This action might not be possible to undo. Are you sure you want to continue?
Kathy K. Wylie
& full-size patterns
& full-size patterns
Kathy K. Wylie
Text copyright © 2013 by Kathy K. Wylie
Quilt design copyright © 2012 Kathy K. Wylie and its licensors.
All rights reserved.
Photography and Artwork copyright © 2013 by C&T Publishing, Inc.
Publisher: Amy Marson
Creative Director: Gailen Runge
Art Director: Kristy Zacharias
Editor: Karla Menaugh
Technical Editors: Helen Frost and Amanda Siegfried
Cover/Book Designer: Kerry Graham
Production Coordinator: Zinnia Heinzmann
Production Editor: Joanna Burgarino
Illustrator: Jenny Davis
Full-Quilt Photograph courtesy of American Quilter’s Society,
Paducah, Kentucky, Charles R. Lynch photographer; Quilt Detail
Photography in Project Instructions section by Alexander Robertson;
How-To Photography by Christina Carty-Francis and Diane Pedersen
of C&T Publishing, Inc., unless otherwise noted
For my mom, whose
beautiful voice is an
instrument of praise
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
may be used in any form or reproduced by any means—graphic, electronic,
or mechanical, including photocopying, recording, taping, or information
storage and retrieval systems—without written permission from the
publisher. The copyrights on individual artworks are retained by the artists
as noted in Instruments of Praise. These designs may be used to make items
only for personal use. Donations to nonprofit groups, items for sale, or items
for display only at events require the following credit on a conspicuous label:
Designs copyright © 2013 by Kathy K. Wylie from the Instruments of Praise
pattern pack from C&T Publishing, Inc. Permission for all other purposes
must be requested in writing from C&T Publishing, Inc.
Attention Copy Shops: Please note the following exception—publisher
and author give permission to photocopy pattern pullout pages P1–P6 for
personal use only.
Attention Teachers: C&T Publishing, Inc., encourages you to use this pattern
pack as a text for teaching. Contact us at 800-284-1114 or www.ctpub.com
for lesson plans and information about the C&T Creative Troupe.
Attention Commercial Machine Quilters: If your client brings you this
pattern pack 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 pattern pack, the publisher and author encourage you to sell a copy to
your client. Contact C&T Publishing (800-284-1114) with your business name
and resale number to purchase this book at a special resale price. For clients
wishing to use designs from this book but not willing to purchase a copy,
you may reproduce no more than 10 designs total for commercial purposes.
We take great care to ensure that the information included in our products
is accurate and presented in good faith, but no warranty is provided nor
are results guaranteed. Having no control over the choices of materials or
procedures used, neither the author nor C&T Publishing, Inc., shall have
any liability to any person or entity with respect to any loss or damage
caused directly or indirectly by the information contained in this pattern
pack. For your convenience, we post an up-to-date listing of corrections on
our website (www.ctpub.com). If a correction is not already noted, please
contact our customer service department at firstname.lastname@example.org or at
P.O. Box 1456, Lafayette, CA 94549.
Trademark (™ ) and registered trademark (®) names are used throughout
this pattern pack. Rather than use the symbols with every occurrence of a
trademark or registered trademark name, we are using the names only in
the editorial fashion and to the benefit of the owner, with no intention of
10 9 8 7 6 5 4 3 2 1
Introduction . . . . . . . . . . . 3
Getting Started . . . . . . . . . 4
Choosing a Color Palette . . 4
Needle-Turn Appliqué . . . . 4
Project Instructions . . . . . . . 9
About the Author . . . . . . . . 16
Resources . . . . . . . . . . . . . 16
each featuring a musical instrument and a cymbal. are outlined with the braces that connect lines of music. Please visit my website and blog at www. I prefer needle-turn appliqué for its accuracy. praise Him with the harp and lyre. you can make beautiful appliquéd quilts. portability. Use your own preferred method or try my technique.Introduction Instruments of Praise was inspired by the words of Psalm 150: Praise Him with the sounding of the trumpet.com for more information about using this pattern. praise Him with resounding cymbals. but don’t be afraid of appliqué! With a little persistence and practice. praise the Lord. The four blocks are set on point and surrounded by tambourines and ornate semicircular motifs in the corners. and every quilter usually has a favorite. praise Him with the strings and flute. My approach is described in Needle-Turn Appliqué (page 4). Praise the Lord. There are numerous methods of appliqué. Use it to reproduce the original quilt. M edieval-style blocks. or mix and match the patterns with your own unique designs. including helpful videos and additional project ideas. praise Him with the clash of cymbals. and relative ease in preparation.kathykwylie. Let everything that has breath. May you and your quilts be instruments of praise! . This pattern pack contains all the instructions and full-size drawings you will need to make Instruments of Praise. praise Him with tambourine and dancing.
COLOR 1 is used for the instruments and some of the appliqué motifs. (I chose a cream and a light tan. I mark the pattern on the background fabric and use freezer-paper templates to cut out the appliqué patches. Assemble a collection of fabrics in a wide range of color values. choose another for the background behind the blocks and the corner triangles. (I used gold.Getting Started Choosing a Color Palette Needle-Turn Appliqué Two background fabrics are used in this quilt. a bright window. and darks. The more choices the better! I used silk fabric for the cymbals and tambourines to add a bit of shimmer. Make sure the markings are removable. Place a sheet of graphite paper or other transfer paper between the design (on top) and the background fabric (on the bottom). they will work in your quilt. Choose two background fabrics and two color families. choose two color families.) Prewash all fabrics. Marking the Background Fabric If you can see through the background fabric. Trace over the design lines on the top layer to transfer the design to the fabric. trace the appliqué design onto the background using a lightbox. (I used purple. mark it from the top. Choose one for the blocks and the tambourine underlays. the block underlays (brace design). but it made the perfect backing fabric! Trace the design onto the background fabric. If the colors look great together in the fabric. The focus fabric I used for my color palette is used for only one motif in the corner triangles. 4 .) For the appliqué elements. If the background fabric is too dark. including lights. To make sure all the design elements will fit exactly into place. Develop a Palette from a Focus Fabric Use a focus fabric to develop your color palette.) COLOR 2 is used for the majority of the appliqué motifs. and the binding. mediums. or a light under a glass-top table.
23 is from the corner triangles. Iron the freezer-paper template. See Resources (page 16) for ordering information for Quilter’s Freezer Paper Sheets.23 C. behind the tambourines in each corner. The Essential Sandboard from Piece of Cake Designs is a handy tool for this (see Resources. Transfer any notes. For example. It is number 23 in the appliqué order for that section.23 C. trace around the edges of the freezer paper. Carefully remove the freezer paper. Freezer-paper templates can be reused. Use sandpaper while tracing the appliqué patches. Using a removable marker. Cut out the freezer-paper patches on the traced lines. patch C. Trace each unique patch onto the dull side of freezer paper and label it. underlays are used frequently: as the cymbals behind the smaller design elements at the center of the on-point blocks. For example. A freezer-paper template traced and cut out Getting Started 5 . 3. In Instruments of Praise. page 16). 2. you might want to mark where parts of a patch do not need to be appliquéd because they will be covered by another patch. Marking the Templates Besides the patch number. Each patch has a section designation and a number that indicates the appliqué order. Sandpaper Helps Place sandpaper under the fabric to prevent shifting and pulling while you are tracing around the freezer paper. 1. C. and even to create the braces surrounding each on-point block.Underlays An underlay is a piece of fabric that lies under some of the appliqué patches and acts as a background in that area. Marked underlay and background fabrics Making Freezer-Paper Templates The freezer paper is not used for basting. it can be helpful to mark additional information on the freezer-paper templates.24 Appliqué stitching line Area covered by other patches Preparing the Appliqué Patches 1. 2. shiny side down. Mark underlays in the same way as the background fabric. onto the right side of the appliqué fabric. so multiple patches can be marked with a single template. but rather as templates for marking the appliqué fabric.
