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M’Liss Rae Hawley’s
Fresh Patchwork Designs using
Fat Quarters, Charm Squares & Strip Sets
Text copyright © 2011 by M’Liss Rae Hawley
Artwork copyright © 2011 by C&T Publishing, Inc.
Publisher: Amy Marson
Cover Designer: Kristen Yenche
Creative Director: Gailen Runge
Book Designer: Kerry Graham
Acquisitions Editor: Susanne Woods
Production Coordinator: Jessica Jenkins
Editor: Karla Menaugh
Production Editor: Julia Cianci
Technical Editors: Teresa Stroin
and Carolyn Aune
Illustrator: Mary Flynn
Photography by Christina Carty-Francis and Diane Pedersen of
C&T Publishing, Inc., unless otherwise noted
Cover photo and author photo: Michael Stadler
Published by C&T Publishing, Inc., P.O. Box 1456, Lafayette, CA 94549
All rights reserved. No part of this work covered by the copyright hereon
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storage and retrieval systems—without written permission from the publisher. The copyrights on individual artworks are retained by the artists as
noted in M’Liss Rae Hawley’s Precut Quilts. These designs may be used to
quilt items only for personal use or donation to nonprofit groups for sale.
Each piece of finished merchandise for sale must carry a conspicuous label
with the following information: Quilting designs copyright © 2011 by M’Liss
Rae Hawley from the book M’Liss Rae Hawley’s Precut Quilts from C&T
Publishing, Inc. Attention Commercial Machine Quilters: If your client brings
you this book as a source for quilting designs, you may reproduce as many
designs as you wish on that client’s quilt only. If your client does not own this
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Contact C&T Publishing (800-284-1114) with your business name and resale
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reproduce no more than 10 designs total for commercial purposes..
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Library of Congress Cataloging-in-Publication Data
Hawley, M’Liss Rae, 1956M’liss Rae Hawley’s precut quilts : fresh patchwork designs using fat quarters,
charm squares & strip sets / M’Liss Rae Hawley.
To Michael—my husband, business partner, travel
companion, and best friend! Thank you for 32 incredible
years of creativity … and lots of fun!
I would like to thank the following people and companies
that share my vision, enthusiasm, and love of quilting and
contributed to the creation of this book:
C&T Publishing—Amy Marson, Gailen Runge,
Karla Menaugh, Teresa Stroin, and all the staff
who continue to create wonderful books
Coats & Clark
Hancock Fabrics, especially Jane F. Aggers
Quilters Dream Batting
A special thank-you to my contributors, an amazing group
of dedicated and talented quilters. They continue to inspire
me in many ways.
ISBN 978-1-57120-784-5 (soft cover)
1. Patchwork--Patterns. 2. Quilting. I. Title. II. Title: Precut quilts.
Printed in China
10 9 8 7 6 5 4 3 2 1
Thank you to my creative team: Vicki DeGraaf, Peggy
Johnson, Susie Kincy, Anastasia Riordan, Patricia Francisco,
Cathy Sorenson, and Kathy Sahlin.
Thank you to Darra Williamson, my editor of many years
(and many books) and—most important—my friend!
Thank you to my amazing photographer, Michael Stadler.
It’s been lots of fun over the years!
Thank you to my husband, Michael; our children,
Alexander and Adrienne; and my parents, Kenneth and the
late Josephine Frandsen, for continuing to support me and
. . . . . . . . . 54 Resources 62 About the Author 63 . . . . . . . . . . . .contents Introduction 4 Quiltmaking Basics 6 Projects Fat quarters: Auntie M Star . . . . . . . . . . . . . . . . . . . 40 Strip bundle: Strips for a Queen! . . 27 Fat quarters: On the Road to Perfection . . 33 Fat quarters: Mexican Riviera Splash . . . 47 Strip bundle bonus project: Bag-of-Strips Tote . . . . . . . . . . . 20 Charm squares: Charming Baskets . . . . . . . . . . . . . . . . . . . . .
Precuts represent the ultimate in “reducing your variables. I know you’ll be heading to your sewing machine in no time! 4 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . Whatever your preference. Looking for a gift for a quilting friend? A packet of precuts makes a perfect present. you are going to love working with precut fabrics. artistic skills to the max. Whether your go together allows you. Since precuts save you so much time. from crib-size to queen-size quilts. you’ll find the fast. They also make it easy to assemble the fabrics for a quilting retreat or. if you’re so inclined. depending on the class. If you have used these timeand labor-saving fabric packets. for your next quilting workshop. The choice is up to you.” In a nutshell: minimize choices. just flip through the pages of this book.Introduction Fat quarters. you can advance quickly to the more practical aspects of putting them together and stitching them into quilts. allowing you to move into the creative aspects of quiltmaking with a minimum investment of time and effort. precut. This is not to say. Jelly Rolls: What can I say about precut fabrics. however. beside the fact that I love them? They are convenient. to leverage your fabric “profile” leans toward the traditional or the latest trend. you’ll find something here to suit your taste and needs. and easy projects in this book perfect for putting them to use. you’ll find them ideal for making quilts for gifts or charity. is theme. Since the fabrics have been preselected for you. that the If you need any more persuasion that precuts make beautiful creative thrill is gone! Determining just how those precuts will quilts. prepackaged fabrics offer great variety—often already coordinated in color and/or style—at a reasonable price. If you’ve never used them before. fun. Charm packs. maximize results. If you are new to quilting and haven’t yet built a fabric stash.or color-driven.
Whether you are new to quilting or have been quilting for a while. When the blocks are sewn together. Once finished. the quilt top is layered with filler—called batting—and a backing fabric. Many quilts have a border or borders that surround the quilt top on all four sides.” typically composed of a collection of blocks. innermost one is called the inner border. This stitching may be decorative or strictly utilitarian. while the wider. rectangles. A block is a section of the quilt that forms a self-contained design. (You may sometimes see these strips referred to as sashing. They are made up of units. and the three layers are then secured together with stitching. The blocks in this book are pieced blocks. or even triangles. Anatomy of a Quilt A quilt is basically a three-layer “sandwich. these little squares make a lovely design element and sometimes even create secondary designs with the adjacent blocks. the tools and notions you’ll need to make one. and helpful facts about the various types of precuts: what they are and how to prepare them for use in your quilt. outermost one is called the outer border. or smaller squares and rectangles that are sewn together to make the design. much like a frame surrounds a painting. but in either case. When there are multiple borders. the result is called a quilt top. 6 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s Lattice Cornerstone Inner border . Cut from a different fabric than the lattice strips. you’re sure to find some valuable tidbits here. Binding Outer border Block Sometimes the blocks in a quilt top will be separated by strips of fabric called lattice strips.Quiltmaking Basics This chapter contains basic information about the components that make up a quilt. it is called quilting. the narrow. little squares called cornerstones appear at the corners where the horizontal and vertical lattice strips meet. Units may be squares or rectangles cut from a single piece of fabric. and borders are added. the edges are finished with fabric strips. such as a star or a pinwheel. Finally. which act as a frame to highlight each block.) Often. or they may themselves be pieced from smaller squares. called binding.
so you can cut multiple strips without having to move the ruler. Lines indicating 45° angles are also helpful. It will make your sewing experience so much smoother. Rotary cutter: This cutting tool. with additional information. 18˝ × 24˝ is a good. The M’Liss Shape Cut Sprint Slotted Ruler has perfectly aligned slots for your rotary cutter. Scissors: You’ll need fabric scissors and small embroiderytype scissors. Pins: My favorites are fine glass-head silk pins. the latter for snipping thread. Look for one with an ergonomic grip and a reliable safety catch. See Resources (page 62). Various sizes are available. The M’Liss Essential Scissors and Tools Kit has all the tools I use most. See Resources (page 62). versatile size. makes cutting fabric strips and pieces a breeze. similar to a pizza cutter. because they don’t leave unsightly holes in the fabric. with all the bells and whistles. If it’s been a while since your machine has been serviced. on page 14. I like the gridded variety. The blade does eventually become dull. Outfit it with a new needle before you begin any project. Q u i lt m a k i n g B a s i c s 7 . Cutting mat: This special cutting surface can stand up to a sharp rotary blade without sustaining damage. These attachments are pictured. with a dependable straight stitch. Acrylic rulers: These sturdy rulers are designed for use with a rotary cutter and typically include the measurements and increments you’ll need for cutting strips and pieces. along with thoughts about my favorite features.Tools and Notions You don’t need a lot of fancy gadgets or special equipment to make a quilt. Sewing machine: It doesn’t need to be the very latest model. take it to a shop and get a tune-up. Feet: For machine quilting. but it should be in good working order. you’ll want a dual-feed foot (also called a walking foot) and an open-toe stippling foot. preferably with 45° angles indicated. Ruler grips: These clear. Here are the basics. so it’s a good idea to keep a package of replacement blades on hand. adhesive tabs stick to the bottom of acrylic rulers to keep them from slipping as you cut. Try the 6˝ × 24˝ and the 6˝ × 12˝.
