THE NGA’S CENTENARY OF QUILTS - HISTORICAL EXHIBITION

Sew
A LIBERTY
FABRICS
HOUSES
QUILT

Make
A TOTE
BAG WITH
AN IMPROV
PIECED
FRONT

See
WINNING
QUILTS
FROM
QUILTCON
2024
Create a stunning
No. 127
AU $12.95* NZ $15.30*
(Both incl. GST)

quilt
Raw-edge machine appliqué with Terase Munnerley
Fussy-cut Hexies with Chris Jurd
Paper foundation piecing with award-winning quilter Wendy Whellum
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 48 64 84

May – June 2024

Projects
18 The Big Hexie
Chris Jurd

26 Shimmer
Pat Forster

40 Floral Fun
Terase Munnerley

48 Aviary Plus
Chris Austin

56 Liberty Houses
Sedef Imer

64 Fandango
Wendy Whellum

84 Tote Bag
Arounna Khounnoraj

40 104 Arcadia BOM Part 6

Keryn Emmerson

4
 26
Features
14 2024 BOM Sneak Peek
34 Domestic Machine Quilting –
Anita Ellis – Creating a small art piece
Painting the Lily – Part 2

78 Centenary of Quilts
92 Quilt Gallery
QuiltCon

18

Regulars
6 Editor’s Journal
8 Quilty Treasures
100 Off the Shelf
115 Kits
120 In the Market
130 On the Road
135 Diary Dates
136 Basics
137 Stockists
138 Next Issue

Subscribe
Check out our fantastic subscription offers on page 128.
Don’t forget that you can also find us digitally on Zinio and Apple Newsstand

5
Editor’s Journal

QC No. 127 Vol.21 No.2

MAY – JUNE 2024

Editor Deborah Segaert

Technical Editor Megan Fisher
Contributors Anita Ellis, Megan Fisher,
Pattern Artist Susan Cadzow
Designer Kate Atkinson
Photographer Ken Brass
Stylist Sandra Hinton
Advertising
Rob Jordan (02) 9887 0359, 0411 424 196
Fax (02) 9805 0714
Email [email protected]
Advertising Production Deeva Kalia
Associate Publisher Emma Perera

Welcome to the May/June issue of Our projects are from a variety of

Quilters Companion! We have some quilters sharing a variety of techniques:
awesome content in this issue that we Chris Jurd shares a quilt with large
are sure you will find inspirational and fussy-cut hexies in her trademark bright
interesting, as well as some exciting prints, Terase Munnerley shows how Chairman/CEO
Prema Perera
images of amazing quilts. to use raw-edge machine appliqué to Publisher
First of all – we share a sneak peek add fun florals to a black and white Janice Williams
at the 2024 Block of the Month! It is background and award-winning quilter, Chief Financial Officer
designed by Kathy Doughty of Material Wendy Whellum shares a machined Vicky Mahadeva
Associate Publisher
Obsession, using her latest release paper foundation traditional quilt.
Emma Perera
fabric range, Trade Winds by Figo You can also make a handy Circulation Business Development Manager
Fabrics. Of course, we can’t show you and attractive tote bag with a Mark McTaggart
the entire quilt – but I’m sure you will contemporary pieced detail on the
get a sense of what’s to come. If you front. The Homespun favourite is a
know Kathy’s work, you will know to delightful house quilt made with Liberty Quilters Companion No. 127 is published by Universal Magazines.
Unit 5, 6-8 Byfield Street, North Ryde NSW 2113.
expect quirky appliqués and low- Tana Lawn fabrics and Chris Austin Phone: (02) 9805 0399, Fax: (02) 9805 0714.
Melbourne office, Unit 4, Level 1, 150 Albert Road, South Melbourne
contrast prints. shares a quick and easy pieced quilt. Vic 3205. Phone: (03) 9694 6444, Fax: (03) 9699 7890.
We share some of the winning Award-winning quilter, Pat Forster Printed by: KHL Printing Co Pte Ltd, in Singapore.
quilts from the QuiltCon 2024 quilt shares another of her Drunkard’s Path Distributed by: Gordon and Gotch: 1300 650 666
NZ Distributors: Needlecraft: 0800 909 600
show in the USA. These quilts are quilts, Shimmer – a delicate balance Website: www.needlecraft.co.nz
Gordon and Gotch New Zealand:
minimal and impactful. of blues and yellows to create a light, (09) 979 3018
UK Distributors: Manor House Magazines:
The National Gallery of Australia shimmering effect. Last, but not least, +44 (0) 167 251 4288,
[email protected]
is currently presenting a rare this issue brings you the final part of USA Distributors: Brewer Quilting & Sewing Supplies
opportunity to see quilts of historical thr 2023 BOM – Arcadia. We hope you Phone: 630 820 5695 / 800 676 6543
Email: [email protected]
significance and we share details and have enjoyed your sewing journey with
some of these amazing works to whet this amazing quilt designed by Keryn Subscriptions phone 1300 303 414

your appetite. Emmerson. This book is copyright. Apart from any fair dealing for the purpose of
private study, research, criticism or review as permitted under the
Anita Ellis shares the second part Stay safe and keep your needle Copyright Act, no part may be reproduced by any process without
written permission. Enquiries should be addressed to the publishers.
The publishers believe all the information supplied in this book to be
of her three-part art quilts feature threaded … correct at the time of printing. They are not, however, in a position
to make a guarantee to this effect and accept no liability in the event
– showing you how to add colour to of any information proving inaccurate. Prices, addresses and phone
numbers were, after investigation, and to the best of our knowledge
the pattern. and belief, up to date at the time of printing, but the shifting sands
of time may change them in some cases. It is not possible for the
publishers to ensure that advertisements which appear in this
publication comply with the Competition and Consumer Act 2010 (Cth)
and the Australian Consumer Law. The responsibility must therefore
be on the person, company or advertising agency submitting the
advertisements for publication. While every endeavour has been
How to keep in touch made to ensure complete accuracy, the publishers cannot be held
responsible for any errors or omissions.

Mail: The Editor, Quilters Companion, Universal Media Co. *Recommended retail price
Locked Bag 154, North Ryde NSW 1670 ISSN 1445-5749
Copyright © Universal Magazines MMXXII
Email: [email protected] ACN 003 026 944
www.umco.com.au
Facebook: https://www.facebook.com/QuiltersCompanion Please pass on or recycle this magazine.
Instagram: http://instagram.com/quilters_companion We are a member of:

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Don’t forget that you can also find us digitally on Zinio and Apple Newsstand.

6
 u i l ty
BELOW The quilts are typically

Q
displayed in groups of nine.

Trea s u res
BELOW Julie Swift and Lee Ann Ferring created
this quilt for the 45,000 Quilt Project and called
it I Saw What I Could Never Unsee.

By the
thousands
A quilt project in the
USA aims to represent
the immigrant detention
experience and encourage
efforts towards more
humane solutions. The
45,000 Quilt Project
brings together the work
of contributors who were
invited to submit 36in-
square quilts that included
1000 marks of some
kind — to represent 1000
detained immigrants. The
45 panels highlight the
fact that on any given
day there are 45,000
immigrants in detention
across the USA — the
largest such detention
system in the world that
punishes people who have
fled violence in their home
countries and seek a safer
place to live. The project’s
key organiser, Glen Ring,
has co-authored a book
with Melinda MacInnis
entitled Don’t Look Away,
documenting the quilts
and including information
about immigrant
detention.

8
Photographer: Bruce Champion

The light stuff

Tasmanian textile artist Sandra Champion was the only
Australian to have a work selected for inclusion in the Studio
Art Quilt Associates’ exhibition Light the World. Entrants to
this juried exhibition were invited to explore how light creates
and transforms their art. Forty quilts were chosen for the
exhibition, which has travelled to the European Patchwork
Meeting in France, the International Quilt Show in the Czech
Republic, AQS QuiltWeeks in Florida, Kentucky and Missouri
and several other locations in the USA.
Sandra’s quilt continues her adventures with ‘paper
textile’, which she has been exploring for many years. “I use
paper to discover ways in which it can be deconstructed to
create colour, texture and depth in my paper textiles,” she
says. “I often use rusted papers with the expectation that
each piece will change over time as the more fragile pieces
deconstruct and the nature of the piece evolves.” In 2021,
Sandra was awarded the Lynn Goodwin Borgman Award
for Surface Design at Quilt National in the USA and last
year she took out the Golden Textures Contemporary Art
Quilt Award with a quilt made using her unique methods

ABOVE: Sandra Champion’s entry in the Light the World It’s a toss up
exhibition was First Light on the Track. 97cm x 145cm (38in Our continuing search for fabulous ways to use up tiny
x 57in). Materials included vintage newspapers, books scraps of fabric led us to Dutch quiltmaker Rebecca
and magazines, vintage kimono silks, scrim, perle cotton, Hauser, who blogged about the confetti cards she’d
repurposed dressmaker’s pattern tissue and silk, which were made. Don’t they look fabulous? And they’re oh so
rusted, burned, painted, oiled, collaged, patched and stitched. easy to make — just lightly glue scraps to cardstock,
Artist’s statement: “The first rays of light reach through then stitch a simple zigzag line to hold them in place.
the forest branches to the frosted ground. As I walk along Find her blog post at www.stitchedincolor.com/
the track, the varied way the light falls on the vegetation is a blog/2018/1/12/confetti-cards
celebration of colour and the beauty of light in the landscape.”

9
Quilty Treasures

On display
Renowned Australian designer Sue Daley,
of Patchwork with Busyfingers fame, is
now offering a delightful way to store your
favourite fabric scraps: put them on display
by wrapping them around a mini bamboo
bolt. Available from Sue’s website at www.
busyfingerspatchwork.com, the bolts are
available individually or in three-packs and
nine-packs. The bolts are 16.5cm high x 9cm
wide (6½in x 3½in) with a wrapping area
13cm high x 7.5cm wide (5⅛in x 3in).

Fit to be tied
Instead of quilting your next project, why not consider the age-old
technique of tying it? Tying offers a number of benefits: it’s quick,
easy and, if it saves you from having your project professionally
machine quilted, more economical. Tying can also be used to add
texture to your quilt and when a high-loft batting is used, it can
result in a softer, cosier quilt. We found a number of articles on the
internet that provided an array of ideas and techniques for tying a
quilt. Check out https://haileystitches.com/seven-unique-ways-to-
tie-a-quilt and https://quiltingwemple.com/how-to-tie-a-quilt

A clip around
the ears
In our last issue, we featured
amazing patchwork
earring kits you could buy
from Australian designer
Robyn J Cuthbertson.
Now we’ve discovered the
leather earrings made by
Missouri-based Hometown
Leatherworks for Riley Blake
Designs. The earrings are
25mm (1in) square with a
50mm (2in) hang. Look for
them in your local quilt shop.

10
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Know-How Sewing Essentials

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 Join the experts and enjoy these great Quilting Tours

Visit the Royal School of Needlework, William Join Deborah Segaert Including the
Marris Gallery, the York Castle Museum and Editor of Quilters Companion Magazine Birmingham
enjoy afternoon tea at the Pump Room in on a wonderful tour of the Festival of Quilts
Bath. We also visit many Quilting shops.
United Kingdom
21 Jul to 9 Aug 2024

York
Manchester

Birmingham

London
Bath
Start
End Winchester

Travel on A-Rosa Sena river boat for 7 nights, Join Natalie Bird for
visit Bruges Lace Centre, Royal Delft Factory,
sightseeing tours of the UNESCO world Patchwork
heritage cities of Luxemburg and Bruges. Work on the Rhine visit
on unique projects designed by Natalie Bird.
visiting the European Quilt Week
11 to 29 Sep 2024 Patchwork Meeting in Alsace

Amsterdam
Rotterdam
Antwerp
Bruges Cologne
Frankfurt

Luxemburg
Start
End Obernai

Visiting markets, yarn shops and museums, dyeing

workshops at Yamamoto Roketsu Dyeing Studio
and Shibori studio. Tour members will work on an
original project designed by Robyn.

31 Oct to 17 Nov 2024

Start
2 NIGHTS End
Kanazwa

3 NIGHTS
Takayama
3 NIGHTS
Tokyo
Join Robyn Hicks on a

5 NIGHTS
2 NIGHTS
Kawaguchiko Yarn tour of Japan
Kyoto

Travelrite International
E: [email protected] www.travelrite.com.au
Join Michelle Marvig on these great Quilting Tours

Italy and the Greek Islands

Includes 10-night cruise on Celebrity Equinox
5 nights Siena, visiting gorgeous Tuscan villages, cruise aboard Celebrity
Equinox, visit Gaudi’s unusual cathedral – Sagrada Familia. Visit many
fabric shops, work on unique projects designed by Michelle Marvig.

8 to 27 Sep 2024

Start
End
Siena
Barcelona
Rome
Athens
Katakolon Mykonos

Valletta
Santorini
Ephesus

Brno International Cruise on A Rosa from Passau

to Vienna and Budapest on the
Textile Exhibition Danube River for 7 nights

14 Apr to 3 May 2025

Hamburg Start
End
Berlin

Dresden
Prague

Visit fabric shops, textile museums, included Extension tour to Dresden, Cesky Krumlov Brno
sightseeing tours in the cities visited, work on an Berlin and Hamburg Passau
Vienna
original quilting project designed by Michelle. 1 to 8 May 2025 Budapest

Please call for a brochure

Toll
Free 1800 630 343
Tours only available through Travelrite International

ATAS accreditation #A10538

Sneak peek

Sneak Peek

Quilters Companion
2024 Block of the
Month — Trade Winds
Designed and made by Kathy Doughty of Material Obsession

J oin in and follow along as Kathy Doughty weaves an

imaginary story into the Trade Winds medallion quilt. The
centre is surrounded by a story of a journey by sea, under
despite having lived in Amish country in the USA. A twist
of fate introduced her to quilts and now she lives a life
surrounded by textiles.
the stars … one that connects cultures across space and time Every year, Kathy designs a fabric collection based on an
through textiles and imagery. idea that has piqued her interest. “My Trade Winds collection
As Kathy says, “We can’t travel by sea without a starry night, for Figo Fabrics was designed after reading a book called The
so of course we have stars! The passengers look out portal Fabric of Civilization by Virginia Postrel,” reveals Kathy. “The
windows to the vast horizons represented in the corners. The book covers the origin of textiles and how civilisation evolved
first indication to sailors that land was on the horizon was often around the industry of making cloth. It was then that trade
a bird, so of course I have included birds too.” evolved until cultures started blending into the vast mixture we
Kathy migrated to Australia in 1990 from the USA. “One have today. Even though I have been surrounded by textiles
of the symbols I find appearing in my quilts regularly is a for decades, I had never thought of how it all started. It was
ship, in honour of the fact that I arrived here after starting so fascinating I started sketching immediately, referencing
life somewhere else,” Kathy recalls. “I have been fascinated textile designs from around the world including India, China,
by the effects of moving to another country and virtually the Middle East and more to grow the collection.” It is this new
starting life over.” Kathy’s life as a quilter began in Australia, collection that is featured in the QC2024 BOM.

14
Join the Facebook
group and stitch
along with us
Quilters Companion
Block of the
Month 2024 —
Trade Winds

15
Gallery

Trade Winds by Kathy Doughty for Figo

Fabrics is distributed in Australia by
Lloyd Curzon Textiles.
If you are a retailer, and would like to
stock the Trade Winds collection, visit:
www.lcurzon.com.au

GETTING TO
KNOW KATHY …
M y quilting story is long and
told often. After moving to
Australia, I basically started my
life over. I had seen quilts but
never considered sewing as a
hobby. A friend from playgroup,
Bronwyn Gosling, gifted me a quilt
when my second son (of three)
was born. I immediately asked her
to teach me how to make a quilt.
From there, everything started to
be focused on making quilts.
I am self-taught from library
books and spent years working on
my own, making decisions about
what I liked and what I didn’t like. I
would scan the pages of books and
find designs that I liked, then try to make them. But first, I liked and the teachers I employed shared an unbelievable
had to work out what a ¼in seam was! wealth of knowledge. Being exposed to the colourful
From there, I joined the Hunters Hill Quilters in Sydney designs of teachers like Wendy Williams or creative souls
and things advanced quickly after that. Material Obsession like Marg George and many others opened the door to
was opened in 2003 with a view to making easy, colourful a vast array of techniques, styles and fabrics. From the
quilts that reflected the lifestyle of the day but were based opening of the doors of Material Obsession, I have grown
in tradition. Working in the shop has been a gift of learning to teach and lecture around the world, design fabric, write
for me as my customers taught me heaps about what they books and make hundreds, literally hundreds, of quilts!

16
 WWW.LEGITKITS.COM.AU
artistic, crystal clear, foundation paper pieced patterns

“A revolutionary block approach to foundation paper piecing

breaks large, complex appearing quilts into manageable pieces.”

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In s pi re d E m b ro i d e r y & Se w in g Ma ckay N eed le w orx

Sin g l e t on , NS W M ack ay, QLD
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to become a stockist
 The Big
Hexie
Large, fussy cut hexagons are
surrounded by bold prints and set
in columns with neutral diamonds to
create this lap-sized quilt.

