603 Slices
  Title Author Publisher Format Buy Remix
Medium 9781607053583

CRIB: Dithered

Emily Cier C&T Publishing PDF

PIXEL PLAY

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A: 43½˝

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A D A: 3½˝

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D A

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D A

A: 43½˝

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A: 43½˝

A E A: 3½˝

D A: 3½˝

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D A: 3½˝

E A: 3½˝

D A: 3½˝

E A: 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.

FINISHED PLACEMAT: 18½″ × 12½″

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 9781607059899

Faceted Jewels I

Amy Garro Stash Books ePub

FACETED JEWELS I

FINISHED QUILT: 65˝ × 84˝

Modern traditionalism, anyone? This quilt breaks into the modern quilting realm with plenty of negative space and asymmetry, but also has traditional roots. You need only four prints for this project; the jewels sparkle from the placement of the different values.

Materials

I used Kona White, Parson Gray Curious Nature, and Tula Pink Salt Water prints for this version of Faceted Jewels. Including the white background, you will need 4 values. I chose white, a black print, and 2 blues for the middle-value prints. The center squares of the jewels can be made with a fabric of any value; I opted for another middle-value print.

White: 5½ yards (for background)

Black: ⅞ yard

Dark blue: 1¾ yards

Light blue: 1⅜ yards

Medium blue: ¼ yard (for center squares)

Backing: 73˝ × 92˝

Batting: 73˝ × 92˝

Binding: ¾ yard (for 2½˝-wide binding strips)

Fabric labels or your favorite fabric-marking pen

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Medium 9781617454820

Boo’s Coming to Dinner?

Riel Nason C&T Publishing ePub

A ghost floats here and there on a table runner, place mat, and coaster set. Dress up your dining area with some spooky flair. These projects are a chance to mix and match many of your favorite Halloween and basic fabrics.

basic triangular ghost block

FINISHED BLOCK: 7⅝˝ per side

Instructions are for making a single ghost block.

MATERIALS

Yardages are based on fabrics at least 40˝ wide.

White fabric: ¼ yard

Black fabric: 1 piece at least 2˝ × 4˝

60° triangle ruler: At least 8˝

Marking pen

CUTTING

To keep everything easy and organized, cut pieces by section.

Forehead

White fabric

• Cut 1 rectangle 3¼˝ × 4˝.

Eyes

White fabric

• Cut 1 square 2˝ × 2˝.

• Cut 2 rectangles 1½˝ × 2˝.

• Cut 1 rectangle 1¼˝ × 6½˝.

• Cut 1 rectangle 1˝ × 1½˝.

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Medium 9781571209603

Trip Around the World

Emily Cier C&T Publishing ePub

FINISHED QUILT SIZE

72″ × 84″

The traditional Trip Around the World is striking but a touch too straightforward. Add in a few more worlds, though, and things start to get interesting.

Pick 3 contrasting colorways. Within each colorway, select 4 prints that vary slightly for texture. Solids or very small prints work best for this quilt.

Cut each fabric into the specified number of 2½″-wide strips. Subcut the 2½″ strips into second-cut pieces, cutting the longest pieces first, then the next longest, and so on until all the pieces have been cut.

∗wof = width of fabric

1. Working with the pieces of the first section shown in the quilt assembly diagram (below), sew each row together. When all 7 rows of the first section are complete, sew the rows together. Press the seams open as you go along. Be careful to line up the ends of the rows so the section stays rectangular.

Note: It’s important to have an accurate ¼″ seam when sewing the rows so the quilt doesn’t end up skewed. Make sure you don’t pull the fabric when pressing.

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Medium 9781617451867

Sunflower

Kim Schaefer C&T Publishing ePub

sunflower

A single sunflower is framed by a simple pieced border in this fun-to-make fall quilt.

