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8/6/2019 QA Freemium-HowToQuilt v3
http://slidepdf.com/reader/full/qa-freemium-howtoquilt-v3 1/21
how to quilt: 4 ree projects to learn how to make a quilt 1Q u i l t i n g A r t s . c o m
©ia
how to Quilt 4 free projects to leArn
4
How to Quilt:
4f p
la h ma a Q
1 Transformation: From CraftySilk Flower to Sheer Sensationpeggy holt
2 Creative Self-portraitsyvonne porcellA
3 Take 2: Two Quilt Artists Share TheirUnique Approaches to a Fishy SubjectjAne DávilA AnD elin wAterston
4 Stitched Layers: journal quilts fromcanvas, gesso, fabric, and paintpAtriciA gAignAt
1
2
3
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how to quilt: 4 ree projects to learn how to make a quilt 2Q u i l t i n g A r t s . c o m
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how to Quilt 4 free projects to leArn
Quilt making doesn’t have to be complex,
with hours o cutting, piecing, and sewing
tiny seams. In this ree ebook, How to Quilt:
4 Free Projects
to Learn How
to Make a
Quilt, you’lllearn how to
make a quilt
rom abric
scraps, crat-
store fowers,
even canvas
and paint! At
the same time,
you’ll receive
basic quilting lessons or making a quilt
binding, plus machine quilting, and abric
using. You’ll even learn how to make a quilt
in two dierent ways using the same themeand dimensions.
In “Transormation: From Craty Silk Flower
to Sheer Sensation,” Peggy Holt shows how
to make a quilt using sheer abrics and
How to Quilt:
4 free projects to leArn
how to mAke A QuiltEditorial dirEctor Pkey B
Editor ce c
P
cv vc
division art dirEctor l d
PHotograPHErs ly seKy s
Poj d fomo fo p-
o d po oy. Quilting rts
Magazine o pob fo y -by fom o, omo, o
mk od h Book, d
d hod pod oy, p-
y wh p o h fomo.
w pmo o pho-
oopy y p pbhd h
fo po oy.
fowers, rom choosing the materials to
designing, quilting, and binding.
Yvonne Porcella gives a lesson in how to
make a quilt that refects you and your
personality in “Creative Sel-Portraits.” You’ll
learn about used appliqué, making a quilt
sandwich, and how to bind a quilt.
Friends and requent collaborators Jane
Dávila and Elin Waterston show how,
armed with the same parameters or how to
make a quilt, two people can come up with
completely dierent designs.
And Patricia Gaignat reveals how to make
a mixed-media journal quilt using canvas,
paint, machine stitching, hand stitching,
and embellishments.
In How to Quilt: 4 Free Projects to Learn
How to Make a Quilt, you’ll learn how tomake a quilt that is a unique work o art, as
individual as you are.
Warmly,
Pokey Bolton
Editorial Director
in your life
put more
800.406.5283 ( U.S. & Canada)
760.291.1519 (International)qa.Quilting Arts M AgAzine
®, P.O. Box 469087, Escondido, CA 92046-9350
Quilting ArtsMAgAzine® x ideas , textiles, and techniques
related to embellished and contemporary art quilting . id,
y’ d dg ,
step-by-step d, gg
gy, d motivation dvg y y,
v.
o w e r !
f r om
sketch t o
embellish wi t h
ob jects
Stencil , stamp , & stitch a quilted g ar denMak e flor al quilt collag es f r om dig italimag ery
Cr eate a w ildflow er ar t quilt
Doodle y our w ay to an ar t quilt
P. 44
P. 20
P. 68
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how to quilt: 4 ree projects to learn how to make a quilt 3Q u i l t i n g A r t s . c o m
©ia
how to Quilt 4 free projects to leArn
Y v dy gg gg . a i dd
g bd d b , i d dy g, vgd ;
b bd . a i dd b, d d d, bggg b
. s, , i bgd y i d d . i , , d
i y ’ ddg b. B y d ?
