) mentally categorize it

that way.

Both have a “heathered” look because

of the white thread used for the weft

(that’s the horizontal one) and the

colored thread used for the warp (that’s

the vertical one), and both are typically

made from cotton.

Chambray, though, has a plain weave,

whereas denim has a twill weave, which

gives denim distinctive diagonal ridges.

Denim also has a very clear wrong side,

which is lighter, whereas chambray is

essentially reversible.

The weird thing (at least, to me) is that

chambray has been almost exclusively

used in clothing.

Well, let’s reverse that little historically-

true-for-several-hundred-years trend,

shall we?

As far as tips and tricks, chambray

does seem to fray more easily than

regular quilting cotton. Laura Piland,

who designed and created Somewherein Indiana, (pattern available at

QuiltingDaily.com), said, “I didn’t do

anything differently than I normally would

for cutting or sewing, but I did minimize

how much I handled the cut pieces,

blocks, and unfinished quilt top. That

really helped to prevent fraying.”

She added that while spraying the pieces

with starch could help minimize the

fraying, she was able to complete the

quilt without it.

Genevieve Stafford Hook, our senior

graphic designer and proponent of

chambray, says that the fabric has a

lot going for it. “It’s washing machine

friendly, which I like. So many other

garment fabrics are dry-clean only or

hand-wash only or need to be washed by

the light of the moon, or whatever.

can dress that quilt up, or dress that quilt

down and always be right on target.

There are more chambrays being released

by familiar quilting manufacturers, too,

in an astonishing variety of colors and

textures—with Swiss dot effects and

lightly printed designs, some with subtly

amazing slubs of neon, others made from

organic cottons.

In fact, this is a great fabric if you want

the look of a different substrate, but don’t

want to stray beyond the familiar with

sewing tools or techniques. I mean—

same needle, same threads, same setting

on your iron. Gosh, why aren’t we quilting

more with chambray?

W O V E N . R U G G E D . H E AT H E R E D .machine washable!

It ’s the kind of fabric that creates a material difference in your quilt…

Originally Published in Quilty, 2018


Quilt Designed & Made byElaine Theriault

Skill LevelEasy



NOTE: See Pattern Pull-Out Sectionfor appliqué template, which is printedwithout seam allowances.

PlanningElaine’s table runner is made with cork.Cork is available in many colors so youcan make this in a color scheme to gowith your home décor.

The patches are not pieced together withtraditional seams so there are no seamallowances.

See Just Corking for hints on sewingwith cork.

Join the patches by butting them tightlytogether and zigzagging over the edges.Elaine used a triple zigzag with width of6mm and length of 4mm.

If you prefer not to machine embroiderthe fl owers, you can use buttons or purchased embroidered fl owers.

Riverbank FlowersA table runner made special with cork and embroidery.

Fabric RequirementsCork yardage assumes 27” usable width of fabric (WOF).

• Black cork1⅛ yds. for blocks and border

• Blue cork¼ yd. for blocks

• Green cork¼ yd. for blocks

• Tear-away stabilizer• Backing (cork)

18˝ x 36˝

NOTE: Fabrics in the quilt shown are Eversewn cork, available at your local quilt shop and online.


Cutting InstructionsPatches are lettered in order of use.

= cut in half once diagonally= cut in half twice diagonally

• Black cork2 rectangles 3˝ x 36˝ (D)6 squares 6½˝ cut to make

12 triangles (A)• Blue cork

3 squares 6½˝ cut to make12 triangles (B)

12 Template Cr• Green cork

3 squares 6½˝ cut to make 12 triangles (B)12 Template C

Piecing the Blocks1 Referring to Diagram I, join blue

cork B’s and green cork B’s, buttingthem together tightly and stitchingwith green thread and triple zigzagstitch.In the same manner, join black cork Aas shown to make unit. Make 12 unitstotal.

More from Elaine

It’s always exciting to try new things and defi nitely new materials. While I’ve worked with cork before, I had limited experience with the heavier version. I experimented with several stitches, presser feet, and threads on the sewing machine. Once I settled on the stitch, the rest was easy. And what’s even more fun is that the design was originally made for fabric! I think it was way easier to assemble with the cork! Make sure you learn something new every day!

Designer InformationSee more quilts by Elaine at crazyquilteronabike.blogspot.ca

UnitMake 12

Diagram I

B

AB

BlockMake 12

Appliqué & EmbroideryPlacement Diagram

Unit

C

Assembly Diagram

D

2 Referring to Appliqué & Embroidery Placement Diagram, place green C and blue Cr on unit as shown and appliqué using triple zigzag and green thread.Hoop stabilizer only. Do not hoop cork. Adhere unit to stabilizer with temporary spray adhesive. Embroider fl owers as shown to complete block. Make 12 blocks total.