Quilted by Diane Minkley of Patched Works, Inc.

finished quilt: 24½˝ × 52½˝

materials

Brown: 1½ yards for appliqué background

Assorted golds: ½ yard total for sunflower center

Yellow: ⅔ yard for sunflower

Black: ¾ yard for pieced border

Assorted greens: 1 yard total for stem and leaf appliqués and pieced border

Paper-backed fusible web: 2 yards

Batting: 29˝ × 57˝

Backing and binding: 1¾ yards

cutting

Cut from brown:

1 rectangle 16½˝ × 44½˝

Cut from assorted golds:

148 squares 1½˝ × 1½˝

Cut from black:

68 rectangles 1½˝ × 2½˝

68 rectangles 1½˝ × 4½˝

Cut from assorted greens:

34 squares 2½˝ × 2½˝

appliquéing

Refer to Appliqué. Use the Sunflower patterns (pullout).

1. Cut 1 each of pattern pieces 1–6.

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Medium 9781607054412

Runners

Kim Schaefer C&T Publishing ePub

Quilted by Diane Minkley of Patched Works, Inc.

finished block sizes: block a 20″ × 20″ block b 20″ × 5″ block c 10″ × 10″ block d 5″ × 5″ finished runner: 20½″ × 60½″

Contrasting colors and simple pieced blocks are combined to create this whimsical runner.

•  1¾ yards total assorted purples, greens, and teals for pieced blocks

•  1 yards for backing and binding

•  25″ × 65″ batting

The pieces for each matching set of squares and rectangles are listed together.

Cut from assorted colors:

•  1 square 8½″ × 8½″

•  2 rectangles 3½″ × 8½″ and 2 rectangles 3½″ × 14½″

•  2 rectangles 3½″ × 14½″ and 2 rectangles 3½″ × 20½″

Cut from assorted colors:

•  2 rectangles 1½″ × 16½″

•  4 rectangles 2½″ × 16½″ and 4 rectangles 2½″ × 5½″

Cut from assorted colors:

•  4 squares 2½″ × 2½″

•  8 squares 2½″ × 2½″ and 8 rectangles 2½″ × 6½″

•  8 rectangles 2½″ × 6½″ and 8 rectangles 2½″ × 10½″

Cut from assorted colors:

•  8 squares 1½″ × 1½″

•  16 rectangles 2½″ × 5½″ and 16 rectangles 1½″ × 2½″

Piece Block A as shown. Press.

Piece Block B as shown. Press.

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Medium 9781935362760

Carolina Christmas

Bonnie K. Hunter Kansas City Star Quilts ePub

Carolina Christmas

Carolina Christmas

FINISHED BLOCK SIZE: 16”

FINISHED QUILT SIZE: 92” SQUARE

PIECING DIAGRAMS.

I designed Carolina Christmas in a personal attempt to use up red and green recycled fabrics, blending them with Christmas fabrics and other neutral scraps. I love to put holiday quilts on the beds in my house! Nothing brightens a room and gives it new life like switching out the quilts on the bed.

This quilt was a great one for digging into my scrap bins of 2 1/2” strips – pulling out the reds, greens and neutrals. I used one common gold fabric to tie everything together, but you could go scrappy there too if you wanted!

Fabric requirements

For blocks and outer border

6 yards of light scraps

3 1/2 yards assorted green scraps

3 yards assorted red scraps

1 1/4 yards gold print

For inner border

3/4 yard beige stripe

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Medium 9781571209603

Dresden Plate

Emily Cier C&T Publishing ePub

FINISHED BLOCK SIZE

15″ × 15″

FINISHED QUILT SIZE

Crib: 45″ × 60″

Lap: 60″ × 60″

Twin: 75″ × 90″

Queen: 90″ × 90″

This hard-edged Dresden Plate uses contrast and angles to bring an entirely new look without changing the structure of the classic pattern.

There should be a stark contrast between the solids and prints and between the prints themselves. The chart lists the minimum number of prints needed, but additional prints may be used for more variety. Precut 10″ × 10″ layer cake squares may be used instead and will give an even wider variety.