Finished size: 148.5cm x 133.5cm

(58½in x 52½in)

Chris Jurd - Patchwork Fun

[email protected] @patchworkfun www.chrisquilts.blogspot.com

18
 Fuy
Cut Hexi
es

19
20
Materials
• 9in square each of 12 feature fabrics
with large-scale printed motifs
(hexagon centres)
• Fat eighth each of 24 bright print
fabrics (hexagon blocks)
• 80cm (⅞yd) orange and green stripe
print fabric (setting triangles)
• Assorted large-scale print fabrics to
total about 80cm (1yd) (border)
• 45cm (½yd) black print fabric
(binding)
• 3.1m (3yd) backing fabric
• Batting at least 165cm x 150cm
(66in x 60in)
• Freezer paper
• Erasable fabric-marking pen
• Rotary cutter, ruler and mat
• Sewing machine with ¼in and
open-toe feet
• General sewing supplies

Preparation and cutting

1 Trace shapes A–G from the Pattern
Sheet onto the matte side of the
freezer paper (including the arrows)
and cut them out on the lines.

2 To use these templates, lightly

fuse them to the wrong side of the
fabric and cut the shape out of fabric
immediately next to the template.
The templates are re-usable: to use
them more than once, gently peel the
template off the fabric and lightly fuse
it to the fabric to cut more shapes.

3 Once you’ve peeled the template

off the fabric, use a fabric marking
pen to draw the arrows on the wrong From the black print fabric, cut:
B
side of the fabric shapes. • six strips, 2½in x width of fabric
From each of the 9in squares of feature
print fabrics, cut: Hexagons B B
• one Template A shape
From each of the 24 bright print fabrics,
cut:
1 To make one hexagon, you need:
• one feature print A shape
• three B shapes cut from one fabric A
• three Template B shapes and three B shapes cut from a
From the orange and green stripe print different fabric. B B
fabric, cut:
• six Template C shapes 2 Lay out the shapes, referring to
the Hexagon Layout Diagram.
B
• six Template D shapes – including the
extra ¼in along the longest edge as
marked on the template
3 Begin assembling the block by
matching one of the B shapes
right sides together with the A shape, Hexagon Layout Diagram
• four Template E shapes as shown in Diagram 1. Pin through the
• two Template F shapes points you’ve marked with the arrows.
• two Template G shapes Stitch the seam from one point to the
From the assorted large-scale print other: begin and end this seam with
fabrics, cut: a locking stitch. Press the seam away
• strips 5in wide x various lengths. from the A shape.
You need sufficient so that they will
measure at least 225in when joined
end to end
4 Repeat the process described in
Step 3 to sew all six B shapes to
the edges of the A shape. Diagram 1

21
 Diagram 5

prints and colours that you like. Check

that the feature prints in the centre
of each block are facing the right way
around if relevant.

Diagram 2 2 Sew the hexies in each column

together as you did when
making the individual blocks: pin
matching the arrow points, beginning
and ending the seams with locking
stitches and sewing only from point
Diagram 4 to point, leaving the seam allowance
unstitched.

5 To join the short edges of the B

shapes to each other, fold the 3 The next step is to sew the
orange and green shapes to the
Fo
ld

block so that the short edges of two edges of the hexie columns. Begin
adjacent B shapes are matching, right with one of the C diamonds. Lay it
sides together, one on top of the other. right sides together on one edge
Sew the edges together, starting from of one of the hexies, as shown in
the inner point where the previous Diagram 2.
seams meet and stitching towards the
outer edge. Again, begin and end this
seam with a locking stitch and sew
4 Pin at the matching arrow points
on both shapes. Begin sewing with
a locking stitch, then sew from the inner
only from point to point marked by point to the outer one.
arrows, leaving the seam allowance
unstitched. 5 Keep the C diamond right sides
together with the hexie column.

6 Repeat Step 5 to sew seams joining

all the B shapes together. Press.
Fold the hexie column so that the
adjacent edge of the diamond can be

7 Repeat Steps 1–6 to make 12

hexies using a variety of fabrics.
matched with the edge of the hexie
below, as shown in Diagram 3. Stitch
from the inner point to the outer one,
Assembly as you did before.

Diagram 3
1 Lay out the hexies in three columns
of four hexies each. Swap them
around until you have an array of
6 Continue in this manner to sew
three C diamonds to the first
column of hexies. Then add an E

22
triangle at the top and bottom of the
column, as shown in Diagram 4.

7 Use the same method to sew

the next column of hexies to the
other edges of the C and E shapes.
Then add another column of C and E
shapes and the final column of hexies.
To complete the quilt centre, add six
D triangles, two F triangles and two
G triangles on the outer left and right
edges. Press.

8 Trim the left and right edges

of the quilt top ¼in outside the
outer edges of the hexies, as shown in
Diagram 5. The D triangles have had
extra fabric added to their longest edge
to ensure that you have sufficient fabric
to do this.

Border
1 Sew the 5in strips of large-scale
assorted print fabrics together, end
to end, to make one long strip.

2 Measure your quilt top vertically

through the centre. Cut two strips
this length from the long strip. Sew
them to the left and right edges of the
quilt top. Press seams outwards.

3 Measure your quilt top horizontally

through the centre. Cut two strips
this length from the remainder of the 2 The quilt top, backing and batting
are ready for a long-arm quilting 4 Trim the excess backing fabric and
batting ¼in outside the edge of
long strip. Sew them to the top and machine as they are. If you’re doing the quilt top.
bottom edges of the quilt. Press seams
outwards.
the quilting by hand or on a domestic
sewing machine, follow the instructions
for Preparing the Quilt Sandwich in the
5 Follow the instructions in
Binding the Quilt in The Basics
Guide* to bind the quilt using the six
Finishing free downloadable Basics Guide* to 2½in strips of black print fabric cut

1 Remove the selvedges from the

backing fabric and cut it into two
pin or baste the quilt top, batting and
backing together.
for the binding.

equal lengths. Sew the pieces together

side by side with a ½in seam and press
the seam open.
3 Quilt as desired. Chris’ quilt was
machine quilted with a variety of
straight-line and curved designs.
* The free Basics Guide is available as
a download online from https://www.
cosyproject.com/blog/quilting-guide

23
 Tranquility 37 Holmes Rd, Moonee Ponds 3039

CRAFTS ‘N SUPPLIES
Telephone: 03 9375 3575
Email: [email protected]

MISS POPPY
Miss Poppy is a 9 part Block of the Month.
Pattern is designed by Lisa Cantlay and measures
32” x 49” when completed.

Included each month is embroidery and applique linens,

applique fabric, stabilizer and embroidery transfer, month
9 you will also receive all the fabrics to complete the wall
hanging. Cost: $14.50 per month plus postage.

JOIN JACKY ON THE RETREATS!

3 SPOTS SOLD SOLD
LEFT OUT OUT
ƘĪȪșȸū ±ŖȀȤșȶȯDžȤ sĪǘȥȢȫȶRƚȔŸȱȟ EŖƘȣȾȟƚȯqĪȗșȭ
ĪƎșȢȾȳǎĪȞ ŸƚÒșȦȳȮøƥƎȟȿȢ &ȁŖșȞȱȫƚȔ
ĪǘșțćȯȾDžŖȑȤ 2024 §ųŸȒȟȼȳžŖǘȢȕȫȾ 5 Aug - 16 Aug 2024

24 Jun - 5 Jul 2024 8 Jul - 19 Jul 2024 22 Jul - 2 Aug 2024

ǻŸȤȲdșƘ~ȜȯȽƥƚ ǻŸȤȲ ȑDžȹȜŸȸȕ ǻŸȤȲ§ųȥȚȳĪȸŎ ǻŸȤȲ0ƎșȪȫȬŖǘȘ

§ųĪȢȵȕȁ ƎŸȣȟȸÙȫƘĪȪȑȵȳ ųĪȔɁșňț

JUNE MAY
ĪƎșćȯȤȼŖȑǘ 1 SPOT
LEFT
bĪǺȑ0ȨȺȯŎŸȤșȹȸ SOLD
OUT qȁȣȾŖDžȩ
3 Jun - 16 Jun 2024
26 Aug - 8 Sep 2024
ǠșƎȤĉȹǠȼ
20 May - 29 May 2024
9 Sep - 18 Sep 2024
4 May - 16 May 2024
28 Sep - 9 Oct 2024

ǻŸȤȲ›ȑȿƎŸȞȕžȹȱŖDžȣ
 The repeated unit in this quilt is a Drunkard's Path block
(quarter of a circle in a square) with a smaller Drunkard's
Path block nested inside it. The use of two colours results in
scalloped diagonals that suggest a shimmer effect.
Echo-quilting implies the shimmer is on water. Use blue
fabrics with different densities of colour and yellow fabrics
that range in colour from maize to lemon.

Finished size: 133.5cm (52½in) square

Finished block size: 6½in square

Designer: Pat Forster

[email protected] https://patforsterblog.wordpress.com

26
 Curved
Piecing

27
28
Materials
• Assorted blue tone-on-tone print
fabrics to total about 2.5m (2¾yd)
• Assorted mottled yellow print fabrics
to total about 2.7m (3yd)
• 2.6m (2⅞yd) backing fabric
• Batting at least 160cm (59in) square
• Template plastic and fine
permanent-marking pen
• Rotary cutter, ruler and cutting mat
• Sewing machine with ¼in foot
• General sewing supplies

Preparation and cutting

1 Trace the four shapes for this
project from the Pattern Sheet
onto template plastic using a fine
permanent-marking pen. Cut them out
on the traced lines. These templates
include a ¼in seam allowance.

2 To use these templates, place them

face down on the wrong side of
the fabric and trace around them using
a fabric-marking pen. To trace a shape
in reverse, flip the template over before
tracing around it. Cut the fabric on the
traced lines: use a quilter’s ruler and
rotary cutter to cut the straight edges
and scissors to cut the curved edges.
From the assorted blue print fabrics, cut:
• 64 A shapes
• 64 B shapes
• 64 B-reversed shapes
From the assorted yellow print fabrics,
cut:
• 64 C shapes
• 64 D shapes
• strips 2½in x various lengths. You
need sufficient to make a strip at
least 220in long once they are joined
together end to end (binding)

Nested Drunkard’s
Path blocks
1 To make a block, you need:
• one A shape, one B shape and
one B-reversed shape all cut from
different blue fabrics

• one C shape and one D shape cut

from different yellow fabrics.

2 Begin by making a small

traditional Drunkard’s Path unit
using the A and C shapes. Fold each of
these shapes in half and finger press
Se
a crease in the middle of their curved c
fol ond
edges. Then fold each shape in half d
Second

again and finger press, as shown in

Fi

Diagram 1. Unfold.
rs
Fi

tf
rs

3 Match the two shapes right sides

fold
ol
tf

d
ol

together, centre creases matching

d

and with the yellow C shape on top. Pin

the centre creases together. Diagram 1

29
 Step 3

4 Pin the ends of the curved edges

together, and then ease the edges
between them together, matching the
4 Join the rows, carefully matching
seams. Press.

creases and adding more pins along the Finishing

curved edge. Pat recommends using
two pins close together at each end. 1 Cut a 59in length from the
backing fabric, remove the

5 Sew the curved edges together.

To create a smooth curve, keep
pivoting the fabric beneath the needle.
selvedges and cut it in half down the
length to make two rectangles about
21 x 59in. From the remainder, cut
Press the seam towards the C shape. two strips, 19in across the width of
Step 4
6 Sew a blue B and B-reversed
shape to adjacent edges of
the pieced A+C square, as shown in
the fabric. Join them on one short
edge with a ½in seam and press it
open. Trim the joined strip to measure
Diagram 2. Take care not to catch the 59 x 19in.

B-reversed
seam allowance from the curved seam
in this stitching. Finger press these
seams away from the square.
2 Referring to Diagram 3, sew a
59 x 21in strip to either side of
the joined strip using ½in seams and

7 Repeat the processes described

in Steps 2–5 to join the yellow D
press them open to make a backing
about 59in square.
shape to the curved edge of the block.
Press. Your block should measure 7in
square from raw edge to raw edge.
3 The quilt top, backing and batting
are ready for a long-arm quilting
machine as they are. If you’re doing
B
8 Repeat Steps 1–7 to make a total
of 64 Nested Drunkard’s Path
blocks using a variety of different yellow
the quilting by hand or on a domestic
sewing machine, follow the instructions
for Preparing the Quilt Sandwich in the
and blue prints. free downloadable Basics Guide* to
pin or baste the quilt top, batting and
Diagram 2
Assembly backing together.

1 Lay out the blocks in eight rows

of eight blocks each. Rotate every
alternate block 180 degrees. Refer to
4 Quilt as desired. Pat’s quilt was
machine quilted in curved lines that
echoed the curved seams in the blocks.
the photo of Pat’s quilt as a guide.

2 Swap blocks around to achieve

a pleasing array of values and
5 Join the 2½in strips of assorted
yellow fabrics together, end to
end, to make one strip at least 220in
to avoid having patches cut from the long.
same fabrics close to each other.

3 Sew the blocks in each row

together. Avoid catching the seam
6 Follow the instructions in Binding
the Quilt in The Basics Guide* to
bind the quilt using this strip.
allowance from the curved seams in
this stitching. Press seams in the even- * The free Basics Guide is available as
numbered rows in the opposite direction a download online from https://www.
Diagram 3 from those in the odd-numbered rows. cosyproject.com/blog/quilting-guide

30
31
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MACHINES • ACCESSORIES • PATTERNS • QUILT FABRICS • CLASSES

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Machine Quilting

MACHINE QUILTING
with Anita Ellis

Creating a small art piece

Painting the Lily – Part 2
So, you have prepared your fabric as decribed in the previous issue
of Quilters Companion, the image is ready and it is time to paint.
Remember, the first piece may not be perfect — it’s a journey.
.

Anita Ellis www.hillsidequilting.com.au

34
 LEFT AND ABOVE The final piece
BELOW A selection of paints and
brushes used

Materials • Hot dry iron or ironing press

• The source image that you started with • Baking paper
• The marked fabric
• Piece of board, MDF or stiff Fabric paints
cardboard larger than your fabric for I like to use Texcraft fabric paints —
mounting you can buy small bottles or larger
• Paper towel to cover the board and ones for sharing. Occasionally, I may
to clean brushes and messes have them for sale on my website,
• Blue tape www.hillsidequilting.com.au. Preparation
• Selection of Taklon paint brushes, This is the website where I buy the Prepare the board with paper towel
round and flat, various sizes. I use the paints: www.kraftkolour.net.au/texcraft- to absorb the paint. The board is used
ones from Officeworks as they hold dual-purpose-fabric-paint.html. so that the piece can be moved in all
the paint well and are not expensive I also use the Texcraft extender, directions and the paper will absorb
• A couple of water jars thinner and Lustres. The thinner makes the paint so it does not leak and spread
• Paint pallet the paint runnier and lighter in colour. where you do not want it.
• Scrap of fabric to test colours on, the The extender makes the paint runnier, Tape the fabric to the board, over the
same as you are using for the project but does not change the colour. paper, using the blue tape to secure it.
• Fabric paints, thinner and extender. The Lustres do just what they say: The fabric can be trimmed a little if it
(Refer to the information that follows.) add gold or silver sheen and sparkle does not fit and the taping may go over
• Apron to the paints. to the back.

35
Machine Quilting
C F

Practise
It is really important to practise
painting on a scrap of fabric prior to
starting on your real project. Do this
to get a feel for the texture, how the
paint feels on different brushes, how
the colour comes out on the fabric and
the consistency so that the paint is
neither too wet that it bleeds, nor too
dry that it does not transfer smoothly
to the fabric.
This is really something you have
to do on your own. I have pictures
for you, but the feel of the paint is D G
the most important factor. Try doing
smooth lines with the flat brush and
filling in with a round brush. See what
happens if you swap purpose.
Colour matching is another thing
that comes with time. Use the source
picture to dab a little of the chosen
colour and see if you are getting
close. Play around with colours,
remembering that no one needs to
see the original so it does not matter
if they are not perfect.
There are many images and
information about colour wheels and
how to mix different colours. Do use
them, they make great reading.

Some do’s and don’ts

Do not expect to create a masterpiece
the first time.
No one knows what the original looks E H
like except you.
Practise on a scrap before putting
paint to the final project.
Splodges happen. Let them dry and
build them into your work.
Do incorporate contrast into painting,
just like you would with fabric.
Do refer back to the source material
all the time.
Do paint carefully over the water-
soluble blue pen marks so they dissolve.
Don’t work over yourself; turn the
picture and the board for fewer spills
and smudges.
Colours will look different when they
are wet and dry.
Do look for good contrast, but do not
forget much more detail will be added
with the thread work.
Do start with washes, moving onto
C) Paint and thinner for wash F) Select paint and reducer
more opaque colours. You can add but
D) Wash for the lily leaves for the stems
cannot take away. E) Refer to the photo at all times G) Use a sampler to test mix
Do allow an area to dry before paints a little at a time
painting up to it in a different colour. H) Paint in the stems for
This prevents bleeding. more opacity
Don’t control depth of wash with
white, it just makes it pastel.

36
 I K

Do use thinner carefully, making sure

the brush is not too loaded at the edge
so that the paint bleeds.
Don’t use water as a thinner if you
want a strong line. The paint will bleed.
Don’t worry about running out of
colour. If it is slightly different on the
second mix, it usually doesn’t matter.
Do keep your brushes and palette
clean. These fabric paints are not like
water colour, you cannot rewet them.
They peel off the palette like plastic.
Do see the painting as a base layer
with more detail added with thread.
You are not creating a perfect painting.