Avoid inside and outside points for this first stitch. Bring the needle up through the appliqué patch. Leave a thread tail on the right side of the fabric. First stitch 3. Clip the seam allowance along inside curves and inside points. place the circle template on the marked line on the fabric. following the background marking. Use a purchased circle template or make one out of heat- Pin at key matching points. and tuck the thread tail under the patch. Insert the needle into the background fabric straight Preparing circle patches 6 Instruments of Praise across from the thread in the appliqué patch. leaving a generous 1/4˝ seam allowance. Allow the fabric to cool. Working on an ironing surface. brush liquid starch over the seam allowance to saturate the fabric (spray the starch into a small cup to turn it into a liquid). . Align each patch with its marked location on the background fabric. Press until the fabric is dry. approximately halfway between the marked line and the raw edge. leaving a scant 1/4˝ seam allowance. 5. appliqué fabric and knot the end. 3. 5. Stitching the Appliqué Patches Patches are appliquéd in numerical order. choose a fine thread that matches the 2. except where noted otherwise. Use small appliqué pins at key matching points to hold the patches in place.4. Take a running stitch in the seam allowance. Pull on the thread tail to gather the seam allowance around the circle template. then pull the thread back into place. Take a small stitch and bring the needle back up into the appliqué fold. Cut it out. For each patch. turn under a small section of the seam allowance along the marked line. Holding the thread tight. Cut out the appliqué patches with a scant 1/4˝ seam allowance. 2. catching just a couple of threads in the folded edge. Cut out each patch. Circles A little extra preparation will make it easy to appliqué perfect circles. 1. Gently release a bit of the gathering to remove the circle template. resistant plastic. Trace the circle patch on the wrong side of the fabric. 4. Using the tip of the needle. 1.
To finish a line of stitching. Outside Points 1. taken through the appliqué layer only. Inside Points 1. Snip the seam allowance close to the line of stitching at inside points. turning under small sections of seam allowance with the needle and removing pins as you go. turn under the seam allowance perpendicular to the point and pull gently on the thread to keep the point. Knot the thread or secure it with 3 small stitches underneath the appliqué patch. Secure the thread from the back. 2. 3. Turn under all the layers. Hand appliqué stitch 5. insert the needle into the background fabric and pull the thread through to the back. For an outside point that is less than 90°. Continue stitching. Secure these fragile points with extra stitches. 2. taking a longer stitch at the outside point to emphasize it.4. Extra stitching on inside points Getting Started 7 . Stitch right up to the outside point.
An area that will be covered by another patch is not appliquéd. You may choose to appliqué these patches off the block. wait until the top patch is stitched before cutting out the underneath patch. 8 Instruments of Praise . Mark the underneath patch with the outline of the top patch to guide its placement. In this case. Mark the outline of the top patch on the bottom patch.Patches That Overlap The parts of a patch that will be covered by another patch do not need to be appliquéd. Sometimes a patch overlaps to such an extent that the patch underneath acts as its background. Take small running stitches through the seam allowance to secure these areas. Use the marking on the appliqué patch as the placement line for the next patch.
Lynch photographer of Hand appliquéd and machine quilted by Kathy K. Kentucky. Charles R. Wylie. 2009 finished quilt: 72˝ × 72˝ .Praise Instruments Photo courtesy of American Quilter’s Society. Paducah.
tambourine underlays Background 2 51/2 yards (5m) Block backgrounds.0m) Instruments.2. 6.5 that extend beyond the underlay. 5.7. and appliqué patches according to the directions in Needle-Turn Appliqué (page 4). 10 Instruments of Praise . 4. trace the outline of the cymbal underlay and the parts of patches T.1. Fabric underlays create the cymbal at the center of each on-point block. appliqué elements Dark fabric 27/8 yards (2.2. Set aside the remaining fabric for the tambourine underlays and appliqué patches.1m) Batting 80˝ × 80˝ (203cm × 203cm) All Sections Instruments of Praise is appliquéd in sections: the trumpet block (T). the braces that connect each of those blocks to the darker background fabric. Trumpet Block Praise Him with the sounding of the trumpet. and T. 1. Trace patches T. Fabric Requirements FABRIC QUANTITY ITEM Background 1 27/8 yards total (2. and T.9 onto patch T. Template patterns are provided (pattern pullout pages P1–P6) for all the patches. T. 8. taking care to line up the traced lines inside and outside the circle. cut 4 squares 24˝ × 24˝ for the blocks. T. A contrasting cord. For more information about using this design element.7.9 onto the block. trace the outline of the cymbal underlay and the parts of patches T. Appliqué patches T. Trace patch T. Patches are appliquéd in numerical order.6.3 to T. 7. cymbal underlay fabric. T. 3. Trace the parts of patch T.S everal special techniques give this quilt a multidimensional look. On a 12˝ × 12˝ square of the Background Color 1 Use the trumpet block template patterns (pattern pullout page P1). T. and T. tambourines Assorted fabrics 1 yard total (1.4. except where noted otherwise.8m) Cymbal underlays. T. Trace patch T.1. Appliqué patches T.0m) Appliqué elements 2.1r.1.5 that overlap onto patches T. the lyre block (L). and T.7m) Brace underlays. the flute block (F). creates the round-cornered edge surrounding the on-point blocks. Prepare the background fabric. Appliqué the cymbal underlay onto the background. In the center of a 24˝ × 24˝ back- Color 2 Backing and Batting Backing 41/2 yards (4. Assorted fabrics 2 yards total (2. and the corner triangles (C). Blocks From background fabric 1.7 through T.7m) Blocks.2.8. and the lighter background area beneath the tambourines in each corner.8 onto patch T. hand couched to the quilt after it was quilted.3 that fall within the underlay. T.3 and T. the violin block (V). corner triangles Silk 7/8 yard (0.3. Embroidery and beading add detail and interest to the appliquéd instruments.4. Trace the inner edge of the block underlay (brace design). underlays. Appliqué patches T.2r onto the block. binding ground square. see Underlays (page 5).6 onto the block.
13 onto patch L.9. L. and L.7 onto patch L. L.3.1 on the cymbal underlay and thread baste (its edges will be completely covered by other patches). the background.5.9.4. Embroider the crossbar by hand or machine. L. Appliqué patches L.4. FABRIC CUTTING Silk Cut 1 square 12˝ × 12˝ for cymbal underlay. Add seed and wooden beads for the tuners. 7. 4. L. 1.9 Assorted color 2 Cut 4 of each: T.2.2. In the center of a 24˝ × 24˝ background square.10 Cut 1: L. Use the lyre block template patterns (pattern pullout page P2). Trumpet outlined with stem stitch 3.6r.1. ribbon-like polyester film that is metalized with aluminum) and couch by hand with invisible thread. Appliqué patches L. 2. L.8r.2r.7. 5. and L. Instruments of Praise 11 .5.FABRIC CUTTING Silk Cut 1 square 12˝ × 12˝ for cymbal underlay. L.10. L.6 that extend beyond the underlay.12. L. taking care to line up the traced lines inside and outside the circle.13 onto the block. and secure.7 Background Lyre Block Praise Him with the harp and lyre. On a 12˝ × 12˝ square of the cymbal underlay fabric. outline each lyre with embroidery floss.4. and the inner edge of the block underlay (brace design). L.11 onto the block.11 Assorted color 2 Cut 4 of each: L. L. 6. T.5r. Trace patches L. and L. bring to the back. Thread each end of the Sulky Sliver onto a needle. Assorted color 1 Cut 4 of each: L. T. lay down strands of Sulky Sliver (a thin.1r. L. T. Appliqué the cymbal underlay onto Embellishment Using the stem stitch.6 Cut 1: T. T.3. T. Trace each patch L.6.1. T.6 that fall within the underlay. L.8. L.2.8. For the strings. trace the outline of the cymbal underlay and the parts of patches L. L. outline each trumpet with embroidery floss. Trace patch L.2.12 Background Cut 4: L. 8. Trace patches L.4. Trace patch L.3. trace the outline of the cymbal underlay and the parts of patches L.9r. Position patch L.5 Cut 1: T.13 Cut 1: T.2 through L. flat.12 and L.1 Cut 4: L.8 Embellishment Using the stem stitch.1. L. Assorted color 1 Cut 4: T. L.2. L.11 onto each patch L.