The background or“Serendipity” is a small piece I made usingRicky Tims’ harmonicconvergence technique. Iwas urther inspired by a abric line called Estrellaby Valorie Wells or FreeSpirit Fabrics®. Thecolors o the convergence piece and the abriccomplemented each other perectly, and I had a perect piece o rainbow-
colored chion that pulledit all together.
aa from craftY silK flowEr
to sHEEr sEnsationBy Peggy Holt
AdApted froM
Quilting Arts M AgAzine
f All 2006
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how to quilt: 4 ree projects to learn how to make a quilt 4Q u i l t i n g A r t s . c o m
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how to Quilt 4 free projects to leArn
p y
d d i d
yd g b. i d
d g b
d d
g y by d b
. s i g
, d b d
.
my d dvd
f b
bgd d v
. t g,
b f. w dg g
, bg
f g y y d i
i d d
b bgd b d
. w vyg ,
d f
b, d - g
f dg, i d d
g x d
y f .
t y
, d bgd—yg v d
b y y d’ . t
bgd dy
d b y
b y. a,
d d b. lg-
. Y y
bgd d d
v , y y dd
g d d bgd. e
. rb
bgd by v
v.
DirectionsNote: These directions are or quilting
on the longarm machine, but with some
modifcations, the process should be
just as un and eective on the domestic
machine.
1. ug bv gd,
bgd d d z
y . t bg d
bg d b 3 4
g d.
2. ld d
. p bgd
d d
bg y, b . i y g
d , y-b
y.
3. a
bg . t d b
a word about the materials…i dd d
b b
bgd d .
Bd f, i dd
ag® b, b y dd’
vy . (i’
y, g. myb d
b.) t v
f d v
d d
g , i dd’
v, b
v v i
d d
vy b. Y d
b dy d dd
x bgd.
m a t e r i a l s
•Background abric – cut to size or pieced background o your choice(“Serendipity” is approximately 28"square.)
•Backing abric and batting – eachapproximately 3–4" larger on allsides than your background abric
•A piece o chion, several incheswider than the background abric
•Selection o silk owers tocoordinate with the background
•Fibers, yarns, or other simple
embellishments•Temporary abric-adhesive spray
•Thread
•Fusible web
onal
•Beads, rhinestones, crystals
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d. p
y bgd.
t y y
bgd,
b . t
d b v d y bgd; y d
g x
y g. (i d
d.)
4. s y
f d vy z
d ; v y d
. i v d g,
bg b
d . t
. Y
b . Y d b
, d d bb,
, d v . t
d v,
g .
5. d b d g
b y. i y
g g , y
d y b
b g dg,b y g d
y bby v
y-b
. o y v g
g, y v
f. rg
dd
y y. t y
b b d
v d b
g. D’ b b . i
y
Above let: A square o batik background abric(cut to the nished quilt size) is laid on top o batting and backing abric (underneath), bothcut about 3 inches larger all around.
Let: A layer o chion is stitched to one end o the abric sandwich to hold it in place.
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y x , y y
d y-b .
i y g g yd, b dvd
y . t
dy. D’ g dd
b .
6. m- g
f d
b. a f;
dd d, v,
bgd . t gd
y x
y d. a y ,
d d.
tip: I manipulate the chion with my
let hand and “drive” with my right. The
hopping oot tends to push the pleat out
o the way; I ound that it worked well
to leave pockets o space unquilted with
excess chion in those areas. Then I
would come back in and quilt over that
excess abric, thus creating the pleating.I tried pinning some o the pleats in
place with a modicum o success. The
chion tends to take on a lie o its
own, pleating where it will, and this
adds to the serendipitous nature o this
technique. With a little planning, you
can quilt this in one continuous stitch
line without stopping, backtracking as
necessary.
BinDing & finishing1. ug gg b b,
1" g
d y .
The silk fowers (stems and leaves removed) are placed under the chion and later stitched.
note i y g d
, i d gg
y -b, d g
g. Y d v
y y
. i
v d d
, y v
x
b y.
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2. g ’
, b
.
3. c 1" d d 1"
g g d y .
4. .
o g
, y dd
b. Bd, ,
d y dd zzzz d ,
b b, y
y. l .
Peggy Holt is a mixed-media art quilter.