Let’s start
Paint in the layers — see images D and E.
You can always add more paint to the J L
fabric, you cannot take it away. I like to
build up the layers using a colour wash
first. This is your chosen colour but made
runnier with the addition of the thinner.
Start with a green wash on the
leaves. Mix up the colours a little so that
everything is not the same green. Thin
washes take the longest to dry.
Don’t worry about hard edges with
the wash, just do not go too dark.
Remember you can add more.

Paint in the stems — see image H.

For the opaque appearance of the
stems, use the paints neat or with a
little reducer if needed. The flat brush
is great for smooth lines. The opaque
colours can be mixed with a tiny touch
of black or white. Don’t do stems too
thickly: you can add more with thread.
I) Mix the paint for the bud M
J) Paint the bud, add some
Add the bud — see image J. texture, but more will be added
The bud is an opaque addition. Using with the thread.
a tiny amount of black or white can
help here too.
K) Mix paint for the background
You are looking for good contrast,
L) Take care at the edges: use a fine
but do not forget much more detail will flat brush for sharp edges. This is still
be added with the thread work. damp, so allow it to dry fully before
going to the flowers
Work with the background — see M) Allow the background paint to dry
images L and M.
With the watery background, I really
played with colour. Just black is usually
not a good idea as it can create a
deep ‘hole’ in the work. Really look at
the colour and dab onto your source
material as you go. My grey was a very
dark green/grey. I used a mix of a wash
and more opaque colours. Just add
colours a little at a time to create the
shades you want. I added a little texture
and shading with the paint, but most will
be made with the addition of thread.

37
Machine Quilting
N R

Sometimes paints dry lighter than

you think — see images N, O, P and Q.
After allowing the paint to dry, the
colours are quite a bit off in terms
of density compared to the original
source, so I enhanced some areas
by adding depth. The second layers
can be thicker in consistency and give
sharper lines. I am not so concerned
O with shading as I will be doing that
with thread. It is more about getting
the right depth of colour with variety of
shades. Remember to let the different
colours dry before moving on.

Add the prominent flowers — see

images R, S and T.
S I started with an opaque white base
coat, leaving slight gaps between the
petals so the shapes can be identified.
The first coat will be rough before the
P detail goes in.
Work on each petal one at a time;
white is not usually white but a shade
off. I added pale and mid blue for the
shadows and there was also green in
the petals too.
I used lots of colours, shades of
T white, blue, grey, yellow and green.
And lots of brushes. The flat brush was
useful here for the detail.
Use the pearl lustre for a grey sparkle.
The stamens were the last thing. I
Q did not paint them individually; rather
I put a suggestion of the yellow in the
centre of the flower. The stamens will
be created by thread.

Heat set the work — see image U.

Allow to dry fully, take the fabric off the
board and then use an iron or ironing
press for 15 seconds to set the paints.
Use baking paper underneath and on
top of the fabric to protect the ironing
surface and the work.
You are now ready for more detail in
the stitching in the next issue. Gather
your threads and I will see you soon.
R) Add the first coat of white base
for the flowers U
S) Lots of colours and brushes are
used in the flower
T) Flower detail is painted in
U) Heat set with a hot, dry iron
N) If your colours are not dark
enough, it’s better to add because
you cannot take away
O) Add some depth to green
P) Add some depth to greys
Q) Depth added ready for flower
heads

38
 Kit includes
pattern and
all fabrics
to complete
quilt top.

6RQLD0HOYLOOH

Craftbasket &UDIWEDVNHW32%R[
2UERVW9LFWRULD
7HOHSKRQH

www.thecraftbasket.com.au Sun bursintx S76cinrcha.pKits$285

sures 76
Mea

Prices exclude postage

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 This fun quilt features a background of various black
and white print fabrics and bright-coloured fabrics
for the appliqué.
Hand quilting with Perle 5 thread adds a tactile
feature to this quilt.

Finished size: 90cm (36½in) square

Designer: Terase Munnerley – Cooee Quilting

[email protected] terasemunnerley Cooee Quilting

40
 Raw-edge
Machine
Appliqué

41
42
Materials
• Assorted white on black print fabrics
to total about 50cm (⅝yd)
• Assorted black on white print fabrics
to total about 40cm (½yd)
• 40cm (½yd) each of two black
and white print fabrics (ie. fabrics
where neither the black or the white
dominates the other)
• 50cm (⅝yd) green print fabric
(frames and binding)
• Four or five fat quarters of assorted
print fabrics (appliqué)
• 1.1m (1¼yd) backing fabric
• Batting at least 105cm (42in) square
• Perle 5 threads in three or four
different colours (hand quilting)
• Fusible web
• Rotary cutter, ruler and mat
• Sewing machine with ¼in foot
• General sewing supplies

Preparation and cutting

From the assorted white on black print
fabrics, cut:
• one square, 10½in (A)
• one rectangle, 7½in x 10½in (B)
• two squares, 6½in (C)
• 16 squares, 3½in (D) • four E squares: two E squares each 5
1
• 16 squares, 2in (E) of two different fabrics.
3 4
From the assorted black on white print
fabrics, cut:
• two squares, 6½in (C)
3 Lay out the patches as shown in
the Unit 1 Layout Diagram. Then
sew them together. (Use the E squares
2
8
• 16 squares, 3½in (D) to make a four-patch block.) The order
• 16 squares, 2in (E) in which you should sew these seams 7
From black and white print fabric #1, cut: is indicated by the numbers in the
• two squares, 6½in (C) diagram. Press seams as you go. Your
• 16 squares, 3½in (D) assembled unit should measure 9½in
6
• 16 squares, 2in (E) square from raw edge to raw edge.
From black and white print fabric #2, cut:
• three squares, 6½in (C) 4 Repeat Steps 2 and 3 to make a
total of four Unit 1.
• 16 squares, 3½in (D)
• 16 squares, 2in (E)
From the green print fabric, cut:
5 Then repeat Steps 2 and 3
to make two Unit 2 – they are
the same as Unit 1 with just a small Unit 1 Layout Diagram – make 4
• three strips, 1½in x width of fabric. variation in the layout. Refer to the
Cross cut them to yield two strips, Unit 2 Layout Diagram. 1
1½in x 12½in; four strips, 1½in x 10½in;
and two strips 1½in x 9½in
• five strips, 2½in x width of fabric
6 Then repeat Steps 2 and 3 to
make two Unit 3 – they are the
same as Unit 1 with just another small
4 5

2
3

(binding) variation in the layout. Refer to the

8
Unit 3 Layout Diagram.
Section 1
1 The background is assembled in a
series of units and sections. Refer to
7 To make Section 1 of the quilt
background, lay out two Unit 1, one
Unit 2 and one Unit 3, rotating them as 7
the diagrams as you lay out the patches shown in the Section 1 Layout Diagram. 6
for each unit and sew them together. Sew the units together in pairs, then

2 To make one Unit 1, you need nine

squares cut from an assortment
of fabrics. You need:
sew the pairs together, carefully
matching seams. Press. Your Section
1 should measure 18½in square from
• one C square raw edge to raw edge. Repeat to make
• four D squares another Section 1 panel. Unit 2 Layout Diagram – make 2

43
 Unit 3 Layout Diagram – make 2 Section 1 – make 2 Section 2 Layout Diagram

Section 2
1 To make Section 2, you need:
• one A square
• two green 1½in x 10½in strips
• two green 1½in x 12½in strips
• 16 D squares
• 16 E squares – cut in pairs (to make
four-patch blocks).

2 Sew the 10½in strips to the left

and right edges of the A square.
Press seams outwards. Sew the 12½in
strips to the top and bottom edges of
the A square. Press seams outwards. Diagram 1
This framed square should now
measure 12½in square from raw edge
to raw edge. 7 Sew the remaining four-patch
blocks, six D squares and the C

3 Use two pairs of E squares to

make a four-patch block. It
Section 3 Layout Diagram square together in a column. Press.
Sew it to the right edge of the section.
should measure 3½in square from raw
edge to raw edge. Repeat to make
four four-patch blocks.
2 Sew the 10½in strips to the
left and right edges of the B
rectangle. Press seams outwards.
Section 3 should measure 18½in
square from raw edge to raw edge.

Assembly
4 Lay out the centre framed
square, the four-patch blocks
and the D squares, referring to the
Sew the 9½in strips to the top and
bottom edges of the B rectangle.
Press seams outwards. This framed 1 Lay out the four sections in two
rows of two. Swap their position
Section 2 Layout Diagram. rectangle should now measure 12½in and rotate them until you have an

5 Sew the D squares together in

rows of four. Join a row to the
left and right edges of the framed
x 9½in from raw edge to raw edge.

3 Use two pairs of E squares to

make a four-patch block. It should
array of values that you like.

2 Sew the sections together in

pairs, then sew the pairs together,
centre square. Press seams inwards. measure 3½in square from raw edge to carefully matching seams. The quilt

6 Sew a four-patch unit to each end

of the remaining two rows of four
raw edge. Repeat to make four four-
patch blocks.
background should measure 36½in
square from raw edge to raw edge.
D squares, then sew these rows to the
top and bottom edges of the section. 4 Lay out the centre framed
rectangle, the four-patch blocks Appliqué
Press seams inwards. Section 2 should
measure 18½in square from raw edge
and the D squares, referring to the
Section 3 Layout Diagram. 1 Trace the appliqué shapes from the
Pattern Sheet on to the paper side
to raw edge.

Section 3
5 Sew some of the D squares
together in one row of four and
two rows of three. (You will have six D
of the fusible web, leaving about ½in
between them. To replicate Terase’s
design, you need to trace:

1 •
To make Section 3, you need:
• one B rectangle
two green 1½in x 10½in strips
squares left.) Join the four-D row to
the left right edge of the framed centre
rectangle. Press seams inwards.
• five small flower outer petals
• five small flower inner petals
• five small flower centres
•
•
•
two green 1½in x 9½in strips
one C square
16 D squares
6 Sew a four-patch unit to one
end of the two rows of three D
squares, then sew these rows to the top
• two medium flowers
• two medium flower centres
• one large flower outer petals
• 16 E squares – cut in pairs (to make and bottom edges of the section. Press • two large flower middle petals
four-patch blocks). seams inwards. • two large flower centre petals

44
• two large flower outer centres Working from the lowest layer of each pin or baste the quilt top, batting and
• two large flower inner centres. flower up to the top-most layer, fuse backing together.
Cut the shapes out about ¼in outside
the traced lines.
the shapes in place with a hot dry iron.

5 Appliqué the shapes to the 2 Quilt as desired. Terase’s quilt was

machine quilted using a leaf and

2 With the shapes for the large

flowers, you may wish to cut
away the fusible web about ¼in inside
background fabric using your
preferred method. Terase machine
appliquéd with a straight stitch, but
scroll background filler pattern. She
then used Perle 5 threads to hand quilt
the two large flowers and the frames
the traced line, as shown in Diagram you could machine with zigzag stitch or around them using large stitches.
1. This will reduce the stiffness of the
appliquéd shapes in your wallhanging.
work blanket stitch by machine or hand.
Press the quilt top well. 3 Trim the excess backing fabric and
batting ¼in outside the edges of

3 Fuse the shapes to the wrong side

of the fabrics you have chosen for Finishing
the quilt.

4 Follow the instructions in Binding

them. Cut all the shapes out of fabric
on the lines. 1 The quilt top, backing and batting
are ready for a long-arm quilting
the Quilt in The Basics Guide* to
bind the quilt using the five 2½in strips

4 Audition the placement of the

flowers on your background
panel. Once you have an arrangement
machine as they are. If you’re doing
the quilting by hand or on a domestic
sewing machine, follow the instructions
cut from the green print fabric.

* The free Basics Guide is available as

that you like, peel the backing paper for Preparing the Quilt Sandwich in the a download online from https://www.
from each shape as it is needed. free downloadable Basics Guide* to cosyproject.com/blog/quilting-guide

45
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 Aviary Plus
This quilt is a breeze to make with simple rotary cutting and
machine piecing. There’s a selection of 12 different print
fabrics and the ‘plus’ blocks feature five squares of the same
print. There are 14 rows of 12 squares — you could cut and
make more squares for a wider and/or longer quilt.

Finished size: 143.5cm x 133cm (56½in x 52½in)

Designer: Chris Austin

[email protected] @ozkiwiquilts

48
Simple R
otary
Cuing

49
50
Materials
• 30cm (⅜yd) each of 12 assorted print
fabrics. You could use fat quarters
instead — provided they have a
useable length of 18in
• 40cm (½yd) coordinating print fabric
(binding)
• 2.3m (2½yd) backing fabric
• Batting at least 160cm x 150cm
(63in x 60in)
• Rotary cutter, ruler and mat
• Sewing machine with ¼in foot
• General sewing supplies

Preparation and cutting

From each of the 12 assorted print
fabrics, cut:
• 16 squares, 4½in — 192 squares in all.
From the print fabric for the binding, cut:
• six strips, 2¼in x width of fabric

Plus blocks
1 Organise the 192 squares of
assorted print fabrics into:
• 27 groups of five squares all cut from
the same fabric (complete Plus blocks)
• eight groups of four squares
(incomplete Plus blocks).
Some of the remaining squares will be
used to fill in around the edges of the
quilt, and you will have 10 squares left
over; they won’t be used in this project.

2 Arrange the 27 groups of five

matching squares into Plus
blocks. Lay them out, referring to the
Preliminary Quilt Layout Diagram
for their position. Double check your
layout — every square should be part
of a complete Plus block. If any of your
fabrics are directional prints, make sure
that the printed design faces the same
way in each square.

3 Once you are satisfied that the

layout is correct, swap complete
Plus blocks around until you have an
array of colours and prints that you like.

4 The next step is to add the eight

groups of four squares to make
the incomplete Plus blocks around
the edges of the layout. Refer to the
Incomplete Quilt Layout Diagram for
their position.

5 The final step is to choose

remaining squares to fill in the
gaps around the edge of the quilt.
Refer to the Completed Quilt Layout
Diagram for their position. Your layout
should now comprise 14 rows of 13
squares each.

6 Check your layout to ensure that

all the squares are in the correct
position and that any squares cut with a
directional print are oriented correctly. Preliminary Quilt Layout Diagram Incomplete Quilt Layout Diagram

51
 Completed Quilt Layout Diagram

Diagram 3

Assembly
1 Sew the blocks in each row together.
Press the seams in odd-numbered
rows in the opposite direction to those in
even-numbered rows. Return the row to
the layout, double checking that it is the
correct way around.

2 Sew the rows together, carefully

matching seams. Press.

Finishing
1 Cut a 63in length from the backing
fabric, remove the selvedges and
cut it in half down the length to make
two rectangles about 21 x 63in. From
the remainder, cut two strips, 20in
across the width of the fabric. Join
them on one short edge with a ½in
seam and press it open. Trim the joined
strip to measure 63 x 20in.

2 Referring to Diagram 3, sew a 63

x 21in strip to either side of the
joined strip using ½in seams and press
them open to make a backing about
63in x 60in.

3 The quilt top, backing and batting

are ready for a long-arm quilting
pin or baste the quilt top, batting and
backing together.
bind the quilt using the six 2¼in strips
cut from the coordinating print fabric.
machine as they are. If you’re doing
the quilting by hand or on a domestic
sewing machine, follow the instructions
4 Quilt as desired. Chris’ quilt was
machine quilted in straight lines
worked ¾in apart.
* The free Basics Guide is available as
a download online from https://www.
for Preparing the Quilt Sandwich in the
free downloadable Basics Guide* to 5 Follow the instructions in Binding
the Quilt in The Basics Guide* to
cosyproject.com/blog/quilting-guide

52
53
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 Houses of
Liberty
Cottage industry takes on a whole new meaning with this
quilt. One little house of flowers developed into a streetscape
of Liberty-print archi-texture. That then turned the corner
into a veritable village, networked with floral roads.

Finished size: 146cm x 119cm (57½in x 47in)

Designer: Sedef Imer

56
Homespu
n
Favourite

57
58
Materials
• 1.2m (1¼yd) natural linen (block
backgrounds)
• 1.5m (1¾yd) multicoloured floral print
fabric (sashings and border)
• Fat eighth each of eight floral print
fabrics (houses)
• 45cm (½yd) red floral print fabric
(binding)
• 2.8m (3⅛yd) backing fabric
• Batting at least 165cm x 135cm
(64in x 54in)
• Rotary cutter, ruler and mat
• Sewing machine with ¼in foot
• General sewing supplies

Cutting
From the assortment of the fat eighths
of floral print fabrics, cut:
• 20 rectangles, 3in x 7in (A)
• 40 rectangles, 2½in x 4¾in (B)
• 20 rectangles, 2¾in x 4½in (C)
From the natural linen, cut:
• three strips, 3in x width of fabric.
Cross cut them to yield 39 squares,
3in (G)
• two strips, 9½in x width of fabric.
Cross cut them to yield 40 rectangles,
1¾in x 9½in (D). Cut one more 3in
square (G) from the leftover end of
the second strip
• two strips, 7in x width of fabric. Cross
cut them to yield 40 rectangles, 1¾in
x 7in (E)
From the multicoloured floral print
fabric, cut:
• four strips, 1¾in x width of fabric.
Cross cut them to yield 80 squares,
1¾in (F)
• four strips, 3½in down the length of
the remaining fabric (borders)
• eight strips, 2in down the length
of the remaining fabric (sashings).
Crosscut four of these strips to yield
15 rectangles, 2in x 9½in (vertical SEDEF’S
block sashings)
From the red floral print fabric, cut:
PRESSING TIP
I chose to press the seams open
• six strips, 2½in x width of fabric
on my quilt, confident that there
(binding)
wouldn’t be any ‘shadows’ where
the seam allowance would be
House blocks visible from the front of the quilt.