Assembling the Quilt TopNOTE: Refer to Assembly Diagram for following steps, watching block orienta-tion.4 Sew 6 rows of 2 blocks each, again

butting together and stitching with a triple zigzag. Join rows together. Join black D’s as shown in Assembly Diagram.

3 Trim blocks to 6” square.

Finishing5 Place backing and quilt wrong sides

together. Join layers with straight stitch ¼˝ from edge.


JUST CORKING

Cork is eco-friendly, renewable, and very trendy. It’s also a great surface to embroider on. While it acts like leather, vinyl, and other non-fibrous materials in many ways (don’t pin it!), its fabric backing allows it to take embroi-dery better than many similar fab-rics. Read on to discover the best way to embroider cork.

• While cork isn’t damaged as severely by dense stitching, it will eventually perforate. Consider density when choosing a design, avoiding designs with extremely dense and layered stitching.

• When marking on cork, consider what will both show up and remove effectively. Test markings on scraps before using a method on the final

project. A white chalk roller can be used. We’ve found it to be very effective, as it deposited well, was easily visible, and wiped away quickly and easily.

• Cork can’t be hooped, so use a self-adhesive stabilizer or adhere the fabric using a temporary spray adhesive. Tear-away and cut-away are preferable, as soaking cork to remove water-soluble stabilizer can damage the cork. Never baste or pin in the hoop, as holes are permanent.

• Use a large, sharp needle with a large eye. Topstitching and denim needles are ideal for embroidering cork.

• If available, lower the machine’s foot to sit just above the cork while embroidering. Like with leather, the cork may close in around the needle a bit when it’s down, causing the needle to pull the material up on its upstroke. Keeping the foot low minimizes this effect.

• Slow the machine speed; however, a speed slightly higher than the slowest available might work better, as it creates more momentum behind the needle. Try different speeds during test stitching to see what works best.

• When embroidering on any new material, be sure to test stitch to find the best combination of design, needle, stabilizer, thread, and machine settings for your project.

reprinted courtesy of Creative Machine Embroidery

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Denim Star Quiltby Nichole Ramirez

I’ve always wanted to create a quilt with the look and feel of my favorite pair of jeans without

having to cut them up. When I saw the House of Denim and House of Linen collections from Robert Kaufman Fabrics, I knew just what to do and this quilt came together in a snap!


6. Sew the units into rows. Sew the rows

into the block.

7. Make 20 blocks.

note: Once you make one block, you

may find it faster to make all the circle

appliqués and all the Flying Geese units at

a time. Keep the geese grouped by color.

Complete the quilt1. Arrange the blocks on a design wall.

Sew the blocks into rows. Sew the rows

together to make the quilt top.

2. Trim the selvedges from the backing

fabric. Cut the fabric length in half and

sew it together along the long edge,

creating a large rectangle. Press the

seam open.

3. Make a quilt sandwich by placing the

backing wrong side up, followed by the

batting, and then the quilt top, right side

up. Baste.

4. Quilt as desired. I made free-motion

spirals in the denim circles and connect-

ed spirals in the linen squares formed

where the Flying Geese meet.

5. Join the binding strips with diagonal

seams to create a straight-grain binding

strip. Fold the strip in half lengthwise with

wrong sides together and bind the quilt

using the double-fold binding method.

variation: Make a scrappy binding from

the leftover denim.

MaterialsFinished quilt 64" × 80"

Finished blocks 16" × 16"

Fabric for quilt top (I used House

of Denim and House of Linen from

Robert Kaufman Fabrics.)

Denim, ½ yd. each of 10 different

denims

Quilter’s linen, 5 yds. (includes

binding)

Backing, 5 yds.

Batting, 86" × 70"

Template material

DirectionsAll seams are ¼".See "Quilt Basics" for more information.WOF = width of fabric

Cut the fabric1. On template material, draw a circle

with a 7" diameter. Cut out the template.

2. Use the Cutting Chart to cut the

pieces. Label the pieces.

Make the blocks1. Fold a linen center square in half.

Press lightly. Fold in half again, and press

lightly. Select a denim center circle and

also lightly press it in half, and in half

again.

2. Align the pressed seams. Pin or

glue baste the circle in place. Raw-edge

appliqué the circle by topstitching ¼ "

from the edge of the circle.

3. For the Flying Geese, choose 1 geese

linen square (background) and 4 geese

denim squares (sky). The denim squares

should all be the same color and should

contrast with the center circle.