5˝ × 5˝. and sewing. Sweet Rolls Typically 40–50 21/2˝ × 42˝ strips Noodles. of 100% Egyptian cotton thread. and 21/2˝ × 42˝ strip combos Jelly Cakes. If you are a hand quilter. Look for one with an ergonomic handle. 21/2˝ × 42˝ strips. See Resources (page 62). What exactly are precuts? Read on! What Are Precuts? Precuts are assorted 100% cotton fabrics that are cut to a specific size and packaged in quantities convenient for use in a quilting project. 225 yards each. Lollipops Typically 40–50 6˝ × 6˝ squares cut into half-square triangles Turnovers 80 triangles 5˝ × 5˝ square. and squares of various sizes—for example.Seam ripper: Even the most experienced quilter makes a mistake now and then! This tool allows you to cut and remove the stitches in a misplaced seam easily. Different fabric manufacturers have come up with clever names for these various precuts. The M’Liss Essential Notions Collection contains the products I use every day for all my sewing activities. typically 40–50 10˝ × 10˝ squares Layer Cakes Approximately 40 11/2˝ × 42˝ strips Honey Buns. I love to use this thread because it melds into layers of fabric for piecing. Charming Jelly Cakes Varies M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . 5˝ × 5˝. 10˝ × 10˝ square. machine quilting. The chart below will help you sort out what’s what. Thread: Select 100% cotton thread in a neutral color for piecing—both on the top and in the bobbin. Bali Pops. See Threads (page 15) for some suggestions. Numerous choices are available to machine quilters. Essential Colors by M’Liss. contains 12 spools. Size 8 May Be Labeled As… Number of Pieces 18˝ × 21˝ pieces Fat quarters. by Coats and Clark. See Resources (page 62). flat quarters Typically 6–8 4˝ × 4˝. Common sizes for precuts include 18˝ × 22˝ pieces. 6˝ × 6˝. Working with Precut Fabrics Precut fabrics streamline the quilting process by simplifying fabric selection and by saving time at the cutting table. or 10˝ × 10˝. you can use 100% cotton or cotton-coated polyester hand-quilting thread in the color of your choice. or 6˝ × 6˝ squares Charm packs 25 or more. Jelly Rolls.
or the role is filled by various precut pieces. can shrink the fabric slightly. but the selvage has been removed.” you’re holding the lengthwise grain. squared up (with the help of our daughter. Adrienne. which—because of their size—are inclined to fray more than larger pieces. In some cases. place your right hand on the same edge. As soon as they come out of the dryer. and the washing machine has a tendency to fray smaller pieces even more than it does larger ones. In that case. a practice I advocate for any fat-quarter (or larger) piece. however. I suggest that you measure all your fat quarters after you wash and iron them. Either the block has no distinct background areas. I wash fat quarters in the sink to minimize tangling and fraying. Michael).g. For those larger pieces. Just be sure to choose fabrics that coordinate in terms of color. you may want or need to add additional fat quarters. Generally. look for a fabric that contrasts nicely in color or value with the precut fabrics so the block motifs can really shine. about 6˝ away from the first hand. If it makes a dull “thud. you may notice slight differences in size. I do not prewash charm squares or precut fabric strips. Refer to Rotary Cutting (page 10) for guidance in cutting these pieces. border. Selvage 20˝ Crosswise grain Q u i lt m a k i n g B a s i c s 9 . when she’s available). you’ll need a consistent fabric for all the block backgrounds. a more subtle print in a coordinating color works best. or theme. If the fabric “snaps. Depending upon the usable size of your fat quarters. What happens when you bring your fat quarters home can also make a difference in their size. What do you do? There’s an easy way to find your fabric’s grainline: Place your left hand along one of the fabric edges. Fabric Grain Guide You have found a perfect fabric to add to your precuts or to use for lattice or borders. Lengthwise grain Anything else will be on 17½˝ the (very stretchy) bias. All go into the dryer. and backing fabric) before I use them in my quilts.. when you examine fat-quarter pieces. Settings. Because of these factors. and placed neatly on the shelf. I wash 1/2-yard or larger pieces in the washing machine. Next.” you’re holding the crosswise grain. and the 20˝ edge will be on the crosswise (slightly stretchy) grain. the fabrics are ironed (usually by my husband. creating the desired framelike effect. I’ve based the patterns in this book on fat quarters that measure 171/2˝ × 20˝ after laundering. This variation can happen for a number of reasons. lattice. The same is true for charm packs and strip packets. Contrast is also essential when choosing fabrics for lattice strips and inner borders. as Bi Keep in mind when cutting fat quarters that the 171/2˝ edge will be on the lengthwise (no stretch) grain. Some shops consistently cut their fat quarters slightly larger or smaller. style. you can make up your own fat-quarter packets or swap out or supplement prepackaged bundles with fabrics from your own stash.To Prewash or Not to Prewash? I typically prewash all new fat-quarter and larger pieces of fabric (e. the blocks require no consistent background fabric. my process is as follows. even within the same packet of fabrics. and Borders For some of the projects in this book. resulting in the loss of valuable inches. If you’d like. Prewashing. Give the fabric a sharp tug. Tips for Choosing Background. A Word about Fat Quarters Making Your Own Precut Packets In reality. Some manufacturers’ fabrics are slightly narrower than the industry standard of 42˝.
bold geometrics) make great outer borders. . creating the necessary contrast. Even if you make a one-color quilt (also called monochromatic). It is essential that you square the edges of your fabrics before you rotary cut them into strips and pieces. florals.. A Question of Value Value refers to the lightness or darkness of a fabric in relation to the fabrics around it and is an essential factor in the success of your quilt.Construction Techniques Here are some tips and techniques designed to make the precut quilt experience both fun and successful. Examples of potential border fabrics Large-scale prints (e. If you have a large piece of yardage. the range of light to dark within that single color is what makes the quilt “work. fold it twice or break it down so that you can work with a more manageable amount. theme prints.” With precuts. For more detailed information about the basics of quiltmaking. ranging from light to dark 10 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s Rotary Cutting Almost all the pieces for the quilts in this book can be cut with a rotary cutter. The fabric edges must be straight for the resulting pieces to be straight. Note: Cutting instructions are for right-handers. you are working with fabrics that have been preselected. Green fabrics. that value is relative. When placed next to lighter fabric. Make sure the fabric is pressed and that you fold it carefully before you begin cutting.g. with the fold closest to you. and it may appear—at first glance— that you do not have enough of a particular value. Value creates contrast and allows you to see the pattern emerge. a fabric that initially reads as light may suddenly appear darker. Place the folded fabric on the cutting mat. Reverse if you are left-handed. paisleys. however. 1. refer to Making Your First Quilt with M’Liss Rae Hawley (C&T Publishing. Keep in mind. 2007).
Use the mat grid only for aligning the fabric and taking rough measurements. the straight grain (lengthwise and crosswise) falls on the two short sides of the shape.or quarter-square triangles will depend on where you want the straight grain of the triangle to fall in the unit or block. or yardage. 3. and the long diagonal edge falls on the stretchy bias. Cutting Strips and Pieces Whether you are cutting scraps. Repeat to cut the required number of strips. Half-square triangle as Bi Grain Grain 90˚ as Bi sure and cut a strip the desired width. use the lines on your ruler. Cut the strips into squares or other smaller segments as the ruler is perpendicular to the fold. directed in the project instructions. Then follow the next steps. this will be on the outside edge. there is one key difference. Q u i lt m a k i n g B a s i c s 11 . the long diagonal edge falls on the straight grain (lengthwise or crosswise).2. small pieces such as fat quarters. Trim a narrow strip from the right edge of the fabric to square it up. Working from the squared left edge of the fabric. You may need to square up the end after every few cuts. Position your ruler on the right edge of the fabric so that 2. begin by cutting squares as described above. With a quarter-square triangle. In most cases. In any case. Grain 1. 90˚ Grain Quarter-square triangle Whether you cut half. mea- Although a half-square triangle and a quarter-square triangle look the same. while the stretchy bias falls on the two short sides. to measure and cut. Rotate the fabric (or the mat) 180° and repeat Step 2 at the opposite edge. not on your mat. In a half-square triangle.
the direction to press the seams will be indicated either in the instructions themselves or by arrows in the accompanying diagrams. If the quilt top is slightly longer than the border. and press the borders. Measure. 2. If the reverse is true. easing or gently stretching the borders to fit. These will be the side borders. closest to the feed dogs. Quarter-square triangles Piecing and Pressing For the projects in this book. stitch with the quilt top on the bottom. These will be the top and bottom borders. matching the ends and center points. Measure the finished quilt top through the center from side to side. use your rotary cutter and ruler to divide each square from corner to corner in one direction. Pin the borders to the quilt top. Dragging the iron across the fabric can distort the individual pieces and the finished blocks. Cut 2 borders to this measurement. 12 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s ders you’ve just sewn. including the bor- . sew. Repeat Step 2 to pin. Measure the quilt from top to bottom. Adding Borders The quilts in this book are made with squared borders. Press as instructed—usually toward the borders. Cut 2 borders to this measurement. Use additional pins as needed. as shown. Unless noted otherwise. Each square yields four quarter-square triangles with the straight grain (lengthwise or crosswise) on the long diagonal side. Each square yields two half-square triangles with the straight grain (lengthwise and crosswise) on the two short sides. as well as at the center point of each border strip. stitch with the border on the bottom. Half-square triangles To make quarter-square triangles. use your rotary cutter and ruler to divide each square from corner to corner in both directions. Measure. The motion of the feed dogs will help ease in the extra length.To make half-square triangles. Press lightly with a lifting-and-lowering motion. 1. as shown. use a 1/4˝ seam allowance for piecing the quilts in this book. It’s always a good idea to check that your 1/4˝ seam is accurate before beginning to sew. In most cases. you will be directed to stitch the top and bottom borders first. Place pins at the center points of the top and bottom of the quilt top. Sew the borders to the quilt top with a 1/4˝ seam allowance. 3. Squared borders are the easiest of all borders.