1 To make one House block, you need:

• one A rectangle, two B rectangles
and one C rectangle all cut from
However, if you are using any
light-value fabric in your quilt,
it’s probably a better idea to
different floral print fabrics
press seams to one side, away
• two D rectangles, two E rectangles
from the light-value fabrics.
and two G squares all cut from
natural linen

59
 F F
G D
A

G
E E
B

C
Diagram 1
B

F
D D
F F
Block Layout Diagram
F

houses with the front door on the left

Diagram 2 edge of the house, not the right.

Assembly
• four F squares cut from the
multicoloured floral print fabric. 6 Join the roof from Step 3 to the
top edge of the wall, referring to
1 Lay out your 20 blocks in five rows

2 Draw a light diagonal pencil line

from corner to corner on the
wrong side of each of the two linen
the Block Layout Diagram. Press. Your
house should measure 7in square from
raw edge to raw edge.
of four blocks each, leaving space
between them. Rearrange them until
you have a mix of prints, colours and
G squares. Lay one square, right
sides together, on one end of the 7 Sew a linen E rectangle to the left
and right edges of the house. Press.
left/right houses that you like.

2 Insert a 2in x 9½in sashing strip

A rectangle, with three raw edges
matching. Sew on the line. Trim the
corners of both fabrics ¼in outside the
8 Draw a light diagonal pencil
line from corner to corner on
the wrong side of each of two floral
between the blocks in each row.
Sew the blocks and sashing strips in
each row together. Press.
stitching. Turn the linen over so that it
is right side up and press.
F squares. Lay one square, right
sides together, on one end of a linen 3 Measure the width of your rows.
They should all be exactly the

3 Lay the second G square on the

other end of the A rectangle and
D rectangle, with three raw edges
matching. Sew on the line. Trim the
same. If they’re not, unpick seams and
re-sew them until they are.
repeat the process described in Step 2,
referring to Diagram 1. This is the roof
of the house.
corners of both fabrics ¼in outside the
stitching. Turn the print fabric over so
that it is right side up and press.
4 Trim the remaining four 2in strips
of multicoloured floral print fabric
to the same measurement as your

4 Match the two B rectangles, right

sides together, and sew along one
long edge. Press.
9 Lay another F square on the
other end of the D rectangle and
repeat the process described in Step 8,
block rows (horizontal sashing strips).
Join the rows and sashing strips
together. As you do so, pin mark the

5 Join one long edge of the C

rectangle to the right edge of
the B+B unit. Press. This is the wall of
referring to Diagram 2.

10 Repeat Steps 8 and 9 to make

another of these border strips
edges of the blocks along the sashing
strips to ensure that the blocks in each
row will align in neat columns.
the house. exactly the same. Sew them to the top
and bottom edges of your block, with
the floral triangles in the outer corners.
Press. Your finished block should
SEDEF’S FABRIC measure 9½in square from raw edge
to raw edge.
ARRANGEMENT TIP
This is a fun quilt to make using
scraps from your stash. I cut all
11 Repeat Steps 1–10 to make a total
of 10 house blocks like this, mixing
and matching the fabrics you use for
the patches for my quilt and laid the A, B and C patches.
them out so that I could choose
which combination of fabrics to
use in each block. That way I could
12 To make another 10 house
blocks (giving you 20 in all),
repeat Steps 1–11, but this time,
be confident that I would find my instead of joining the C rectangle to
finished quilt very appealing. the right edge of the B+B unit in Step
5, join it to the left edge. This will yield

60
5 Measure your quilt vertically
through the centre. Trim two of
the 3½in strips of multicoloured floral
6 Measure your quilt horizontally
through the centre. Trim
the remaining two 3½in strips of
for Preparing the Quilt Sandwich in the
free downloadable Basics Guide* to
pin or baste the quilt top, batting and
print fabric to this length. Sew them mutlicoloured floral print fabric to backing together.
to the left and right edges of your
quilt. Press.
this length. Sew them to the top and
bottom edges of your quilt. Press. 3 Quilt as desired. Sedef’s quilt was
professionally machine quilted
with an all-over swirling design.
Finishing
SEDEF’S
1 Remove the selvedges from the
backing fabric and cut it into two
4 Trim the excess backing fabric and
batting ¼in outside the edge of
the quilt top.
STARCHING TIP
I spray starch my fabric before
cutting it. Starched fabric is
equal lengths. Sew the pieces together
side by side with a ½in seam and press
the seam open.
5 Follow the instructions in Binding
the Quilt in The Basics Guide* to
bind the quilt using the six 2½in strips of
easier to cut accurately. This is
especially important with the
Liberty Tana lawn fabrics that I
2 The quilt top, backing and batting
are ready for a long-arm quilting
machine as they are. If you’re doing
red floral print fabric cut for the binding.

* The free Basics Guide is available as

used in my quilt. the quilting by hand or on a domestic a download online from https://www.
sewing machine, follow the instructions cosyproject.com/blog/quilting-guide

61
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 KOOKABURRA QUILTS
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 Black, white and hot orange fabrics create a striking quilt
whose design inspiration was a vintage cheddar quilt.
It is made from numeous arcs, all constructed in exactly the
same way. For half of the arcs the first strip of fabric will be
white and on the other half the first strip will be black.

Finished size: 213cm (84in) square

Designer: Wendy Whellum

[email protected] @legendandlace

64
Foundatio
n
Piecing

65
66
Materials
• 4.6m (5⅛yd) solid white fabric
• 3.3m (3¾yd) black tone-on-tone
print fabric
• 3.7m (4⅛yd) solid orange fabric
• 2.4m (2⅝yd) extra-wide
(275cm/108in) backing fabric
• Batting at least 220cm (92in) square
• Perle 8 thread and needle (hand
quilting)
• Template plastic and fine
permanent-marking pen
• Paper for foundations — newsprint
is ideal. It is available from specialty
stationery and art supply shops,
sold in pads or reams. Alternatively,
use paper especially made for
foundation piecing, which is
available from quilt shops
• Fabric basting glue
• Spray starch
• Rotary cutter, ruler and mat
• Sewing machine with ¼in foot
• General sewing supplies

Note: Foundation piecing is used in this

project and the instructions assume
a good working knowledge of this
technique. Sew all the foundation-
piecing seams with a short stitch length
to make it easier to remove the papers
without affecting the stitching.
• 32 strips, 3½in x width of fabric.
Prepare the foundations Cross cut them to yield 640

1 You need 256 copies of Foundation

A. You can trace them or photocopy
them. However, Wendy’s preferred
rectangles, 3½in x 2in
• five strips, 3in x width of fabric. Cross
cut them to yield 64 squares, 3in
approach is to scan the pattern from From the solid orange fabric, cut: Diagram 1
the Pattern Sheet and save it on her • eight strips, 13½in x width of fabric.
computer as a PDF file. She then prints Cross cut them to yield 24 squares,
copies from the computer, ensuring 13½in
that the Print dialog box is set to print • two strips, 17½in x width of fabric.
“actual size”. This approach is less Cross cut them to yield four squares,
tedious than tracing by hand and is 17½in. Cut each square twice on the
likely to produce more consistently diagonals to yield 16 quarter-square
accurate copies than photocopying. triangles

2 Trace Template B onto template

plastic using a fine permanent-
marking pen and cut it out on the line.
1 Lay Template B on the wrong
side of the 4½in strips of white
fabric and trace around it. Slide the
template along and continue to trace
Cutting shapes along the length of the strip, as
From the solid white fabric, cut: shown in Diagram 1. Leave at least ½in
• 32 strips, 3½in x width of fabric. between them.
Cross cut them to yield 640
rectangles, 3½in x 2in 2 Cut each B shape out of white
fabric ¼in by eye outside the lines
• 13 strips, 4½in x width of fabric
• five strips, 3in x width of fabric. Cross
cut them to yield 64 squares, 3in
you’ve traced. You need to trace and
cut 64 B shapes in all. 2 Use these rectangles to cover
one foundation. Start half the
arcs with a white rectangle; start the
• nine strips, 2¼in x width of fabric Fandango arcs other half with a black rectangle. Press
(binding)
From the black tone-on-tone print
fabric, cut:
1 To make one arc, you need five 3½in
x 2in rectangles of black fabric and
of white fabric.
after each seam, then trim each seam
allowance to ¼in before adding the
fabric for the next area.

67
 3 When all the areas of a
foundation have been covered,
trim the overhanging fabric and paper
9 Repeat Steps 5–7 to make 12
blocks. (You will have some arcs
left over.)
on the outer edges of the foundation.
Gently tear the foundation off the back Assembly
of the fabric.

4 Repeat to sew 128 foundations —

remembering to start half with a
1 Lay out the rings in four rows of
three rings each, as shown in the
Partial Quilt Layout Diagram. Join
white rectangle and half with a black them together in rows by stitching the
rectangle. seams between squares in adjacent
blocks together — either by hand or
Blocks — Step 3 Blocks machine. Press.

1 Choose two completed arcs: one

that begins with a white segment
and one that begins with a black
2 Then join the rows together in
the same manner — stitching the
seams between squares in adjacent
segment. On one of these arcs, sew a rows together. Press.
3in square of white fabric to the black
segment end and a 3in square of black
fabric to the white segment end. Press
3 Centre 13½in squares of orange
fabric behind the six blank areas
where the rows join. See Diagram 3. Pin
the seams towards the squares. the quilt top to these orange squares

2 Fold each arc in half and finger

press a crease in the inner curved
edge. Unfold. Fold a white B shape in
and then glue baste them in place.
Appliqué the surrounding arcs to these
background squares. Press.
half and finger press creases to mark
the centre of its curved edges. Sew the
arc that doesn’t have the squares sewn
4 Now lay out the remaining blocks
around the edges of the quilt, as
shown in the Complete Quilt Layout
at each to the melon. Start by matching Diagram.
and pinning the centre creases. Then
match and pin at each end. Add lots of
pins between these first pins.
5 Join them to the blocks/rings
in the quilt top by stitching the
seams between squares, as you did
Ring Layout Diagram
3 Sew the seam with the arc on top.
Stitch slowly and pivot the fabrics
to achieve a smooth curve. Press the
before. Press.

6 Repeat Step 3 to appliqué the

quilt top to squares of orange
seam towards the B melon shape. fabric in the blank areas around the

4 Then sew the arc that has the

3in squares joined to it to the
other curved edge of the melon —
edges of the quilt top. Press.

7 Complete the quilt top by

positioning orange triangles in the
before stitching, double check that gaps around its edges, pinning and
you have the black square next to the basting, then appliquéing. Press.
white end segment of the first arc and
the white square next to the black end Finishing
segment. Again, press seam towards
the B melon shape. 1 Turn the quilt top over so that the
wrong side is facing up.

Blocks — Step 7
5 Repeat these steps to make a
total of 64 blocks. 2 Trim the orange fabric ⅜in outside
the seams that attach it to the

6 Lay out four blocks in a ‘ring’,

as shown in the Ring Layout
arcs. This will reduce the weight and
stiffness of your finished quilt.
Diagram. Check that the black square
of each block lies next to the white
square of the adjacent block. Sew the
3 The quilt top, backing and batting
are ready for a long-arm quilting
machine as they are. If you’re doing
blocks together by stitching the squares the quilting by hand or on a domestic
together, either by hand or machine. sewing machine, follow the instructions

7 Spray the arcs in the ring with

starch. Turn under the ¼in seam
allowance on both edges of each arc
for Preparing the Quilt Sandwich in the
free downloadable Basics Guide* to
pin or baste the quilt top, batting and
in the ring and press. Tack the ‘hems’ in backing together.
place by hand if you wish.

8 Centre the ring, right side facing

up, on a 13½in square of orange
4 Quilt as desired. Wendy hand
quilted Fandango using a grey
Perle 8 thread. She echoed the inner
fabric, as shown in Diagram 2. Pin the melon shapes, worked straight lines in
ring in place, then use basting glue to the squares and rectangles of the arcs
keep it there. Appliqué the rings to the and worked a four mini-melon pattern
orange background. on the orange fabric.
Diagram 2

68
69
 Partial Quilt Layout Diagram Diagram 3

Assembly — Step 7

Finishing — Step 2

5 Trim the excess backing fabric and

batting ¼in outside the edge of
the quilt top.

6 Follow the instructions in Binding

the Quilt in The Basics Guide* to
bind the quilt using the nine 2½in strips
of white fabric.

* The free Basics Guide is available as

a download online from https://www.
Complete Quilt Layout Diagram cosyproject.com/blog/quilting-guide

70
 www.designerstitches.net

Orchids in the Rain Frog Frolics White Noshi

(26cm square design) (15x12.5cm design) (38cm square design)

French Tulips (38cm square design) Hearts & Bows (38cm square design) Waratah Rhythms (90cm square design)

The beauty that is boutis

This lovely selection of designs will take any needle worker to their Each kit comes complete with all necessary notions, design and easy to
happy place. This easy form of yarn-filled stitching known as Trapunto follow illustrated instructions. A long Trapunto Needle is available to fill the
incorporates two layers of fabric quilted together with small running stitches long, narrow channels in these French Trapunto (Boutis) designs. A practice
(about 7-9 visible stitches per inch), then filled with yarn to puff out the block may also be purchased with any kit. This is helpful for first timer’s to
quilted area. The white or ivory, softly embossed, reversible designs may practice the technique prior to working the kit. Extra yarn, thread and a
be hand washed and made into many things from framed pieces, pieced small pattern come with this.
into quilts or cushion covers, in fact the application is up to you.

YES! I would like to order: ORCHIDS IN THE RAIN METHOD OF PAYMENT DELIVERY ADDRESS
White Kit Ivory Kit $55
WARATAH RHYTHMS For orders outside Australia the 10% GST will be deducted Name .........................................................................
White Kit Ivory Kit $112 FROG FROLICS
Address .........................................................................
White Kit Ivory Kit $46 Charge my Mastercard Visa Amex
FRENCH TULIPS ......................................................................................
White Kit Ivory Kit $60 TRAPUNTO NEEDLE Card No. ............ /............ /............ /............
ea $10 State ....................... Postcode ...................................
HEARTS & BOWS Expiry Date ............ /............ CVV ................
Country ............................. Phone ( )..........................
White Kit Ivory Kit $60 PRACTICE BLOCK $5 Signature ........................................................
to go with ordered kit/kits
WHITE NOSHI Name on Card ........................................................ POST COUPON TO DESIGNER STITCHES
White Kit Ivory Kit $60
Email Address ........................................................ 5-7 Redwood Dr, Notting Hill, VIC Australia 3168
Includes postage & handling within Australia. Mobile: 0415 413 895
Freight for overseas orders may be slightly more. OR pay by cheque/money order Aust. only Email: [email protected]
CRA FT PAT T E RNS A ND CL AS S ES DE L IV E R ED S T RA I G HT TO YOU R IN BOX

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Feature

A Century of Quilts
T he National Gallery of Australia
presents a rare opportunity to see
a historically and artistically significant
passed down through generations and
act as touchstones of remembrance.
Enduring the harshness of time, these
fabrics used have left the textile in a
particularly fragile state. It is for this
reason the National Gallery restricts
group of works. A Century of Quilts works weave a tangible link to this the amount of time it is on display,”
showcases an often-overlooked art form country’s early societies and the women says Maxwell. The Rajah quilt is a
made almost exclusively by women. who made them.” story of perseverance and hope; this
The gallery curator of Australian As part of A Century of Quilts, the precious work has been the consistent
Art, Simeran Maxwell, said the works national collection’s most requested subject of study into colonial life since
highlight an art form often overlooked, work, The Rajah quilt, will return to its rediscovery in 1987.
both historically and in a contemporary the gallery’s displays after a lengthy A Century of Quilts features 22
context. “Quilts and textile art are period resting in storage. Made from exceptional 19th- and early 20th-
not just stitched fabric, they are around 3000 pieces in 400 different century quilts made using techniques
woven narratives that tell the tales of fabrics, the quilt was handstitched including crazy quilting, hexagonal,
cultures, emotions and shared human by women prisoners on The Rajah, a Log Cabin and Tumbling block piecing,
experiences. In the intricate patterns British convict ship bound for Australia embroidery and appliqué. The works
and vibrant hues, we find a language in 1841, and is the only known show the artistic expression found in
that transcends time, connecting surviving convict shipboard quilt.
generations and communities,” she “The Rajah quilt is a pieced ABOVE Barmah nurrtja biganga
said. medallion-style quilt, hand stitched (Barmah Forest Possum Skin Cloak),
“Several works in this exhibition stand from over 16 metres of fabric by, in 2005, Treahna Hamm, Yorta Yorta people
as a testament to the unrecognised many cases, inexperienced sewers National Gallery of Australia,
communal work of women, who often under exceptional conditions. Kamberri/Canberra, purchased 2007
came together to create works to be The enormous size, age and also © Treahna Hamm

74
the domestic sphere and speak to the ABOVE The Rajah quilt (detail),
social context in which the artists lived. A CENTURY OF 1841, Kezia Hayter (designer),
The exhibition also includes key unidentified women of the HMS
examples of possum skin cloak designs
QUILTS COLLECTION Rajah convict ship (makers)
March 16—August 25, 2024
by leading First Nations artists whose National Gallery of Australia,
National Gallery of Australia
work has revitalised this historically Kamberri/Canberra, gift of
Ngunnawal and Ngambri Country
important cultural and artistic tradition. Les Hollings and the
Parkes Place East,
A Century of Quilts continues to Australian Textiles Fund, 1989
Parkes ACT 2600
build on the National Gallery’s ‘Know
More information:
My Name’ initiative, which celebrates
http://nga.gov.au/exhibitions/
the work of women artists with an aim
a-century-of-quilts
to enhance understanding of their
contribution to Australia’s cultural life.

