612 Slices
  Title Author Publisher Format Buy Remix
Medium 9781571204462

Rectangles Behind Bars

Judy Sisneros C&T Publishing PDF

Fabric Requirements

(Yardage is based on 42˝-wide fabric.)


GREEN: 11 ⁄ 2 yards for Card Trick blocks, border, and binding

LIGHT PRINT: 2 ⁄ 3 yard for Card Trick blocks



1⁄ 4

1⁄ 2

yard for inserted bars

yard for border around center strip sections

BACKING: 11 ⁄ 2 yards *if your fabric is not wide enough, you may need an additional yard

BATTING: 44˝ × 56˝

Cut diagonally twice.


2 strips 47⁄ 8˝ × wof

Subcut into:

11 squares 47⁄ 8˝ × 47⁄ 8˝; then cut each square diagonally once for 22 triangles.

1 strip 51 ⁄ 4˝ × wof

Subcut into:

6 squares 51 ⁄ 4˝ × 51⁄ 4˝; then cut each square diagonally twice for 24 triangles.

Cutting Instructions

(wof = width of fabric)


2 strips 12˝ × wof, centering the design you want to feature. Cut each strip from a different part of the fabric. Each strip provides more than enough for a strip set.

5 strips 3 1⁄ 2˝ × wof (for border)

5 strips 2 1⁄ 2˝ × wof (for binding)


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Medium 9781607052708

High Rise

Amy Walsh C&T Publishing ePub

by Janine Burke, 75″ × 91½″

FINISHED QUILT: 75″ × 91½″

The lines and geometry of buildings are aesthetically pleasing to me. They intrigue me at night when random lights are on inside but the shadows of the night wrap themselves around the outside. I chose this darker palette to emulate that warm, shadowy feel. I hope you enjoy the simple piecing of this quilt and hope you, too, come to look at buildings with a different eye.

The following yardage makes a twin-size quilt. Refer to the High Rise chart (page 54) for alternate sizes and yardage requirements.

Assorted prints: 35 strips 3½″ × 42″ or 3½ yards total

Dark print: 3½ yards for the background

Binding: ¾ yard

Backing: 5¾ yards

Batting: 85″ × 102″

From the assorted prints, cut:

35 strips 3½″ × 42″

From the background, cut:

2 strips 4¼″ × 42″

Cut each 4¼″ strip into:

6 rectangles 4¼″ × 9½″ (for the top and bottom of columns 2, 4, and 6)

55 strips 2″ × 42″

Cut only 1 strip into:

4 rectangles 2″ × 9½″ (for the pieces on the bottom of columns 1, 3, 5, and 7)

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Medium 9781571206220

Down and Across

Kim Schaefer C&T Publishing ePub

Quilted by Diane Minkley

FINISHED BLOCK SIZES: 10″ × 10″, 5″ × 5″ FINISHED LAP QUILT: 79½″ × 79½″

Rich, textured solids in a variety of colors make this quilt lusciously vibrant. The pieced border frames the quilt top for a traditional look. Leave off the border for a more modern-looking quilt top.

4¼ yards total assorted brights for pieced blocks

¾ yard teal for inner border

1¾ yards total assorted brights for pieced border blocks

1⅛ yards brown for lattice in pieced border

7¼ yards backing and binding

84″ × 84″ batting

Cut from the assorted brights for the pieced blocks:

36 squares 3½″ × 3½″

72 rectangles 1½″ × 3½″

144 rectangles 1½″ × 5½″

144 rectangles 1½″ × 7½″

72 rectangles 2″ × 10½″

Cut from the teal for the inner border:

2 strips 3″ × 60½″ for the side borders*

2 strips 3″ × 65½″ for the top and bottom borders*

* Cut 7 strips 3″ × fabric width, piece the strips end to end (see page 9), and cut the border pieces.

Cut from the assorted brights for the pieced border blocks:

144 squares 1½″ × 1½″

192 rectangles 1½″ × 3½″

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Medium 9781571206220

Striped Squares

Kim Schaefer C&T Publishing ePub

Mix and match a set of placemats for yourself or to give as a gift to someone special. There are six different designs to choose from. I used a variety of neutrals, which look stunning on a dark table. However, the placemats will look great no matter what palette you choose.


