Asifabric

patterns • decorating tips • fiber art • culture
Issue No. 33
free pattern
download
available soon
Asian Fabric™ Vol 8 Issue 3
contents
quilts
23 Harvest Splendor
Quilt
Rich autumn tones look like
sparkling jewels in the
landscape
departments
8 Publisher’s Note
29 Triple Delight Wall
Art & Pillows 9 How to Use the
Magazine
46 Kitchen Essentials
Brighten your winter decor 15 Shop Directory
with Kona Bay's exquisite Where to shop for Kona Bay
new Lotus collection
19 What I Did With My
69 Splendor Bed Runner
Transform your room with
features Kona Bay
Great projects from our
this easy project 12 Georgie Gerl: readers
77 Holiday Ikebana Quilt Featured Gellhorn 38 Book Review
95 Mountain Flight Quilt Gallery Artist Gifts Galore!
A work of art by quilter 57 Wine & Fabric 62 Food
Helene Knott Have fun learning to pair Mizutaki
wine with fabric
88 Travel
Fukuoka, Japan
114 General Instructions
Special thanks to:
Used exclusively and

recommended by Asian Fabric™
Fukuoka, Japan • pg 88 2013 Asian Fabric 5

downloadable patterns
from Asian Fabric
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w w w.konabaygifts.com
Asian Fabric
back issues
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eco friendly
insulated
hot/cold bags
—new designs!
Recently, the quilting
industry’s wholesale show and
publisher’s note
get together—QUILT MARKET—

was held in Houston. Did you
know it is America’s 4th largest
city? Attending are most of
the quilting fabric producers,
distributors from around
the globe, sales reps, pattern
makers, fabric designers, thread
and batting companies, gadget
producers and, last but not least,
the owners of independent mom
n’ pop quilt shops.
Kona Bay Fabrics has been
attending Quilt Market since 1991 (yikes, I’m but because they care very deeply about
old!!). Believe me, there have been many their customers. They ensure quilters have
changes since then—other than a few extra a place to escape the harsh reality of the
pounds and more gray hair. “real world” where they can find comfort in
For starters, there are way more fabric fabric.
companies producing more and more Guest quilters, Helene Knott and Melanie
gorgeous fabrics for quilters and sewing Formway Chang have once again joined
enthusiasts to drool over. Fabric designers Georgie Gerl in our 33rd issue of Asian fabric
have become like rock stars with people magazine (I’m feeling old again!). The
flocking to their booth in search of trend beautiful array of projects will keep you busy
setting designs. Plus, the internet has through the holiday season.
prompted the launch of more companies Check out our fun wine and fabric pairing,
selling not only fabric, but a zillion patterns, food and travel features as well. You’ll find
batting, buttons, rotary cutters, books, some great ideas for winter get togethers.
dvds… and the list goes on! Next time you visit your local quilt shop,
I’m told by the old timers (I wonder when please take a few minutes to seek out the
I’ll get that designation—or have I already?!) owner and thank them for their efforts to
that there have been several recessions since maintain your fabric sanctuary. It would
the big renaissance in quilting (let’s call it the mean so much to them (and me!).
Bicentennial of 1976) but quilting continues to
hold its own. Industry companies know that Aloha and mahalo,
fabric is a discretionary income purchase.
We also know, with certainty, that many
quilters can’t go a week without stopping by
their local quilt shop to oooh and aaah at the Douglas (Textile Samurai) Eagleson
new arrivals. Publisher • douglas@konabay.com
So where does it all come together? The http://www.facebook.com/pages/Kona-Bay-Fabrics-Seattle-
heart and soul of the quilting industry is the Bay-Fabrics-and-Asian-Fabric-Magazine/106593046936?ref=ts
hard working, dedicated quilt shop owners
who sacrifice on a daily basis to create a
quilt shop that’s the best it can be because
not only for their love of fabric and quilting,
8 Asian Fabric 2013

Make the most of Asian Fabric
Asian Fabric™
Quilting and design ideas for inspired minds
Issue #32 2013 • VOL 8 ISSUE 2
Publisher
douglas Eagleson
Quilt designer & EDITOR