75
Feature

Quilt, c.1890, Christina Brown

National Gallery of Australia,
Kamberri/Canberra, purchased 1989

76
Advance Australia Fair quilt/hanging, c.1910–1925, Mary Jane Hannaford
National Gallery of Australia, Kamberri/Canberra, gift of Janelle Constable

77
Gallery

The Rajah quilt (detail), 1841, Kezia Hayter (designer), unidentified

women of the HMS Rajah convict ship (makers)
National Gallery of Australia, Kamberri/Canberra,
gift of Les Hollings and the Australian Textiles Fund, 1989

78
 The Westbury quilt, 1900–1903, Misses Hampson,
National Gallery of Australia, Kamberri/Canberra, purchased
through the Australian Textiles Fund 1990

79
 Both
available in
store and
online. 2

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Size Approx 66” x 71”
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Join us on a romantic journey, celebrating our love of tea and cake
“Earl Grey Teacake ~ with Plum Jam and Butter”

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 NEW PANELS IN STOCK NOW!

MANY MORE
IN STORE!

CONTACT MARION FOR DETAILS

81 Prince St, Rosedale VIC 3847 Prompt mail outs are our priority P: 03 5199 2777 E: [email protected]
 Perfect as an errand tote or project bag, this bag has a
wonderful front pocket that is made up of a patchwork of
various remnants pieced together in an almost random
fashion. The visual variety of the pocket really stands out
from the neutral canvas and shows how much quilting or
patchwork can transform an ordinary item.

Finished size: 40cm x 38cm x 12cm (15¾in x 15in x 4¾in)

Designer: Arounna Khounnoraj

[email protected] www.bookhou.com @bookhou

84
Make a
Bag

85
Materials
• 95cm (1yd) canvas (150cm/60in wide)
• Assorted fabrics scraps to total
about 25cm (¼yd) (patchwork panel)
• 45cm (½yd) fabric (lining)
• 1.25m (1⅜yd) webbing, 25mm (1in)
wide (handles)
• 2.7m (3yd) of 5mm (¼in) cord
(drawstring)
• Water-erasable fabric marking pen
• Rotary cutter, ruler and mat
• Sewing machine
• General sewing supplies

Note: 1cm (⅜in) seams are used

throughout to assemble the bag.

Cutting
From the canvas, cut:
• one strip, 16½in x width of fabric.
Cross cut it to yield three rectangles,
15in x 16½in (E — bag back and two G
— bag lining); and one rectangle, 8in x
16½in (H — drawstring panel)
• one strip, 15in x width of fabric. Cross
cut it to yield two rectangles, 4½in x
15in (C — pocket side panels). Trim the
remainder of the strip to 10¼in high.
From it, cross cut two rectangles,
8¾in x 10¼in (F — pocket lining); two
rectangles, 11½in x 10¼in (A — pocket
back); and one rectangle, 4½in x
10¼in (B — pocket bottom panel)
• one strip, 9in x width of fabric. Cross
cut it to yield one rectangle, 13in x
9in (D — interior pocket panel). Trim Enter the colourful
the remainder of the strip to 8in high.
world of contemporary
From it, cut one rectangle, 16½in x
8in (another H drawstring panel) patchwork
From the webbing, cut: We are delighted to share a
• two strips, 24½in long (handles) project from the newly released
book, Contemporary Patchwork:
Patchwork panel Techniques in Colour, Surface Design
& Sewing by Arounna Khounnoraj.
1 The patchwork panel is an
opportunity to use scraps of your
favourite fabrics or blocks left from
The book dives into contemporary
patchwork with fresh surface
unfinished projects to make your tote design techniques and beautiful
bag unique. Pull out bits and pieces projects from Arounna Khounnoraj,
that you might want to use and lay co-owner of Bookhou and well-
them out to audition their size and known textile artist. Arounna's
position in the panel. approach to patchwork, quilting
and appliqué stands out from
2 Once you’ve decided on the final
arrangement, trim the fabrics
you’ve chosen to give them straight
traditional methods, making this
publication an incredible resource
master the art of decorating with
stitches as you explore various
edges. Then sew them together to for building a foundation in textile sewing and appliqué techniques to
make a panel at least 11in x 9¼in. Press design and expanding into unique make your patchwork projects pop.
the seams as you work, then press the improvisational patchwork. Get The book is published by C&T
assembled panel. Trim it to measure inspired by your environment and Publishing and the pattern appears
10¼in x 8¾in. learn elements of colour theory here with their permission. The
before jumping into several fabric pattern has been edited to Quilters
3 Match the F rectangle of canvas
with the patchwork panel,
right sides together. Stitch along the
surface design techniques. Then Companion editorial style.

87
 Wrong side

Diagram 1
top edge using a 1cm (⅜in) seam. 1cm (⅜in) outside the stitching. Repeat
Flip the canvas over to the back to this step for the other corner. Turn the
Right side the patchwork panel, as shown in bag right side out.
Diagram 1.
Bag lining
4 Match the bottom edges of
the canvas and the patchwork
panel, then topstitch close to the 1 Turn under a 6mm (¼in) hem on
one long edge of the canvas D
folded top edge. rectangle. Press. Then turn the edge
under again, this time by 1cm (⅜in).
Outer bag Press. Stitch the hem in place.

Wrong side
1 Lay the canvas A rectangle for
the pocket back right side up. Lay
the lined patchwork panel on top of
2 Turn under 1cm (⅜in) on the
remaining three sides of the D
rectangle and press.

Diagram 2
it, with the patchwork facing up and
the 10¼in bottom edges of the canvas
and panel matching.
3 Lay one of the canvas G
rectangles right side up with
the long edges lying horizontally. Lay

2 Next, lay the canvas B rectangle

for the pocket bottom on top of
these layers, right side facing down and
the hemmed D rectangle on top of it,
centred between the left and right
edges of the G rectangle and with
matching the 10¼in bottom edge. Pin the edge you stitched in Step 1 about
the layers together, then sew along the 4in down from the top edge of the
bottom edge using a 1cm (⅜in) seam. G rectangle. Pin the layers together.
See Diagram 2. Topstitch close to the left, bottom and

3 Unfold the canvas B rectangle so

that it is right side facing up. Press.
right edges of the D rectangle, leaving
the top edge open. See Diagram 6.
Topstitch close to the seam you’ve just
sewn and then topstitch another line
about 1cm (⅜in) below the seam.
4 Topstitch the left, bottom and
right edges of the D pocket again,
close to the first line of topstitching.

4 Lay the A+patchwork+B panel

right side up. Sew a canvas C
If you wish to divide this inner pocket,
stitch one or more vertical lines on it.
rectangle to its left and right edges, as
shown in Diagram 3. 5 Match the two G rectangles
(one with the pocket sewn to it)

5 Unfold the C rectangles and press.

Topstitch close to each seam
you’ve just sewn and then topstitch
right sides together and raw edges
matching. See Diagram 7. Pin the
layers together, then sew the left,
another line about 1cm (⅜in) outside bottom and right edges.
Diagram 3 the seams. Press.

6 Match the canvas E rectangle

with the pocket front panel,
6 To square off the bottom corners
of the bag, push the side seam
down to meet the seam across the
right sides together and raw edges bottom of the bag to form a triangle,
matching, as shown in Diagram 4. Pin as you did with the outer bag. Measure
the layers together, then sew the left, 6cm (2⅜in) along the seam line from
bottom and right edges. the point, make a mark and sew across

7 To square off the bottom corners

of the bag, push the side seam
down to meet the seam across the
at that mark. Trim the triangle 1cm (⅜in)
outside the stitching. Repeat this step
for the other corner. Leave the lining as
bottom of the bag to form a triangle, is — with the right side facing in.
as shown in Diagram 5. Lay a ruler on
the triangle: where it is 12cm (4¾in)
across, draw a line. Sew on the line
7 Put the lining bag into the outer
bag, with the side of the lining
that has the pocket sewn to it on the
Diagram 4 and then trim the point of the triangle opposite side to the pocket on the outer

88
89
 4¾in

⅜in

Diagram 6 Diagram 7

Diagram 5

Diagram 9 Diagram 10

edge on both the left and right edges

and make a light mark. Sew from the
bottom edge up to these marks on each
2 Align the short raw ends of the
webbing strips with their outer edge
matchings these marks and with about
side. Backstitch to secure this stitching. 2.5cm (1in) of the strips extending above
Diagram 8
2 Fold the raw edges between
this stitching and the top
edge under by 1cm (⅜in) and press.
the top edge of the bag. Baste across
the handles 6mm (¼in) from the top raw
edge of the bag. Remove the pins.
Topstitch close to the folded edges:
on the left edge of the panel, sew on
the top layer of fabric from the top
3 Turn the drawstring panel around
so that the hemmed edges are
at the bottom. Slide the panel over
edge down to the top of the seam the bag, right sides together, until the
you sewed in Step 1. Pivot to sew bottom raw edges of the drawstring
several stitches across to the back panel match the top raw edges of the
layer of the panel. Sew over these bag. See Diagram 9. The handles will
few stitches backwards and forwards be caught between the drawstring
several times to reinforce them. Then panel and the bag. Sew around the top
pivot and topstitch from the top of edge of the bag through all layers.
the seam you sewed in Step 1 to the
top of the panel close to the folded
edge. Repeat this process on the right
4 Fold the drawstring panel up so
that its right side is facing out.
Then push it down into the bag. Pull the
edge of the panel. handles up above the bag. Topstitch

Diagram 11
3 Fold the top edges over by 6mm
(¼in). See Diagram 8. Press. Fold
them over again, this time by 2.5cm
around the top edge of the bag twice:
the first row of stitching should be close
to the top edge of the bag; the second
(1in) and press. Topstitch close to the row should be about 2.5cm (1in) below
bag. Match the side seams and the top first folded edge on the front and back it. See Diagram 10.
raw edges. Pin the layers together.

Drawstring panel
of the panel.

Assembly
5 Pull the drawstring panel out of
the bag. Cut the cord into two
lengths 130cm (51in) long. Feed a cord

1 Match the two H rectangles, right

sides together and raw edges
matching. Pin the layers together.
1 Measure in 9.5cm (3¾in) from the
left and right seams on the outer
bag and make a light mark on the top
through the casing on the front and
back of the drawstring panel. Knot the
ends of the cords together on each
Measure up 4in from the long bottom edges, front and back. side. See Diagram 11.

90
 FREE SHIPPING on orders
over $150 - Australia wide!

Blueberry Kisses is a quilt designed by Thimbles & Needles

Completed quilt measures 59" x 67" | Fabric Roll $168 | Pattern $16
Free shipping on order over $150

The Quilt Shop 2/38 Bridge Street, Eltham VIC 3095 | Ph 0468 336 146 | E [email protected]
Facebook The Quilt Shop | Instagram @thequiltshop | www.thequiltshop.com.au

Established 1935 89 YEARS OF KNOWLEDGE, SERVICE AND SUPPORT

HEIGHT’S SEWING CENTRE

Service Centre | 5 Candover Street, 176 Pakington Street, Geelong West VIC 3218
Geelong West VIC 3218 | 03 5229 5567
03 5229 3558

• Sewing machines, overlockers,

coverstitch machines
• Dedicated Service Centre
• Large range Haberdashery
• RASANT, Gutermann, RA, WonderÀl
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Stockists of: Husqvarna Viking, Janome, Bernina, babylock,

Handiquilter, Accuquilt GO!, PFAFF, Juki, Horn Furniture

www.heightsewing.com.au
Gallery

QuiltCon 2024
QuiltCon 2024 included a juried quilt show featuring modern
quilts made by members of The Modern Quilt Guild. The event
was held late February at the Raleigh Convention Center,
located in Raleigh, North Carolina, America.
Following are some of the prize winning quilts. You can see them
all at: www.quiltcon.com/quiltcon-2024-winners
Photographs supplied by the makers

92
 Best in Show
What We Will Use as Weapons: A List of School Supplies, 89cm x 200cm (35in x 79in), Ginny Robinson
Artist’s statement: “’Gargoyle bookends’. ‘Pencils.’ ‘Erlenmeyer flasks.’ ‘Jugs of paint.’ ‘Cello cases.’ ‘Building blocks.’ ‘Nothing but my
words.’ I'm a teacher who asked other American teachers what ordinary classroom objects they would use to defend their students
in a school shooting. Their answers varied by grade level and the subject they teach. Shaped like a door, the quilt celebrates the good
work these school supplies do each day to teach our kids about life and the world, while also acknowledging that teachers sometimes
see these things in a different way. The quilting represents the shooter on the front and the teacher on the back, with the appliqué
pieces aimed at them. Imagine bringing a stapler to a gunfight. But I never want to see a gun on the front of this quilt. What I want is
the AR-15 taken off the other side. Our children deserve better than the nightmare we tolerate.”

93
Gallery

Excellence Award
Anechoic, 160cm x 160cm (63in x 63in), Janice Reimer
Artist’s statement: “Anechoic is the result of a doodle session that turned into a summer of foundation
paper piecing. This quilt was a lesson in colour theory and pulled me in creative directions that were out of
my comfort zone (hello bright bold colours). Each colour quadrant has elements of the other quadrants in
them by incorporating their colours into the quilting thread and binding.”

94
 Best Original Modern Design
Candy Pop, 147cm x 185.5cm (58in x 73in), Kelly Spell
Artist’s statement: “Pink and maroon candies dance in a sea of red. I made this quilt to push my
design and piecing capabilities into new territory. All the fabric is hand-dyed or hand-printed.
Construction of the quilt top required techniques similar to that of a Double Wedding Ring motif,
with the added challenge of an 18-foot-long serpentine swirl. Cut from a single piece of fabric, it
winds its way up and down three columns of circles.”

95
Gallery

Appliqué – First
Big Hug, 142cm x 187cm (56in x 74in), Linda Leake
Artist’s statement: “Although I typically make larger bed quilts, I usually gravitate to tiny pieces. This quilt was my first
big leap to make something with big shapes. While it was quite challenging to work at a different scale, I grew to embrace
the big shapes and the power they have when just a few forms take up the whole quilt. I used machine appliqué to create
each of the main shapes and chose simple straight-line quilting to keep the focus on the shapes. While working large was
uncomfortable at first, I hope that this quilt evokes a sense of warmth and comfort with the soothing yet warm colours.
The shapes ultimately grew to form an embrace of their own, reminding me of a big hug.”

96
 Handwork – First
Quilt: Stitched and Tied, 173cm x 203cm (68in x 80in), Amanda Nadig
Artist’s statement: “If I was going to try tying a quilt, I wanted to be very "over the top" about it. The straight
lines of hand quilting were added to emphasize the interesting organic shape formed by the densely tied
yarn knots. This quilt is very heavy! I found thick ivory fabric from an estate sale, once home to a woman who
made altered wedding dresses and paired that luxuriousness with other white and off-white fabrics in my
found fabric collection. The ties grow and take over the space but hidden underneath lies a pale radial design
made up of improvisational pieced shapes.”

97
Gallery
Improvisation – First
Reconceived, 251.5cm x 254cm
(99in x 100in), Jennifer Candon
Artist’s statement: “My preconceived
ideas of a composition often get in
the way. I am learning to have faith
in myself as an artist and to give up
control. I increasingly appreciate that
artwork evolves and becomes its own
thing during the making process.
I began work on this piece with a
completely different composition and
colour scheme in mind. As it grew,
technical and design realities made me
realize that my original conception was
not the best path forward. I gave up
control and followed a new direction
– one that was unclear from the
outset but became an improvisational
collaboration between the materials
and maker. By letting go, the piece is
strengthened. Quilted textile mural,
sewn with my hand-dyed linen,
upholstery fabric and quilting cotton.”

Modern Traditionalism – First

Kiwi Peel, 173cm x 208cm
(68in x 82in), Ben Darby
Artist’s statement: “Based on inspiration
seen in an upholstery fabric, I used computer
drawing software to draft overlapping
distorted circles and had templates made
for the resulting shapes. The fabrics are all
Alison Glass Kaleidoscope yarn dyes. This is
the second of what may become a series of
quilts using these shapes.”

98
 6(:
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Book reviews

Off the Shelf

Enjoy this selection of new and recently released books on
patchwork and quilting topics and techniques.