The quilt is urther embellished with stitching
over and around the fowers, enhancing theirshape and creating “leaves” and “tendrils” withthe thread.
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o dy by dy, i bg
y -. i d
24-- b
12 d
i d dd bd.
a i d, y - bg
dv d y, d
By yvonne PorcellA
sv y g i dd ’ d g g
ld sy, d , d vv 12--
-. ty g y dy. i d
d x- , d-éd --
e xb, d i d y x b ,
, d . qg by y g-, -
, d i g y . s -
d .
a sElf- Portraits
“ D o g D r e a m i n g ” • 1 2 " × 1
2 "
AdApted froM
Quilting Arts M AgAzine
suMMer 2005
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i d d d
dg i d pb.
a i d , b, d
d ,
dg fd vy y, d
y. i vyxg z i d dg
dy. t 24- z
d dd dy dd
bd d g, d
dg. s g
i v dd z
12-- bd.
mg dy
vy dg, , v
x. e bg
x
bd dy, b i y
, b
. sz vy
7" × 9" g.
i- b bbg bdd
b .
o b bdd, b
y dg
. g
-g g. i dd y
x. i
d b
vy b b i bg.
t g g ,
v, d x .
i d’ v d
b i g g. i bg by g
dd z b d b
b. i g dy d
i g g
g b, b g
d, i dy . i v
y v d
b 3
g d
bgd, d d
.
preparing
the faBrics1. b b. u
y , , d
b b b d b.
2. c b 61 ⁄ 2" × 18"; d.
3. c b b 6" × 17" (wd
ud® dd d b
17").
4. h b b (g
d ) g
d b. a g
b d b .
5. c bgd b 13" × 13"
dd z; b x
b gy
d d
d z.
6. c bgd
z.
face pattern1. u g .
i y dd-
,
b .
t
g .
c
. o b bd d y
.
2. t d
. rb v
b d
b b. s z
bgd. ug b ,
v d
b d
m a t e r i a l s
•5 yards paper-backed usible websuch as Wonder Under ®
•
Pencil, sketch paper •Pins
•Fabric scissors, paper scissors
•Iron and ironing board
•Rotary cutter, 16" × 24" mat and6" × 24" ruler
•Piece o abric to protect ironing board rom usible glue
•Permanent abric marking pens,multi-colors (I use Sharpie® FinePoint.)
•Artist tracing paper 11" × 14"•Fabrics: selection o bright, colorul
abrics such as cotton prints anddots; silk abrics or added texturesuch as dupioni and taeta
•Background abric, single color or small print
•Muslin to match size o background
•Thin batting
•Backing abric
•Sewing machine with satin stitch
unction•Sharp sewing machine needles
•Threads to match abric colors
•Package o Sticky Back® Velcro®
•2"-wide wooden slat, length o fnished quilt
•2 small eyelet screws
onal
•Fabric spray mount (505, 3M, etc.)
•Selection o beads or buttons
•Beads, rhinestones, crystals
A close-up o the eye area o “Dog Dreaming.”
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dvd d
. (s “Dg
Dg.”)
3. t vd
d, ,
b g dg.
4. t g
. t d d d b
b .
Note: The abric choice and shape o the
nose may have to be re-cut ater other
eatures are auditioned and beore the
fnal using.
5. eyb, yd, d yb
b d d .
6. t vd dg
d d
dg g.
7. m b 1 ⁄ 2" b
d .
8. c b , , g . . . v y
d.
9. t d
g - d
b , , f, v,
, , dg, v
gd by .
fusing the shapes to the BackgrounD1. ly bgd -
v . c
z bgd.
u d d b vg
bgd
.
2. w d y dg,
v d bg
bgd.
Y y v
“Rosie” • 71 ⁄ 2" × 91 ⁄ 2"
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, y, .,
y x vd yg
g v vy d b.
s 10
d.
3. ex b d
, b
b d ddg
b.
stitching1. p g
bd bgd. t
bz g.
o y y
vb bz.
2. cg y g
d
.
3. s d
g
d d . u
g bbb d b.
4. t d
-y . ty
vy d
by g
yb d d
g
.