4. Follow the sidebar “Oh, Those

Geese” to make 4 geese units.

5. On a design wall, arrange the above

units with the linen corner squares to

form the block. For each block, the geese

should be made with 1 color of denim,

and should contrast with the denim in the

center circle. Refer to the Block Assembly Diagram.

Cutting ChartUse Fabric WOF strips Sub-cut QuantityCorner square Linen 10 @ 4½" 4½" × 4½" 80

Center square 5 @ 8½" 8½" × 8½" 20

Flying Geese(background)

5 @ 9¼" 9¼" × 9¼" 20

Binding 8 @ 2¼" — —

Flying Geese (sky) Denim 10* @ 4⅞" 4⅞" × 4⅞" 80

Center circle 10* @ 7" 7" circle 20

* Cut a single 4⅞" strip and a 7" strip from each of the denim cuts.

EXCERPT

Originally Published in Quiltscene, 2016


f igure 1figure 2

figure 3 figure 4

figure 5

Oh, Those GeeseIn quilting parlance, the ‘geese’

are the large, centered triangles

in the unit—in this pattern, the

linen fabric. The outer triangles

are called the ‘sky.’ There are

many techniques out there to

create Flying Geese. The method

I use in this quilt creates 4 Flying

Geese at a time—using a single

center square to create the

geese, and 4 smaller squares for

the sky.

Draw a diagonal line on the

wrong side of 2 sky squares

4⅞" × 4⅞". Place 1 square on

a 9¼" × 9¼" piece of geese

fabric, right sides together. Place

the second sky square in the

opposite corner as shown. Align

the raw edges in the corners.

The tips of the squares will over-

lap in the center. Sew ¼ " from

the drawn line on both sides

of the line. Cut on the marked

line. (figure 1)

Press the sky away from the

geese. (figure 2) You have 2

partial units.

Draw a diagonal line on the

wrong side of the remaining

2 sky squares. Working with

1 partial unit at a time, place

1 square with the drawn line

perpendicular to the sewn

seam, right sides together.

Align the raw edges in the

corner. Sew ¼ " from the

drawn line on both sides of

the line. (figure 3) Cut along the drawn line.

(figure 4) Press the sky away from the

geese.

Repeat with the second

partial unit. Voila, 4 Flying

Geese! (figure 5)

Block Assembly Diagram


Quilt Designed & Made byJo Moury



NOTE: See Pattern Pull-Out Section forappliqué templates, which are printedwithout seam allowances.

Bloomin’ HeartsLovely appliqué with vintage fabrics.


• Cream wool¾ yd. for background

• Assorted pink and red wools⅜ yd. total for appliqué

• Green wool, pink velvet, yellow satin, and dark red woolscraps of each for appliqué

• Heart shaped buttons• Embroidery fl oss• Backing

⅞ yd.

NOTE: Fabrics in the quilt shown are from Weeks Dye Works and Jo’s per-sonal collection of assorted fabrics.

Cutting InstructionsPatches are lettered in order of use. Measurements include ¼˝ seam allow-ances. Refer to Making the Large Circular Pattern to cut A.

• Cream wool1 (12¼˝ radius) circle A

• Assorted pink and red wools20 Template B

• Green wool4 Template C

• Pink velvet25 Template D

• Yellow satin5 Template E

• Dark red wool8 Template F4 Template G

PlanningJo’s table topper uses hand-dyed velvet, vintage satin, and beautiful wools to create a really special piece. It’s sure to be a family treasure.

Jo used Inktense pencils to enhance the color of her vintage satin. Then because it raveled when she appliquéd it, she concealed the edges with embroidery.

Decide whether you want to use fusible appliqué or turned-edge appliqué before cutting the appliqué patches. Both methods are explained in Quilt Basics. If you use the fusible appliqué technique, fuse the appropriate fabrics with paper-backed fusible web before cutting out the templates.



Piecing the Blocks1 Referring to Diagram I, fold cream

wool A in half both ways and lightly crease folds. Using folds as a guide, arrange red and pink B’s as shown. Pin or glue baste in place and appliqué with blanket stitch.

2 Referring to Diagram II, arrange C–G’s as shown and appliqué in place. Jo used outline stitch for green C’s and pink D’s and blanket stitch for the remaining appliqué.Still referring to Diagram II, embroider vines with chain stitch, then add French knots to centers of fl owers and along the vines as shown. Add buttons as shown.

A

B

B

B

Diagram I

Appliqué Placement

Diagram II

Appliqué, Embroideryand Button Placement


Diagram III

3 Referring to Diagram III, carefully trim around the edges of the table topper. Making The Large Circular Pattern

SUPPLIES 26" square of paper, string, and a pencil.