Contemporary Patchwork:
Techniques in Colour, Surface Design & Sewing Mending With Boro:
Arounna Khounnoraj Japanese Running Stitch & Patching Techniques
Dive into contemporary patchwork with fresh surface Harumi Horiuchi
design techniques and beautiful projects from One simple stitch can bring new life to hundreds of
Arounna Khounnoraj, co-owner of Bookhou and well- your favourite things. Boro, the Japanese straight
known textile artist. Arounna’s approach to patchwork, stitch used to repair and reinforce fabrics, is the
quilting and appliqué stands out from traditional basis for Sashiko. It is a favourite among visible
methods, making this book an incredible resource for mending enthusiasts because of its simplicity and
building a foundation in textile design and expanding because it adds an intriguing textural element to
into unique improvisational patchwork. Get inspired by garments and home furnishings.
your environment and learn elements of colour theory In this new book, Sashiko expert Harumi Horiuchi
before jumping into several fabric surface design shares her ideas for using Boro to patch holes and
techniques. Then, master the art of decorating with tears, reinforce worn areas and add fresh details
stitches as you explore various sewing and appliqué to garments. Her approach is simple: the things you
techniques to make your patchwork projects pop. love are worth fixing. Rediscover items by giving them
The book includes 10 beautiful and original projects a new look and feel while also being good to the
that combine a variety of sewing and appliqué environment. Her demonstrations and instructions
techniques and range from small quilts to bags and make the process easy and enjoyable.
pouches. Discover the possibilities of surface design There’s no need to stop at reinforcement and
techniques, including natural dyeing, block printing repair. Remake an entire garment by artfully
with household objects and elements from nature, patching it here, there and everywhere. The more
and even painting. Incorporate sustainability into your you patch, the more unique your garment becomes.
practice with guidance on using every scrap and drop This book will be just the start of giving new life to
of your materials. hundreds of old things!
Published by C&T Publishing Published by Tuttle Publishing

100
 3-D Magic! String Quilts:
Striking Sustainable
Quilts, Patchwork
Simple Projects Using
Blocks Fabric Scraps
Marci Baker Carolyn Forster
and Sara All the quilts in
Nephew this book feature
Be amazed traditional
by simple blocks, so you
techniques that can easily create
make flat fabrics your favourite
into surreal designs without
landscapes and rising cubes with various textures. breaking the bank
The key is not crumpling, folding or bunching or hurting the planet. In addition, Carolyn has
material but rather playing with light, medium included eight little gifts and accessories to make,
and dark fabric. You’ll learn to piece 13 easy quilt from a needlecase and a quilt-notions pouch to a
blocks that look three dimensional without y-seams table runner and duffel bag with the leftovers from
or set-in seams. The magic lies in the simplicity of your quiltmaking, so that nothing goes to waste.
the piecing method taught in the book. You can Along with a small section on all the materials and
individually select and piece your fabric or use strip notions to get started, plus an invaluable techniques
piecing. Make 13 stunning 3D-style blocks and chapter, quilters will have everything they need to
explore instructions for creating them in alternative create planet-conscious quilts and, in the process,
sizes. Plus, you can browse through a large gallery celebrate old quilt and patchwork methods from
of quilts by imaginative quilters for inspiration. quilters of yore.
Published by C&T Publishing Published by Search Press

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3-D Simple Blocks, The Ultimate Guide to

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TIPS, TECHNIQUES
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MARCI BAKER and SARA NEPHEW

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Available from Search Press Australia. your space merry and bright this holiday season
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Published by C&T Publishing

101
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 Arcadia
Part 6
Welcome to the final instalment of this gorgeous block of the month.
In this issue you will make three borders; the first and the third are pieced
and the second one is not. After you sew the borders on, your quilt top will be
completed and you can sandwich the quilt top, batting and backing and either
machine or hand quilt your masterpiece.

Proudly brought to you by Quilters Companion

Designed, sewn and quilted by Keryn Emmerson, Kin Quilting Designs

[email protected] @artisanartist www.kerynemmerson.com

Fabric designed by Kim Hurley, l’uccello

[email protected] @luccellomelbourne @luccello

104
 Sew along with us
on our special
Facebook group:
Quilters Companion
Block of the Month
2023 – Arcadia

undertaking,
This quilt is a major
tting and piecing
requiring accurate cu
e fits precisely
to ensure each fram
the quilt. Refer to
around the edge of
e specific fabrics
the Fabric Key for th
oject if you wish
Keryn used in her pr
tical to hers.
to create a quilt iden
¼in are used
Seam allowances of
ecing.
throughout for the pi

105
 Finished size: 167cm (66½in) square

This Block of the Month project is being published over

six issues of Quilters Companion, from issue #122 to this
issue, #127. The materials required to make the complete
quilt were included in Part 1 of the instructions, published
in Quilters Companion #122. Contact our subscriptions
department to order back issues, or log on to Zinio or the
Apple/Google Play newsstands to get them digitally.

106
 A B C D

St Etienne Bridgitte – Cream St Etienne Bridgitte – Pink St Etienne Lisette – St Etienne Camille – Teal
(DV 5805) (DV 5807) Pale Teal (DV 5810) (DV 5812)

E F G H

St Etienne Etoile – Pink St Etienne Etoile – Teal St Etienne Cosette – Teal St Etienne Cosette – Pink
(DV 5818) (DV 5819) (DV 5821) (DV 5822)

I J K L

Rue Floriane Jean-Marie Comptoir de Toile Lucie Comptoir de Toile Lucie Comptoir de Toile Amalie –
(DV 5107) (DV 5122) (DV 5124) Dusty Rose (DV 5127)

Our fabrics
This quilt uses a large variety of
M N print fabrics from the St Etienne,
Rue Floriane and Comptoir De Toile
collections designed by Kim Hurley of
l’uccello for Devonstone Collection.
They are distributed in Australia by
Comptoir de Toile Lucie – St Etienne Colette – Two Green Zebras.
Rose (DV 5145) Pink (DV 5801)

107
 Diagram 1 — make 4 4 Join a row from Step 3 to the
left end of a row from Step 2, as
shown in Diagram 3. Repeat to make
four long rows exactly the same. Your
rows should measure 2½in x 52½in
from raw edge to raw edge.

Diagram 2 — make 4 5 Sew a 2½in square of Fabric I to

each end of two of the rows. They
should measure 2½in x 56½in from raw
edge to raw edge.

6 Sew the shorter rows to the left and

right edges of the quilt top, with the
base of the Fabric K triangles adjacent to
Diagram 3 — make 4
the quilt top. Press seams inwards.

7 Then sew the longer rows to the

top and bottom edges of the quilt
top — again with the base of the Fabric
K triangles adjacent to the quilt top.
Press seams inwards. Your quilt top
should now measure 56½in square
from raw edge to raw edge.

Unpieced border
From Fabric C, fussy cut:
• eight strips, 4in x width of fabric. To
mimic the effect that Keryn achieved
in her quilt, position a long quilter’s
ruler on the fabric with the cutting
edge 1¾in above the dark red rose.
Cut the fabric, sliding the ruler along
the fabric. Then cut the fabric 4in
below the first cut.
Diagram 4 To cut the remaining seven strips,
position the ruler on the fabric in
exactly the same position: 1¾in
above the next occurrence of the
dark red rose.

1 Join the strips of fabric, end to

end, in pairs to make four long
strips. Take the time to match the
motifs printed on the fabric as closely
as possible. To do this, turn under the
right short end on one strip in each pair
by about 1in and press. Lay this strip
close to the left short end of the other
strip — with both strips facing the right
Diagram 5 way up — until you find the place on the
lower strip where the printed pattern
Sawtooth border
From Fabric I, cut: 1 Sew each K triangle to an I
triangle on their longest edge.
is continuous with the folded end of the
upper strip. See Diagram 4.
• five strips, 2⅞in x width of fabric.
Cross cut them to yield 52 squares,
2⅞in. Cut each square once on the
Press seams open. Your pieced
squares should measure 2½in from
raw edge to raw edge.
2 Pin the layers together. To do this,
hold the turned under section
of the top strip and the bottom strip
diagonal to yield 104 half-square
triangles
• four squares, 2½in
2 Lay out 13 pieced squares as
shown in Diagram 1. Sew them
together. Press seams open. Repeat to
tightly between your fingers so that the
pattern alignment is maintained, then
carefully fold the top strip over on to
From Fabric K, cut: make four rows exactly the same. the bottom strip. The two strips will now
• five strips, 2⅞in x width of fabric. Cross
cut them to yield 52 squares, 2⅞in. Cut
each square once on the diagonal to
3 Lay out 13 pieced squares as
shown in Diagram 2. Sew them
together. Press seams open. Repeat to
be right sides together. See Diagram 5.

3 Stitch in the crease. Remove the

pins and turn the top strip over so
yield 104 half-square triangles make four rows exactly the same. that it is now facing right side up. Check

108
109
 Not to scale

of strip
Centre
¼in 45°

28in 28in
45° ¼in
8 Match one of the unpieced strips
with the quilt top, right sides
together. (The strips will overhang the
Diagram 6 centre panel at each end.) Match the
centre crease with the point of the
Flying Geese unit in the centre of the
Sawtooth border. Match the dots on
the strip with the dots you marked in
Step 4. Sew from just inside (a thread-
width) one dot to just inside (a thread
width) the other, backstitching at the
2½in
beginning and end of the seam. Do not
press the seam at this stage.

9 Repeat Step 8 to sew the other

three unpieced strips to the quilt
top. Press.
2½in
10 Once all four strips are joined to
the body of the quilt, match the
45 degree lines at the corners and sew
those seams, again stopping just short
Diagram 7 of the ¼in dots. Check that the mitred
corners lie flat. If there is not enough
fabric for the corners to lie flat, resew
the seam on the outside of the existing
seam, then unpick the first seam. This
allows extra fabric in the corner. If the
corner has too much fabric, sew again
inside the line. Even minor adjustments
make all the difference.

Final border
From Fabric J, cut:
• three strips, 4in x width of fabric. Cross
cut them to yield 22 squares, 4in. Cut
each square twice on the diagonals to
yield 88 quarter-square triangles

1 To trim the corners of the triangles

and make it easier to sew them
together accurately, stack four
triangles on top of each other. Lay a
quilter’s ruler on the stack with the 2½in
vertical and horizontal lines matching
the two short edges of the triangles.
Diagram 8 Trim the points, as shown in Diagram 7.

the seam. If the pattern alignment

between the two strips isn’t perfect,
want to be adjacent to the quilt top —
this will be referred as the ‘joining edge’.
2 Repeat to trim the points off all
the triangles.
From Fabric G, cut:
unpick the seam and sew it again. Once
the alignment is perfect, trim the fabric
you turned under in Step 1 ¼in outside
6 Fold each of your four long strips
in half, short ends matching, and
finger press a crease to mark their
• three strips, 4in x width of fabric.
Cross cut them to yield 25 squares,
4in. Cut two of these squares once on
the seam. Press the seam open. centre. Measure out 28in on either side the diagonal to yield four half-square

4 Measure in ¼in from both edges

at each corner of your quilt top
and mark a dot on the wrong side of
of the crease and make a light mark
on the wrong side of the fabric on the
joining edge. Measure up ¼in from the
triangles (corners). Cut the remaining
23 squares twice on the diagonals to
yield 92 quarter-square triangles
the fabric.

5 Lay the unpieced border strips

raw edge of the joining edge at these
marks and mark a dot. 3 Repeat Steps 1 and 2 to trim the
points off the 92 quarter-square
around the edge of your quilt top.
Check that the same part of the design
printed on these strips is adjacent
7 Using the 45 degree line on a
quilter’s ruler. Draw a line that
goes from the dot to the other long raw
triangles.

4 Sew a G triangle to each J

triangle, matching the trimmed
to the Sawtooth rows on each strip. edge (the ‘non-joining edge’) of the ‘corners’, as shown in Diagram 8. Press
Determine which edge of the strips you strip, as shown in Diagram 6. the seam towards the J triangle.

110
5 Then join 22 sets of G+J triangles
together in a row. Repeat to make
four rows. Sew a G triangle to the right
a seam allowance that is slightly
wider. Keryn says that these changes
to the seam allowances can be as
for Preparing the Quilt Sandwich in the
free downloadable Basics Guide* to
pin or baste the quilt top, batting and
end of each of these rows. little as 1/16in if you re-work enough backing together.

6 Measure in ¼in from both edges

of the G triangles at the ends
of each row and make a light mark
seams in the row.

7 Once the rows are a perfect match

for the edges of the quilt top,
3 Quilt as desired. Keryn custom
quilted Arcadia by machine
using ditch quilting and a variety of
on the wrong side of the fabric. sew them in place. Sew a half-square different designs.
Measure in ¼in from both edges of
the corners of the quilt top and make
a light mark on the wrong side of the
Fabric J triangle to each corner to
complete the quilt top. 4 Trim the excess backing fabric
and batting ¼in outside the edge
of the quilt top.
fabric. Measure the length between Finishing From Fabric J, cut:
the dots on each row of triangles
and on each edge of the quilt top.
These measurements should all be
1 Press your quilt top well. Remove the
selvedges from the backing fabric.
Sew the pieces together side by side with
• eight strips, 2½in x width of fabric

5 Follow the instructions in Binding

the Quilt in The Basics Guide* to
the same. If the rows of triangles a ½in seam and press the seam open. bind the quilt using these strips.
are a little too short, unpick some of
the seams and re-sew them using a
slightly narrower seam allowance. If
2 The quilt top, backing and batting
are ready for a long-arm quilting
machine as they are. If you’re doing
* The free Basics Guide is available
as a download online from https://
the rows of triangles are a little too the quilting by hand or on a domestic www.cosyproject.com/blog/
long, resew some of the seams using sewing machine, follow the instructions quilting-guide

111
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 Block Of

Pr o gr a m s The Month

& kits
Spring
Hill Farm
Contact Marion
for details

Welcome to our new block of the month

and kits section where each issue we will
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month programs and kits for purchase.
These product cover a variety of styles,
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Kits and block of the month programs are popular choices

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 Handmade by Margott

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Have a look through the next few pages to discover what fantastic
new products, ideas and designs are In The Market to inspire you.

Continental Models offers ASR, Janome’s Accurate Stitch Regulator with

Looking for a machine with a big workspace? Take four ASR feet, one being a Rulerwork Foot; Floating
a look at the latest Continental models: Continental Mode for stitching delicate fabrics, stitching over bulky
M8 Professional and the Continental M6. Both have seams or fabrics with a pile and stitching on a curve or
a Workspace of 13½in/343mm; New Superior needle piecing on the curve.
threader 2 which pulls the thread through the eye JANOME AUSTRALIA
of the needle; Maximum stitching speed of 1300 Phone: 1300 JANOME (1300 526 663)
stitches per minute; Bright LED lighting illuminates Email: [email protected]
the workspace from four locations. The CM8P also Website: www.janome.com.au

120
Quality Always Mediterranean
Australian Wool Wadding. Escape
MiniJumbuk Nu-Wool The beautiful Mediterranean
wadding is made to high Escape panel is a digital
and exacting standards in print by Hoffman. Perfect for
Adelaide, South Australia. a wallhanging or quilt centre.
Buying Nu-Wool supports Panel measures 110cm x
Australian jobs and Australian farmers. This wool 90cm. Panel $41.85 each.
batting is simply the best there is and provides great Matching fabric $45.76
drape as well as providing natural temperature metre. Postage extra.
regulation. Available from all good craft stores. Available on our website for fast ordering.
QUALITY ALWAYS A LITTLE PATCH OF COUNTRY
Phone: (08) 8349 0200 Phone: (03) 5633 2311
Email: [email protected] Email: [email protected]
Website: www.minijumbuk.com.au/wadding Website: www.littlepatch.com.au

Designer Digital Prints

eQuilter has the largest online selection of high-
quality quilt fabrics and related products, including
exceptionally detailed Designer Digital Prints by the
Rubin Design Studio, created exclusively for eQuilter.
2% of all purchases are donated to international non- Teaparty Tote Bag
profits, totaling US$1.9 million so far. Sign up for the Gorgeous new bag in navy and pink, one of a set
weekly e-newsletters and try the Free Pattern designer. of three. Pattern $18 + $3 p&h, Kit $49 + $10 p&h.
50% discount on international shipping for orders Special Limited Offer: Kit includes lace and picot-
over US$100. edged binding as well as pattern and fabric.
eQuilter FAERIES IN MY GARDEN
Phone: USA 303-527-0856 Phone: (07) 3869 0808
Email: [email protected] Email: [email protected]
Website: www.equilter.com Website: www.faeriesinmygarden.com.au

121
In the Market

Moda Canvas
Maker Buckets
Moda Canvas Maker Buckets Fabric Cutting Dies
are perfect for storing your Blue Wren fabric cutting dies, proudly Australian-
quilting and crafting supplies, made, are compatible with most fabric cutters, from
works in progress or going to compact to large roller cutters. Whether you’re a
a sewing day. Quilters find beginner or an expert quilter, these dies handle
the colours perfect for storing simple and intricate shapes. Each die includes it’s
fabric scraps in organised colour buckets. Size 8in own mat. The smaller 6in x 12in dies even feature
x 7½in and are made with 100% cotton. Canvas a clear lid. Crafted with top-quality materials, they
Buckets can be purchased individually or as a full set guarantee precision. Cut up to six layers of 100%
of six – so you get all of the colours! cotton at once.
LITTLE PATCH OF HEAVEN A1 CRAFT AND QUILTING
Phone: 0447 244 452 Phone: 0438 877 664
Email: [email protected] Email: [email protected]
Website: www.littlepatchofheaven.com.au Website: www.a1craftandquilting.com.au