5. a g d
, v bz
b. s bz
d .
making the Quilt
1. ly d v bg d bg.
2. cg g
d g g .
3. s d y
bgd.
“Petals” • 71 ⁄ 2" × 91 ⁄ 2"
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4. p y g
y dv. (rv
, y bg,
, , v, v
bg, y bg,
bg, .)5. o g
g; 1 ⁄ 2" y
g
bgd d. Vy
g
. a
d d .
s ,
d v
. g
, g d
b d d g
b y
g.
6. add bd bgd
dd x, dd. (s“Dg Dg.”)
BinDing the eDges1. u y , , d
g 4 dg
d d d
z g.
2. dg bdg. c 2 b 11 ⁄ 2"
d by g d
.
3. p ,
g d g. sg ,
by , 1 ⁄ 4" dg.
s g d d.
4. p v dg,
g v b
. d d dg 1 ⁄ 4" d . d d
v g
bdg, g b
d ; . s
dd dg by d .
t dg d
b f d
b dg .
5. c 2 11 ⁄ 2" d b
2 g db d .
6. r 3 b 1"
bdg d d.
s d 4. d
d bdg v
dg d bdg.
s d by d bg dd dg
d b.
hanging the Quilt1. c sy B® V® gy
dg
.
2. rv bg
d d 1" b
bdg . a
24 .
3. c 2"-d d
g 1" d
dg . sd
dg . s 2
y f
dg d b
3⁄4" dg. ax
d V® d .
4. p d V®
b
V® d . t
g, 2 g
d
y d .
Learn more about Yvonne and her art at
yvonneporcella.blogspot.com.
tips • I you have a abric already used
but the print or color isn’t quiteright, use multi-colored permanentpens or abric marking pens tochange the color.
• I the color o the satin stitching istoo light, use the same marking pensto darken the stitches.
• To remove unwanted usible glue,place a piece o tracing paper over the spot and re-iron. This willtranser the glue to the paper.
• I a shape moved in the using process and needs to be removed,try ironing it again and pulling theshape o while it’s still hot. Re-useanother shape, but cut it slightlylarger to cover any letover bits romthe piece you just removed.
• Think outside the box on proflequilts. These should be unny; unkyshapes work very well.
• Use realistic abric prints such asoods to make a “what’s on mymind” humorous quilt.
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a
2two Quilt artists sHarE
tHEir uniQuE aPProacHEs
to a fisHY suBjEct
a , j d i y b —
dd . i dv,
d b,
z , d gd, y
. e y d b .
t , dg x, d d
b dvdy ’ v.
By JAne DávilA AnD elin WAterston
AdApted froM
Quilting Arts M AgAzine
februAry /M Arch 2007
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Jane’s fishi y
b . ag
y d
dv ,i b
g . i
y b
d d dd
y. t gv
g d
’
d.
a i
y xg
g
b. o
gy (:
bbg), d
j g d
gy d
g . i
bb , d
b d i
.
Directions
1. ug by,
y
y, y ,
z .
t
b bdd g
by g by
gy d d.
tip: Be careul not to blend multiple
colors too much, you may end up with
“mud”!
2. r d by v
, y vg .
ug ,
y ( g d by
m a t e r i a l s•Rubber replica fsh
•Acrylic paint
•Foam brayer and inking surace
•Fine paintbrush
•Pre-washed abric or printing
•Fabric or background, collage, andbacking
•Paper—origami, mulberry, rice(printed or plain)
•Embroidery oss or linen thread•Thin sturdy batting like Warm &
Natural®
•Sewing machine
•Sewing threads
•Pins
•Scissors
w d d
b, b b
d v. w
v g- : j’
d, , d -;
dy d, bd, dg-. e
g dg , b
dv y. j
, y g
v, g d g
. my g v
yg , bbg d
fg d d v v
d g y .
g, d
, g
b. w ddd
z , 8" × 10" d
, b d
gd. w d ddy,
g ’
b d. h
d .