4. Appliqué the cymbal underlay onto the background. 12 Use the flute block template patterns (pattern pullout page P4). Trace patches V. F. F.9 Cut 1: V.2 and F. F.8. V. 2. V.8 that fall within the underlay.11.1 and V. 1. Trace each patch V.4 that extend beyond the underlay.8 that extend beyond the underlay.8 Embellishment Using the stem stitch. and the inner edge of the block underlay (brace design). Trace patch V.3. bring to the back. Secure a tubular wooden bead for the bridge. F. Appliqué patches V.10.4. Appliqué patch V. Note: The edges of V. V. Trace patch F.1 through V.4.7.5 onto the block. Thread each end of the Sulky Sliver onto a needle. Position patch V.6.5.4 that fall within the underlay.8 5.6 Assorted color 2 Cut 4 of each: V. 8.8 and V. In the center of a 24˝ × 24˝ background square. 9.1. 6.4r that overlap onto each patch V.4r. and V. and secure. In the center of a 24˝ × 24˝ background square. trace the outline of the cymbal underlay and the parts of patches V. Assorted color 1 Cut 4 of each: V. trace the outline of the cymbal underlay and the parts of patches V.9 onto the block.3. V. Trace patches F. taking care to line up the traced lines inside and outside the circle. V. 4. Add wooden beads for the tuners.9.6.4. Appliqué patches V.5. Trace patches F.12. V.6 will be completely covered by other patches.5r.9 onto patch V. lay down strands of Sulky Sliver and couch by hand with invisible thread. 9. On a 12˝ × 12˝ square of the cymbal underlay fabric.6. and the inner edge of the block underlay (brace design). and F.Violin Block Praise Him with the strings.4 and V.7. 3. 7. Trace patch F.13 6. F. trace the outline of the cymbal underlay and the parts of patches F.8 onto patch V. Trace patch V. 7. For the strings.5. Flute Block Praise Him with the … flute. outline each violin with embroidery floss. onto the block.14 and each patch F. Appliqué patches F. 1. Instruments of Praise Violin and patches V. 2. Appliqué the cymbal underlay onto the background.7.4 and V.11 onto patch F. taking care to line up the traced lines inside and outside the circle.1 and V. Appliqué patch F. trace the outline of the cymbal underlay and the parts of patches F.5 .9. Trace the parts of patches V. V.3 Cut 1: V. Trace patch F.1. On a 12˝ × 12˝ square of the cymbal underlay fabric.5 using the satin stitch and embroidery floss.7 onto the block. 5. V.2. onto patch F. and F. V.6 on the cymbal underlay and thread baste. F. Embroider the details on patches V. 8.2. FABRIC CUTTING Silk Cut 1 square 12˝ × 12˝ for cymbal underlay. V.220.127.116.11 onto the background. 3. Trace patch F.2.2 through F.12 onto patch F.10 onto patch F. Use the violin block template patterns (pattern pullout page P3).
8LH. C.3r.26 to C. Create a left-half and a right-half freezerpaper template for each of these patches and designate as LH and RH.9RH.28r. C. Appliqué patches C. C. C.19. F.1. C. C.25 through C.29 onto the corner triangles.16.5. Note: The underlay edges will be completely covered by the tambourine or sewn into the seam. To protect the bias edges.22r. Center each triangle pattern on the background fabric. C. FABRIC CUTTING Silk Cut 4: C.5r. Fold each square in half diagonally and press (fold the squares in opposite directions to keep the grainlines consistent in the quilt).6r.1 to C.5r.8.9LH Cut 48 of each: C. and thread baste. C.12.10. C.14 onto the block. From background fabric 2.9. Using a removable fabric marker. on the background. Corner Triangles Praise Him with tambourine and dancing. draw a parallel line 1˝ from each side of the pressed line on each square.12RH. Add tiny black buttons for the flute holes. F. background fabric 2.7 Cut 4 of each: F. C. F.24 Cut 4 of each: C.4r. F.18 Assorted color 2 Cut 8 of each: C. C. C. Flute 1.7. C. C.15r.10. C.16r Cut 4 of each: C. 2.1. F. Instruments of Praise 13 . C. F.17. wait to cut the triangles until the appliqué is completed.4r. 3.10.1LH.10.28. C.25 Assorted color 1 Cut 8 of each: C.3. Position the tambourine underlay Use the corner triangle template patterns (pattern pullout pages P5 and P6).26. F. C.20. C. Appliqué patches F. C. F.21. C. Appliqué patches C.15.29. F.1RH.13 Cut 1 of each: F.9 through F.23. C.9. C. C.4. These will be the seamlines for the corner triangles. Set aside the remaining fabric for the background behind the blocks. C. C. trace the inside edge of C.21r.1. C.6 Cut 1: F. C.7r. Note: Patches C.13r. 4.25 onto Make 4 corner triangles. C.6.24 onto the corner triangles. C. F.12 are cut in half when they are along the hypotenuse of the triangle. FABRIC CUTTING Silk Cut 1 square 12˝ × 12˝ for cymbal underlay.1 through C.2.4. C.12 Embellishment Using the stem stitch.11. Trace and appliqué 2 corner triangles onto each background square.22.10RH.2r.8RH. C. F. C.3.2r. C.10LH.1r. 5. overlapping the marked seamline by 1/4˝.5.25 and patches C.8. Trace patches C.20r. C.12LH. C. C. F. C.8. C. outline each flute with embroidery floss.29.14r.3r. C.29r Background 1 Cut 4 rectangles 5˝ × 10˝ for tambourine underlays.14 Cut 24: F. C. Assorted color 1 Assorted color 2 Background Cut 4 of each: F. F. C.13.2.9. C. C. C.11 Cut 1 of each: F. C. C. C.14.11r. cut apart before sewing them onto the quilt.27. C. C. C. cut 2 squares 40˝ × 40˝. C. lining up the seamlines. C. and C.27r. On each 5˝ × 10˝ piece of background fabric 1.
measuring out 253/4˝ from the centerlines of the background. Cut around the outside edge of the block underlay with a Block Underlays 1/4˝ seam allowance. Note: The background is oversized. sew a corner triangle onto a side of 2 rectangles 271/2˝ × 54˝. the 511/2˝ square. 4. overlapping the first 2 triangles. The tips of the braces should be 2˝ apart and 1˝ from the center seam of the background fabric. cut 4 squares 24˝ × 24˝. Set aside the remaining fabric for the binding. You will need to trim it after the blocks have been appliquéd. Appliqué each block onto a block underlay. Corner Triangle Assembly Block Assembly from each marked seamline. lyre. violin. Lyre Block 2˝ Trumpet Block Violin Block 51˝ Corner Triangle Appliqué block to block underlay. Press. From the block underlay (brace design) fabric. Cut the remaining background fabric 2 into 2. Press the seam allowances toward the triangle. Sew the 2 rectangles together lengthwise with a 1/2˝ seam to make a 54˝ × 54˝ square of background fabric 2. . 2. 6. 3. 14 Flute Block Instruments of Praise 3. Consulting the layout diagram for placement. 36˝ Corner Triangle Corner Triangle 36˝ 20˝ matching the inner edges of the block underlay. Repeat for the opposite side. Trace the inner and outer edges of the block underlay onto the underlay fabric. Complete the braces by appliquéing each block to background fabric 2 along the outside edge of the block underlay. Trim the background to 511/2˝ × 511/2˝.Quilt Assembly 4. 5. leaving a 1/4˝ seam allowance 1. 2. Use the block underlay pattern from the trumpet. 1. trace the outside edge of the brace for each block onto background fabric 2. Carefully trim the excess block underlay fabric Corner Triangle Layout diagram from beneath each block. 3. Matching the centers. Sew the remaining 2 corner triangles onto the other 2 sides. 1. Press the seam allowances toward the triangles. The edges of the triangle will extend beyond the square. Cut apart the corner triangles. or flute block patterns (pattern pullout pages P1–P4).
Wash the quilt and lay it flat to dry. Quilt in the ditch around the appliqué and add motifs.Quilting and Finishing 1. Squaring Up the Quilt Leave 1˝ or 2˝ around the outside edges unquilted. Couched cord Instruments of Praise 15 . creating curves in the 4 corners. stippling. The quilt should measure 721/2˝ × 721/2˝ with seam allowances. Before moving the dry quilt. 3. If desired. 2. and crosshatching in the background areas as desired. Complete the remaining quilting and bind the quilt. Layer the quilt top with batting and backing fabric and baste. hand couch a contrasting-color cord between the triangles and the block sashing. blocking and squaring it into shape. measure and mark the outside dimensions.