⅓ yard light print for center

⅛ yard light tan for inner border

¼ yard tan paisley for outer border

¾ yard for backing and binding

16″ × 22″ batting

Cut 1 rectangle 14½″ × 8½″ from the light print for the placemat center.

Cut from the light tan:

2 strips 1″ × 8½″ for the side inner borders

2 strips 1″ × 15½″ for the top and bottom inner borders

Cut from the tan paisley:

2 strips 2″ × 9½″ for the side outer borders

2 strips 2″ × 18½″ for the top and bottom outer borders

1. Sew the 2 side inner borders to the placemat. Press toward the borders.

2. Sew the top and bottom inner borders to the placemat. Press toward the borders.

3. Sew the 2 side outer borders to the placemat. Press toward the borders.

4. Sew the top and bottom outer borders to the placemat. Press toward the borders.

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Medium 9781577319443

Chapter 7: Action Planning - Where the Rubber

Jennifer Lee New World Library ePub

Make Your Plan Real with Goals, Strategies, and Action Steps

Now that you have a big vision for your business and you know where you want to head, you may be wondering, “Okay, what’s next?” Well, in order to move forward, you need a plan of action. As a creative person, you may find that structure and planning are not your favorite things. Don’t worry. In this chapter, you’ll learn some simple tools and creative systems for getting into action.

Action makes your Right-Brain Business Plan real. Without action, your business plan is just a pretty piece to look at. Your collage will hang there collecting dust on the wall, your spreadsheet will never see the light of day, and you’ll be wondering why you don’t have more customers and why there isn’t more money in your bank account.

Forget that scenario! You want to bring your plan to life and manifest your business vision soon. By doing the following exercises, you’ll define the specific goals, strategies, and action steps needed to make your vision real. If your Right-Brain Business Plan is the visual map of where you want to go with your business, then the goals, strategies, and action steps are the landmarks, routes, and turn-by-turn directions to guide you to your desired destination.

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Medium 9781607059790

Designing Woman: Create a Space That Works for You

Heidi Staples Stash Books ePub

A few years ago my family went to a nearby animal shelter to adopt a puppy. We returned home with not one but two young dogs, a brother and sister who had been more than our hearts could resist. I suddenly found myself with five children in the house—three little girls under the age of five and two furry toddlers ready for trouble. For over a year, I spent my days running from disaster to disaster: holes in the garden, cereal all over the floor, and toys in everybody’s mouths. In desperation, I went to the library and checked out everything that offered advice on child rearing and dog training. In the end, all the books said essentially the same thing: it’s not so much about training them as it is about training you to know how to help them.

I’ve learned that the same advice applies to a lot of things in life—yes, even your sewing room. What matters isn’t the setup; it’s all about what you do with it.

Some people have perfectly decorated studios that are always a mess, while others can keep a lovely sewing corner with hardly more than a set of plastic boxes. You are the biggest factor in how organized your space is going to be and how efficiently it’s going to work for you. It involves a bit of training, of course, and a whole lot of practice. But when you have a handle on what works for you and what fits your style, it all comes together to make a place where you love to sew.

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Medium 9781607052708


Amy Walsh C&T Publishing ePub

by Amy Walsh, 70″ × 70″



I have always wanted to live in a loft in downtown Chicago. I love the idea of escaping the frenetic energy of the streets in a cool, industrial-feeling apartment that overlooks our beautiful city. This is the type of quilt that would fit in perfectly with my idea of the perfect interior of such a home.

The following yardage makes a throw-sized quilt. Refer to the LOFT chart (page 27) for alternate sizes and yardage requirements.

Assorted pastel solids: 10 strips 6½″ × 42″ or 2 yards total

Solid gray: 5 yards for block centers, sashing, and outside borders

Binding: ½ yard

Backing: 5½ yards

Batting: 80″ × 80″


Don’t forget to wash your solids with Retayne (pages 15 and 70)!

From the assorted pastels, cut:

10 strips 6½″ × 42″

Cut each 6½″ strip into:

10 rectangles 2″ × 6½″ (Unit C)

10 rectangles 2″ × 3½″ (Unit B)

Cutting diagram


Each 6½″ strip will yield enough frames for 5 LOFT blocks.