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d ). mv d
. ly
-d b v
d, g y g, b
b ’ ,
y d vy. o, …b .
sy b d
d dy. Y d
- b g
g. w b/ dy,
b d y
y. s
. w
’ dy dd b
. add
“g” d d d ’ g.
tip: You may wish to add more detail
to the dry print with colored pencils or
paint. Consider metallic paint or mica
powders like Pearl-Ex® or the sheen
that real scales have.
3. a d d dy,
b
d .
ug y gd,
g d yg .
4. c bgd b 1⁄2"
g b d y
d d z. u
g d ; y d’ v
,
d v g. t
.
5. o y’ y y
, dg
d v vyg
b bgd. ly
bgd, bg, d bg
d , ,v vg . i
bd
gd y
d i dg dg
i d’ v d
d y d
(g i’ vy gd ).
6. o bgd d,
dd x (
bgd) d
. c ddg
. i y g
y i gd
b i d’
d dd
i’d v i éd d d. i g
d d- g
d g
y.
7. a
y g,
dd d g g
d. t
xggd, g, b, d
xy . t y
g,
y d d
, g
z (
, ).
8. t z d
dg by g d
. add g-y
bdg d b d
d g d.
elin’s fishs i v d d , i
ddd b
b g
. i d sv p,
xd x ddd , y
.
Directions
1. d d y . i
d , b
d (i d
!), d v
i d i d.
2. t y g- b
d y dg
g g bx by g
dg d b d. i
d b b y g b gy v
g d , gv
, x. i
d
b d g
bgd b.
3. sbz y b by g
z g d.
t v b
dg g
p.
4. ay p dy,
dg d d y
. (a v
p
v g dyg
. t p, y
y y
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g gy b
.) i d y
v g, g
y dg, g
d bdg
b dd. s z d p
d
d d d
, i y
d dd.
p, ,
dyg ; i
dy dy vd
dgg g.
5. w d,
b g v
bgd. i y b
g by g bg b
d bg 1" 2" g
d b. t
bg f,
bg bg,
d yg b,
gg , gg,
yg, d dg. i
y d,
y b .
i d d
by , v . i
y v d
g d,
b d y
(
) i
y dg vy . i
v d -z . i , y
b bbd
g d
zz! t y
b b
d ; y v
g , b i y
g.
6. a dy, ,
d wdud
b .
7. c d dg, vg
b 1⁄4" bgd
b g, d
y b g
bgd.
8. t d
,
m a t e r i a l s
•Shiva® Paintstiks® (iridescentcharcoal, iridescent pearl white,iridescent copper, and black)
•Pre-washed abric or painting surace (such as a batik)
•Freezer paper
•Iron
•Scrap o WonderUnder ® (big enough to ft under the fsh)
•Baking parchment or similar toprotect iron
•Scraps o abric or collage
•Backing abric (about 10" × 12")
•Warm & Natural®
batting (about 10" × 12")
•Sewing machine
•Scissors, pins, rotary cutter,and threads
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how to quilt: 4 ree projects to learn how to make a quilt 17Q u i l t i n g A r t s . c o m
©ia
how to Quilt 4 free projects to leArn
- d
d dg b d.
t dg
g, v ,
ggg v
y g yg.i v
g; i g b
fd d zd. i
g y, i
.
9. w g ,
z (
) d dy
3 d
dg.
10. p d dg y
. t b
yg d dd
xd bg.
o d
dvd d db
y. w
g g z d
v d x
, d
, , d .
w b d
g g, b j’
g d b
d , g
d y , y
bd bg,
d ,
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how to quilt: 4 ree projects to learn how to make a quilt 18Q u i l t i n g A r t s . c o m
©ia
how to Quilt 4 free projects to leArn
zdy
y y .
w d dd x ,
b d g
b a
. j d d-
vd g k
g’ d
g, d d
by d
c
g. i d b d
c
, , d g
.
ty x y: gb
d d g b,
y d
.
Learn more about Jayne and her art
at janedavila.com, and about Elin at
elinwaterston.com.
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how to quilt: 4 ree projects to learn how to make a quilt 19Q u i l t i n g A r t s . c o m
©ia
how to Quilt 4 free projects to leArn
i d v
bgd. t g
y d y.
i d g b d
d d y ggg
g g v g
ggd d. w
y d g,
g i’d d dd
bg g g.
t g x d b
d dy
g.