Visit Kathy on the web at www. Her quilt Instruments of Praise earned the 2011 Bernina Machine Workmanship Award from the American Quilter’s Society and now resides in the National Quilt Museum of the United States as part of its permanent collection. Kathy lectures and teaches all over Canada at guilds. Anthony Photography Studio athy K.com) for the following products: Essential Sandboard from Piece O’ Cake Designs Quilter’s Freezer Paper Sheets . 2007) and Flourish on the Vine Pattern Pack (C&T Publishing. Wylie is an international award–winning quilter specializing in appliqué techniques in a “contemporary traditional” style. and has released other patterns in print and online at www.com) for the following product: Sliver Threads Contact C&T Publishing (www.kathykwylie.ctpub. Wylie: Resources Contact Sulky of America (www. shops. She is the author of Sewflakes: PapercutAppliqué Quilts (C&T Publishing.com.com. She was honored to receive the 2011 Founders Award from the International Quilt Association for her quilt Flourish on the Vine. and quilt shows and is a Canadian Quilters’ Association Certified Quilt Judge. Also by Kathy K.PatternSpot. 2012).About the Author K Photo by Claire Kelly.sulky.
2r T.7 1˝ Use a ruler to measure these inch marks to verify that printout is correctly sized.2 T. following the diagram for reference.8 T.9 To make complete pattern.6 T.4 T.1r T. join the following pages.5 Cymbal Underlay T.5 T.1 T.3 T.Trumpet Block Block Underlay T.3 T. Trumpet Block . T.
5 T.1 T.1r 1” T.9 Trumpet Block Block Underlay T.2 T.3 T.3 T.2r T.5 Cymbal Underlay T.2 T.7 T.8 T.6 T.1 T Cymbal Underlay T.6 .4 T.Trumpet Block Block Underlay T.
2r T.Trumpet Block Block Underlay T.1 T.3 T.7 T.9 Trumpet Block T.3 T.5 Cymbal Underlay T.5 T.8 T.2r T.1r 1” T.3 2 T.2 T.1r .6 T.5 T.4 T.3 T.
2r T.3 T.2 T.5 Cymbal Underlay T.7 T.9 1” Trumpet Block .4 T.6 T.8 T.5 T.1r T.1 T.3 T.Block Underlay Trumpet Block T.
5 Cymbal Underlay Cymbal Underlay T.3 T.5 T.5 T.1 T.2r T.T Block Underlay Trumpet Block T.8 T.4 .1r T.9 T.6 T.9 1” Trumpet Block T.4 T.7 T.3 T.2 T.8 T.7 T.6 T.
6 T.7 T.3 T.9 1” Trumpet Block .1 T.8 T.5 Cymbal Underlay T.5 T.2r T.Block Underlay Trumpet Block T.1r T.4 T.2 T.3 T.
6r L.6 L.Lyre Block Block Underlay L.4 L. Lyre Block .5r L.2 L.3 Cymbal Underlay L.9 L.8r L.12 L.5 L.7 L. following the diagram for reference. L.10 L.11 1˝ Use a ruler to measure these inch marks to verify that printout is correctly sized. join the following pages.8 L.13 To make complete pattern.9r L.1 L.
8 L.5 L.1 L.1 L.2 L.9r L.2 L.3 Cymbal Underlay L.13 Use a ruler to measure these inch marks to verify that printout is correctly sized.8r L.9 L.6 L.7 L.8 L.5r .10 L.4 L.6r L.3 Cymbal Underlay L.7 L. Lyre Block Block Underlay L.Lyre Block Block Underlay L.5r L.6 L.4 L.12 L.11 1˝ L.5 L.
10 L.2 L.4 L.3 Cymbal Underlay L.8 L.13 Use a ruler to measure these inch marks to verify that printout is correctly sized.7 L.6 L.9 L.5r L.6r L.1 L.9r L.Lyre Block Block Underlay L.9 L.6r L. Lyre Block L.8 L.8r L.11 1˝ L.8r L.5 L.12 L.10 L.9r L.7 L.5r .
4 L.13 1˝ Use a ruler to measure these inch marks to verify that printout is correctly sized. Lyre Block .10 L.2 L.8r L.12 L.6r L.11 L.8 L.9r L.5 L.6 L.7 L.9 L.1 L.5r L.Block Underlay Lyre Block L.3 Cymbal Underlay L.
3 Lyre Block Cymbal Underlay L L. L.4 L.5 L.2 L.4 L.5r L.6 L.3 Cymbal Underlay L.12 L.9 L.Block Underlay Lyre Block L.6r L.1 L.5 L.11 L.5r L.12 L.8r L.8 L.9r L.13 .1 L.7 L.6 L.10 L.7 Use a ruler to measure these inch marks to verify that printout is correctly sized.11 L.13 1˝ L.
9r L.4 L.5 L.6r L. L.2 L.8r L.7 L.5r Lyre Block .9r Block Underlay Lyre Block L.13 1˝ L.7 Use a ruler to measure these inch marks to verify that printout is correctly sized.10 L.6r L.L.6 L.8 L.11 L.12 L.5r L.1 L.9 L.3 Cymbal Underlay L.8r L.
10 L.Block Underlay Lyre Block L. Lyre Block .8 L.11 L.12 L.6 L.5r L.9r L.4 L.13 1˝ Use a ruler to measure these inch marks to verify that printout is correctly sized.1 L.6r L.2 L.7 L.9 L.5 L.3 Cymbal Underlay L.8r L.
5 L.3 Cymbal Underlay L.6 L. Lyre Block Lyre Block .1 L.10 L.13 1˝ Use a ruler to measure these inch marks to verify that printout is correctly sized.9r L.4 L.7 L.9 L.11 L.8 L.6r L.Block Underlay Lyre Block L.12 L.5r L.2 L.8r L.
Lyre Block .11 L.10 L.5r L.13 1˝ Use a ruler to measure these inch marks to verify that printout is correctly sized.Block Underlay Lyre Block L.9 L.4 L.8 L.1 L.6r L.9r L.3 Cymbal Underlay L.12 L.6 L.8r L.5 L.7 L.2 L.
V.6 V.Violin Block Block Underlay V.5r V.4 V.2 V.3 V. join the following pages.4 V.8 Cymbal Underlay V. following the diagram for reference.4r V. Violin Block .9 To make complete pattern.1 V.4r V.5 V.7 1˝ Use a ruler to measure these inch marks to verify that printout is correctly sized.
1 V.6 V.1 V.5 V.4 V.9 Violin Block Block Underlay V.4 V.4r V.4r V.2 V.5 V.3 V.4 V.7 V.3 V.6 .8 Cymbal Underlay V.5r 1” V.2 V.Violin Block Block Underlay V.4 V.
4 V.4 5 V.5 V.2 V.4r V.4 V.3 V.1 V.6 V.1 V.Violin Block Block Underlay V.8 Cymbal Underlay V.4r V.5r .9 Violin Block V.2 V.5r 1” V.7 V.4r V.
3 V.8 Cymbal Underlay V.2 V.4 V.7 V.9 1” Violin Block .4 V.6 V.4r V.5 V.4r V.1 V.Block Underlay Violin Block V.5r V.
4r V.7 V.4 V.3 V.9 1” Violin Block V.8 V.6 V.2 V.6 V.Block Underlay Violin Block V.2 V.7 V.8 Cymbal Underlay V.5r V.3 V.1 V.9 Cymbal Underlay .5 V.1 V.4 V.4r V.4 V.4r V.
5 V.3 V.4r Cymbal Underlay .2 V.7 V.2 V.8 Cymbal Underlay V.6 V.1 Violin Block V.5r V.5r V.4r V.Block Underlay Violin Block V.4r V.4 V.1 V.4 V.4r V.9 1” V.
2 V.4r V.1 V.3 V.Block Underlay Violin Block V.4r V.9 1” Violin Block .7 V.5 V.8 Cymbal Underlay V.4 V.4 V.6 V.5r V.
Block Underlay Violin Block V.1 V.5r V.4r V.4r V.6 V.7 V.2 V.4 V.9 1” Violin Block Violin Block .8 Cymbal Underlay V.5 V.4 V.3 V.
4 V.3 V.2 V.Block Underlay Violin Block V.4r V.4 V.5 V.9 1” Violin Block .7 V.8 Cymbal Underlay V.5r V.6 V.1 V.4r V.
4 F. join the following pages.8 .5r F. To make complete pattern.2 F.3r F.7 F.11 F.12 Use a ruler to measure these inch marks to verify that printout is correctly sized.9 1˝ F.10 F.4r Cymbal Underlay F.5 F.13 F.3 F. Flute Block F.1r F.Flute Block Block Underlay F.14 F.2r F.6 F. following the diagram for reference.1 F.
2r F.12 Flute Block Block Underlay F.3 F.3r F.8 F.10 F.7 F.13 F.3 F F.14 F.9 F.4 F.2 F.2 .Flute Block Block Underlay F.11 F.4r 1” Cymbal Underlay F.1r F.5r F.4 F.6 F.5 F.1 F.