Kookaburra
Quilts
Kookaburra Quilts
is located in the
historic town
of Burra, South
Australia. We
Open By Appointment stock an ever-
Maree St Clair Quilts have a shop located in Central growing range of
Victoria and they are open only by appointment. beautiful 100% cotton quilting fabric, haberdashery,
Don’t hesitate to text 0429 393 757 to make an Cosmo threads, books, precuts and sewing supplies.
appointment to visit. They are usually available from We have recently expanded into the shop next door,
Tuesday to Saturday. They do travel for shows and where we have a lovely bright new classroom and
pop-up shops and that can affect availability. A 24 another shop dedicated to the fabric. We are open
hour notice of your visit is preferred. six days a week. Friday by appointment.
MAREE ST CLAIR QUILTS KOOKABURRA QUILTS
Phone: 0429 393 757 Phone: 0439 247 700
Email: [email protected] Email: [email protected]
Website: www.mareestclairquilts.com.au Website: www.kookaburraquilts.com.au

122
Trapunto Designs
These two delicate designs have
been worked in a light form of
Trapunto incorporating two layers
of semi-sheer fabric and a fine
layer of batting. They are quilted
together to create the outline
with the resulting shapes being filled with coloured
yarn for the padded, coloured areas. Some surface
embroidery and tiny seed beads are applied to the
design to give a little more detail.
Both kits come complete with all the necessary Sweet Gingham Lavender Quilt Kit
notions, design and easy to follow illustrated Take a trip down memory lane with this adorable
instructions. A 6in practice block may also be quilt. A simple quilt to make using panels and piecing.
purchased for $5 with your kit/kits order. This is Finished size 51½in x 60½in.
helpful for first timers to practice the Trapunto Kit includes all fabrics to complete the quilt top
technique for each piece. and the binding and the pattern. Kit $160.00
DESIGNER STITCHES WHATEVER WHERE-EVER CRAFT
Phone: 0415 413 895 Phone: (02) 6026 5489
Email: [email protected] Email: [email protected]
Website: www.designerstitches.net Website: www.whateverwhereever.com.au

Christmas with Joy

Celebrate a beautifully traditional
Christmas with Joy, the gorgeous
new range from Edyta Sitar of
Laundry Basket Quilts for Andover
Fabrics! A spectacular cheater
cloth print is complemented by lush
florals, stripes and sweet ditsies in
an elegant colour palette, perfect for
seasonal stitching or use it year-
round for beautiful creations with a
touch of antique style.
Contact Two Green Zebras for
stockists.
TWO GREEN ZEBRAS
Phone: (07) 3132 8990
Email: [email protected]
Website: www.twogreenzebras.com

123
In the Market

Sue Spargo Products POSY BOM

Shop our comprehensive range of Sue Spargo This Block of the Month is designed by Sharon
products including 100% wool hand-dyed in-house Burgess. The program runs for seven months and
at Sue’s Ohio-based studio. The superior grade uses a combination of embroidery and English paper
and ultimate thickness of these wools provide piecing and appliqué. Each month you will receive
amazing dimension with layering and embellishment. a pre-printed embroidery panel, stabiliser, acrylic
Available now from The Quilting Room in precut sizes, templates, enough papers to complete the block and
custom cuts and a variety of bundles. Other Sue Tilda Hibernation fabrics.
Spargo products include threads, books, patterns, Cost: month 1 is $120-00 (plus postage) and
kits, notions and hand-dyed velvets. months 2–7 are $60 each (plus postage).
THE QUILTING ROOM TRANQUILITY CRAFTS ‘N SUPPLIES
Phone: 0411 417 087 Phone: (03) 9375 3575
Email: [email protected] Email: [email protected]
Website: www.thequiltingroom.com.au Website: www.tranquilitycrafts.allthings

Amanda Murphy Rulers

Looking at enhancing your quilting
projects? Rulers offer interesting
patterns and shapes that inspire
playful and imaginative quilting.
BERNINA carry a large range
of Amanda Murphy Rulers that
will add a touch of creativity
and enjoyment to your quilting
projects. All of Amanda’s rulers
are suitable for all BERNINA
sewing machines and work in
conjunction with the Adjustable
Ruler Foot #72, 72S.
BERNINA AUSTRALIA
Phone: (02) 9899 1188
Email: [email protected]
Website: www.bernina.com.au

124
Tumbling Cosmos
Need a new hand sewing project? Got lots of Tula
fabrics in your stash? Why not consider this new
project from Paper Pieces. Tumbling Cosmos is a
version of Tumbling Blocks with a Tula twist on it. Berry Parfait
Sewn in six sections, this quilt will be stunning made Berry Parfait is an Australian design by Jo from
with either in print or using your out of print Tula Thimbles & Needles. The fabric pack for this quilt is
Pink fabrics. Buy all the papers you need for this fresh and punchy and includes all the fabric you need
project and include some acrylic templates so you to complete the 67in square quilt. Fabric roll $179.
can easily fussy cut your favourite fabrics. Pattern $16.
MY FABRICOLOGY THE QUILT SHOP
Phone: 0493 063 224 Phone: 0468 336 146
Email: [email protected] Email: [email protected]
Website: www.myfabricology.com.au Website: http://www.thequiltshop.com.au

Quilting Automation is
Powerfully Simple
Quilter’s Creative Touch gives you
control over the style and design of
your patterns and then takes care of
the actual stitching with the push of a
button. This gives you the freedom to
focus on your creativity and achieve
fantastic results. Let your machine do
the quilting for you – the QuiltMotion
QCT6 is a computer automated
quilting system that lets you create
your masterpieces in steps as simple as
select, place and sew.
There are three versions available
QCT6, QCT6 Plus and QCT6 Pro.
KNOW-HOW SEWING ESSENTIALS
Phone: (02) 4871 3936
Email: [email protected]
Website: www.knowhowsewing.com.au

125
Level up your crafting skills with these

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With the beginner in mind,
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your quilt.

Quilted Gifts ($12)

From cushions to patchwork
bags, Santa wall hangers
and quilt designs for
children, there’s a design
available in this book for you
to create and give out as
gifts for your loved ones on
their most special days.

Visit www.universalshop.com.au/Books/craft-books
or call 1300 303 414 to order your copies today.
 Creative Stash & Scrap
Quilts ($12)
Feeling guilty about how
much money you have
spent on fabric, or how
much fabric you have lying
around? This book offers
you 21 gorgeous projects
designed to work through
d
tthe fabrics that you have
already purchased.
a

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Check out theull range of the
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bringing a new meaning to
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On the Road

ON THE

AUSTRALIA AND NEW ZEALAND GUIDE TO

CRAFT, SEWING AND PATCHWORK SHOPS

130
 Nel’s Fabric Place Stitched ‘n Framed
188 Hoskins Street, Temora 2666 14 Acacia Avenue,
ACT Ph: (02) 6977 1760 Port Macquarie 2444
[email protected] Ph: (02) 6581 3338
The Sewing Shoppe www.188nelsfabrics.wixsite.com/temora [email protected]
6/51 Tennant Street, Open: Mon–Fri 9am–5pm, www.stitchednframed.com.au
Fyshwick 2609 Sat 9am–12 noon Open: Mon–Fri 9.30am–4pm,
Ph: (02) 6239 1214 Sew Fab Sat 9.30am–2pm
[email protected] 111 East Street, Narrandera 2700 Stitches by the Sea
www.sewingshoppe.com.au Ph: (02) 6959 9819 10 Gundagai Street,
Open: Wed–Sun 10am–4pm [email protected] Coffs Harbour 2450
www.sewfab.com.au Ph: 0412 355 438
Open: Tues–Fri 9am–4:30pm, [email protected]
Sat 9am–12:30pm, www.stitchesbythesea.net
Mon by appointment only Tue–Fri 9.30am–4.30pm,
The Cotton Merchants Sat 10am–1pm
37 Wynyard Street, Tumut 2720
Ph: (02) 6947 1175 HAWKESBURY
[email protected] True Blue Stitches
www.thecottonmerchants.com.au 5/3 Terrace Road,
Open: Mon–Fri 9.30am–4.30pm, North Richmond 2754
Sat–Sun 10am–1 pm Ph: (02) 4508 4052
The Fabric Farm [email protected]
36 Kurrajong Avenue, Leeton 2705 www.truebluestitches.com.au
NSW Ph: (02) 6953 7718 Open: Mon–Fri 9am–5pm,
[email protected] Sat 9am–1pm
SYDNEY Open: Wed–Fri 10am–5pm,
Lyn’s Fine Needlework Sat 10am–1pm SOUTH WEST
2/9 Seven Hills Road, Whatever Where-ever Crafts Hen Tea Craft Store
Baulkham Hills, 2153 26 Fairway Close, Howlong 2643 28 Sladen Street, Henty 2658
Ph: (02) 9686 2325 Ph: (02) 6026 5489 Ph: 0414 581 620
[email protected] [email protected] [email protected]
www.lynsfineneedlework.com.au www.whateverwhereever.com.au www.etsy.com/au/shop/braidcraft
Open: Mon–Fri 9am–5pm, Open: Wed–Fri 10am–5pm, Open: By appointment
Sat 9am–4pm Sat 9am–1pm
CENTRAL WEST
NEPEAN/BLUE MOUNTAINS MID NORTH COAST Hobbysew Orange
Cowra Patchwork Connie’s Fabrics 221 Peisley Street,
Shop 2/119 Kendal Street, Cowra 2794 1 Verge Street, Kempsey 2440 Orange 2800
Ph: (02) 6342 3854 Ph: (02) 6562 7792 Ph: (02) 6361 7420
www.cowra-patchwork.business.site [email protected] [email protected]
Open: Mon–Fri 8.30am–5pm, Facebook: Connie’s Fabrics Open: Mon–Fri 9.30am–5pm,
Sat 8.30am–12.30pm Open: Mon–Fri 9am–5pm, Sat 10am–2pm
Post Office Patchwork Sat 9am–12.30pm The Crafter’s Cottage
33 Ross Street, Glenbrook 2773 Country Pickin’s Sewing Centre 62 Dalgarno Street,
Ph: (02) 4739 9555 Unit 2, 1a Blackbutt Road, Coonabarabran 2357
[email protected] Port Macquarie 2444 Ph: 0407 940 792
www.postofficepatchwork.com.au Ph: 0448 306 589 [email protected]
Open: Mon–Fri 10am–5pm, [email protected] www.thecrafterscottage.net
Sat 10am–3pm www.countrypickins.com.au Open: Tue–Fri 9am–4.30pm,
Sew Can I Open: Mon–Fri 9.30am–5pm Sat 9am–12 noon
3/21 Lavin Crescent, Sat 9.30am–2pm The Crafty Peacock
Werrington County 2747 Country Pickin’s Sewing Centre 17 Bradwardine Road, Bathurst 2795
Ph: (02) 9623 4570 29 Pulteney Street, Ph: (02) 6331 6975
[email protected] Taree 2430 [email protected]
https://www.sewcani.com.au Ph: (02) 6552 2092 www.thecraftypeacock.com.au
Open: Mon 9am–4.30pm, [email protected] Open: Tue–Fri 9.30am–5pm,
Tue 9am–9pm, Wed–Sat 9am–4.30pm www.countrypickins.com.au Sat 9.30am–3.30pm
Sunday by appointment Open: Mon–Fri 9.30am–5pm
Sat 9.30am–2pm NORTH WEST
RIVERINA Hanging by a Thread Stitch2340
Coleambally Stitch in Time Wallace Street, (formerly known as
13 Brolga Place, Coleambally 2707 Macksville 2447 Stitch Between the Bridges)
Ph: (02) 6954 4242 Ph: (02) 5509 1664, 230 Peel Street, Tamworth 2340
coleamballystitchintime@allthingsquilting. 0483 804 032 Ph: 0413 556 369
com.au, www.coleamballystitchintime. [email protected] [email protected]
allthingsquilting.com.au www.hangingbyathread.com.au stitchbetweenthebridges.com.au
Open: Mon–Fri 9am–5pm, Open: Tue–Fri 9.30am–5pm, Open: Tue–Fri 9.30am–4.30pm,
Sat 9am–12 noon Sat 9am–1pm Sat 9am–4pm

131
On the Road
Ursh’s Sewing Palm Beach Quilting SOUTH WEST
1 Cunningham Close, Unit 7/2 Industry Boulevard, Molly Bear Designs
Narrabri 2390 Carrum Downs 3201 208 Diproses Road,
Ph: 0419 492 370 Ph: (03) 9775 1601 Bulart 3314
FB: urshs-sewing [email protected] Ph: 0488 136 961
Mon–Wed 9am–5pm, Fri 9am–5pm, www.palmbeachquilting.com.au [email protected]
Sat 11am–1pm Open: Mon–Fri 10am–4pm, www.etsy.com/au/shop/Mollybeardesigns
Sat 9am–12 noon Open: by appointment
NORTHERN NSW The Quilt Shop Port Fairy Textiles
Handa Crafts and Curtains 2/38 Bridge Street, Eltham 3095 Shop 1, 54 Sackville Street,
149 Canterbury Street, Ph: (03) 8418 6770 Port Fairy 3284
Casino 2470 [email protected] Ph: 0493 289 375
Ph: 0484 899 472 www.thequiltshop.com.au [email protected]
[email protected], Open: Mon–Sat 9.30am–4pm www.portfairytextiles.com.au
www.handacraftsandcurtains.com.au Tranquility Crafts ‘N’ Supplies Open: 7 days, from 10am
Open: Mon–Fri 9am–5pm, 37 Holmes Road, Updates on Instagram/FB @
Sat 9am–12 noon Moonee Ponds 3039 portfairytextiles
Rainbow Patchwork Ph: (03) 9375 3575
75 Union Street, [email protected] EAST
South Lismore 2480 www.tranquilitycrafts.allthings The Craft Basket
Ph: 0432 417 228 quilting.com.au 110A Nicholson Street,
www.rainbowpatchwork.com.au Open: Tue–Fri 10am–5.30pm, Orbost 3888
Open: Tue–Fri 10am–5pm, Sat 9.30am–1pm Ph: (03) 5154 1151
Sat 9am–12 noon [email protected]
NORTH CENTRAL www.thecraftbasket.com.au
NEWCASTLE Maree St Clair Quilts Open: Tue-Fri 9am-3pm,
Morisset Fabrics and Crafts Ph: 0429 393 757 Sat 9am-12 noon
47 Dora Street, [email protected] Lily Lane Patchwork
Morisset 2264 www.mareestclairquilts.com.au 26 Prince Street,
Ph: (02) 4973 3837 Open: By Appointment Only Rosedale 3847
[email protected] Ph: (03) 5199 2777
www.facebook.com/morissetfabrics NORTH EAST [email protected]
Open: Mon–Fri 9am–5pm, Little Patch of Heaven www.lilylane.com.au
Sat 9am–1pm 7 Pickering Place, Wodonga 3690 Open: Mon, Wed, Thu,
Ph: 0447 244 452 Fri 9.30am–4pm,
SOUTHERN HIGHLANDS [email protected] Sat 10am–2pm
Know How Sewing Essentials www.littlepatchofheaven.com.au
Unit 2, 3–7 Frankland Street Open: By appointment only WEST
Ph: (02) 4871 3936 Creature Crafts Cobden Sewing Machines
[email protected] Shop 4, 68 Myrtle Street, 31 Curdie Street,
www.knowhowsewing.com.au Myrtleford 3737 Cobden 3266
Open: Mon–Fri 9am–3pm Ph: 0428 503 951 Ph: 0408 104 912
[email protected] [email protected]
www.creaturecrafts.net.au www.cobdensewingmachines.com.au
Open: Mon–Fri 9.30am–3pm, Open: Tue–Fri 9.30am–4pm,
Sat 10am–2pm Sat 9am–12 noon
Heights Sewing Centre
SOUTH EAST 176 Pakington Street,
A Little Patch of Country Geelong West 3218
63 Princes Highway, Ph: (03) 5229 3558
Trafalgar 3824 [email protected]
Ph: (03) 5633 2311 www.heightsewing.com.au
www.littlepatch.com.au Open: Mon–Fri 9am–5.30pm,
[email protected] Sat 9am–1pm
Open: Mon–Fri 9am–5pm Little Desert Quilts
Mrs Martins Quilt Shop 2204 Kaniva–Edenhope Road,
133 Emerald Monbulk Road, Kaniva 3419
VIC Emerald 3782 Ph: (03) 5392 2234
Ph: (03) 5968 3360 [email protected]
MELBOURNE www. mrsmartinsquiltshop.com FB: Little Desert Quilts
Lilly Patches Open: Tue–Thu 9am–3pm Open: by appointment
Shop 10 Boronia Village, The Sewing Bee Cafe Michelle’s Patchwork
159 Boronia Road, 80 Baxter-Tooradin Road, 230 Moffats Road,
Boronia 3155 Baxter 3911 Dereel 3352
Ph: (03) 9761 2088 Ph: (03) 5971 5737 Ph: 0439 005 301
[email protected] [email protected] [email protected]
www.lillypatches.com.au www.sewingbeecafe.com.au www.michellespatchwork.com
Open: Tue–Sat 9.30am–5pm, Open: Mon–Fri 9.30am–4pm, Open: Mon–Fri 9am–5pm,
Thu open until 6pm Sat 9am–12 noon Sat 10am–4pm