From the solid gray, cut:

3 strips 6½″ × 42″

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Medium 9781617452697

The Magic of Overlays

Wen Redmond C&T Publishing ePub

Overlays are a quick and easy way to add depth and interest to any printed substrate and to create a collage. Overlays are usually transparent or translucent and are made of materials such as scrim, gauze, vellum, tissue paper, cheesecloth, organza, old patterns, lace, silk organza, and translucent papers. They needn’t be complicated to be effective. They can be plain, painted, or printed.

Some papers and fabrics such as tissue paper, newspaper, and China silk become more transparent when applied using liquid/fluid medium. Experiment and see what you get.

Openings—an inkjet print with overlays of dyed silk organza

Fiber cyanotype collage with painted textural cheesecloth overlay

See more about sheer fabrics in Printing on Sheer Fabrics.


Wax paper

Tissue paper

Painted garment-pattern tissue paper

Medium lift on silk organza


Six different overlays change a single black-and-white photograph.

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Medium 9781617455063

Quadrant Feathers

Natalia Bonner Stash Books ePub


Propeller Feather

The Propeller Feather is a fun way to add some movement to a single solid block, an Hour Glass block, or even a half-square triangle.

STEP 1 Use a water-soluble marker to draw an X through the center of the block.

STEP 2 Stitch along the X from the upper right corner to the lower left corner. Stitch-in-the-ditch to the lower right corner and stitch up to the upper left corner.

STEP 3 Begin stitching feathers to completely fill in the left triangle shape.

STEP 4 Continue stitching feathers around the block, filling each of the 4 triangles completely.

Curled Propeller Feather

The Curled Propeller Feather is a fun play on the Propeller Feather. Shown here on a half-square triangle block, the design also looks beautiful on a solid block, an Hour Glass block, or a Flying Geese block.

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Medium 9781617450457


Kim Schaefer C&T Publishing ePub



Coasters are simple and fun to make and add to your holiday decor. Choose from eight different designs. They make a great gift-giving idea.

Materials (per coaster)

•2 fabric squares 4½˝ × 4½˝ for coaster front and back

•1 fabric square 4˝ × 4˝ for appliqué background

•Assorted scraps for appliqué pieces and pieced coaster

•1 square 4½˝ × 4½˝ fast2fuse

•Template plastic

•⅛ yard paper-backed fusible web

Make the Coaster

Circle pattern is on pullout.

1. Sandwich the fast2fuse squares between the wrong sides of the coaster front and back squares. Press and fuse the fabrics to the fast2fuse square.

2. Make a plastic template of pattern piece 1. Trace and cut 1 of pattern piece 1.

Appliquéd Coaster

Refer to Appliqué as needed. Circle and appliqué patterns are on pullout.

1. Trace and cut 1 of pattern piece 2 for the appliqué background.

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Medium 9781607054863

Red Square

Alissa Haight Carlton Stash Books ePub

60″ × 75″

This incredibly simple quilt is the ideal gift for that friend who is a lover of neutrals. This throw will add just the smallest pop of color, but a lot of sophistication, to any couch. For the background fabric, I used some lovely natural linen that has a wonderful texture and adds a great weight and drape to the quilt.

Quilting with linen can prove to be a touch difficult. It doesn’t “stick” to cotton batting the way quilting cottons do, and it can shift more as you quilt through the layers. I pin baste more densely than normal to compensate for this shifting. This could be an opportunity to try spray basting to see if you like it (page 133).

Based on 42″ fabric width.

Fabric A (light brown): 2¾ yards (60″-wide linen)

or 3 yards (42″-wide cotton) for background*

Fabric B (tan): yard

Fabric C (red): 14½″ × 13½″

Backing: 4¼ yards

Binding: yard

*Because linen comes wider than quilting cottons, fabric requirements and cutting instructions for both are included here.

Please be sure to read Notes on Making the Quilts in This Book (page 6). Label the pieces as you cut.

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Medium 9781607058861

Chapter 16. Nursery Rhymes

Salley Mavor C&T Publishing ePub

Enter into a make-believe world inhabited by familiar characters from childhood nursery rhymes. Little Bo-Peep looks for her sheep, Wee Willie Winkie runs through the town, Jack and Jill climb up a hill, and the Crooked Man walks a crooked mile. Little Miss Muffet sits on a tuffet, Peter keeps his wife in a pumpkin shell, and Little Boy Blue sleeps under a haystack.