5 F.7 F.3 F.Flute Block Block Underlay F.3r F.9 F.7 F.13 F.2r F.4 F.1 F.4r F.10 F.1r F.1 F.14 F.1r F.4 F.5 F.11 F.4r 1” Cymbal Underlay F.6 F.8 .6 F.12 Flute Block F.5r F.5r F.2 F.
8 .3 F.10 F.7 F.2r F.1r F.4r Cymbal Underlay F.14 F.Block Underlay Flute Block F.2 F.3r F.12 1” Flute Block F.9 F.11 F.13 F.5 F.1 F.6 F.4 F.5r F.
8 F.14 F.1r F.11 F.5r F.2 1” Flute Block Cymbal Underlay F.14 F.9 F.13 F.11 F.4 Cymbal Underlay F.3 F.2 F.1 F.F Block Underlay Flute Block F.10 F.4r F.2r F.6 F.4 F.12 F.5 F.7 F.10 F.2r F.12 F.3r F.9 F.13 .
1r F.6 F.13 F.1 F.14 F.6 Block Underlay Flute Block F.5 F.4 F.3r F.4r F.1r 1” F.2 F.1 F.4 F.8 .2r F.F.7 F.5r F.10 F.8 F.2r F.3 F.12 Flute Block F.11 F.3r F.4r Cymbal Underlay F.9 F.5r F.
2 F.5 F.8 .13 F.4r Cymbal Underlay F.11 F.2r F.4 F.12 Flute Block F.6 F.3 F.5r F.1r F.9 F.7 F.Flute Block Block Underlay F.3r F.14 1” F.10 F.1 F.
5r F.13 F.4 F.Flute Block Block Underlay F.1 F.9 F.11 F.12 Flute Block Flute Block F.2 F.10 F.5 F.3r F.2r F.7 F.3 F.6 F.4r Cymbal Underlay F.1r F.14 1” F.8 .
12 Flute Block F.11 F.1 F.4 F.3 F.Flute Block Block Underlay F.2 F.8 .6 F.4r Cymbal Underlay F.5 F.1r F.9 F.7 F.14 1” F.10 F.13 F.5r F.2r F.3r F.
11r line C.17 C.14r C.10 C.16 C.7r C.3r C.27r C.17 18˝ line .5r C.11r C.22r C.11 LH LH C. C.10 C.23 C.6 C.6r C.11r C.2r C.18 C.3 C.18 C.28 C.10 RH C.3 C.4 To make complete pattern.13 C.17 C.5r C.17 lin e C.18 C.24 1˝ C.15r C.18 C.4r C.17 C.27 C. join the following pages.10 C.29 C.21r C.16 C.17 C.4r C.13r C.19 Se am 18˝ C.28r C.4 C.17 C. Se am C.6r C.26 C.8RH RH C.12 C.2 C.5 C.16r C.16r C.18 C.1RH C.18 RH 18˝ C.10 C.6 C.8 C.11r C.20r Tambourine Underlay C. following the diagram for reference.18 C.12 C.17 C.15 C.9 C.10 C.18 18˝ LH LH C.29r C.21 C.17 C.2 Use a ruler to measure these inch marks to verify that printout is correctly sized.9 RH C.7r C.24 C.18 C.17 C.8 C.3 C.1 C.2 C.15 C.17 C.13 C.18 C.11 C.21 C.22 C.14 C.11 C.7 C.20 C.23 C.1 LH C.22r C.2r C.17 C.22 C.5 C.17 C.20r C.3r C.20 C.14r C.7 Seam line Corner Triangle C.1 LH C.21r C.19 C.9 C.13r Se am C.17 C.Corner Triangle Seam line C.15r C.14 C.17 C.18 C.12 LH C.18 C.25 C.
6 C.21r C.14r C.7r C.17 C.10 C.18 C.27r C.17 C.16 C.15r C.16r C.18 C.3 C.17 C.29r C.8 C.9 C.18 18˝ LH LH C.20r Tambourine Underlay C.2r C.29 C.11r C.1 C.23 C.18 C.2 C.6 C.21 C.14r C.4 C.18 C.12 C.20 C.17 C.18 C.8RH RH C.4 C.18 C.1RH C.2 C.4r C.21r C.20 C.17 C.14 C.17 C.13r Se am C.11r C.13 C.13 C.7 Seam line Corner Triangle C.28r C.22r C.25 C.12 LH C.19 Se am 18˝ 18˝ Corner Triangle 18˝ line C.11 C.6r C.17 C.3r C.23 C.11 C.10 RH C.17 C.26 1” C.16 C.7 C.17 C.18 C.24 C.6r C.15 C.3 C.18 RH 18˝ C.5 C.3r C.18 C.12 C.2r C.22r C.17 .21 C.14 C.22 C.18 C.18 C.9 RH C.Corner Triangle Seam line C.16r C.1 LH C.17 C.5r C.10 C.4r C.20r C.7r C.17 C.24 C.10 C.11r C.17 C.15r C.22 C.19 C.9 C.5 C.17 C.17 C.5r C.27 C.13r C.15 C.11 LH LH C.28 C.8 C.11r line C.10 C.10 C.
16r C.27 C.1 LH C.8RH RH C.18 C.10 C.14r C.17 C.18 C.7 Seam line Corner Triangle C.17 C.13 C.17 C.6 C.17 C.11r C.17 C.26 1” C.10 RH C.22r C.22 C.18 C.3r C.11 C.13 C.18 C. 8L 10 C.11r C.23 C.17 line C.3 C. C.8 C.15r C.11r C.12 C.5 C.20 C.17 C.1 C.21 C.24 C.11 C.6 C.18 C.24 C.2 C.22r C. 12 LH C.5 C.20r C.27r C.11r C.18 C.9 C.18 C.17 C.29 C.2 C.7 e C.10 C.28 C.18 C.7r C.6r C.Corner Triangle Seam line C.16r C.10 C.18 C.4r C.13 C.3r C.12 LH C.4 C.18 C.2 C.8 C.10 C.6r C.14r C.17 C.18 RH 18˝ C.21r C.18 C.14 C.17 C.5r C.22r C.2r C.17 C.1 H 0L C.4 C.15 C.11 C.14 .2r C.18 18˝ LH LH C.5r C.4 H LH C.12 C.25 C.28r C.15 C.1RH C.7 C.14 C.5 C.6 C.19 C.21 C.16 C.13r C.11 LH LH C.29r C.16 C.10 C.4r C.20 C.17 C.9 RH C.7r C.13r Se am C.21r C.17 C.20r Tambourine Underlay C.17 C.18 C.18 C.15r C.22 C.3 C.23 C.19 Se am 18˝ line 18˝ C.9 C.17 C.1 LH C.3 C.
1 LH C.18 C.7r C.6 C.18 C.6r C.18 C.11 C.11 LH LH C.24 C.20r Tambourine Underlay C.10 C.13r C.17 C.25 C.7r C.10 C.22 C.13 C.16 C.2 C.3 C.18 C.11r C.4r C.1 C.9 RH C.3 C.4 C.12 LH C.16r C.28r C.21r C.14r C.7 Seam line Corner Triangle C.13 C.17 C.3r C.2 C.23 C.18 18˝ LH LH C.23 C.21r C.22r C.15r C.17 C.11r C.12 C.1RH C.21 C.Corner Triangle Seam line C.7 C.17 C.11r C.15 C.21 C.11 C.18 C.29r C.5 C.19 C.8 C.18 C.10 C.13r Se am C.10 C.14 C.4 C.5r C.19 Se am 18˝ 9L H H 0L C.8 C.18 C.6 C.29 C.9 C.17 C.10 RH C.14 C.18 RH 18˝ C.17 C.16 C.22 C.2r C. Se am lin e 18˝ line .3r C.14r C.18 C.28 C.1 C.20 C.22r C.10 C.17 C.5 C.26 1” C.2r C.8RH RH C.17 C.24 C.20r C.16r C.5r C.6r C.17 C.18 C.27r C.12 C.18 C.17 C.20 C.4r C.15 C.17 C.27 C.15r C.9 C.17 C.11r line C.