No additional cutting is needed for the layer cake squares.

∗wof = width of fabric

1. Sort the 10″ print squares into roughly equal stacks of at least 5 squares each. When sorting, make sure to evenly distribute the patterns, colors, and design styles. You want each stack to be as diverse as possible.

2. Take the first stack and spread the squares into a row. Arrange the squares, making sure no 2 matching colors or prints are next to each other and that the first and last squares are different. Stack the squares, aligning the edges for cutting. Repeat for the other stacks.

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Medium 9781935362760

Old Kentucky Album

Bonnie K. Hunter Kansas City Star Quilts ePub

Old Kentucky Album

FINISHED BLOCK SIZE: 8 1/4”

FINISHED QUILT SIZE: 86 1/2” x 97 3/4”

PIECING DIAGRAMS.

Blue plaids from recycled shirts and double pink scraps from my 2” strip bin were the beginnings of this project. One blue and one pink for each block seemed pretty simple, but what if a strip was too short to get all 4 pink rectangles needed? Just as in times past, I simply substituted another pink, mixing and unmatching them as I went! Pretty soon I was even daring to boldly use those old mauve and dusty rose calicoes that were so popular in the 1980s and 1990s. They worked just fine, proving that fabric does NOT have an expiration date! The backgrounds vary in shade from light white all the way through to a golden tan, giving the quilt an aged appearance as well.

Fabric requirements

For the blocks

1 1/2 yards assorted blue scraps

1 yard assorted scraps in a variety of colors from pink to raspberry.

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Medium 9781617450099

Chapter One: Let’s Mix It Up!

Kate Carlson Colleran C&T Publishing ePub

1

Let’s Mix It Up!

The Stash

As quilters, we all have a stash. We love our fabric! The big question is, Why don’t we use our stash? Well, there are as many reasons for that as there are quilters. But let’s explore a few of the common reasons.

1. You bought it a while ago and it just no longer floats your boat. Quilters are notoriously frugal—some of us even turn scraps into quilts! But that shelf of unwanted fabrics can really stymie our creativity. Looking at things like that makes us feel guilty because we bought it and now we don’t want to use it!

So, do something!

One idea would be to turn the fabric into a charity quilt—we have a couple of great patterns in the book that are not hard to do—why not use Wayne’s Quilt or Dance Party or and create a couple of quick charity quilts that anyone would adore sleeping under? Add a couple of extra borders to make the quilt bed size and use any extra fabric for the backing. (See Making Your Quilt Bigger by Adding Borders.)

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Medium 9781935362593

Frustrations

Julia Icenogle Kansas City Star Quilts ePub

Even though Mrs. Bobbins loves to quilt, it does have its frustratingly funny moments.

“Shoot, I think I’ve quilted in the tablecloth again.”

“When you’re finished, I need you to shave this old quilt…it’s bearding, too.”

“The moths that eat my wool quilts get appliquéd over the holes they make.”

“I’m telling you, Edith, carpal-tunnel just proves that I deserve a big blue ribbon!”

“Here’s a little something to help my quilt get to the top of the queue…and no questions asked.”

Mrs. Bobbins learns the hard way always to buy extra fabric for the binding.

Overnight guests at the Bobbins’ may not be able to breathe, but they are never cold.

“It is a little bit late for Christmas peppermints. Let’s say they’re beach balls.”

A little microquilting goes a long… actually, it only goes a little way.

“I’ve been fighting this windmill so long I feel like Don Quixote.”

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Medium 9781571205797

Trip Around the World

Terrie Sandelin C&T Publishing PDF

TRIP AROUND THE WORLD

◆ FINISHED FOUNDATION:

6½˝ × 6½˝

◆ TIME:

HOURS

Fabric Requirements

Two light taupes: ⁄ yard or scraps of each

Six medium taupes: ⁄ yard or scraps of each

Five dark taupes: ⁄ yard or scraps of each

Dark brown inner border: ⁄ yard

Light brown outer border: ¼ yard

Backing: 1 fat quarter

Binding: ¼ yard

Kyoto Dreams, 11¼˝ × 11¼˝, Terrie Sandelin, quilted by Vickie Bajtelsmit, 2007

Cutting Instructions

Letters indicate fabric placement on the quilt layout diagram for the 13-Square—Trip Around the World variation, right.