132
 SUNSHINE COAST SOUTH EAST
KIMZ Sewing and Patchwork Clair’s Fabrics
1/5 Main Drive, Warana 4575 22 Gough Street.
Ph: (07) 5493 4977 Kingston 5275
[email protected] Ph: 0439 220 779
kimzsewing.com [email protected]
Open: Mon–Fri 9am–4pm, www.clairsfabrics.com
Sat 9am–1pm Open: By appointment only
Sand Salt SEW Creatively Sewn
1/53 Gateway Drive, 1 Anthony Street,
Noosaville 4566 Mount Gambier 5290
QLD 0411 688 142 Ph: (08) 8725 4933
[email protected] [email protected]
CENTRAL COAST Open: Tue–Fri 9.30am–4pm, www.creativelysewn.com.au
Just Country Crafts Sat 9am–1pm Open: Mon–Fri 9.30am–4.30pm,
72 Perroux Street, Gulliver 4814 Sat 9.30am–12.30pm
Ph: (07) 4795 7414 Habit Patch
[email protected] 31b George Street,
Facebook @ Just Country Crafts Millicent 5280
Open: Mon–Fri 9am–3pm, Ph: (08) 8733 1155
Sat 8.30am–1.30pm [email protected]
Somethings Country www.habitpatch.com.au
18 Alford Street, Kingaroy 4610 Open: Mon–Fri 9am–4.30pm
Ph: (07) 4162 2040 The Rural Stitch Co
[email protected] 40 Bool Lagoon West Road,
www.somethingscountry.com SA Bool Lagoon 5271
Open: Mon–Fri 9am–5pm, Ph: 0417 408 796
Sat 9.30am–12.30pm ADELAIDE [email protected]
Patchwork by the Sea www.theruralstitchco.com.au
CENTRAL HIGHLANDS 186 Main South Road, Open: Sat–Sun 10am–4pm,
Emerald Fabric Boutique Morphett Vale 5162 Weekdays by appointment
Shop 3, 107 Clermont Street, Ph: (08) 8384 8881
Emerald 4720 [email protected] NORTH EAST
Ph: (07) 4982 4286 www.patchworkbysea.com.au Ezy Quiltz & Stitching
[email protected] Open: Mon–Sat 9.30am–4.30pm 232 Bookmark Avenue,
www.emfab.com.au Riverlea Cottage Quilts Renmark 5341
Open: Mon–Fri 9am–5pm, 330 Unley Road, Ph: 0427 282 047
Sat 9am–12 noon Hyde Park 5061 [email protected]
Ph: (08) 8373 0653 www.ezyquiltzandstitching.com.au
TOOWOOMBA [email protected] Open: Online 24/7
The Sewing Room www.riverleaquilts.com
16b Prescott Street, Toowoomba 4350 Open: Mon–Fri 10am–5pm, YORKE PENINSULA
Ph: (07) 4638 8288 Sat 10am–2.30pm Heart ‘n Soul Patchwork
[email protected] Sew Focus 1/59 Main Street,
www.thesewingroom.net.au 8/1064–1066 Old Port Road, Minlaton 5575
Open: Mon–Fri 9am–3:30pm, Albert Park 5014 Ph: (08) 8813 9710
Sat 9am–1pm Ph: (08) 7120 6788 [email protected]
[email protected] gostitch.com.au/business/
BUNDABERG www.sewfocus.com.au heart-n-soul-patchwork
The Quilter’s Shack Open: Mon–Fri 9am–5pm, Open: Tue-Fri 10am–4pm,
77 Boundary Street, Bundaberg 4670 Sat 9am–3pm Sat 10am–12 noon
Ph: (07) 4154 4486 Widebacks Australia The Patchy Affair
thequiltersshack@ 22 Farrow Circuit, Seaford 5169 1972 Maitland Road,
patchworkandcupcakes.com Ph: (08) 8370 7546 Cunningham 5571
www.bundabergpatchwork.com [email protected] Ph: 0418 891 601
Open: Mon–Fri 9am–4pm www.widebacks.com.au [email protected]
Sat 9am–12.30pm Open: Mon–Fri 9.30am–3pm, www.thepatchyaffair.com.au
Sat 9.30am–12.30pm Open: By appointment only,
NORTH 7 days a week 10am–4pm
Janome Townsville BAROSSA
Olive Branch Quilts Cynthia’s Ark EYRE PENINSULA
Shop A/263 Charters 7 Wasleys Road, ruby & kate
Towers Road, Mysterton 4812 Mallala 5502 42 Liverpool Street,
Ph: (07) 4755 2336 Ph: (08) 8527 2120 Port Lincoln 5606
[email protected] [email protected] Ph: (08) 8682 3636
www.olivebranchquilts.com.au www.cynthiasark.com.au [email protected]
Open: Mon-Wed 9am–5pm, Open: Thu 12.30pm–3pm, www.rubyandkate.com.au
Thu 9am–4.30pm, Fri 8.30am–4.30pm, Fri–Sat 9.30am–3pm, Open: Mon–Fri 9am–5pm,
Sat 9am–1pm Sun 10am–3pm Sat 9am–12.30pm

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On the Road
MID NORTH
Brook Fabrics NZ
33 Bowman Street, Crystal Brook 5523
Ph: (08) 8636 2685 NORTH ISLAND
FB: Brook Fabrics Cottage Flair
Open: Mon–Fri 9.30am–4.30pm 1129 Eruera Street,
Charlene’s Rotorua 3010
80 Ayr Street, Jamestown 5491 Ph: +64 07 357 5955
Ph: (08) 8664 1511 [email protected]
Open: Mon–Fri 10am–5pm, cottageflair.co.nz
Sat 9am–11.30 Open: Mon–Fri 9.30am–4.30pm,
Kookaburra Quilts Sat 9.30am–3 pm
1 Young Street, Burra North 5417 Fox’s Cottage
Ph: (04) 3924 7700 1 Purcell Street, Foxton 4814
[email protected] Ph: +64 06 363 5880
www. kookaburraquilts.com.au [email protected]
Open: Mon–Fri 9.30am–5pm, WA www.foxscottage.co.nz
Sat 9am–4pm, Sun 10am–4pm Open: Mon–Fri 9am–5pm
Susan Felicity Design and Fabrics House of Patchwork
Ph: 0459 961 016 16 Porter Crescent,
[email protected] Helensville, Auckland 0800
www.susanfelicitydesign.com Ph: +64 09 420 6355
24/7 Online Orders Only [email protected]
www.facebook.com/House-of-Patchwork
PERTH Open: Tue–Sat 10am–4pm
JR’s Fabrics
8 Simmental Place, Oakford 6121
Ph: (08) 9526 2113
[email protected]
www.jrsfabrics.com
Open: Mon–Fri 8am–11.30am, SOUTH ISLAND
other times by appointment Handzon
My Fabricology 1 Alfred Street,
33/4 Wicks Street, Rangiora
Bayswater 6053 Ph: +64 03 423 3544
Ph: 0493 063 224 [email protected]
NT [email protected] www.handzon.co.nz
www.myfabricology.com.au Open: Mon–Sat 9.30am–5.30pm,
Dragonfly Fabrics Open: Tue–Fri 9.30am–4pm, Sun 10am–3pm
Shops 2 and 3, 53 Alawa Crescent, Sat 9.30am–3pm Stitch Witches
Alawa 0810 Southlands Fabric 193 Hanover Street, Dunedin 9016
Ph: (08) 8948 0691 & Sewing Centre Ph: +64 03 471 7388
[email protected] 26 Yampi Way, [email protected]
www.dragonfabric.com.au Willetton 6155 www.stitchwitches.co.nz
Open: Mon–Fri 9am–5pm, Ph: (08) 9259 4844 Open: Tue–Fri 10am–5pm,
Sat 9am–4pm [email protected] Sat 10am–4pm
www.sewingperth.com.au The Quilter’s Barn
Open: Mon–Fri 9am–4.30pm, The Vines Village,
TAS Sat 9am–3pm, Sun 10am–3pm 193 Rapaura Road, Blenheim
Ph: +64 03 572 7240
Patchwork Plus BUNBURY [email protected]
14 Anne Street, Craft Collections www.thequiltersbarn.co.nz
George Town 7253 1/13 Mummery Crescent, Open: Mon–Fri 9.30am–4.30pm,
Ph: (03) 63823999 Bunbury 6230 Sat–Sun 10am–4pm
www.patchworksplus.com.au Ph: 0419 616 714
Open: Tue–Fri 9.30am–4.30pm, [email protected]
Sat 9.30am–12.30pm craftcollections.com.au
Open: Mon–Fri 9am–
4.30pm, Sat 9am–12 noon

BALI MANDURAH
Classic Stitches
USA
Wacky Jacky’s Textiles 1/18 Galbraith Loop, eQuilter.com
Jalan Raya Candidasa, Erskine 6210 6201 Spine Road, Boulder,
Candidasa, Bali Ph: (08) 9582 7567 Colorado 80301
Ph: +62 812 3880 0277 [email protected] Ph: +0011 1 303 527 0856
[email protected] www.classicstitches.com.au [email protected]
Open: 7am-4pm 7 days a week Open: Mon–Fri 10am–4pm, Open: Mon–Fri 7:30am–5pm
Sat by Appointment

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 Diary dates

NSW ACT
May 2024
May 23–26 Canberra Quilters’
April 17-May 5 Quilt Show (In association with
50 Years of ATASDA Craft Alive Canberra)
Incinerator Art Space Exhibition Park (EPIC), Budawang
2 Small Street, Willoughby
More information:
http://www.atasda.org.au
Building
Corner of Flemington Road and
Northbourne Avenue, Mitchell
Northern Territory
More information:
May 3 – June 23 [email protected]
The New Quilt 2024 October 5–12
Hawkesbury Regional Gallery Territory Quilts Exhibition
300 George Street, Windsor
[email protected] Victoria Witchetty’s Gallery, Araluen,
Alice Springs, Northern
Territory
More information:
July 3–6 Bronwyn exhibitions.asqc@
Sydney Craft & Quilt Fair
The Australian Quilt Show
May 18 gmail.com
St John’s Quilters’
ICC Sydney, Exhibition Centre,
QUILTIN
Darling Harbour

New Zealand
10am–3.30pm
More information:
27 Childers Street, Cranbourne
www.craftfair.com.au
More information:
Lorraine 0438 580 082
July 12–13
Novocastrian Quilters
June 8–9 June 28–29
40th Anniversary Ruby Quilt Exhibition Taupo Quiltmakers’ Exhibition:
Spa Quilters’ Guild of Daylesford
Callaghan College, Jesmond Senior The Fabric of Aotearoa
Biennial Quilt Show
Campus, Janet Street, Jesmond Great Lake Centre,
Daylesford Primary School,
More information: Story Place, Taupo
School Hall
0481 350 121
Vincent Street, Daylesford
[email protected]
More information: October 2-6
Carol 0407 668 938, Waikato Quilt Symposium
July 19–21 Denise 0407 252 746 Cambridge High School, 25
The Eastwood Patchwork Quilters’ Swayne Road, Cambridge
Quilt Exhibition More information:
Roselea Community Centre,
November 30 -
[email protected]
645-671 Pennant Hills Road, December 21
Beecroft 50 Years of ATASDA

England
More information: Whitehorse Artspace Gallery
www.eastwoodpatchworkquilters.com 1022 Whitehorse Road, Box Hill
More information:
http://www.atasda.org.au
August 23–25
Wangi Quilters’ Club Biennial Quilt August 1–4
Show

South Australia
Festival of Quilts
Wangi District Workers’ Club National Exhibition Centre
11–19 Market Street, Wangi Wangi Birmingham
More information: More information:
[email protected] www.thefestivalofquilts.co.uk
July 5–7
September 19–22 SA Quilters’ Festival of Quilts
Sydney Quilt Show Adelaide Showgrounds Join Michelle Marvig and Deborah
Rosehill Gardens Racecourse 39 Goodwood Road, Wayville Segaert on Quilters Companion
James Ruse Drive, Rosehill More information: Quilters’ Tours to major quilt shows
More information: www.saquilters.org.au/ around the world! Turn to pages
www.quiltnsw.com festival-of-quilts 12–13 for more information.

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 The Basics Guide provides information and explanations about
tools and techniques required to make a quilt. Many of the
items needed are general sewing supplies, and the specialist
quilting tools can be found at your favourite patchwork shop.
The Basics Guide is available as a free downloadable document
that you can refer to as required.

You can download it and save it to your computer

and/or print it out for easy reference.

You will find your Free Basics Guide here: www.cosyproject.com/blog/quilting-guide

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 Stockists & Contacts

Stockists & Contacts

2 Green Zebras Kookaburra Quilts Stitched ‘n’ Framed
Ph: (02) 9553 7201, Ph: 0439 247 700, Ph: (02) 6581 3338,
website: www.twogreenzebras.com website: www.kookaburraquilts.com.au website: www.stitchednframed.com.au
A1 Craft and Quilting Know-How Sewing Essentials Stitches by the Sea
Ph: 0438 877 664, Ph: (02) 4871 3936, website: Ph: 0412 355 438,
website: www.a1craftandquilting.com.au www.knowhowsewing.com.au website: www.stitchesbythesea.net
A Little Patch of Country Lilly Patches Susan Felicity
Ph: (03) 5633 2311, Ph: (03) 9761 2088, Design and Fabrics
website: www.littlepatch.com.au website: www.lillypatches.com.au Ph: 0459 961 016,
website: www.susanfelicitydesign.com
BeBe Bold Lily Lane
Ph: 0416 219 107, Ph: (03) 5199 2777, The Craft Basket
website: www.bebebold.com website: www.lilylane.com.au Ph: (03) 5154 1151,
website: www.thecraftbasket.com.au
Bizzy Bee Patchwork Little Patch of Heaven
Ph: 0403 883 347, Ph: 0447 244 452, The Patchy Affair
Facebook: Bizzy Bee Patchwork website: www.littlepatchofheaven.com.au Ph: 0418 891 601,
website: www.thepatchyaffair.com.au
Creature Crafts Lyn’s Fine Needlework
Ph: (03) 5752 1494, Ph: (02) 9686 2325, The Quilt Shop
website: www.creaturecrafts.net.au website: www.lynsfineneedlework.com.au Ph: (03) 8418 6770,
website: www.thequiltshop.com.au
Cynthia’s Ark Maree St Clair Quilts
Ph: (08) 8527 2120, Ph: 0429 393 757, The Quilters Shack
website: www.cynthiasark.com.au website: www.mareestclairquilts.com.au Ph: (07) 4154 4486,
Facebook: The Quilters Shack
Designer Stitches My Fabricology
Ph: (03) 9543 9411, Ph: 0416 048 324, The Quilting Patch
website: www.designerstitches.net website: www.myfabricology.com.au Ph: 0412 448 018,
Facebook: The Quilting Patch
Dragonfly Fabrics On Point Patchwork and Needlecraft
Ph: (08) 8948 0691, Ph: (02) 4968 0094, website: The Quilting Room
email: [email protected] www.onpointpatchworkandneedlecraft.com Ph: 0411 417 087,
website: www.thequiltingroom.com.au
eQuilter Quality Always
Email: [email protected] Email: [email protected], The Strawberry Thief
website: www.equilter.com website: www.minijumbuk.com.au Ph: (08) 6114 9653,
website: www.thestrawberrythief.com.au
Faeries in My Garden ruby & kate
Ph: (07) 3869 0808, Ph: (08) 8682 3636, Tranquility Crafts
website: www.faeriesinmygarden.com.au website: www.rubyandkate.com.au ‘N Supplies
Ph: (03) 9375 3575,
Handzon Sew Focus
Facebook: TranquilityCraftsnSupplies
Ph: +64 3 423 3544 Ph: (08) 7120 6788,
website: www.handzon.co.nz website: www.sewfocus.com.au Travelrite International
Ph: (03) 9836 2522,
Heights Sewing Centre Sew Many Stitches
website: www.travelrite.com.au
Ph: (03) 5229 3558, Ph: (02) 4628 4437,
website: www.heightsewing.com.au email: [email protected] Wacky Jacky’s
Email: [email protected],
Hettie’s Patch Somethings Country
website: www.wackyjackys.com.au
Ph: 0421 174 550, Ph: (07) 4162 2040,
website: www.hettiespatch.com email: [email protected] Whatever Where-Ever Crafts
Ph: (02) 6026 5489,
Janome Stitch Witches
email: [email protected]
Ph: Toll-free 1300 JANOME; Ph: +64 3 471 7388,
website: www.janome.com.au website: www.stitchwitches.co.nz

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 On sale July 2024

The 2024 BOM starts

– Trade Winds

Sew the
delightful
Make the soft and Summer quilt
pretty Antoinette
Fleur quilt

The 2024 BOM - Trade Winds by Kathy Daughty - starts!

Make an Aussie-inspired wallhanging with
Gourmet Quilter - SusanClaire.
See two international quilt galleries.
Anita Ellis shares part three of a three-part series of art quilts.
And, lots more!

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