Georgie Gerl ggerldesigner@
comcast.net
Facebook: Georgie Gerl Designer
SPECIAL CONTRIBUTORs
Melanie Formway Chang
Helene Knott
ASSISTANTS TO PUBLISHER
Doris Eagleson 1923–2010
Cheryl Hamai
Brittany Eagleson Simpson
Subscriptions
Kona Bay Fabrics
www.konabay.com
15812 NE 83rd St
Redmond, WA 98052
800-531-7913
advertising and
editorial inquiries
Eagle Publishing
Share it with a Print pages www.PublishingPeople.com
friend You must log in and download 328 E. Indiana Ave
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2. Follow prompts. the light gray Download link graphic design
below. liminalogy.com
2. Open the .pdf to view and
Use the easy links print pages as you wish.
As you scroll over a Kona Bay Fabrics © 2013
Asian Fabric™ is produced six times a year
page, active links will
by Eagle Publishing for Kona Bay Fabrics.
be highlighted in blue. Subscribe for FREE— The magazine accepts no responsibility for
This enables you to It’s easy! unsolicited manuscripts or artwork; they
connect to additional will not be returned unless accompanied
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pages and download Kona Bay Fabrics. All rights reserved. No
additional patterns. 2. Click on “Subscribe” piece, in part or full, may be reproduced
3. Complete the information without permission.
2013 Asian Fabric 9

Color
Movement
In stores now
Georgie Gerl
Featured at
Gellhorn Gallery
Asian Fabric Quilt Editor and Designer, Georgie Gerl, will be the featured artist at
the Gellhorn Gallery in Spokane, Washington with her creations in fabric available
from December 19 to January 5, 2014. Gellhorn Gallery is housed at Interplayers
Theatre.
Take advantage of the chance to meet Georgie at the opening Friday evening,
December 20. The gallery is open from 11:00 to 5:00pm, Tuesday - Saturday and
12 ASIAN FABRIC 2013

during all theatre performances.
Visit www.interplayerstheatre.
com for the schedule. “Away In the
Basement,” a musical comedy will
open on December 19. The theatre
and gallery are located at 174 S.
Howard Street in Spokane.
Making art has always been
creation in fabric was a cross-

stitch pillowcase, made when she
up, many hours were devoted to

arts and crafts. Studying art was
a natural choice in college. The
journey to becoming a master quilt
designer and teacher included
forays into a variety of art mediums
including glass. She and husband,
Tim, owned Aardvark Stained
Glass in Spokane for nearly thirty
years. Fabric was always in the
mix, though.
During her thirty-three issue
tenure with Asian Fabric, Georgie
has established a multitude of
loyal international followers
anxious to get the next round of
fabric patterns and the thoughtful
instruction she provides.
Works in the Gellhorn Gallery
are for sale with a portion of
Interplayers Theatre. Georgie

always enjoys hearing from
readers welcomes your feedback at
ggerldesigner@comcast.net. Plus,
she would love for you to connect
with her on Facebook at Georgie
Gerl Designer.

available
now
shop directory:
where to find kona bay
The premiere shops across the
country for exceptional
service and a superb selection of
Kona Bay Fabrics.
maryland
Patches Quilting & Sewing
308 S Main St
arizona Mount Airy, MD 21771
301.831.0366
35th Ave Sew & Vac
Fabric World A delight for your eyes with over
3500 W. Northern Ave 4,000 bolts of fabric. Our large selection of Asian
Phoenix, AZ 85051 prints, Batiks, and Black and Whites will aid you in
602.841.5427 any project. Don’t forget to check out our books,
4939 W. Ray Road, STE 27 notions and classes.
Chandler, AZ 85225  www.patchesquilting.com
480.961.7363
Seminole Sampler
Two convenient locations with 25,000 bolts 71 Mellor Ave
combined, including a large selection of Asian Catonsville, MD 21228
fabrics. Notions, books, threads and all quilting 866.407.2363
supplies. Kits available from this issue. Hours:
Dedicated quilt shop specializing in
M-F 9-6; Sat 9-5; Sun 10-4.
Asian, Batik and contemporary fabrics.
 www.35thavesewandvac.com Excellent service to meet all your quilt-
ing needs. Classes for all levels. Extensive selection
of books, patterns and notions.
florida  www.seminolesampler.com
Boutique 4 Quilters, Inc.
2945 W New Haven Ave
West Melbourne, FL 32904 michigan
321.768.2060
The Stitchery
A shop with a Scandinavian ambiance. 1129 E Grand River Ave
Large selection of Asian, Kaffe Fasset, Howell, MI 48843
Batiks and Silk fabrics. Hand dyed fabrics and Fiber 517.548.1731
Art by local artists. A place where Fiber Artists and
Traditional Quilters gather. Come visit Florida’s most The Stitchery carries many Kona Bay Fabrics.
creative quilt shop! Hours: Mon & Tue 9:30am- Full service quilt shop with over 5,000 bolts of
5pm; Wed 9:30am-7pm; Thur & Fri 9:30am-5pm; fabric and supplies. Authorized Janome dealer,
Sat 9:30am-4pm. featuring the Memory Craft 11,000 Embroidery
Machine. Conveniently located between Detroit
 www.boutique4quilters.com and Lansing. Open Mon-Fri 9-6, Sat. 9-4.
 www.thestitcheryonline.com
2013 Asian Fabric 15