Patches

You may want to add an extra ½˝–1˝ to each strip length for minor cutting adjustments.

Cut each patch 1˝ × 1˝.

Medium taupe (C): Cut a strip

1˝ × 12˝. Crosscut into 12 patches.

Medium taupe (E): Cut a strip

1˝ × 20˝. Crosscut into 20 patches.

4

A B C D E F G F E D C B A

B C D E F G H G F E D C B

C D E F G H I H G F E D C

D E F G H I J I H G F E D

5

E F G H

I

6

F G H

I

J

Medium taupe (G): Cut a strip

1˝ × 24˝. Crosscut into 24 patches.

7

G H

I

8

F G H

2

3

Medium taupe (L): Cut a strip

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Medium 9781607059608

Spark 9. Grace

Carrie Bloomston Stash Books ePub

SUSAN SILVERMAN HAS DANCED HER WHOLE LIFE. SHE TEACHES AND

CO-OWNS A SMALL STUDIO IN PHOENIX, ARIZONA, CALLED DANCE THEATER WEST. SHE IS FILLED WITH GRACE. SHE’S IN IT FOR THE LOVE. GRACE IS THE HINGE BETWEEN EFFORT AND EFFORTLESS, AND IN THIS IMAGE YOU CAN SEE HER AT THAT EXACT MOMENT.

Grace comes from within; it is the hinge between effort and effortless.

We are programmed to think that work has to be hard to be valuable— that we are supposed to struggle in order to yield the most prized outcome. Nothing could be further from the truth. In fact, I would say that the opposite is true. Work can often be easy. Taking the path of least resistance will serve you. Doors swing wide on their hinges when we move from the heart. Creativity is a flowing thing. You can’t white-knuckle it into existence. Loosen your grip and give it some space to flow.

In yoga there is a name for this, from the very old yoga sutras of Patanjali (Yoga Sutra 2, “Sadhana Pada”)—Sthira Sukham Asanam is Sanskrit for “balancing ease and grace with work and effort.” This is absolutely critical for a creative practice. If we are only full of effort and we are trying to muscle and power our way through our work, our yoga, our project, then it will seem harder than it should. We might feel tense or uptight as we work.

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Medium 9781571205797

Everlasting Tree

Terrie Sandelin C&T Publishing PDF

EVERLASTING TREE

◆ FINISHED FOUNDATION:

6¾˝ × 8¼˝

◆ TIME:

2

HOURS

Full-size Everlasting Tree foundation pattern is on the pullout. Note: Foundation is rotated 90° after sewing is completed.

Portal, 11½˝ × 13˝, Terrie Sandelin, 2007

Fabric Requirements

Dark purple: 1⁄8 yard or scraps

Cream: 1⁄8 yard or scraps

Teal print: 1⁄8 yard or scraps

1

Pale purple print: ⁄8 yard or scraps

1

Dark purple print: ⁄8 yard or scraps

Mottled: 1⁄8 yard or scraps

Turquoise inner border: 1⁄8 yard

Dark green outer border: 1⁄4 yard

Backing: 1 fat quarter

Binding: 1⁄8 yard

Cutting Instructions

There is no quilt layout diagram for this miniature. As you place your triangle patches, alternate light and dark.

Triangles

Sashing strips

You may want to add an extra ½˝ to each half-square triangle strip length for minor cutting adjustments.

Pale purple print: Cut a strip

11⁄4˝ × 83⁄4˝.

Trim the half-square triangle dog ears using either The Ruler Method:

Trimming Half-Square Triangles, page 50, or the ¾˝ Finished Half-Square

Triangle patch template on the pullout.

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