flat surface and secure it with masking tape. See Resources (page 62). The fabric should be taut but not stretched. and a backing—all secured with stitching of some type to hold the layers together. Finally. so there is a learning curve involved. Batting Option Another option for batting is to use a fusible product. cut the batting approximately 4˝ larger than the quilt top on all sides. 2. 4. I prefer to hand baste with thread rather than pin baste. Center the batting over the backing. Temporary spray adhesive (see Resources. Polyester batting is a good choice for tied quilts. (This means that to call your project a quilt. Thread a long needle with light-colored thread. I find I must now have many of my quilt tops professionally machine quilted. by machine. This allows me to machine quilt without having to stop to remove pins. Because of time constraints. such as Fusi-Boo. 1. for your smaller quilts and projects. Each step of the quiltmaking process. you might want to consider that option. as well as the quilt’s end use. stitch a 4˝ grid of horizontal and vertical lines. however. The result— a quilt free of puckers and bumps—will make you proud. Batting and Backing The choice of batting is a personal decision. page 62) is another good option. others. Here are some guidelines to get you started. Beginning in the center of the quilt. If you wish. You’ll probably want to stick with lightweight batting for hand quilting. you need to finish it!) Some quilters create that stitching by hand. Be sure to prewash the backing fabric and remove the selvages first. I love the idea of adding yet another level of creativity to my quilts. I used it when making my More Modern (page 54) and Kimono Style (page 61) tote bags. Q u i lt m a k i n g B a s i c s 13 . I usually use cotton batting in a heavier weight for bed quilts and wallhangings and in a lighter weight for clothing. and then piece the fabric together along the lengthwise grain to have a large enough backing piece. Press the backing. is exciting and fun to me.Preparing Your Quilt for Quilting Don’t skimp in preparing your quilt for quilting! Take the time to layer it properly and baste it sufficiently. including the machine quilting. Because I prefer machine quilting. and I do my own quilting whenever I can. When you’ve finished basting. My quilts in this book—as well as almost all the quilts made by my wonderful group of quilters—were machine quilted. Layering and Basting Unlike many machine quilters. Machine quilting is an art form. you’ll want the quilt backing to be approximately 4˝ larger than the quilt top on all sides. but you’ll want to consider the method (and amount) of quilting you plan to do. and it worked perfectly! As with the batting. remove the tape and get ready to quilt. 3. Backing Batting Tape No matter which type of batting you choose. Practice is the best way to learn and master this skill. Quilting Your Quilt A quilt becomes a quilt when it includes three layers—a top. Carefully press the quilt top from the back to set the seams and then press from the front. center the quilt top over the batting. Machine quilting my own tops gives me flexibility in making those design decisions. If you have stacks of quilt tops waiting to be quilted. You’ll sometimes need to divide the backing fabric crosswise. Spread the backing wrong side up on a clean. use spray starch or sizing. a layer of batting.
I like to stipple quilt around machine-embroidered motifs. because this causes the embroidered design to pop out and become a focal point. 14 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . You might also need to set the presser foot pressure to the darning position so you can move the quilt at a smooth pace for consistent stitches. You can also use this foot for certain decorative stitches and embellishing techniques. horizontal. the open-toe stippling foot allows you to quilt in all directions—you are the guide! Use this foot for stipple quilting.Dual-Feed Foot Open-Toe Stippling Foot Dual-feed foot Open-toe stippling foot The dual-feed foot is designed to hold and feed the three layers of your quilt evenly as you stitch. and other free-motion techniques. Also called a darning foot. Some machines have a built-in stipple stitch. whether vertical. meandering. or diagonal. Use this foot to machine quilt single lines or parallel lines and grids. which is a wonderful way to achieve this beautiful surface texture. You will need to drop the feed dogs on your sewing machine when you use the open-toe stippling foot. such as couching.
and embroidered motifs. Typical thread choices for machine quilting include rayon (35-and 40-weight). shows. and Holoshimmer. Having Your Quilt Machine Quilted Turning your precious quilt over to a professional machine quilter can be pretty daunting. I also believe that variety in thread adds visual interest and showcases the quilter’s individuality. and finishing as well. Design sources are everywhere! Look carefully at quilts in museums. Consider yourself and your machine quilter a team. even invisible). Remember to address batting. When choosing thread. as well as where I plan to use the thread. don’t hesitate to make your thoughts. texture. such as stippling. books. photographs. preferences. rayon.. discuss this with your quilter and provide the materials as necessary. For these reasons. appliquéd. metallic. One of my favorite options is to let the fabric inspire me. variegated. backing. and magazines. I consider thread color. while at the same time staying open to any suggestions your quilter may have. magazines. This approach is especially effective on a large-scale background fabric or outer-border fabric. stencils. Make sure you schedule your drop-off at a time when you are both available to sit down and discuss these key decisions. I love to use heavy free-motion quilting. in the backgrounds behind pieced. See Resources (page 62). A simpler option is to follow the fabric motif right where it is. curves. and at quilting stencils. I frequently use a mix of threads in my quilts. bring along sketches. and waves. and suggestions known. as well as novelty threads such as Sulky’s Cotton Blendables.Threads I consider quilting thread to be a design element. at books of quilting patterns. I use a lot of variegated and metallic threads. Q u i lt m a k i n g B a s i c s 15 . books. Design Let your imagination be your guide in choosing quilting motifs for your quilts. clamshells. I also love to pull a motif from the fabric and adapt it for quilting in another area of the quilt. Begin by anchoring key seams in and around blocks and borders by stitching in the ditch along the seamlines. giving it center stage in the design. If possible. I can stitch a garden trellis over a floral fabric or add detail to a beach with quilted rocks and shells. Poly Deco. Spend some time before you deliver your quilt top doing research about quilting motifs and threads you would like the quilter to use. Heavy quilting causes the background to recede and the motif to pop forward. and weight.g. not just the means to hold the three layers of my quilts together. bright red. Observe patterns in other areas of your life—particularly patterns in nature. If you envision a particular color or type of thread (e. Combine straight and curvy lines for variety. cotton. and monofilament. Try filling in open spaces with loops. but it doesn’t need to be. polyester. or other examples.
and label of your quilt are important too. hanging sleeve. Trim the excess batting and backing all around the quilt. 2. so be sure to give them the same attention you’ve given to every other element. Cut enough binding strips to go around the perimeter (outside edges) of the quilt. a corner at a time. Trim the excess fabric from the seams. Many a wonderful quilt is spoiled by a poorly sewn binding. 1. Align a ruler with the outer-border seam and measure to the edge of the quilt in several places. plus an extra 15˝ for seams and corners. You are now ready to bind your quilt. Use the narrowest measurement as a guide for positioning your ruler. It results in a finished edge that is attractive and strong. 1. as shown. sadly. leaving a 1/4˝ seam allowance. as it can push and pull the fabric out of shape. you need to trim the excess batting and backing and square up your quilt. If they aren’t. Use the seams of the outer borders as a guide. Stabilize the quilt edges by stitching around the perimeter with a basting or serpentine stitch. I use the following method to bind my quilts. You’re coming down the home stretch now! Typically.) 4. Sew the strips together at right angles. 3. Fold the quilt in half lengthwise and crosswise to check that the corners are square and that the sides are equal in length. . 16 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s Making and Applying Binding Binding is an important and. Remove any stray threads or bits of batting from the quilt top. often overlooked step in the quiltmaking process.Finishing Your Quilt The binding. I cut binding strips 3˝ wide from selvage to selvage across the width of the fabric. (Do not use a zigzag stitch. and press the seams open. use a large square ruler to even them up. Squaring Up Before adding the binding. I make an exception and cut strips on the bias only when I want to create a special effect with a plaid or striped fabric or when I need to follow a curved or rounded edge. Take your time deciding what fabric you will use and enjoy the process of stitching it to your quilt.
5. Fold down here. backstitch. If a seam does. The binding should cover the line of machine stitching on the back. and remove the quilt from the machine. Remove the unwanted stitches before you continue. resume stitching until you are 1/2˝ from the first corner of the quilt. using a 1/2˝ seam allowance.2. If the binding overlaps the stitching too much. Fold the binding in half lengthwise. 4. Starting 10˝ down from the upper-right corner and with the raw edges even. 6. If the binding doesn’t cover the original line of stitching. 45 3. take a slightly narrower seam allowance. try again. taking a slightly wider seam allowance. Q u i lt m a k i n g B a s i c s 17 . Stop. cut the thread. wrong sides together. Remove the quilt from the machine and fold the binding to the back of the quilt. Begin stitching 6˝ from the end of the binding. Stitch about 2˝ and then stop and cut the threads. place the binding on the quilt top. Using the stitching position you determined in Step 4. Miter each corner as you come to it. Check to see that none of the diagonal seams falls on a corner of the quilt. Fold the binding straight up at a 45° angle and then down and press. to create a mitered corner. 7. Resume stitching 1/2˝ from the corner. adjust the starting point.
3˝ overlap 9. corner. 10. Stitch and press. Turn the binding to the back of the quilt and pin it. so that when the hanging rod is inserted it will not put strain on the quilt. Cut an 81/2˝-wide strip of backing fabric 1˝ shorter than the width of the quilt. Measure a 3˝ overlap and trim the excess binding. I blindstitch the side edges so that the hanging rod cannot be inserted next to the quilt. it should be inserted inside the sleeve. cut 2 strips and stitch them together end to end. (I pin approximately 12˝ at a time. (If the quilt is wider than 40˝. Blindstitch the bottom and side edges of the sleeve to the quilt back. Align the midpoints and pin the sleeve to the quilt. Push up the bottom edge of the sleeve 1/4˝. place them right sides together at right angles. you need to add a sleeve to protect your work of art from excessive strain. 1.) Use matching-colored thread to blindstitch the binding to the quilt back. and pin them together.8. Make sure the starting and finishing ends of the binding overlap by at least 4˝. Making and Adding a Sleeve If you want to display your quilt on a wall. Cut the threads and remove the quilt from the machine. right sides together. 18 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s 4. Finish stitching the binding to the quilt. Carefully miter the corners as you approach them. Draw a line from the upper-left corner to the lower-right corner of the binding and stitch on the drawn line. Place the quilt right side up. Use matching-colored thread to blindstitch the top edge in place. Fold the sleeve in half lengthwise.) Fold under the short ends 1/4˝. Mark the midpoint of the sleeve and the midpoint of the top edge of the quilt. Carefully trim the seam allowance to 1/4˝ and press the seam open. with the seam edge right below the binding. Sew the long raw edges together and press the seam flat. 2. Stop stitching about 3˝ after you’ve turned the last 11. . Unfold the unstitched binding tails. taking care not to catch the front of the quilt as you stitch. 3. Turn the sleeve right side out and press again with the seam along one of the edges. Hand stitch the miters on both sides. Refold the binding and press. turning them in the opposite direction from the miter on the front.
buttons. A label gives you a place to provide important information about both you and the quilt. county. if you have one). the machine quilter. Include patches. to commemorate a special event. your full name (and business name. If the quilt was made for a special person. Use the label to record key information about your quilt. or lace. Q u i lt m a k i n g b a s i c s 19 . You could even create your own distinctive signature or logo. and the date. the lettering system on your sewing machine. (Stabilize the fabric first with freezer paper or interfacing. I often include leftover blocks to tie the quilt top to the back.) For a more elaborate (and fun!) label. decals. you might want to include that information as well. or an embroidery machine to embellish your label. or as part of a series. province or state. and country of residence. You might also choose to note the name of the quilting teacher who inspired you or to tell a special story connected to the quilt. I suggest including the following information on your label: the name of the quilt. ribbons. use photo-transfer techniques. You can make a simple label by drawing and writing on fabric with permanent fabric markers. You can sew the label to the lower-right corner of the quilt back before it is quilted or wait to attach the label after you have completed the quilt. I like to make my labels large—about 4˝ × 7˝—so I have plenty of room.Creating a Label I always recommend making a label for your quilt. your city.