12 LH C.17 C.18 18˝ LH LH C.2 C.15r C.8 C.5r C.1RH C.11 C.14r C.7r C.9 C.4r C.21 C.7 Seam line Corner Triangle C.11r C.17 C.22r C.28 C.17 C.11r C.3 C.23 C.21r C.1 C.7 C.20r C.10 C.19 Se am 18˝ line 18˝ C.17 C.28r C.21 C.21r C.2r C.17 C.3r C.9 RH C.22 C.18 C.18 C.13r C.15 C.3 C.9 C.10 C.8RH RH C.20r Tambourine Underlay C.3r C.10 RH C.18 RH 18˝ C.5 C.19 C.17 C.17 C.20r C.22r C.5r C.7r line C.17 C.15r C.17 C.18 C.12 C.6r C.4 C.10 C.18 C.20 C.16r C.16r C.14 C.24 C.6 C.27r C.25 C.5 C.20 .26 1” C.23 C.17 C.2 C.10 C.10 C.12 C.19 C.18 C.29 C.11r C.27 C.4 C.13 C.18 C.8 C.18 C.13 C.11 C.11r C.24 C.14 C.6 C.20 C.16 C.18 C.2r C.14r C.13r Se am C.4r C.17 C.16 C.1 LH C.17 C.18 C.Corner Triangle Seam line C.18 C.11 LH LH C.15 C.22 Corner Triangle C.29r C.6r C.
16r C.16 C.16 C.22r C.9 RH C.10 C.8 C.9 C.12 LH C.14 C.24 C.23 C.17 C.25 C.10 C.2 e Corner Triangle C.24 C.26 1” C.16r C.8 C.29 C.22 C.18 C.28 C.7r C.6r C.17 C.20 C.22 C.15 C.17 C.3 C.9 C.3 C.3r C.22r 18˝ C.15r C.5 C.11 C.11r C.18 18˝ C.8RH RH C.18 C.1 LH C.13 C.22r C.5 C.13r Se am C.14r C.18 C.19 Se am C.6 C.20r C.17 C.15r C.23 19 C.17 C.17 C.21 C.17 C.17 C.13 C.14r C.11r C.12 C.15 C.18 C.18 18˝ LH LH C.16 C.14r C.21r C.21r C.18 C.21 C.4r C.16r C.1RH C.18 C.18 C.13r 18˝ line .20r Tambourine Underlay C.27 C.18 C.11 LH LH C.28r C.17 C.6 C.20 C.3r C.15 C.17 C.4 C.7r C.21r C.Seam line C.4 C.18 C.2r C.10 RH C.14 C.10 C.1 C.7 C.19 C.23 C.18 C.4r C.10 C.2r C.29r C.27r C.11 C.11r C.21 C.22 C.24 C.12 RH C.14 C.20r C.5r C.17 C.7 Seam line Corner Triangle C.13r C.11r line C.17 C.2 C.20 C.5r C.13 C.15r C.10 C.6r C.
23 C.11 C.1 LH C.20r C.15r C.15 C.10 C.27r C.16r C.20r Tambourine Underlay C.16r C.6r C.3 C.4r C.17 C.18 C.28r C.9 RH C.25 C.11 LH LH am C.2r Se C.16 C.2 C.11 C.29 C.18 C.17 C.25 C.10 C.9 C.5 C.4 C.17 C.13 C.2 C.13r Se am C.18 C.4 C.21 C.4r C.17 C.3r C.18 C.10 RH C.17 C.17 C.22r C.8RH RH C.16 C.22 C.20 C.13r C.10 C.18 C.2r C.11r C.18 C.21r C.15 C.22 C.11r C.21 C.20 C.7r C.8 C.Corner Triangle Seam line C.18 C.11r C.7 Seam line Corner Triangle C.9 C.6r C.5 C.5r C.7r C.17 C.14 C.14r C.17 C.1RH C.13 C.17 C.18 C.27 .14r C.3r C.11r line C.24 C.14 C.8 C.5r C.12 C.22r C.26 C.3 C.10 C.27r C.18 lin e C.29r Tambourine Underlay C.18 C.28 C.1 C.18 C.28r C.15r C.17 C.29r C.17 C.6 C.12 C.18 RH 18˝ C.26 1” C.21r C.7 C.12 LH C.17 C.27 C.6 C.19 Se am 18˝ line 18˝ C.24 C.10 18˝ LH LH C.23 C.19 C.
18 C.9 C.3r C.9 C.18 C.23 C.8RH RH C.15 C.29 18˝ line .18 C.11r C.16r C.15r C.10 C.21r C.28 C.20 C.4 C.16 C.14r C.17 C.4 C.15r C.1RH C.10 C.20r Tambourine Underlay C.11r C.13 C.1 LH C.10 RH C.17 C.18 C.20 C.5r C.17 C.7 Seam line Corner Triangle C.18 C.17 C.17 C.29r C.3 C.24 C.15 C.3 C.14 C.22 C.14r C.9 RH C.10 C.10 C.7r C.13r C.27r C.19 C.17 C.26 1” C.22r C.3r C.22r C.16r C.2 C.24 C.11 C.8 C.18 C.17 C.4r C.21r C.5 C.11r line C.17 C.17 C.8 C.12 C.20r C.18 C.2r C.14 C.29 C.28 C.27 C.6r C.1 C.6 C.12 C.7r C.18 C.2 C.5r C.19 Se am 18˝ C.18 RH 18˝ C.11 C.6 C.17 C.13r Se am C.5 C.10 C.7 C.18 18˝ LH LH C.23 C.28r C.11 LH LH C.Corner Triangle Seam line C.13 C.6r C.2r C.18 C.17 C.12 LH C.22 C.25 C.11r C.18 C.21 C.16 C.4r C.27 C.21 C.17 C.
11r C.10 C.10 C.7 C.18 C.29r C.15r C.21r C.18 C.17 C.18 C.7r C.17 C.11r C.17 C.5r C.17 C.24 C.17 C.15 C.17 C.21 C.6 C.9 C.12 C.17 .13 C.6r C.20r C.21 C.15r C.2r C.11r line C.22 C.17 C.16r C.18 C.3 C.5 C.22r C.29 C.25 C.8RH RH C.7r C.22r C.20r Tambourine Underlay C.19 Se am 18˝ line 18˝ 18˝ C.5 C.12 LH C.3r C.16 C.1RH C.2 C.1 LH C.7 Seam line Corner Triangle C.18 18˝ LH LH C.18 C.3r C.18 RH 18˝ C.18 C.4r C.17 C.17 C.1 C.22 C.17 C.5r C.14r C.10 C.20 C.10 C.23 C.11r C.23 C.19 C.6r C.27 C.14 C.6 C.2 C.24 C.12 C.16 C.4 C.18 C.15 C.27r C.4r C.8 C.18 C.28r C.13 C.14 C.8 C.2r C.9 C.20 C.4 C.28 C.9 RH C.21r C.18 C.17 C.17 C.16r C.3 C.13r C.11 LH LH C.11 C.17 C.18 C.10 RH C.26 1” C.11 C.13r Se am C.Corner Triangle Seam line C.17 C.14r C.10 C.
21 C.11r C.17 C.23 C.1RH C.24 C.3 C.11 LH LH C.10 C.18 C.10 C.2r C.15 C.22r C.20r C.21r C.22 C.20r Tambourine Underlay C.17 C.16r Corner Triangle Seam line C.17 C.15r C.18 C.27 C.2 C.12 C.4 r C.6r C.17 C.7 Seam line Corner Triangle C.17 C.5r C.18 C.12 C.15r C.18 C.13r Se am C.13r C.13r C.2 C.13 C.27r C.5 C.18 C.12 LH C.17 C.6 C.17 C.11 C.8 C.16r C.23 C.9 RH C.16 C.5r C.5 C.7r C.25 C.5r C.10 C.3r C.8RH RH C.18 C.17 C.18 C.18 C.18 C.14r C.18 C.6r C.12 C.11 C.21r C.3 C.2r C.3r C.8 C.14 C.11r line C.9 C.4 C.10 RH C.22 C.10 C.3r C.6 C.C.29r C.9 C.17 C.19 C.7r C.5 C.7r C.29 C.17 C.21 C.14 C.4r C.4 C.17 C.22 C.18 C.11r C.24 C.11r C.4r C.26 1” C.15r C.28r C.10 C.20 C.18 C.18 C.17 C.10 C.1 LH C.14r C.14r C.21 C.2r C.7 C.8 C.11r C.16 C.17 C.1 C.28 C.6r C.22r C.11r C.15 C.16r C.18 18˝ LH LH C.18 RH 18˝ C.17 .19 Se am 18˝ line 18˝ C.10 C.17 C.20 C.13 C.