1. Fold paper square in half both ways.

2. Cut a piece of string 4”–5” longer than the given radius. Tie one end of the string around the pencil.

3. Starting from the pencil end, measure the radius on the string and insert a pin. Anchor the pin in folded corner of the paper.

4. With a taut string, move the pencil across the paper from one edge to another. Cut on drawn line to complete the pattern.

Circle Cutting Diagram

13"

More from Jo...When we were married it wasn’t the “thing” yet to get your gown preserved in the airtight boxes like our daughter did. Mine got put in a zip-up garment hanger from the boutique. Because we were in the military and were traveling all over, my gown hung in the attic at my dad’s place and over time the bag split, and rain water dripped in. Long story short, after a couple sad days, I salvaged the unstained pieces of the satin, lace, and pearls. I’ve been saying “someday” I’ll design a wall hanging to highlight the fabrics, but that hasn’t happened (yet). I have used a little of the satin and lace in other projects. Here, I fused it with Presto Sheer and tinted it with Derwert Inktense pencils. Just another note, I also fused the velvets with Presto Sheer to stabilize them before cutting them out for applique. Presto Sheer is super light and has a very nice hand when working with slippery slide-y fabrics (like satin, velvet, Kaufman Radiance). It is available by the yard at suespargo.com at a very reasonable price.


French Knots

1 2 3

Outline Stitch

Chain Stitch

Blanket Stitch

Finishing4 Place backing fabric on fl at surface. Lay table topper

on top and trace around edge adding ¼˝. Turn under edge of backing fabric and stitch to the back of the table topper.

Embroidery Stitches

We are quilters dedicated to our craft.Every quilt is a labor of love. Every hour spent at the machine is an hour we pour our hearts out into thefabric before us. In the end we maylove it, we may hate it, but there’s nodenying it…we are dedicated to thequilt. So, now we come togetheras dedicated quilters in an onlinehome made just for us.

Visit us today at

QuiltingDaily.com

We are


Quilt Designed & Made byReed Johnson

Machine Quilted byFlorida Quilting Center



Finished Blocks4 Block W 12˝ x 12˝5 Block X 14˝ x 14˝6 Block Y 14˝ x 14˝1 Block Z 14˝ x 14˝

Blue Bear HugTwo-color quilts are always a hit.


• White solid3⅛ yds. for blocks, sashes, and border 1

• Blue tonal3¼ yds. for blocks, border 2, and binding

• Backing4¾ yds.


NOTE: Fabrics in the quilt shown are from QT Fabrics.


• White solid10 strips 2½˝ x WOF for border 1 and sashes8 squares 4⅞˝ (A)1 rectangle 4½˝ x 32½˝ for sash1 rectangle 4½˝ x 28½˝ for sash 4 rectangles 4½˝ x 12½˝ (G)28 squares 4½˝ (C)76 squares 2⅞˝ (B)8 rectangles 2½˝ x 14½˝ (H)24 rectangles 2½˝ x 6½˝ (F)30 squares 2½˝ (E)

• Blue tonal16 strips 2½˝ x WOF for border 2 and binding4 squares 8½˝ (D)8 squares 4⅞˝ (A)24 squares 4½˝ (C) 76 squares 2⅞˝ (B)24 rectangles 2½˝ x 6½˝ (F)70 squares 2½˝ (E)

PlanningEasy triangle-squares in two different sizes are the building blocks of Reed’s marvel-ous quilt.


Designer InformationSee more quilts by Reed at bluebearquilts.com


Piecing the Blocks1 Referring to Triangle-Squares in Quilt

Basics and to Diagram I-A, use whitesolid A’s and blue tonal A’s to make16 unit 1’s as shown.

3 Using 4 white C’s, 1 white E, 12 blue E’s, 4 blue F’s, and 8 unit 2’s, sew into 3 rows as shown in Dia-gram III. Sew rows together to make block X. Make 5 block X’s total.

Unit 1Make 16

Diagram I-A

Unit 2Make 152

Diagram I-BMake 4Block W

Diagram II

C

D

Make 5Block X

Diagram III

C

E

E E

F

F

In the same manner and referring to Diagram I-B, use white B’s and blue B’s to make 152 unit 2’s.

2 Using white C, blue D, and 4 unit 1’s, sew into 2 rows as shown in Dia-gram II. Sew rows together to make block W. Make 4 block W’s total.