For more specific directions, see these sections:

Basic Materials for Most Dolls

Faces, clothing, and accessories: See Making Wee Folk and Fairies.


Doll Stand


little bo-peep

Additional Materials

Makes 1 Little Bo-Peep doll.

1 sturdy 3˝ doll armature

1 unvarnished 16mm wooden bead for head

Wool/silk thread for hair

Cotton fabric for skirt

1¼˝-wide lace for apron

3mm-wide velvet ribbon

1˝ metal washer for doll stand (optional)

Chenille stem, 3mm diameter, for crook

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Medium 9781571201478

Tippecanoe Mosaic

Claudia Olson C&T Publishing PDF

Tippecanoe Mosaic

Finished size: 72" x 72"

Blocks: Mosaic and Tippecanoe

Using bright, vibrant colors in the Mosaic blocks will bring them to the forefront, and soft colors in the Tippecanoe blocks will cause them to recede into the background.

Materials: 42"-wide fabric



Bright pink

Dark green (includes binding)





Medium green





21⁄ 2 yards

5⁄ 8 yard

2 yards

23⁄ 8 yards

1⁄ 3 yard

1⁄ 2 yard

1⁄3 yard

11⁄ 3 yards

41⁄ 4 yards

76" x 76"

Tippecan oe

Cut the following 42"-long strips and pieces.

Cutting sizes are given in inches.




Number of strips













Bright pink

Dark green


Finished size: 12"


31 ⁄ 2



31 ⁄ 2

61⁄ 2






1 5 Tw o - B l o c k Q u i l t s

First Cut


61⁄ 2


Make 13








Finished size 12"









37⁄8 x 37⁄8

37⁄8 x 37⁄8

31⁄ 2 x 31⁄ 2

37⁄8 x 37⁄8

37⁄8 x 37⁄8

31⁄ 2 x 31⁄ 2

31⁄ 2 x 61⁄ 2

Make 12

37⁄8 x 37⁄8

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Medium 9781607058649

The Ugly Fabric Challenge

Becky Goldsmith C&T Publishing ePub

the ugly fabric challenge


Pieced by Becky Goldsmith. Machine quilted by Angela Walters.

I made this quilt with ugly fabric given to me by quilters who read my blog. Who knew there was so much ugly fabric in the world? Refer to Using Colors You Don’t Like to read about the fabric I used in this quilt.

The traditional name for this block pattern is Broken Dishes.


Half-square triangles can be made many different ways, and you are free to use the method you like best. I calculated the yardage using the method shown in Making Half-Square Triangles. If you use a different method, it may require more fabric and affect the cutting instructions.

Ugly fabric: A variety to total 2½ yards

Background fabric (white): 2½ yards

Binding: ⅞ yard

Backing and sleeve: 3⅞ yards

Batting: 60˝ × 68˝


Ugly fabric:

•Cut 30 strips 2⅞˝ × width of fabric from a variety of fabrics. If your fabric is in small pieces, cut strips 2⅞˝ wide × the length available.

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Medium 9781617450426

Embellish: Contrast-Trim Blazer

Suzannah Hamlin Stanley Stash Books ePub


Contrast-Trim Blazer

The contrast edge-trimmed blazer look is preppy and fun, and you can do it yourself using any color of double-fold bias tape as the trim and any blazer or jacket you have. You can add this kind of trim to anything, really—imagine it on a lightweight trench coat, a miniskirt, or the legs of shorts. Bias tape comes in many, many colors, so you have lots of possibilities.

You Will Need:

•Blazer, jacket, or other structured garment

•½˝ (13mm) double-fold bias tape in a contrasting color

•Standard sewing supplies (sewing machine recommended, or you could hand sew using a small, neat whipstitch to attach the binding on the outside and the underside)

Get It Done

Refer to Stitch in-the-Ditch for more information.

1. Open up the bias tape and find the slightly narrower half. We’ll call this the “right” side. Pin the right side of the bias tape to the right side of the blazer, beginning at the center back pleat opening and leaving 1˝ (2.5cm) of bias overhanging the leading edge. Pin very carefully at the curves.

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