Fat Quarters Auntie M Star Hanging Gardens Designed and made by M’Liss Rae Hawley. machine quilted by Barbara Dau. 2010 Fabrics designed by M’Liss Finished quilt: 411/2˝ × 511/2˝ • Finished block: 9˝ × 9˝ .
Batting: 49˝ × 59˝ Au n t i e M s ta r 21 . 11/2˝ × 40˝. Label 1 fat quarter in each pair Fabric A. 31/2˝ × 31/2˝ (12 total). or a lap quilt and is a wonderful pattern for confident beginners or more experienced quilters who want to make a quick quilt for themselves or to give as a gift. crosscut into 17 strips. Success is virtually guaranteed! Fabric Requirements and Cutting Yardage is based on 40˝-wide fabric. 31/2˝ × 40˝. 1 yard Outer border Cut 5 strips. 11/2˝ × 40˝. 3˝ × 40˝. Hanging sleeve (Optional) Cut 1 strip. a baby quilt. 41/4˝ × 41/4˝. Cut strips on the crosswise grain (from selvage to selvage). 11/2˝ × 40˝. 31/2˝ × 31/2˝. Keep the fabrics sorted in this fashion until you have finished making the Star blocks. fun. Cut 4 squares. 1/2 yard Lattice and inner border Cut 5 strips. Cut each square in half twice diagonally to make 4 quarter-square triangles (96 total). 41/4˝ × 40˝.A untie M Star. Seam horizontally. 11/2˝ × 91/2˝. 6 different fat quarters Stars (Fabrics A and B) From each fat quarter: Cut 2 squares. 1/3 yard Cut 4 strips. Yardage For Cutting Cut 5 strips. 27/8 yards Backing Cut in half from selvage to selvage. Sort into 3 pairs of 2 fat quarters each. 81/2˝ × 40˝. the fabrics all go together because the dyes are the same. 5/8 yard Binding Cut 6 strips. The six fat quarters are sorted into three pairs. crosscut into 6 squares. is fast. The assembly diagram on page 23 indicates where the fabrics are used in the quilt. 51/2˝ × 40˝. 1/8 yard Cornerstones Cut 1 strip. crosscut into 48 squares. my fat-quarter interpretation of the traditional Ohio Star. and the other fat quarter in the pair Fabric B. which are used and then switched out to make the star centers and points. crosscut each square in half twice diagonally to make 4 quarter-square triangles (96 total). 41/4˝ × 41/4˝. crosscut into 24 squares. 11/2˝ × 11/2˝. When you use fat quarters from a single fabric line. 1 yard Background Cut 3 strips. and easy to make! It’s the perfect size for a wallhanging.
sew 2 units from Step 1 B together along their long diagonal edges.Making the Blocks 4. sew 1 background quartersquare triangle and 1 Fabric B quarter-square triangle together along a short edge. The only difference between Block 1 and Block 2 is that Fabric A and Fabric B reverse position in Block 2. Press. B Make 4. A A A A B A A Block 1 1. Press. Each Star block is made using the background fabric and 2 fat-quarter fabrics: 1 for the star center and 1 for the star points. and 4 background 31/2˝ × 31/2˝ squares in 3 rows as shown. A A 2. a 31/2˝ × 31/2˝ Fabric A A A A A B A square. Make 8 matching units. sew 1 background quarter- A A Block 1 Make 2 in each fabric pair. Sew the units and squares into rows. With right sides together. Press. Make 8. Press. With right sides together. Label these Block 1. Make 8 matching units. Press. Make 4. Arrange the units from Step 2. Repeat Steps 1–3 to make a total of 6 blocks—2 matching You will need a total of 12 Star blocks for this quilt: 6 of Block 1 in matching pairs and 6 of Block 2 in matching pairs. Block 2 1. and 4 background 31/2˝ × 31/2˝ squares in 3 rows as shown. With right sides together. Arrange the units from Step 2. Press. A Make 8. Press. a 31/2˝ × 31/2˝ Fabric B B square. Sew the units and squares into rows. Sew the rows together. 3. 3. 2. sew 2 units from Step 1 together along their long diagonal edges. square triangle and 1 Fabric A quarter-square triangle together along a short edge. Make 4. Press. Make 4. Sew the rows together. A B A A B B A B B 22 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s B B B . With right sides together. blocks in each Fabric A and Fabric B pair.
B as shown in the assembly diagram. Refer to Preparing Your Quilt for Quilting. Piece the backing as described on page 13. Make 4. 2. Repeat Steps 1–3 to make a total of 6 blocks—2 matching 3. Press the seams toward the lattice. Use the 3˝-wide strips to bind the edges of the quilt. Measure. 4. and Finishing Your Quilt (pages 13–19). Sew 3 horizontal 11/2˝ × 91/2˝ lattice strips and 2 corner- Finishing the Quilt stones 11/2˝ × 11/2˝ together. alternating the strips and squares to make a lattice row. 5. batting. and quilt top. 5. trim. Make 3 rows. and sides of the quilt. Sew the block-and-lattice rows together. and sew nating the blocks and strips to make a block row. Press. and sides of the quilt as an inner border. Assembling the Quilt Arrange the blocks in a visually pleasing balance. alternating them blocks in each Fabric A and Fabric B pair. piecing the strips as necessary. Sew 3 blocks and 2 vertical lattice strips together. alter- 4. trim. 1.4. Layer the backing. Press the seams toward the outer border. Measure. Quilting Your Quilt. bottom. Refer to Adding Borders (page 12). then add the 11/2˝ × 91/2˝ lattice strips and the 11/2˝ × 11/2˝ cornerstones as shown in the assembly diagram. B B B A B B B B Block 2 Make 2 in each fabric pair. the remaining 11/2˝ lattice strips to the top. Press. Press. 3. Add a hanging sleeve and label if desired. Label these Block 2. Make 3. 2. Hand or machine quilt as desired. bottom. Make 4 rows. and sew the 51/2˝ outer-border strips to the top. Au n t i e M s ta r 23 . Assembly diagram 1. piecing the strips as necessary. baste.
machine quilted by Arlene Anderson. made by Carla Zimmermann. 2010 24 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . machine quilted by Barbara Dau.Fluttering among the Stars 411/2˝ × 511/2˝. 2010 Galaxy Stars 411/2˝ × 511/2˝. made by Annette Barca.
Jungle Safari 441/2˝ × 541/2˝. made by Susie Kincy. made and machine quilted by Barbara Dau. machine quilted by Barbara Dau. 2010 Barbara created this unusual border by piecing a striped border print. Au n t i e M s ta r 25 . 2010 Persian Opulence 411/2˝ × 511/2˝.
2010 Fabric designed by M’Liss Rae Hawley 26 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s .Auntie M’s Flower Patch 411/2˝ × 511/2˝. machine quilted by Barbara Dau. designed and made by M’Liss Rae Hawley.
machine quilted by Barbara Dau.Charming Baskets More Modern Baskets Designed and made by M’Liss Rae Hawley. 2010 Fabrics designed by M’Liss Finished quilt: 481/2˝ × 651/2˝ • Finished block: 4˝ × 4˝ Charm Squares .
28 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . You will square up the quilt top before the borders are added. as in More Modern Baskets on page 27. 6˝ × 40˝. Cut strips on the crosswise grain (from selvage to selvage). Backing Cut in half from selvage to selvage. 3˝ × 40˝.C harm squares have been around for decades. Cut each square in half once diagonally to make 2 half-square triangles (4 total). 7˝ × 7˝.* 1/4 yard Inner border Cut 5 strips. Cut 2 strips 6˝ × 40˝ from the crosswise grain and 2 strips 6˝ × 651/2˝ from the lengthwise grain. This is a great example of how you can successfully combine screen-printed fabrics with batiks! The beautiful quilting enhances the basket image. 2/3 yard 31/4 yards 5/8 yard Batting: 56˝ × 73˝ *The side and corner setting triangles are cut oversized so that the blocks appear to float in the finished quilt. 81/2˝ × 40˝. 10˝ × 10˝.* Cut 2 squares. Notice how the little baskets seem to float in the soft batik Four-Patch background blocks. 21/2˝ × 40˝. and a packet and/or collection of 40 squares 5˝ × 5˝ is the perfect fit for these charming half-square triangle blocks. 10˝ × 40˝. Hanging sleeve (Optional) Cut 2 strips. 11/8 yards** Outer border Cut 6 strips. 11/4˝ × 40˝. Yardage 40 charm squares 5˝ × 5˝ 5/8 yard each of 2 fabrics 7/8 yard For Cutting Half-Square Triangle blocks Four-Patch blocks (Fabrics A and B) Setting triangles From each fabric. Cut 2 strips. The assembly diagram on page 29 indicates where the fabrics are used in the quilt. which I placed on point to create little baskets. Binding Cut 7 strips. You need 26 and will have 2 triangles left over. you will need 21/4 yards. cut 7 strips. Seam horizontally. **If your outer-border fabric is a directional print with the printed motif running parallel to the selvage. Cut each square in half twice diagonally to make 4 quarter-square triangles (28 total). crosscut into 7 squares. Fabric Requirements and Cutting Yardage is based on 40˝-wide fabric. I reduced the variables by combining my black-and-white fabrics with perky prints from a variety of my fabric collections to make the blocks.