QuiltingDaily.com

Reed talks about his quiltThis modern quilt has a Wedgewood Blue feel to it. I cre-ated Blue Bear Hug as the Bear Paw is one of my favoritequilt blocks. Since my company name is Blue Bear Quilts,it had to be blue. Blue-and-white quilts create a crisp,clean look. I wanted to combine a very large block sur-rounded by smaller blocks and a derivative block, whichwas created by color placement. I love how the whitepatches (in the alternate blocks) appear to be floatingover the dark blue background. I love to combine modernwith traditional in my quilts and for this quilt, that wasaccomplished with the large block and the two colors.This quilt would lend itself to being done in school colorsto be used as a stadium or tailgating blanket. Since thequilt has a lot of sharp lines and angles the quilting, doneby the Florida Quilting Center with the circular curves,doesn’t compete with the lines in the pattern. With two-color quilts, it can be difficult to choose a quilting thread.A light blue thread was chosen to accentuate the quiltingin both the blue and the white. This fun, modern quilt issure to provide a big warm bear hug.

Make 6Block Y

Diagram IV

EF

E

CF

Make 1Block Z

Diagram V

EF

F

E

C

4 In a similar manner, using 4 blue C’s, 1 blue E, 4 white E’s, 4 white F’s, and 16 unit 2’s, sew into 3 rows as shown in Diagram IV. Sew rows together to make block Y. Make 6 block Y’s total.

5 Referring to Diagram V, use 4 white C’s, 1 white E, 4 blue E’s, 4 blue F’s, and 16 unit 2’s, sew into 3 rows as shown. Sew rows together to make block Z.

Right: I See What You Mean, Lawrence Argent, 2005. Denver, Colorado Convention Center.


Assembly Diagram

2½ ˝ x 66½˝

2½ ˝ x 62½˝

2½ ˝ x 70½˝

2½ ˝ x 30½˝

4½ ˝ x 32½˝

4½˝x

28½

˝

GH

H

CG

2½˝ x

62½

˝

2½˝ x

66½

˝

Assembling the Quilt TopNOTE: Refer to Assembly Diagram for following steps, watching block placement and orientation.6 Sew together white 2½˝ strips

and cut to sizes shown to make horizontal sashes.

7 Assemble rows 1 and 2 by sewing patches, blocks, and sashes into 2 sections as shown. Join sections. Join block and sashes as shown to make row 3 and row 4. Join rows, sash, and top section to complete quilt top.

8 Refer to Borders in Quilt Basics. Join border 1 strips and cut to sizes shown in Assembly Diagram. Match-ing centers and ends, sew border 1 side strips to quilt; repeat to add top and bottom strips. In similar manner, add border 2.

Quilting and Finishing9 Layer, baste, and quilt. Florida

Quilting Center machine quilted overlapping curliques and circles. Bind the quilt.

Inspirationat your FingertipsYour next project waits at

Quilting Daily where you will

find thousands of quilt patterns

from traditional to modern.

Shop one of the largest pattern

resources at QuiltingDaily.com

Checking the Boxes featured in

Pre-Cut Patchwork July/Aug 2019


We indicate lengthwise or crosswise grain with an arrow on the templates.

CuttingTo find the grainline of your fabric for rotary cutting, hold the fabric with selvages paral-lel in front of you. Keeping the selvages together, slide the edge closest to you to one side or the other until the fabric hangs straight, without wrinkles or folds. Then lay the fabric down on your cutting mat and cut perpendicular to the fold line. Use this cut edge as your straight-of-grain line.

Many patches can be cut from strips of fab-ric by rotary cutting. First, cut a strip of fabricthe width needed. Then, cross-cut strips intopatches.

To cut from a template, place the template face down on the wrong side of the fabric and trace with a sharp pencil. Reverse (r) templates should be placed face up on the wrong side of the fabric before tracing.

PiecingAlign the cut edges of fabric with the edge of the presser foot if it is ¼˝ wide. If not, place mask ing tape on the throat plate of your ma chine ¼˝ away from the needle to guide you. Sew all the way to the cut edge.

AppliquéThe instructions give the appliqué technique used by the de-signer. Fusible appliqué patterns are already reversed. To convert between fusible designs and turned-edge, you may need to reverse the design. No turn-under allowances are given on ap-pliqué patterns. When positioning patches, leave enough space around the outside edges of the block for trimming and seam allowance.

Finger crease the fabric in half lengthwise, crosswise and diago-nally as needed to form guidelines for placement of the patches.

Use a tear-away stabilizer on the back to support machine stitch-ing that is dense (like satin stitching) and to keep the fabric from tunneling. Choose a stabilizer that matches the weight of the fab-ric. After the appliqué is complete, gently remove the stabilizer.