minnesota
Blue Bamboo
12865 Industrial Park Blvd
Plymouth, MN 55441
800.323.1105 new york
Gorgeous array of Asian fabrics which feature the Discount Sewing & Jackie Lynn’s Fabric
best of Kona Bay in both fabric and kits. Choose Center
from wall hangings, quilt and runner kits. Check 475 E. Ridge Rd
our website for current fabrics and sign up for our Rochester, NY 14621
newsletter. See over 5000 bolts of fabric which 585.544.4110
include Asian, flannels, brights, holiday and batiks. Exquisite selection of Asian quilting fabrics.
 www.mybluebamboo.com Sales and Service Center for Brother, Janome,
HandiQuilter, Elna and Tin Lizzie machines.
Open Mon-Sat 10-5, Tues & Thurs 10-8.
 www.discountsewingcenter.com
missouri
The Quilted Fox
10403 Clayton Road
St. Louis, M0 63131
ohio
314-993-1181 toll free 877.993.1181 Gramma Fannies Quilt Barn
Huge selection of Asian fabrics both in-store and P. O. Box 270
online. We also carry internationally oriented fab- Berlin, OH 44610
rics. Many kits available. Open Mon and Wed 10 330.893.3243
am–5 pm; Tues and Thurs 10 am–6:30 pm; Fri Largest selection of Asian fab-
and Sat 10 am–4:30 pm, and Sun Noon–4:00 rics in Ohio’s Amish Country. You’ll enjoy our
pm. unique quilt shop located in an old barn as a part
 www.quiltedfox.com of Schrocks Amish farm. Locally made quilts
plus 2500 bolts of beautiful fabrics specially de-
signed for quilt shops. Just 1 mile east of Berlin,
the heart of Amish Country, on State Route 39.
nevada Mon-Sat 10-5.
The Quilted Dragon  www.grammafanniesquilts.com
2890 Yucca Terrace Ave
Pahrump, NV 89048
775.751.9033
Just one hour NW of Las Vegas, we specialize
pennsylvania
in Oriental, Batik, and Wide Backing fabrics, Sa- Sew Smart Fabrics
shiko supplies and notions all at discount prices 30 W Oakland Ave.
everyday. We stock over 1,700 book titles and Doylestown, PA 18901
600 patterns at all times. Open MTW 9–3 and 215.345.7990
second Sat 9–3. The best selection of Asian prints in Eastern
 www.quilteddragon.com Pennsylvania. We also carry silks, wools and other
fabrics. Books, patterns, trends. Open everyday.
 www.sewsmartfab.com

online shops
eQuilter
eQuilter.com is your online fabric store for quilt-
ing, sewing and fashion, with OVER 20,000 Fab-
wyoming rics IN STOCK! We specialize in Asian-Pacific
E.T. Quilts and contemporary quilt fabrics. See our ad on
the back cover.
80 S. Main
Buffalo, WY 82834  www.equilter.com
307.684.9006
SeaWatch
877.ETQUILTS (877.387.8458)
Fabrics
Quality fabrics, including Wyoming’s largest col- Mukilteo, WA • 866.407.2363
lection of Asian prints, notions, kits, patterns, Extensive selection of Asian fabrics, Batiks and
books and quilts. Salt City Candles, needlecraft light Batiks. Unique patterns, “Wall Hanging of
supplies, and Boyd’s Bears also available. Check the Month” club, fat quarter bundles and Superior
out our website and receive a free gift with your Threads. Free shipping on all orders over $25.
first on-line order. Open Mon–Sat 10–5. Most orders shipped the same day.
 www.etquilts.com  www.seawatchfabrics.com
Debsews Fabrics
Wide selection of Asian fabrics •
Tone-On-Tone fabrics • Fat quarter
selections • Patterns & magazines
• Special sale items. Debsews as been selling

contact fabric to thousands of satisfied customers online
asianfabric@ since 1999 and we are very proud of our cus-
tomer service. See our ad on page 113.
mac.com  www.debsews2.com
n on
for informatio
Shibori Dragon
Asian Shibori Dragon is dedicated to
advertising in bringing you the finest materials
Fabric
and patterns for your creation
of beautiful garments and quilted items. We of-
fer the largest supply of sashiko supplies on the
internet.