Sort the 5˝ × 5˝ charm squares into 20 pairs. Press. Square the blocks to 41/2˝ × 41/2˝. Make 54. Cut 108 segments. Press. A B B A A B B A Assembly diagram Make 54. 2½˝ A B Make 7 strip sets. 1. Sew the paired half-square triangles together. Arrange the Half-Square Triangle blocks. 2. 3. Place the 2 1. Sew the segments together to make a Four-Patch unit. Make 40 blocks total. Trim the dog-ears at each corner and then sew the corner setting triangles to the quilt top. blocks. Cut a total of 108 segments. Sew the blocks and side setting triangles together into diagonal rows. Make 40. and the side and corner setting triangles in diagonal rows as shown in the assembly diagram. each 21/2˝ wide. Press. Sew the rows together. Arrange 2 segments from Step 1 as shown. 2. sew together a 21/2˝-wide Fabric A strip and a 21/2˝-wide Fabric B strip to make a strip set. Press. Press the seams toward the Four-Patch blocks and the setting triangles. With right sides together.Making the Half-Square Triangle Blocks Assembling the Quilt squares in each pair right sides together and cut in half once diagonally. Making the Four-Patch Blocks 1. from the strip sets. the Four-Patch 2. Press. Make 7 strip sets. c h a rm i n g b a s k e t s 29 .
1 5 5. 11 11 10 10 60 9 9 8 8 45 7 7 3. 5. 6. 1 5 23 Finishing the Quilt 23 22 22 21 21 20 20 19 19 30 18 18 17 1. Measure. Mocha.4. bottom. sew the crosswise strips together and use them for the top and bottom outer borders. Press the seams toward the inner border. Piece the backing as described on page 13. Refer to Adding Borders (page 12). trim. measuring 1˝ from the corners of the blocks to trim the side and corner triangles. and Finishing Your Quilt (pages 13–19). trim. 17 45 16 16 15 15 60 14 14 13 13 12 12 2. 5 1 4 2 3 3 2 4 Refer to Preparing Your Quilt for Quilting. Layer the backing. and sew the 6˝ outer-border strips to the top. baste. Hand or machine quilt as desired. Use the lengthwise strips for the side outer borders. piecing the strips as necessary. and sides of the quilt. 2010 30 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . Quilting Your Quilt. Press the seams toward the outer border. Frappa. and sew the 11/4˝ inner-border strips to the top. Chino 481/2˝ × 651/2˝. made and machine quilted by Barbara Dau. and quilt top. Note: If you have cut both crosswise and lengthwise strips. Square up the quilt top. and sides of the quilt. Use the 3˝-wide strips to bind the edges of the quilt. Add a hanging sleeve and label if desired. Trim triangles 1˝ from block corners. bottom. Measure. piecing the strips as necessary. batting. 6 6 30 5 5 4 4 3 3 2 2 1 1 5 1 4 2 3 3 2 4 4.
made and machine quilted by Cheryl Gilman.Woven Charm 481/2˝ × 651/2˝. made and hand quilted by Lucia Pan. 2010 African Village 481/2˝ × 651/2˝. 2010 c h a rm i n g b a s k e t s 31 .
machine quilted by Stacie Johnson. 2010 Bohemian Rhapsody 481/2˝ × 651/2˝. 2010 32 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . made by Peggy Johnson. made by Vicki DeGraaf. machine quilted by Doris Ellis.Blue Skies and Roses 481/2˝ × 651/2˝.
machine quilted by Barbara Dau. 2010 Fabrics designed by M’Liss Finished quilt: 58˝ × 70˝ • Finished unit: 3˝ × 3˝ .On the Road to Perfection Garden Glitz Fat Quarters Designed and made by M’Liss Rae Hawley.
Hanging sleeve (Optional) Cut 2 strips. From Fabric F. 31/2˝ × 31/2˝. including the two versions in this chapter that I made with two of my fabric collections. 34 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . **Fabric G should be similar in color and value to Fabric A. and your family with this large. 11/8 yards Outer border Cut 6 strips. easy fat-quarter lap quilt. crosscut into 18 squares. cut 4 strips. You can showcase a favorite fabric style or collection. E. 5/8 yard Batting: 66˝ × 78˝ *You might like to choose these fabrics in 2 pairs of similarly colored prints. crosscut into 71 squares. Divide each strip into 2 strips. 31/2˝ × 31/2˝. Fabric Requirements and Cutting Yardage is based on 40˝-wide fabric. It’s a simple combination of Four-Patches and unpieced blocks. 11/4˝ × 40˝. Cut 7 strips. and F) Cutting Cut 8 strips. 3˝ × 40˝. From each Fabric C. cut 4 strips. 2˝ × 40˝. perfect for quilters of all levels. 2/3 yard Binding Cut 7 strips. crosscut into 71 squares. Cut strips on the crosswise grain (from selvage to selvage). and E. The assembly diagram on page 35 indicates where the fabrics are used in the quilt. crosscut into 17 squares.I mpress yourself. 2˝ × 20˝ (16 total). the “wow” factor comes from your choice of fabrics. 31/2˝ × 31/2˝ (54 total). cut 8 strips. or a special theme such as sailing or food. 1/3 yard Inner border Cut 6 strips. 37/8 yards Backing Cut in half from selvage to selvage. 81/2˝ × 40˝. 2˝ × 20˝ (16 total). Quilters are always striving to improve their piecing skills and their ability to choose and combine colors—I lecture on this topic all over the world! The blocks in this quilt create a road or path—the perfect pattern for setting you off On the Road to Perfection. From each fat quarter. 31/2˝ × 40˝. Seam horizontally. 31/2˝ × 20˝. 6˝ × 40˝. Squares (Fabric G) Cut 7 strips. I’ve made this quilt many times. D. Yardage For 11/4 yards Four-patch units and squares (Fabric A) Fat quarter each of 2 same-colored fabrics Fat quarter each of 4 fabrics* 7/8 yard** Four-patch units (Fabric B) Squares (Fabrics C. D. your friends. a holiday such as Christmas or Halloween. 31/2˝ × 20˝. 31/2˝ × 40˝. 31/2˝ × 31/2˝.
Cut 144 segments. Refer to Adding Borders (page 12). trim. 8 in each fabric combination. Layer the backing. Press the seams in opposite directions from row to row. Make 72 (36 from each B fabric). 72 from each strip-set combination. bottom. piecing the strips as necessary. Press the seams toward the outer border. and G squares as shown in the assembly diagram. batting. Finishing the Quilt Refer to Preparing Your Quilt for Quilting. Sew the rows together. Assembly diagram 4. Measure. Make 16 strip sets. Press the seams toward the inner border. and quilt top. Press. Add a hanging sleeve and label if desired. C. and sew the 6˝ outer-border strips to the A B top. Arrange 2 matching segments from Step 1 as shown. and Finishing Your Quilt (pages 13–19). D. 1. Arrange the four-patch units and the 31/2˝ × 31/2˝ Fabric A. 3. 2. baste. and sides of the quilt. Use the 3˝-wide strips to bind the edges of the quilt. Make 72. sew together a 2˝-wide Fabric A strip and a 2˝-wide Fabric B strip to make a strip set. trim. 4. 8 from each set of Fabric B strips. Hand or machine quilt as desired. each 2˝ wide (144 total). 5. Piece the backing as described on page 13. Press. F. piecing the strips as necessary. Measure. 3. 2˝ A B Make 16 strip sets. Quilting Your Quilt. Press. E. bottom. Assembling the Quilt 1. 2.Making the Blocks G C A F E D 1. and sides of the quilt. With right sides together. B A 5. on the road to perfection 35 . 2. Cut 72 segments from each strip-set combination. Sew the segments together to make a four-patch unit. and sew B A A B the 11/4˝ inner-border strips to the top. Sew the units and squares together into horizontal rows.
2010 Fabrics designed by M’Liss 36 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . machine quilted by Barbara Dau. designed and made by M’Liss Rae Hawley.Christmas Wishes. 62˝ × 78˝.
made by John James. machine quilted by Arlene Anderson. 2010 on the road to perfection 37 . made by Annette Barca. machine quilted by Barbara Dau. 2010 The Road through the Rhodies 70˝ × 58˝.Along the Red Carpet 58˝ × 70˝.
machine quilted by Barbara Dau. machine quilted by Arlene Anderson. made by Carla Zimmermann. 2010 Dragonflies 58˝ × 70˝. 2010 38 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . made by Cheryl Gilman.Garden Romance 58˝ × 70˝.
58˝ × 70˝. 2010 on the road to perfection 39 . machine quilted by Barbara Dau. made by Susie Kincy.Boy Scout Centennial.
and embellished by M’Liss Rae Hawley.Fat Quarters Mexican Riviera Splash Mexican Riviera Splash Designed. machine quilted. made. 2011 Fabrics designed by M’Liss Finished size: 26˝ × 341/2˝ .