Directionsi d v bgd
i d . i d
y
. t vd b
, i dd g
.
d a
journal Quilts
from canvas, gEsso,faBric, and Paint
i
bg d d. i xg
v, g, d . i g bggd d i gy
g d bdd , b
, dg xd. sdy d .
“May 27 #2” • 11½" × 12½"
By PAtriciA gAignAt
AdApted froM
Quilting Arts M AgAzine
october /noveMber 2009
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how to quilt: 4 ree projects to learn how to make a quilt 20Q u i l t i n g A r t s . c o m
©ia
how to Quilt 4 free projects to leArn
1. t d v
. i d 12" ×
12" . tg v
g dg.
tip: Clip the edge with scissors to make
the ripping process easier. Gather up anythreads that come loose and save them
or another project.
2. t 3 4 ;
y
z. r-b
g g ,
g by d. i d
b d d g zgzg, gy vg
dg. i d’
ggdy d . D
y v
.
3. cv v
g, vg
g. p dy.
c
d vy .
D g
d , gv
, g
.
4. w g y
dy, v y
, g b. u
g
d . u v
, b d’ gz v
.
5. ug g ,
d d y
-g . l
d. t
y v. l dy.
6. add y g .
Y z
, dbd,
-bg . u
g y , g, . ag,
d
g .
7. D g vy
. B d d
b d . i
d gd d b
g .
Note: One o the positive aspects o
using raggedy, sewn-together canvas is
that it doesn’t become too precious. It’s
okay to toss it around and pile things ontop. I it gets marked up, that just adds
more texture and interest.
8. ( g) b
d bb
v. t b i
vy d d d
bg,
g, bgd i’d d. i
g ,
b i d d d b y d v
bgd.
a , i
d .
t gy . i b
, i d
z- b
bgd d d
g b. t
d.
9. add y d g
b, y . t
b g.
B i ’
b d d y
, d b i v
b d v g, i
d dg gd
g d v
b bgd.
10. D g
d bgd. i d
yzd g b
d d
g, g
v g.
m a t e r i a l s
•Uncoated artist canvas
•Gesso
•Acrylic paints
•Foam (or other) paintbrushes
•Oil sticks/pastels
•Permanent markers
•Pencil
•Stamps and stamp pads
•Freezer paper or cardboard or making stencils (or use purchasedstencils)
•Crat knie
•Fabric remnants, including pieces
or the backings•Ribbon
•Fusible web
•Sobo® glue
•Matte medium
•Mark-making tools (skewers, a ork,credit cards, or other)
•Scissors and/or rotary cutter andcutting mat
•Needle and thread
•Embroidery oss
•Buttons, beads, and other embellishments
•Pellon® Peltex® ultra-frm stabilizer
•Iron
onal
•Sewing machine
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how to Quilt 4 free projects to leArn
t i
d y bd.
evy i ddd
d bgd d
g . hv,
y. j g
, i dy d yg
-
bgd d
g. j i d
g g.
11. d bgd v
d, g ,
. D
g d
bgd b
, g y
d g . i dd
bgd
d
(g
i dd’ ).
12. ly -
bgd d
g. D
y; d ddg, d v
.
13. D g
g-d bgd. ug
b d d
b g , i
y g-d
bgd d
.
tip: To hasten the drying time o the pigment ink, iron it, making sure to have
a cloth between the ink and iron.
14. eb . i
bd y.
o bdy f,
bd, b, , bd,
d . e d
.
15. b .
i d b
b g, y
b i dd’ d
v
d g.
ayg g b
dd xd b:
b d
g fd . s
d .
16. t , px
z v; bg b
, g b g
d px. cv
b px b,
g b .
G v
dg
b-d px. t
g ,
gg . i y
px dd gdy
d .
17. s vyg by
. B
bg d , y
d g
d y , b
dd y x.
i y d
yb
v. i d dy
g. B , vyg xb—y g b
d g d y
v, g v
g. Y v g
gy g.
Learn more about Pat at
reclinerart.posterous.com