18 C.21 C.18 18˝ LH LH C.6 C.18 C.7 C.8 C.17 C.10 C.14r C.10 RH C.17 C.7r C.22r C.18 C.18 C.17 C.23 .24 C.16 C.4r C.2r C.11 C.10 C.3 C.1RH C.17 C.20 C.12 LH C.15 C.25 C.18 C.28r C.17 C.18 C.12 C.1 C.Corner Triangle C.8 C.16 C.13 C.20r Tambourine Underlay C.6r C.13 C.5 C.23 C.13 C.1 LH C.9 C.18 RH 18˝ C.15r C.13r Se am C.2 C.26 Seam line C.22 C.7 C.4r C.5 C.5r C.17 C.23 C.6 C.10 C.9 C.5r C.11r C.17 C.9 C.18 C.24 C.16r C.16 C.11r line C.3r C.9 RH C.26 1” C.10 C.18 C.4 C.11 LH LH C.15r C.11 C.21r C.18 C.2 C.11 C.27 C.21r C.12 C.16r C.19 C.10 C.15 C.14r C.13r C.15 C.17 C.4 C.10 C.11 C.8RH RH C.17 C.19 Se am 18˝ line 18˝ C.11r C.18 C.7 Seam line Corner Triangle C.29r C.27 C.21 C.6r C.20r C.14 C.28 C.22r C.20 C.29 C.2r C.17 C.22 C.17 C.11r C.27r C.11r C.3 C.17 C.7r C.14 C.14 C.3r C.
18 C.8 C.6r C.11 C.18 C.3 C.26 1” C.24 C.7 C.18 RH 18˝ C.23 C.24 C.3r C.16r C.4 C.15 C.12 LH C.19 C.17 C.6 C.9 RH C.13r C.15r C.14 C.22 C.16 C.10 R C.21 C.17 C.18 C.20r Tambourine Underlay C.14 C.11r C.24 C.9 C.27 C.13r Se am C.10 C.29 C.16 C.8 C.11r line C.28 C.10 C.17 C.2 C.17 C.2r C.1RH C.27r C.21r C.11r C.15 C.23 C.7r .19 Se am 18˝ line 18˝ Se am lin e C C.25 C.9 C.4r C.21 C.17 C.17 C.20r C.12 C.15r C.14r C.18 C.28r C.1 C.20 C.13 C.10 RH C.7r C.4 C.10 C.16r C.3r C.15r C.29r C.1 LH C.2r C.14r C.18 18˝ LH LH C.16r C.13 C.21r C.22r C.5r C.17 C.17 C.8RH RH C.11 LH LH C.7 Seam line Corner Triangle C.20 C.6r C.13r C.29 C.11r C.28 C.2 C.17 C.17 C.6 C.23 C.3 C.10 C.7r C.18 C.27 C.14r C.11r C.5 C.18 C.5r C.18 C.22 C.17 C.22r C.5 C.18 C.18 C.11 C.4r C.10 C.18 C.Corner Triangle Seam line C.17 C.12 C.
13 C.28 C.15r C.7r C.22r C.12 LH C.18 C.16r C.15 C.5r C.23 C.13r Se am C.17 C.4 C.18 C.20r C.10 C.6 C.26 1” C.9 C.23 C.14r C. RH 10 C.17 C.18 C.21r C.18 18˝ LH LH C.11 LH LH C.6 C.17 C.3 C.17 C.10 C.28r C.11r C.8 C.5r C.21 C.17 C.10 C.7 C.17 C.29 C.19 C.18 C.8RH RH C.11r C.1 C.22 C.13 C.16 C.14r C.20 C.18 RH 18˝ C.29r C.17 C.18 C.12 C.4r C.Corner Triangle Seam line C.11r C.18 C.14 C.17 C.4 C.15 C.9 RH C.12 C.18 C.18 C.17 C.17 C.7 Seam line Corner Triangle C.21r C.27r C.8 C.11r line C. C.8RH 18˝ line .3r C.16r C.19 Se am 18˝ li n e C.7r C.5 C.4r C.27 C.15r C.1RH C.13r C.6r C.2 C.25 C.18 C.20r Tambourine Underlay C.11r C.2r C.18 C.10 RH r RH 12 C.22r C.16 C.9 RH C.11 C.24 C.10 C.24 C.5r C.22 C.5 C.3 C.14 C.1 LH C.7r C.6r C.2 C.10 C.3r C.9 C.10 RH C.17 C.2r C.20 C.21 C.11 C.17 C.
17 C.11 C.22 C.18 C.21 C.6 C.17 C.17 C.14 C.9 RH C.3 C.27r C.8RH RH C.6r C.12 C.21r C.12 LH C.21 C.9 C.6 C.7 Seam line Corner Triangle C.18 C.17 C.7r C.4 C.4 C.18˝ Corner Triangle Seam line C.17 C.6r C.16r C.29 C.10 C.28r C.10 C.3r C.24 C.11 C.5 C.8 C.22r C.13r Se am C.14r C.11r C.1RH C.19 C.13r C.20r C.5 C.10 C.18 C.22 C.10 C.25 C.18 C.17 C.1 C.17 C.15 C.4r C.17 C.29r C.18 C.2 C.13 C.27 C.7 C.26 1” C.18 RH 18˝ C.2r C.14 C.17 .19 Se am 18˝ line 18˝ C.14r C.2 C.7r C.1 LH C.3 C.17 C.23 C.11 LH LH C.20r Tambourine Underlay C.15r C.28 C.2r C.17 C.9 C.23 C.18 C.18 C.20 C.24 C.16 C.4r C.11r line C.15r C.17 C.10 C.5r C.13 C.16 C.11r C.16r C.3r C.5r C.10 RH C.18 C.17 C.8 C.17 C.21r C.17 C.12 C.15 C.18 C.22r C.18 C.20 C.11r C.18 18˝ LH LH C.
6 C.9 C.5 C.17 C.15 C.2r C.5 C.5r C.11r C.4 C.12 LH C.21 C.18 C.24 C.5r C.4 C.8RH RH C.17 C.18 C.11r line C.22r C.10 C.21 C.17 C.3 C.2 C.5r C.18 18˝ LH LH C.23 C.17 C.2r C.10 C.18 C.18 C.11 C.10 C.19 C.3 C.17 C.10 C.17 C.16 C.17 C.10 C.20r Tambourine Underlay C.18 C.19 Se am 18˝ line 18˝ C.12 C.18 C.12 C.3r C.16 C.22r C.18 Corner Triangle Seam line C.20 C.17 C.8 C.1 C.10 RH C.17 C.5 C.6 C.7r C.26 1” C.17 C.13 C.14 C.18 C.2 C.20r C.2 C.7r C.18 C.16r C.9 C.29r C.16r C.17 C.13 C.3r C.29 C.15r C.18 C.1 LH C.28r C.3 C.17 C.7 C.8 C.22 C.28 C.27r C.15r C.14r C.13r Se am C.21r C.11 C.17 C.18 C.18 RH 18˝ C.15 C.4 C.13r C.14r C.18 C.6r C.1 C.C.9 RH C.21r C.8 C.4r C.18 C.17 18˝ .27 C.11 LH LH r C.17 C.10 C.24 C.18 C.22 C.17 C.7 Seam line Corner Triangle C.11r C.6r C.18 C.17 C.17 C.11r C.3r C.18 C.23 C.4 C.1RH C.20 C.25 C.4r C.2r C.14 C.
17 C.17 C.14r C.11 LH LH C.29r C.7r C.19 Se am 18˝ line 18˝ C.10 C.18 18˝ LH LH C.18 C.2 C.21 C.16 C.17 C.9 RH C.17 C.4 C.12 LH C.21r C.19 C.5r C.11 C.14 C.17 C.14 C.18 C.18 C.22r C.20r C 18˝ .11r C.15 C.18 C.6r C.6 C.3r C.29 C.24 C.21r C.14 C.28r C.6r C.17 C.16 C.1 LH C.20 C.22r C.13r C.2r C.8RH RH C.18 C.17 C.10 C.11 C.3 C.15 C.23 C.4 C.22r C.15r C.1RH C.18 C.2 C.7 C.13 C.3r C.9 C.17 C.11r C.17 C.10 RH C.17 C.5r C.2r C.21 C.20r C.8 C.6 C.25 C.15r C.28 C.5 C.18 C.22 C.3 C.11 C.8 C.10 C.16r C.7r C.13 C.16r C.7 Seam line Corner Triangle C.10 C.20r Tambourine Underlay C.21r C.5 C.24 C.27 C.12 RH C.11r C.12 C.13r Se am C.23 C.9 C.17 C.7 C.23 C.18 18˝ C.22 C.18 C.1 C.26 1” C.Corner Triangle Seam line C.10 C.4r C.6 C.11r line C.18 C.27r C.17 C.13 C.15 C.4r C.18 C.16 C.14r C.20 C.