11/2˝ × 20˝.I originally created this colorful pattern for the quilters to make on our first M’Liss Cruise…to the beautiful Mexican Riviera. and the quilt made a wonderful memory of the trip. 11/4 yards Backing 61/2˝ × 161/2˝ piece of paper. Cut 2 strips. 11/2˝ × 20˝. 81/2˝ × 40˝. 41/2˝ × 18˝. 13/4˝ × 20˝. Fabric H Accent Strip 3 Cut 2 strips. The assembly diagram on page 44 indicates where the fabrics are used in the quilt. 3˝ × 40˝. 1/4 yard Inner border Cut 2 strips. 2˝ × 20˝. It’s a small wallhanging made with bands of Seminole piecing and offers the opportunity to include lots of color and embellishment. Fabric E Section 3: Seminole bias strip (Center strip) and Accent Strip 1 Cut 6 strips. We all had a great time. Fabric Requirements and Cutting Yardage is based on 40˝-wide fabric. Fabric D Section 2: Seminole bands (Triangles) Cut 6 strips. or other foundation 1/3 yard section 3: Seminole bias strip Hanging sleeve (Optional) Cut 1 strip. Fabric F Section 3: Seminole bias strip (Strips next to center strip) and Accent Strip 2 Cut 6 strips. Fabric C Section 2: Seminole bands (Squares) Cut 3 strips. 31/2˝ × 20˝. 11/2˝ × 20˝. Cut strips on the crosswise grain (from selvage to selvage). Fabric B Section 1: Seminole fence (Squares) Cut 3 strips. 11/4˝ × 161/2˝. 1/2 yard Binding Cut 4 strips. 41/2˝ × 341/2˝. 11/4˝ × 20˝. Fabric G Section 3: Seminole bias strip (Outermost strips) Cut 4 strips. 5/8 yard Outer border Cut 2 strips. For Cutting Seminole Strips and Accent Strips: Fabric A Section 1: Seminole fence (Rectangles) Cut 3 strips. The body of the quilt is made entirely with fat quarters. 21/4˝ × 20˝. muslin. Batting: 34˝ × 43˝ ASSORTED EMBELLISHMENTS (Optional) M e x i c a n R i v i e r a Spl a s h 41 . 11/4˝ × 261/2˝. Cut 2 strips. Yardage 8 fat quarters in a variety of values Assign a letter to each fat quarter.
With right sides together. Crosscut the strip sets into a total of 32 segments. Trim and straighten the long zigzag edges of each B band. Press. Trim and straighten the short zigzag edges of the band by trimming equal amounts from both short edges. Make 1 of each. 2. 1½˝ A 3. Cut 32 segments. F. F. E. each 13/4˝ wide. 1¾˝ D C D Cut 24 segments. G F E F G Make 2 strip sets. Make 3 strip sets. Finished size: 4˝ × 16˝ 1. Make 3 strip sets. Make 3 strip sets. Arrange and sew together the 11/4˝-wide Fabric E strips. Press the band carefully and staystitch a scant 1/4˝ from the raw edges on all sides. Finished size: 13/4˝ × 16˝ 1. The unit should measure 21/4˝ high after trimming. Making Section 3: Seminole Bias Strip Making Section 2: Seminole Bands 1. Make 1 of each as shown below. 42 Finished size: 6˝ × 16˝ M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s the 11/2˝-wide Fabric F strips. for a total of 24 segments. Sew 12 segments from Step 1 together. Crosscut each strip set into segments. alternately turning them “head to toe.Making Section 1: Seminole Fence 2. each 11/2˝ wide. Make 2 strip sets. The unit should measure 161/2˝ wide. staggering them and matching seam allowances as shown. Arrange and sew together 16 segments from Step 1. and the 21/4˝-wide Fabric G strips as follows—G. sew a 31/2˝-wide Fabric A strip and a 11/2˝-wide Fabric B strip together to make a strip set. Press toward Fabric D. Press in one direction. making sure to preserve a 1/4˝ seam allowance. G—to make a strip set. Sew a 2˝-wide Fabric D strip on either side of a 13/4˝-wide Fabric C strip to make a strip set. Make 2. making sure to preserve a 1/4˝ seam allowance. .” Press in one direction. 16½˝ 2¼˝ Trim each band. Make 2.
Place a segment from Step 3 right side up on the left edge of the 61/2˝ × 161/2˝ paper. each 13/4˝ wide. checking 17 the ruler’s 13/4˝ mark on the angled edge and align the 45° marking with the bottom edge of the strip set. Turn the strip set so the cut edge is on your left. Cut along the edge of the ruler to remove the right corner. Cutting along the edge of the ruler. if necessary. Make 2 and label as accent sashing. taking care to stitch an accurate 1/4˝ seam. Cut 13 segments. Open out the second segment and press. place a second segment over the first segment. Trim both of the 11/2˝-wide Fabric H Accent Strips 3 to 161/2˝ long. Sew a 11/4˝-wide Fabric E Accent Strip 1 on either side of a 11/2˝-wide Fabric F Accent Strip 2. H Foundation H M e x i c a n R i v i e r a Spl a s h 43 . Trim the section to 61/2˝ × 161/2˝. Remove the foundation. Press toward Fabric H. or other foundation. The top and bottom edges of the segment will overlap the foundation slightly. Position your ruler so that the 45° marking aligns with the 3. E F E 4. to maintain the integrity of the seam allowance. (The sections of the strip set will not meet at the raw edge. 2. Stitch down the left edge of the segment with a 1/8˝–3/16˝ seam. but take care to pin so that they match at the 1/4˝ seam allowance. With right sides together and long raw edges aligned. 17 2. Sew Section 3 (Seminole bias strip) between them. muslin. Repeat Step 5 to add the remaining segments. Leave the foundation in place for now.bottom edge of the strip set. 1. Trim to 161/2˝ long. Place 1 occasionally to make sure the segments are straight.) Pin and sew. Press toward the darker fabric. Accent sashing—Make 2. cut 13 segments. 6 1 1 2 2 2 1 3 1 4 2 3 5 Foundation 45˚ 4 7 5 8 6 9 7 8 10 9 11 12 10 13 11 12 14 13 15 14 16 15 17 1 16 2 2 1 5. 3 6 1 1 2 2 2 1 3 1 4 2 5 45˚ 4 7 5 8 6 9 7 8 10 9 11 12 10 13 11 14 12 15 Assembling the Quilt Top 1¾˝ 13 16 14 15 17 1 16 2 2 6. Take a deeper seam.
the accent sashing sections from Step 1. Arrange the Seminole fence rail sections. Press. Trim the batting and backing. made. 1. baste. and Finishing Your Quilt (pages 13–19). Press toward the borders. Use the 3˝-wide strips to bind the quilt edges. and backing. Sew the 11/4˝ × 261/2˝ inner-border strips to the sides.3. Finishing the Quilt Refer to Preparing Your Quilt for Quilting. 3. 4. Sew the sections together. Press toward the accent sashing. 2. Sew the 41/2˝ × 341/2˝ outer-border strips to the sides. 5. Press. Sew the 11/4˝ × 161/2˝ inner-border strips to the top and bottom of the quilt. Quilting Your Quilt. Hand or machine quilt as desired. 5. 2009 Fabric designed by M’Liss Rae Hawley 44 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . designed. and the Seminole bias strip section from Step 2 as shown in the assembly diagram. Layer the quilt top. and machine quilted by M’Liss Rae Hawley. Sew the 41/2˝ × 18˝ outer-border strips to the top and bottom of the quilt. Mexican Garden 26˝ × 341/2˝. Assembly diagram 4. Add a hanging sleeve and label if desired. the Seminole band sections. batting. Press toward the outer borders. Embellish as desired.
machine quilted. and embellished by Vicki DeGraaf. 2009 Acapulco Sunset 26˝ × 341/2˝.Cruise in Mexico 26˝ × 341/2˝. made and machine quilted by Peggy Johnson. made. 2009 M e x i c a n R i v i e r a Spl a s h 45 .
Mexican Riviera Memories 26˝ × 341/2˝. machine quilted. and embellished by Carol DeGraaf. 2009 Ixtapa Fiesta 26˝ × 341/2˝. made. made and machine quilted by June Stevens. 2009 46 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s .
Strips for a Queen! My Evening Garden Fat Quarters Strip Bundle Designed and made by M’Liss Rae Hawley. machine quilted by Barbara Dau. 2010 Batiks designed by M’Liss Finished quilt: 887/8˝ × 887/8˝ • Finished block: 8˝ × 8˝ .
21/3 yards Outer border Cut 9 strips. Cut each square in half once diagonally to make 2 half-square triangles (4 total). The pieced blocks are quilted with gold metallic thread. many from my own collections. and never more so than in blank blocks. 81/2˝ × 81/2˝. Seam horizontally. 2˝ × 40˝. Yardage 40 precut strips 21/2˝ × 42˝ (typically 1 strip bundle) For Cutting Sixteen-Patch blocks Cut 7 strips. To begin. I had machine quilter and friend Barbara Dau use rayon thread to quilt beautiful motifs that complement the quilt’s theme. which makes a lovely accent! Fabric Requirements and Cutting Yardage is based on 40˝-wide fabric. 10˝ × 10˝. 1 yard Binding Cut 10 strips. I turned the blocks on point for a more interesting look and placed blank blocks in between. 81/2˝ × 40˝. Hanging sleeve (Optional) Cut 3 strips. 7/8 yard Batting: 98˝ × 98˝ *The side and corner setting triangles are cut oversized so that the blocks appear to float in the finished quilt.* Cut 2 squares. Cut strips on the crosswise grain (from selvage to selvage). You will square up the quilt top before adding the borders. 48 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . crosscut into 5 squares. I sorted all the strips into pairs by value and then proceeded to make my Sixteen-Patch blocks. 16˝ × 16˝. Cut each square in half twice diagonally to make 4 quarter-square triangles (20 total).Q uestion: How large a quilt can you make with just one 40-strip bundle of 21/2˝ × 42˝ precut strips and some coordinating fabrics? Answer: A queen-sized bed quilt! That just goes to show you how versatile these precut strips really are. 81/2˝ × 40˝. The assembly diagram on page 50 indicates where the fabrics are used in the quilt. crosscut into 25 squares. I reduced my variables by using all batiks.* 5/8 yard Inner border Cut 8 strips. For this quilt. 81/2˝ × 40˝. 81/2 yards Backing Cut in thirds from selvage to selvage. 16˝ × 40˝. The quilting is always an important design element. 3˝ × 40˝. 31/2 yards Setting squares and setting triangles Cut 3 strips.