Mikoto II
available September
What I Did
with my Kona Bay fabric
 projects from our readers 
There are 2 ways

to submit—
1. Email: asianfabric@mac.com
to s ee all the 2. Mail: Asian Fabric Magazine

r e warding
It is ve ry
u r fa b r ics and Editor
ways o by you!
creative e c u t ed 15812 NE 83rd St.
s are ex Redmond, WA 98502
pattern s
ry o n e who ha
to eve designs
Thanks f y o u r
ar ed a photo o pire s us all!
sh in s
us . Your work
with
www.konabayfabrics.com
 Emily Breclaw
thecaffeinatedquilter.com
I would like to submit a quilt made from my latest

pattern. I’m attaching a cover photograph and two detail
pictures of Japanese Garden, made with the Kona Bay
Paradise collection.
Each of the 61 blocks features the Paradise print fussy-
cut to create a kaleidescope effect. I designed this quilt
with the unusual red border to represent the red bridges found in Japanese gardens.
In high school, I had the opportunity to visit Yokosuka, Japan, for two weeks, and
those gardens remain one of my favorite memories from that trip.
I am a pattern designer and this quilt pattern is available in quilt stores and
online through my Craftsy store (http://www.craftsy.com/user/968124/pattern-

store?ext=craftlet-pattern). It includes directions for strip cutting gorgeous
fabrics to fussy-cut motifs simply. I’ve already made this quilt twice, and am
looking forward to seeing the effects created using different focus fabrics and
coordinating colors. I plan to make at least two more to represent all seasons
of the garden.
I am really looking forward to the new Passion collection when it comes
out-- so many possibilites for fussy-cutting!
Thank you very much for your consideration!

Blossom
available now
click quilt for

pattern download
Harvest
Splendor
➺❈➺
Wall & Bed Quilts
Designer: Georgie Gerl
Harvest Splendor Wall & Bed Cutting Chart & Material List
Harvest Splendor
Wall and Bed Quilts
Wall 35” square
Bed 87” square
Featuring fabrics from the

Blossom, Passion Shibori
Tonal, and Shadowland II
collections.
material list
Wall Backing !8 yards Bed 1st Bed
Wall Batting $)” x $)” Fabric Name, Placement & Yardage Wall 1st Cuts Wall Next Cuts Cuts Next Cuts
Bed Backing * yards Fabric A ! ^2” x $@” $ ^2” x &2” $ !^

Bed Batting (%” x (%” BLOS-04 Black ) $2” x $@” !&
Background & Binding @ #2” x $@” !^ #2” squares ^ ^$
Chart shows both the requirements !3 yards Wall $ @w” x $@” (
for the wall and bed quilts the cut ^8 yards Bed # @” x $@” * @” x !@” !# #@
sizes are the same for each just the @ @” x ^2” *
quanity needed and yardage ^ !2” x $@” !^ !2” x &2” @! ^$
!^ !2” x $2” ^$
varies.
Cut strips as indicated in chart then
cut smaller pieces listed from these Fabric B ! !)2” x $@” $ !)2” x ^2” # !^
BLOS-01 Rust ! %2” x $@” $ %2” squares # !^
strips.
Block Featured Fabric
s yard Wall
!2 yards Bed
Fabric C $ !2” x $@” $ !2” x @$2” !^ !^

SHAD-12 Red ! !2” x (2” $
Sashing @ !2” x @” *
3 yard Wall
d yard Bed
Extra fabric may be needed for “Fussy
Cut” pieces; amount varies depending Fabric D # !2” x $@” * !2” x !)2” !! #@
on motif selection and fabric repeat PASS-05 Teal
Sashing Accent
Before you begin read all instructions. 4 yard Wall
Refer to General Instructions (pages s yard Bed
114-115) for Accurate Seam Allow-
ances and Assembly Line Method to
Fabric E $ !2” x $@” * !2” x !^2” @$ #@
construct this quilt. Use a ¼”-wide BLOS-04 Bronze
seam allowance throughout this Sashing Bed
project. Press seams in direction of Eight !2” x 42“
3 yard Wall
arrows as indicated in each diagram. strips are used as
!3 yards Bed an accent border.