Fusible AppliquéRaw-edge appliqué using paper-backed fusible web is a fast and easy way to appliqué. Add E˝ underlap allowance to those edges that lie under another.

Trace the pattern pieces, also drawing the needed underlap allowances, on the paper side of fusible web leaving at least ½˝ between all the pieces. Cut about E˝ outside each drawn line.

To eliminate stiffness, try this variation for patches larger than 1˝: Cut out the center of the fusible web ¼˝ inside the drawn line, making a ring of fusible web.

Following the manufacturer’s directions, iron the web, paper side up, to the wrong side of the fabric. Cut out the shape on the drawn line. Carefully pull away the paper backing. Fuse the patches to the background where marked.

To finish the raw edges, machine satin stitch with a colored thread, or zigzag or blanket stitch using matching or invisible thread.

Preparing Your FabricWe recommend that you pre-wash your fabrics. A shrinkage factor is included in our yardage computations.

• 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 ⅛˝ markings

• Scissors: A separate pair for paper and fabric

• Sewing machine• ¼˝ foot• Walking foot

• Darning foot• Pins• Ironing board & iron• Marking pencils/markers/

etc.• Needles• Thimble• Safety pins• Template plastic• Thread

Basic Quilting Supplies

About our PatternsWe recommend that you read all of the instructions before starting a project and that you cut and sew one block be-fore 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.

Our patterns list finished block sizes, which are typically ½˝ smaller than unfinished block sizes because they do not include seam allowances.

Getting Started

Quilt Basics

Machine PiecingIt is important to cut accurately and to sew exact ¼˝ seams.

TemplatesTrace the patterns on template plastic and cut out accurately.

PlanningMeasure, mark and cut the binding and border strips before cutting patches from the same fabric. Cut larger patches before smaller ones. For best use of the fabric, arrange patches with cutting lines close or touching.

One or more straight sides of the patch should follow the lengthwise (parallel to the selvages) or crosswise (perpendicular to the selvages) grain of fabric, especially the sides that will be on the outside edges of the quilt block.

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12345

Techniques

T H E B E S T O F A M E R I C A N Q U I L T I N G


Foundation PiecingMake paper copies of each foundation. Sew patches in numeri-cal order. Center fabric under #1 extending beyond the seam allowances, wrong side of the fabric to the unprinted side of the paper, and pin in place from the paper side.

Turn fabric side up. Using a patch of fabric sufficient to cover #2 and its seam allowances, position the #2 patch right sides together on patch #1 as shown, so that the fabric’s edge extends at least ¼˝ into the #2 area. Pin in place. Set a very short stitch length on your sewing machine (18–20 stitches per inch or 1.5 mm). Turn the assembly paper side up. Stitch through the paper and the fabric layers along the printed seam line, beginning and ending ¼˝ beyond the ends of the line.

Turn assembly to the fabric side. Trim the seam allowances to approximately ¼˝. Press the fabric open to cover #2 and seam allowances. Repeat this process to complete the blocks or sections.

Use a rotary cutter and ruler to trim ¼˝ outside the seam line of the foundation, creating a seam allowance. Once all the seams around a foundation sec-tion have been sewn, remove the paper foundations.

Curved PiecingCut patches using a small-bladed rotary cutter to maneuver curves. With right sides together, pin the convex patch to the inside, or concave, curve of thesecond patch at the middle, the ends and a few places in between. Sew with the concave patch on the top, stopping frequently with the needle down to adjust the fabric to lay flat under the needle and presser foot. After stitching, press the seam allowance toward the convex piece.

BordersSquared borders are added first to the sides of the quilt center, then to the top and bottom. Lay the quilt top flat on a large table or the floor. Lay both border #1 side strips down the vertical center of the quilt top and smooth carefully into place. Slip a small cutting mat under the quilt top (you’ll need to do this at the top and the bottom) and use a rotary cutter and ruler to trim the border strips to the same length as the quilt top. Matching centers and ends, sew the border side strips to the quilt. Gently press the seam allowances away from the quilt center. Repeat this process along the horizontal center of the quilt, including the newly added borders. Repeat for any remaining borders.

Turned-Edge AppliquéIt is helpful to have as many bias edges as possible on the perimeter of your appliqué patches. Trace and cut on the seam line of the pattern to make a template. Place the template face up on the right side of the fabric (face down on the right side for a reverse patch) and lightly draw around it. Cut out each patch about E˝ outside the marked line.

On inward curves, clip the E˝ allowance almost to the marked seam line. Turn under the allowance and finger press.

Pin or baste appliqué patches on the background fabric. To appli-qué by hand, use a blind stitch and a thread color to match the patch. To appliqué by machine, use a small zigzag or blind hem stitch and a matching or invisible thread.