and the corner setting triangles in diagonal rows. Cut each 42˝ strip set in half to make a total of 36 strip sets. Press. sew matching pairs from Step 2 together as shown to make a new strip set. Press toward the darker fabric. Press the seams to one side and square up the block to 81/2˝ × 81/2˝ if necessary. Press the seams away from the Sixteen-Patch blocks. use the extra 4 strips to make an additional strip set. and the side setting triangles together into diagonal rows. Press toward the darker fabric. Sew together 4 matching units from Step 4. Making an Extra Strip Set 2. Cut 8 segments from each strip set (144 total).Making the Blocks 1. as shown in the assembly diagram (page 50). Cut each strip set in half. 2. 4. the 81/2˝ × 81/2˝ setting squares. Sew the strips in each pair together to make a strip set. each Make 36 blocks. the side setting triangles. Trim the dog-ears at each corner and then sew the corner setting triangles to the quilt top. arranging them as shown to make a Sixteen-Patch block. Press. Arrange the blocks. Sew the blocks. 2½˝ Assembling the Quilt 1. Make 18 strip sets. Repeat to make 18 light/dark pairs. Crosscut each strip set from Step 3 into 8 segments. With right sides together. each 41/2˝ × 21˝. 3. strips for a queen! 49 . Layer a light 21/2˝-wide strip and a dark 21/2˝-wide strip right sides together. 21/2˝. 5. Cut a total of 144 segments from the assorted strip sets. If you are not able to get all the segments you need from the strip sets you’ve made. Make 18 strip sets. Make 18 strip sets. the setting squares. 21˝ 21˝ Make 18 strip sets. Make a total of 36 blocks. Sew the rows together. 3.
bottom. For this quilt. 50 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s 1 5 5. 6. Refer to Adding Borders (page 12). Use the 3˝-wide strips to bind the edges of the quilt. and Finishing Your Quilt (pages 13–19). Layer the backing. and sides of the quilt. and sew the 2˝-wide inner-border strips to the top. Press the seams toward the outer border. baste. batting. Square up the quilt top. Piece the backing as described on page 13. trim. 2. piecing the strips as necessary. you will need to divide the backing fabric into 3 equal lengths. bottom. trim. Add a hanging sleeve and label if desired. and sew the 81/2˝-wide outer-border strips to the top. and quilt top. Quilting Your Quilt. Finishing the Quilt Refer to Preparing Your Quilt for Quilting. and sides of the quilt. 3. . measuring 1˝ from the corners of the blocks to trim the side and corner triangles. 1. Measure. Press the seams toward the inner border. Assembly diagram 4. 5 1 4 2 3 3 2 4 1 5 23 23 22 22 21 21 20 20 19 19 30 18 18 17 17 45 16 16 15 15 60 14 14 13 13 12 12 11 11 10 10 60 9 9 8 8 45 7 7 6 6 30 5 5 4 4 3 3 2 2 1 1 5 1 4 2 3 3 2 4 Trim triangles 1˝ from block corners. 4.5. piecing the strips as necessary. Hand or machine quilt as desired. Measure.
made by Annette Barca. 2010 strips for a queen! 51 . machine quilted by Barbara Dau. machine quilted by Barbara Dau. a flannel quilt made by Annette Barca.Bears on the Border 887/8˝ × 887/8˝. 2010 Spring Time in Italy 887/8˝ × 887/8˝.
made and machine quilted by Cheryl Gilman.Asian Splendor 92˝ × 92˝. made by John James. Topeka & Santa Fe 887/8˝ × 887/8˝. 2010 Atchison. 2010 52 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . machine quilted by Peggy Wilbur.
Beachcombing, 92˝ × 92˝, made by Carla Zimmermann, machine quilted by Barbara Dau, 2010
strips for a queen!
More Modern Bag
Designed and made by M’Liss Rae Hawley, 2010
Fabrics designed by M’Liss
Finished size: approximately 18˝ × 16˝
lthough I have written the book 101 Fabulous Fat-Quarter Bags with M’Liss Rae Hawley (C&T Publishing, 2008)
and have designed many more fat-quarter bag patterns for magazines and websites, designing a beautiful bag
pattern using a roll of 40 precut strips 21/2˝ × 42˝ presented a new challenge. Honestly, you could almost make a
suitcase with this many strips!
As always, I reduced my variables by limiting my color palette and winnowing down the number of strips. Black-andwhite prints from my More Modern fabric collection worked well for the neutrals; the combination is both classic
and on trend! I used my Be Creative with M’Liss blenders for the bright accent strips—the perfect combination!
I placed the 21/2˝-wide strips horizontally on the front and vertically on the back, and added a favorite embroidery for
the flap. The handle is a new technique and so much fun. I love the results!
Fabric Requirements and Cutting
Yardage is based on 42˝-wide fabric. Cut strips on the crosswise grain (from selvage to selvage).
16 assorted strips 21/2˝ × 42˝
1/2 yard total assorted
Cut a total of 9 strips, 15/8˝ × 42˝;
crosscut 8 in half to make 16 strips, 15/8˝ × 21˝.
Flap embroidery background and flap backing*
Cut 1 rectangle, 9˝ × 15˝ (to fit a
100mm × 100mm hoop).
Cut 1 rectangle, 6˝ × 91/2˝.
Flap embroidery border**
Cut 1 strip, 1˝ × 42˝; crosscut into 2 strips,
1˝ × 5˝, and 2 strips, 1˝ × 91/2˝.
Cut 1 rectangle, 181/2˝ × 321/2˝.
Bag lining and envelope
for bottom insert
Cut 1 rectangle, 181/2˝ × 321/2˝.
inside pockets (Optional)
Cut 2 rectangles, 101/2˝ × 12˝.
Cut 1 square, 123/4˝ × 123/4˝.
2 Shape Flex Craft Packs (each
20˝ × 45˝) or 21/4 yards of 20˝-wide
Shape Flex Woven Cotton Fusible
1 Timtex craft pack (15˝ × 18˝)
Cut 2 rectangles, 111/2˝ × 6˝.
2 yards of 1˝-wide cotton webbing
Cut 2 strips, 1˝ × 34˝.
Small (36˝ × 45˝) package
of Fusi-Boo batting
Cut 2 rectangles, 181/2˝ × 161/2˝.
Cut 1 rectangle, 6˝ × 91/2˝.
Cut 1 rectangle, 181/2˝ × 321/2˝.
Cut 1 rectangle, 18˝ × 32˝.
Cut 1 rectangle, 6˝ × 91/2˝.
*If you prefer not to embroider the flap, this is sufficient yardage to make a plain flap. If you eliminate the flap
embroidery, make the flap using a 6˝ × 91/2˝ piece each of flap fabric, flap backing fabric, and Fusi-Boo.
**If you wish, you can cut this strip from accent-strip fabric. If you do not plan to embroider the flap, you can
eliminate this border fabric.
b o n u s pr o j e c t : b a g - o f - s t r i p s t o t e
4. wrong sides together. wrong sides together. 5. 56 8. Sort the strips into 2 stacks: 7 for the bag front and 9 for the bag back. Trim the remaining accent strip to measure 181/2˝ long. Fold each 15/8˝ × 21˝ accent strip in tions. With right sides together. arrange 8 strips 6. For the bag front. Trim the unit to measure 161/2˝ from top to bottom and 181/2˝ from side to side. Sort these into 3 stacks: 8 for the bag front. with raw edges aligned. 1. Press. Working a strip at a time and using a 1/8˝–3/16˝ seam allowance. Press toward the bag front. Following the manufacturer’s direc- M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s 9. half lengthwise. Place a folded accent strip along the left edge of each 21/2˝wide strip. Press. Continue sewing pairs together until the bag front is complete. 18½˝ 16½˝ 2. sew the accent strips to the top edges of the 21/2˝ strips with thread that matches the accent strip. You will have 32 strips. arrange 9 strips 21/2˝ × 21˝ horizontally in a visually pleasing order. 3. 18½˝ Folded edge of accent strip 2½˝ strip 16½˝ 7. . Use thread matching the accent strip to stitch it to the top edge of the unit from Step 6. Sew the strip sets together in pairs. You will have 1 strip left over. 9 for the bag back. For the bag back. Press and then trim the unit to measure 161/2˝ from top to bottom × 181/2˝ from side to side. 21/2˝ × 21˝ vertically in a visually pleasing order. Repeat Steps 4 and 5 to sew the accent strips to the 21/2˝-wide strips and to assemble the bag back. Press. and 14 for the handles (7 each). stitch the bag front and back units together along the bottom edge. Fold and press in half lengthwise. fuse an 181/2˝ × 161/2˝ piece of Shape Flex to the wrong sides of both the front and back bag units. with raw edges aligned. Place a folded accent strip along the top edge of the upper 7 strips.Assembling the Bag Use a 1/4˝ seam allowance for all seams unless noted otherwise. Cut each 21/2˝ × 42˝ bag strip in half to measure 21/2˝ × 21˝. making sure to keep the seams straight.
s t r i p s t o t e 57 . skip to Step 3. stitch in the MORE ABOUT MACHINE EMBROIDERY ditch along the vertical and horizontal accent strips. Place the unit from Step 3 and the 6˝ × 91/2˝ piece of flap backing right sides together. 4. Press. see 101 Fabulous Fat-Quarter Bags with M’Liss Rae Hawley (C&T Publishing. right side up. Layer the 181/2˝ × 321/2˝ piece of underlining. Place the 6˝ × 91/2˝ piece of Fusi-Boo on top.10. Sew 1˝ × 5˝ flap border strips to the top and bottom edges. To learn where you can buy the embroidery kit or my book. Center and stitch a favorite machine embroidery on the right side of the 9˝ × 15˝ piece of flap fabric. Matching the thread colors to the fabrics. Topstitch along the fold on the far-right vertical accent strip and along the bottom edge of the bag back to further secure the ends of the folded strips. the 18˝ × 32˝ piece of Fusi-Boo. following the manufacturer’s directions for the Fusi-Boo. Spray starch or sizing helps you maintain the shape of the strip set while pressing. which features six colors of Sulky 40-weight rayon thread and a downloadable embroidery design that coordinates with my Fresh from the Garden fabric collection. lting Exper ui ce Q ien with R b o n u s pr o j e c t : b a g . see Resources (page 62). Susie Kincy created the embroidery for her Fresh from the Garden (page 61) tote with my Fresh Fruit Embroidery starter kit. 12. Press. 1. wrong side up. There are countless ways to incorporate machine embroidery into your totes. 2. Press toward the borders. 2008). Making the Flap If you plan to eliminate the flap embroidery. Press the 6˝ × 91/2˝ piece of Shape Flex to the back of the flap unit. KEEPING STRIPES STRAIGHT Use a gridded ironing board cover for pressing to keep each stripe straight while piecing.o f . and the unit from Step 9. 3. Trim the prepared embroidery to 5˝ × 81/2˝ so that the embroidery is centered 1˝ from the 5˝ bottom edge. To learn more about machine embroidery. Baste the left and the right edges of the unit from Step 11. Sew 1˝ × 91/2˝ flap border strips to the sides. 11.