17 C.15r 18˝ line 18˝ C.18 C.7 Seam line Corner Triangle C.16r C.5 C.20r Tambourine Underlay C.16 C.22 C.18 18˝ LH LH C.24 C.2r C.10 C.19 Se am C.17 C.20 C.3r C.2r C.12 LH C.5r C.20r C.11r line C.10 C.27 C.11 C.4r C.28r C.21 20r C.14r C.13 C.3r C.16 C.8RH RH C.4 C.18 C.22 .4 C.22r C.1 C.6r C.23 C.18 C.10 C.2 C.18 C.18 C.1 LH C.17 C.17 C.9 C.18 C.26 1” C.17 C.19 C.2 C.17 C.17 C.22r C.10 C.14 C.24 C.11 C.18 C.11 LH LH C.6r C.6 C.29r C.7 C.8 C.18 C.3 C.15 C.24 C.29 C.12 C.18 C.15r C.10 C.15r C.23 C.4r C.18 RH 18˝ C.17 C.7r C.17 C.22 C.13 C.9 C.19 C.10 RH C.25 C.7r C.28 C.Corner Triangle Seam line C.14r C.9 RH C.7r C.8 C.20 C.12 C.14r C.17 C.15 C.21 C.3 C.23 C.18 C.11r C.16r C.6 C.5 C.17 C.14 C.1RH C.16r C.21 C.21r C.20 C.11r C.5r C.27r C.13r C.13r Se am C.21r C.13r C.17 C.11r C.
24 C.17 C.3r RH C.16r C.10 C.13 C.18 C.15 C.18 C.17 C.17 C.14r C.16r C.3 C.17 C.3r C.18 RH 18˝ C.13r C.22 C.11r C.1 C.21 C.15 C.1 LH C.7 C.27 C.25 C.1RH C.18 C.7r C.17 C.16 C.18 C.14 C.4 C.11 C.12 C.11r 18˝ line 18˝ C.11r C.11 C.19 Se am C.18 C.14 C.18 C.2r C.18 C.27r C.17 C.18 18˝ LH LH C.22r C.10 C.22 C.2 C. R 12 H Corner Triangle Seam line C.5r C.13 C.4r C.21 C.20r C.9 C.5r C.18 C.28 C.22r C.16 C.3 C.6r C.21r C.17 18˝ .8RH C.8 C.6r C. C.14r C.21r C.29 C.7r C.20 C.12 C.17 C.8RH RH C.10 C.4 C.17 C.11r line C.17 C.18 C.23 C.4 r C.18 C.2r C.17 C.18 C.8 C.28r C.17 C.24 C.7r C.3r C.4r C.23 C.17 C.10 RH C.5 C.18 C.13r Se am C.5 C.9 RH C.7 Seam line Corner Triangle C.11 LH LH C.5r C.11r C.2r 10 C.26 1” C.1RH C.19 C.29r C.10 C.6r C.6 C.10 C.20r Tambourine Underlay C.20 C.18 C.2 C.C.6 C.17 C.12 LH C.15r C.9 C.15r C.17 C.
14r C.15 C.29 C.2r C.19 C.9 C.8 C.12 C.4r C.29r C.13 C.24 C.15r C.6r C.6r C.17 C.1 LH C.4 C.2 C.Corner Triangle Seam line C.23 C.21r C.16r C.20 C.22r C.17 C.18 C.17 C.17 C.7r C.9 RH C.8RH RH C.4r C.11 C.2r C.20r Tambourine Underlay C.6 C.22r C.15 C.16 C.3r C.11r C.1RH Se am lin e 18˝ line .21 C.18 C.10 C.17 C.11r line C.17 C.4 C.10 C.18 C.27 C.10 C.13r Se am C.21r C.22 C.26 1” C.11 C.9 C.10 C.17 C.10 C.11r C.18 C.18 C.17 C.17 C.18 C.3r C.3 C.5r C.18 RH 18˝ C.18 C.13r C.28 C.18 C.17 C.18 C.17 C.1 C.7 Seam line Corner Triangle C.12 LH C.5 C.3 C.8 C.23 C.5 C.7r C.25 C.20 C.27r C.2 C.11r C.16r C.14 C.5r C.22 C.28r C.21 C.14r C.24 C.19 Se am 18˝ C.20r C.16 C.18 C.15r C.12 C.7 C.17 C.6 C.13 C.1RH C.18 18˝ LH LH C.10 RH C.14 C.11 LH LH C.
and all other forms of copying to “share” or “distribute” the ELECTRONIC PRODUCT. is strictly prohibited. Having no control over the choices of materials or procedures used. Purchaser may not rent. warrants the ELECTRONIC PRODUCT will be delivered by C&T Publishing. we are using the names only in the editorial fashion and to the benefit of the owner.ctpub. free from defects in materials and workmanship under normal use for a period of ninety (90) days from the date of original purchase.com All rights reserved. 3. on disk. digitizing. with no intention of infringement. Box 1456. Inc.ctpub. Lafayette. in electronic or printed form or any other form without the written permission of C&T Publishing.. electronic.com or at P. Lafayette. but no warranty is provided nor are results guaranteed. or share the ELECTRONIC PRODUCT. Inc. Your exclusive remedy under this Section shall be. taping. We take great care to ensure that the information included in our products is accurate and presented in good faith. Purchaser may not make the ELECTRONIC PRODUCT available over a network where it could be used by multiple computers at the same time.O. via the Internet. Photocopying. C&T Publishing. lease. whether for profit or not. Contact us at 800-284-1114 or www.’s option. neither the author nor C&T Publishing. www. Inc. CA 94549.com for more information about the C&T Teachers Program. Rather than use the symbols with every occurrence of a trademark or registered trademark name. PO Box 1456. shall have any liability to any person or entity with respect to any loss or damage caused directly or indirectly by the information contained in this book. Inc. If a correction is not already noted. we post an up-to-date listing of corrections on our website (www. a refund of the purchase price of the ELECTRONIC PRODUCT. or information storage and retrieval systems—without written permission from the Publisher. lend.ctpub. email. at C&T Publishing.. No part of this work covered by the copyright hereon may be used in any form or reproduced by any means—graphic. will not replace the ELECTRONIC PRODUCT due to Purchaser changing computers or accidentally deleting ELECTRONIC PRODUCT or for any other loss of the file that is considered out of the control of C&T Publishing. Acceptable uses of this ELECTRONIC PRODUCT: 1. Inc. printing desired page may result in multiple printed pages. Purchaser may not transfer the ELECTRONIC PRODUCT to any other person. Pattern Note: This digital file contains patterns that may not print true to size and may require sizing adjustments (inchmarks are included on patterns for reference). Trademark (™) and registered trademark (®) names are used throughout this ELECTRONIC PRODUCT. Inc. 2. including photocopying. . Purchaser is entitled to print out as many copies of this ELECTRONIC PRODUCT as they wish for personal use. Limited Warranty: Limited Warranty on this ELECTRONIC PRODUCT. C&T Publishing. ISBN 978-1-60705-695-9 Published by C&T Publishing. transfer. or mechanical. Inc. For your convenience.com).Instruments of Praise Download Copyright © 2013 by C&T Publishing. CA 94549. Inc. please contact our customer service department at ctinfo@ctpub. recording. Depending on your viewing application or device.
com Best-Selling Quilting and Stitching apps We get you sewing now for Android and iPhone! access 1000s of patterns eBooks! eNewsletter Instant. 800.ctpub.C&T PUBLISHING JOIN OUR E-FAMILY Pattern Spot .com email email@example.com fax 925.1114 int’l 925.s.com web www.com blog toll-free in u.284. Easy.677.0373 . Get Weekly Deals! Portable & Affordable go paperless! sign up now Join the Conversation community • free projects • prize giveaways stashbooksblog.677.
you can make this award-winning quilt . or mix and match blocks and motifs to make your own design Kathy K.Full-sized pattern and instructions for 4 blocks and corner motif inspired by Psalm 150 Each block features a different musical instrument Recreate the original quilt. Wylie Appliqué lovers.
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue listening from where you left off, or restart the preview.