If the background fabric shows through the appliquéd patch, or if there are lots of layers, carefully cut away the background fabric to within E˝ of the appliqué patch or use 2 layers of appliqué fabric.

Fast Flying GeeseAlign 2 small squares on opposite corners of the large square, right sides together. Draw a diagonal line as shown and then stitch ¼˝ out from both sides of the line. Cut apart on the marked line.

With the small squares on top, open out the small squares and press the unit. On the remaining corner of each of these units, align a small square. Draw a line from corner to corner and sew ¼˝ out on both sides of the line. Cut on the marked lines, open the small squares and press.

Each set of 1 large square and 4 small squares makes 4 Flying Geese. These units will finish at the correct size for each pattern. No trimming is needed.

Triangle-SquaresWith right sides together and the lighter fabric on top, pair one square of each color that makes the unit. On the lighter patch, draw a diagonal line from corner to corner. Stitch ¼˝ out from both sides of the line. Cut apart on the marked line. With the darker fabric up, open out the top patch and press the unit. A pair of squares will yield 2 units. These units will finish at the correct size for each pattern. No trimming is needed.

Quarter-Square TrianglesWith right sides together and the lighter fabric on top, pair one square of each color that makes the unit. On the lighter patch, draw a diagonal line from corner to corner.

Stitch ¼" out from both sides of the line. Cut apart on the marked line to make 2 triangle-squares. With the darker fabric up, open out the top patch and press the unit.

Cut both triangle-squares in half diagonally as shown. Referring to the diagram, join the ap-propriate halves to make 2 units. Quilt Basics continued on page 78.

Conc

ave

Conv

ex

Stitch-and-FlipAlign a patch (* in this example) on a corner of a unit or second patch right sides together. Mark a diagonal line on the * patch from corner to corner and sew on the marked line. Trim the seam al-lowance to ¼˝ as shown. Flip the * patch open and press.

*


MarkingTrace the quilting motif on tracing paper. Place tracing paper under the quilt top with a light source behind. Lightly mark the design on the quilt top with a hard lead pencil or a marker of your choice. Test any marking product for removability before using it on your quilt.

Straight lines may be ˝marked˝ as you quilt by using masking tape that is pulled away after quilting along its edge.

Backing and BastingMake the quilt backing 4˝–8˝ larger than the quilt top. Remove the selvages to avoid puckers. Usually 2 or 3 lengths must be sewn together; press the seam allowances open. Place the back-ing wrong side up on a flat surface, stretch slightly and tape or pin in place. Smooth the batting over the backing. Center the quilt top right side up on top of the batting. Pin the layers as necessary to secure them while basting.

Basting for Machine QuiltingTops to be machine quilted may be basted with rustproof safety pins. Begin at the center and place pins 3˝ to 4˝ apart, avoiding lines to be quilted.

Basting for Hand QuiltingBeginning in the center of the quilt, baste hori-zontal and vertical lines 4˝ to 6˝ apart.

QuiltingQuilt in the ditch refers to quilting right next to the seam line on the side without seam allowances. Outline quilting refers to quilting ¼˝ from the seam line. Echo quilting refers to quilting one or more lines of stitching in uniform distances away from a patch.

Machine QuiltingBefore machine quilting, bring bobbin thread to the top of the quilt so it doesn’t get caught as you quilt: lower presser foot, hold the top thread and take one stitch down and up, lift the presser foot to release the thread tension and tug on the top thread to draw a loop of the bobbin thread to the top of the quilt. Pull the bobbin thread to the top. Lower needle into the same hole created by the initial stitch, lower the presser foot, and start quilting. A walking foot is used for straight-line or ditch quilting. To free-motion quilt, drop (or cover) the feed dogs and use a darning foot. Start and end quilting lines with ¼˝ of very short stitches to secure.

Hand QuiltingHand quilting is done in a short running stitch with a single strand of thread that goes through all three layers.

Use a short needle (8 or 9 between) with about 18˝ of thread. Make a small knot in the thread, and take a long first stitch (about 1˝) through the top and batting only, coming up where the quilting will begin. Tug on the thread to pull the knotted end between the layers. Take short, even stitches that are the same size on the top and back of the quilt. Push the needle with a thimble on your middle finger; guide the fabric in front of the needle with the thumb of one hand above the quilt and with the middle finger of your other hand under the quilt.

To end a line of quilting, make a small knot in the thread close to the quilt top, push the needle through the top and batting only and bring it to the surface about 1˝ away; tug the thread until the knot pulls through the quilt top, burying the knot in the batting. Clip the thread close to the surface of the quilt.