Repeat to make a gusset on the other side seam. right sides together. Finishing the Bag 1. Sew around the perimeter of the unit from Step 4. 3˝ 3. Turn the raw edges 4. Stitch the under and hand stitch the opening closed with matching thread. mark and stitch across the point to form a gusset. leaving approximately 4˝ open along a side edge. and stitch 4˝ the sides only with a 1/4˝ seam. Leave the top edge open Fold 5. Topstitch around the perimeter of the entire unit. leaving a 1/4˝ seam allowance.5. Fold the lining body in half.) 6. press an 181/2˝ × 321/2˝ piece of Shape Flex to the wrong side of the 181/2˝ × 321/2˝ piece of lining fabric. add it now. 2˝ Trim. page 59. Turn the unit right side out. (See Adding Optional Pockets. facing you. Following the manufacturer’s directions. Fold the bag—still wrong side out—so one of the long a 2˝ opening on a side edge for turning. right sides together. leaving 2. Turn the bag right side out. Leave the top edge open. Stitch in the ditch around the border and add additional machine quilting as desired. sides only with a 1/4˝ seam. (The bag will form a large triangle. side seams runs down the center. Fold 58 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . Trim the triangle. Serge the raw edges or finish with a zigzag stitch.) Measure 3˝ from the tip. If you want to include a label or an inside pocket. Clip the corners. Reinforce with a second line of stitching. Repeat Step 2. using the lining unit. Press. Reinforce with a second line of stitching. Fold the bag body in half.
Press and finish the seam by hand. Arrange and stitch 7 strips. with wrong sides together. together end to end with diagonal seams. securing the folds. Center the pocket on a fabric side of the lining unit approximately 23/4˝ down from the top. leaving the top open.o f . The folded rectangle will now measure 101/2˝ × 6˝. I used Sulky rayon thread to stitch 5 rows of serpentine stitch. Pocket inside my tote Making and Adding the Handles 1. See Making and Applying Binding (page 16) to learn how to make diagonal seams. Fold a pocket fabric rectangle in half with right sides together. 2˝ Raw edges Fold 3. 3. Repeat Steps 1–3 for a second pocket on the other side of the lining unit. overlapping to cover the raw edge by approximately 5/8˝ and pinning every few inches. Wrap the prepared handle covering over and around the webbing as shown. Stitch to secure. 2. 2. Stitch over the length of the wrapped handle unit. 1.Adding Optional Pockets 4. stitch vertically through the center of the pocket to create 2 pockets. b o n u s pr o j e c t : b a g . leaving a small opening for turning. Press in half lengthwise. 21/2˝ × 21˝. Clip the corners and turn right side out. Beginning approximately 2˝ from the end of the webbing. Sew around the 3 raw edges. 4. Stitch around 3 sides of the pocket. place the prepared handle covering from Step 1 over the edge of the webbing as shown. If desired.s t r i p s t o t e 59 .
Carefully pull the bag through the slit in the lining. 6. right sides together. Turn right side out and insert the 2 rectangles of Timtex. extending about 21/2˝ beyond the top edge. Sew the handle to the bag just inside the 1/4˝ seam allowance. Insert the lining. Place the ends of a handle approximately 1/4˝ away from the flap on the right side of the bag back. matching the seams and aligning the top edges.) Hand stitch the slit in the lining closed. 2¼˝ 3. To make an envelope for the Timtex bottom insert. Repeat Steps 1–4 to make a second covered handle. Select a decorative stitch to topstitch along the top edge in matching or coordinating thread. 8. double fold 1/4˝ under an end of the 123/4˝ × 123/4˝ square of lining fabric. Center the bag flap wrong side down along the top edge of the right side of the bag back. Reinforce with a second line of stitching using a narrow zigzag stitch. with right sides together and raw edges aligned. Fold the square in half. Smooth the top edge and gently press. Stitch in a rectangle as shown. Smooth it to fit. Sew along the 2 raw edges using a 1/4˝ seam allowance. Pin the bag and the lining together along the top edges. Press and topstitch in place with a matching thread.5. The bag lining should be right side out. 60 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s . Stitch the layers together along the top edge with a 1/4˝ seam allowance. Repeat Step 7 to sew the remaining handle to the bag front. extending the flap approximately 21/4˝ down the back as shown. Be careful not to catch the flap in the seam. into the bag. with uil ting R Exper ce Q ien 2½˝ 4. Pin to secure. Pin and then stitch the flap to the bag back with matching thread. R ting with Exper uil Assembling the Tote 1. ce Q ien 2. The bag body should be inside out with the handles and flap hanging down inside it. 7. being careful to leave 1/2˝ of the bag free at the top to later join the bag to the lining. Place in the bottom of the tote. (My favorite is the serpentine stitch.
designed and made by M’Liss Rae Hawley. made by Susie Kincy.s t r i p s t o t e 61 .o f . 2010 b o n u s pr o j e c t : b a g .Kimono Style. made by Peggy Johnson. made by Kathy Sahlin. made by Vicki DeGraaf. 2010 Colors of Autumn. 2010 Autumn Sunset. 2010 Christmas Wishes. 2010 Fresh from the Garden.
and other quilting tools and notions: June Tailor www.com For information about fabric.poly-fil.com Previous books by M’Liss Rae Hawley Available in print and/or as an ebook 62 M ’ L i s s R a e H aw l e y ’ s P r e c u t Q u i lt s For information about quilt design software: The Electric Quilt Company www.junetailor. Fresh Fruit Embroidery starter kit.com For information about temporary spray adhesive.ctpub.com For information about M’Liss Shape Cut Sprint Slotted Ruler.prym-dritz. including Sulky KK2000 Temporary Spray Adhesive and Sulky Stiffy Stabilizer: Sulky International www. www.com For information about batting.sulky.com . including Fusi-Boo Fusible Batting: Fairfield Processing www.hancockfabrics. including M’Liss’s fabric lines.coatsandclark.famorecutlery.Resources Sources and information for products referenced For information about the Essential Colors by M’Liss 100% Egyptian cotton thread collection and other fine threads: Coats & Clark www.com For information about M’Liss Essential Notions Collection. and other fine products for quilting and sewing: Hancock Fabrics www.com For information about scissors: Farmore Cutlery www. M’Liss Essential Scissors and Tools Kit. as well as M’Liss Essential Notions Collection. Timtex. thread and stabilizers.electricquilt. and other fine notions: Prym Consumer USA Inc.com For information about Shape Flex Woven Interfacing. and other fine books: C&T Publishing www.
M’Liss’s World of Quilts.Exper lting ui About the Author ce Q ien with R Bottom row. M’Liss began her wonderful partnership with Hancock Fabrics. Shortly after becoming a book author. Peggy Johnson. Ab o u t t h e a u t h o r 63 . M’Liss Design Fabric was launched for sale to independent shops and later Jo-Ann Fabric and Craft Stores. Vicki DeGraaf. Matilda. as well as other quilting and sewing products. Annette Barca. left to right: Barbara Dau. left to right: Susie Kincy.has released nine books with more on the way. and it was about that time that she got her first dachshund. Kathy Sahlin. Their son. is a Gunnery Sergeant in the United States Marine Corps. in Ireland. Alexander. M’Liss came to C&T Publishing and to date. new M’Liss Design Fabric collections every year. (Oh. M’Liss Rae Hawley (with Alice on her lap). Fritzi. is in law enforcement and served three terms as the elected sheriff of Island County.) In 2003. In 2009. LLC. M’Liss and Michael share their Whidbey Island home with seven dachshunds and four cats. and is currently working on her PhD. and in 1983 she began her business. M’Liss’s sewing journey began when she was four years old and her mother taught her to embroider on handkerchiefs. In 1988. recently graduated with a master’s degree from University College Dublin. Adrienne. and became spokesperson for Husqvarna Viking Sewing Machines. along with Dashiell. Along the way. Lucia Pan. the puppies' dad. Their daughter. producing dozens of fresh. By age nine. Top row. Anastasia Riordan. Washington. Michael. in the living room of her home. Cover photo: Puppies— M’Liss with Vivienne (left) and Victor One. Not pictured: Louise and John James. graduated from Seattle University. Photo by Michael Stadler You may already know M’Liss Rae Hawley as the author of thirteen bestselling books or as a fabric designer or world-traveled featured speaker. and the studio soon was shared with a new dachshund. M’Liss’s Design & Quilting World. Patricia Francisco. At the same time. the family moved to Whidbey Island. M’Liss’s husband. Washington. Carla Zimmerman. M’Liss’s passion had grown to such a degree that she convinced her father to fib about her age so she could take regular adult sewing classes at the local Singer dealer in Seattle. M’Liss began work on her nationally syndicated PBS show. Washington. Cheryl Gilman. she was crowned “Fat-Quarter Queen” for her pioneering and original work with these wonderful quarter-yard pieces of fabric. M’Liss’s love for fabric and design continued.
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including a tote bag Make traditional quilts more easily with jelly rolls. and fat quarters Projects are perfect for stitching up in one weekend or making as charity quilts Get expert tips for working with precut fabrics from the “Queen of Fat Quarters” herself! US $21. charm squares. strip sets.CRAFTS/Sewing Whip up quick patchwork projects with precut fabrics 6 beginner-friendly quilt projects.95 ISBN 978-1-57120-784-5 10693 52195 9 781571 207845 Also available as an eBook .
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