BindingBaste around the quilt E˝ from the edges. Trim the batting and backing ¼˝ beyond the edge of the quilt top.

To prepare the binding strips, place the ends of 2 binding strips perpendicular to each other, right sidestogether. Stitch diagonally and trim to ¼˝. In this way,join all the strips and press the seam allowances open.

Cut the beginning of the binding strip at a 45˚ angle. Fold the binding strip in half along the length, wrong sides together, and press. Starting in the middle of a side and leaving a 6˝ tail of bind-ing loose, align the raw edges of the binding with the edge of the quilt top. Begin sew-ing the binding to the quilt using a ¼˝ seam allowance. Stop ¼˝ from the first corner; backstitch. Remove the needle from the quilt and cut the threads.

Fold the binding up, then back down even with edge of the quilt. Begin stitch-ing ¼˝ from the binding fold, backstitch to secure and continue sewing. Repeat at all corners. When nearing the starting point, leave at least 12˝ of the quilt edge unbound and a 10˝ to 12˝ binding tail. Smooth the beginning tail over the ending tail. Fol-lowing the cut edge of the beginning tail, draw a line on the ending tail at a 45º angle. To add a seam allowance, draw a cutting line ½˝ out from the first line; make sure it guides you to cut the binding tail ½˝ longer than the first line. Cut on this second line.

To join the ends, place them right sides together. Offset the points so the strips match ¼˝ in from the edge and sew. Press the seam allowances open. Press the section of binding in half and then finish sewing it to the quilt. Trim away excess backing and batting in the corners only to eliminate bulk.

Fold the binding to the back of the quilt, enclosing the extra batting and backing. Blind stitch the binding fold tothe backing, just covering the previous line of stitching.

Bias BindingBias binding strips are cut at a 45° angle to the grain of the fabric. They are stretchy and therefore ideal for binding curved edges.

Make your first cut by aligning a 45° guideline on your acrylic ruler with the cut edge or selvage of your fabric. Use this new bias edge to cut 2½" strips for binding. Refer to “Binding” to finish the binding.

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• free pattern• staff faves• blog funI Love This Quilt!

Anissa ArnoldManaging Editor

Abigail Dolinger is one of my favorite designers. We often have the pleasure of publishing her quilt patterns in our magazines. Solaris, originally published in the July/August 2020 issue of McCall’s Quilting, really struck my fancy. Sawtooth Star blocks are one of my favorite blocks and I love rich, saturated colors. The quilt is made with one large Sawtooth Star block sewn in two different color combinations. Fun, colorful, and easy -- right up my alley.

Abigail used Warp + Weft by Modern Quilt Studio for Benartex, creating a bright, energizing quilt. I am going to use the same pattern but make a more subdued, wintery version of Solaris. Woolies Flannels, designed by Bonnie Sullivan for Maywood Studio, is a wonderful collection of luxurious fl annels that features a wide array of colors and prints. The collection includes solid tonals, plaids, stripes, dots, and herringbone prints to add diversity to your quilt. With so many fabrics in the Woolies Flannels collection to choose from, it’s going to be tough to decide which to use. No matter which ones I go with, I am certain that between Abigail’s design and Woolies Flannels, I am going to end up with a fabulous quilt to snuggle under.

Visit quiltingdaily.com/mccalls-quilting-january-february-2021 to download the free pattern.

Listen. Learn. Laugh. Repeat.

Hear the stories behind the quilts in SEASON 5 of your favorite podcast!

FIND US ON Apple Podcasts, Spotify, Stitcher or wherever you get your podcasts.

See a list of all our podcasts at: QuiltingDaily.com/category/quilt-podcast/

Reminders by Teri Lucas, Originally published in Quiltmaker May/June 2020

Hosts: Ginger, Tracy and Lori

1 © 2021 McCall’s Quilting January/February 2021 QuiltingDaily.com

Print at 100% (no scaling). This box measures 2 inches wide by 1 inch high. Use this as an accuracy guide when printing the templates.

HEART STOPPER

HeartstopperTemplate A

HeartstopperTemplate B

RIVERBANK FLOWERS

Riverbank FlowersTemplate C (Cr)



DUSK

DuskTemplate I

DuskTemplate H

DuskTemplate G

HEART THROB

Heart ThrobTemplate C


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WARM APPLE POCKETS

Warm Apple PocketsTemplate A


BLOOMIN’ HEARTS

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Folk HeartPartial Template E

Folk HeartTemplate D

Folk HeartTemplate C

Folk HeartTemplate B

FOLK HEART

Folk HeartPartial Template E

Documents

2021-01-01 McCall s Quilting