Making the Blocks Making the Bed Quilt
1. Referring to cutting chart to cut the 1. Sew two rows with two blocks each. Press.
appropriate number of pieces for either the Sew rows together. Press.
wall or bed quilt projects using the same size
2. Sew $2” x $@” Fabric A strips end-to-end
strips and pieces but the quantity needed for
to make one continuous $2”-wide Fabric A
each will vary. Refer to Splendor Bed Runner
strip. Press. Measure quilt from side to side.
on pages 71-73 steps 1 and 2 to make four of
Cut two $2”-wide strips to this measurement.
Unit 4 for wall quilt and sixteen of Unit 4 for
Sew to top, and bottom of quilt. Press seams
bed quilt. Refer to steps 6-12 to make four of
toward border. Remaining strip will be used
Block 3 and one of Block 4 for wall quilt or
in step 4.
make sixteen of Block 3 and four of Block 4
for bed quilt. 3. Measure quilt through center from top
to bottom, including borders just added.
2. Referring to step 3 diagram’s center
Cut two $2”-wide Fabric A strips to that
section, sew one Block 4 between two of
measurement. Sew to sides of quilt and press.
Block 3. Press. Make one for wall quilt and
four for bed quilt. 4. Referring to steps 2 & 3 to join, measure,
trim, and sew 1!2”-wide Fabric E strips and
3. Sew one Block 3 between two %2” Fabric
$2”-wide Fabric A strips to top, bottom, and
B squares as shown. Press. Make two for wall
sides of quilt. Press.
quilt and eight for bed quilt. Sew one unit from
step 2 between two units from this step. Press. Finishing the Quilt
Make one for wall quilt and four for bed quilt.
1. Cut backing fabric piece into three equal
Press. Note: Go to Finishing the Quilt section,
pieces. Sew pieces together to make one (^”
step 2, to complete the wall quilt.
x !@)” approximate backing piece. Press and
%2” %2”
trim backing to measure (^” x (^”.
%2”
2. Press backing and quilt top trimming all
excess threads. Refer to General Instructions
Make 2 for Wall Quilt
(page 115) to layer and baste backing,
Make 8 for Bed Quilt
batting, and quilt top together. Hand or
machine quilt as desired. Refer to Binding
the Quilt and bind as desired.
Make 1 for Wall Quilt

Make 4 for Bed Quilt

click on quilt for
pattern download
available
now
available
now
Triple Delight
Create these wall art panels displaying then
on your wall as a set or separately or make
each panel into accent pillows.
Triple Delight Wall Art or Pillows Cutting Chart & Material List
Triple Delight Wall Art

Triple Delight Pillows
Wall Art each panel 16” square
Pillow either 16” square with 2” flange
or 20” square
Wall art can be stacked as shown to the left or displayed separately as
shown on page 29. Cutting charts makes three different wall art or
pillows. Extra fabric may be needed for “Fussy Cut” or directional
pieces; amount varies depending on motif selection and fabric repeat.
material list
Backing or Pillow Lining @ yards for # blocks or q for one
Pillow Backing s yard per pillow
For pillow backing cut for each pillow
two @)2” x !#”
Batting @$” square for each block
Lightweight Fusible Web 1 yard 16” Pillow with
Stabilize 1 yard 2” Flange
20” or 16” Pillow Forms or
if making forms material needed 20” Pillows
Pillow Form fabric !4 yard per pillow
Polyester Fiberfill
Beads, Buttons & Trims as desired Note: Cuts in chart make one of each block.
16” Stretcher Bars (Wall Art)
Twelve (four for each Fabric Name, Placement & Yardage First Cuts Next Cuts
panel) !)
Wall Art Panels Fabric B @ !2” x $@” !2” x $”
PASS-05 Red * !2” x #”
Fabric Name, Placement & Yardage First Cuts Next Cuts Border
4 yard Appliqué border circle
Fabric A ! (2” x $@” @ (2” x !#”
BLOS-04 Black ! &4” x $@” @ &4” squares Fabric C ! &2” square
Background ! %2” x $@” @ %2” x *” PASS-02 Red $ !2” x @2”
!2 yards @ %2” x $” Featured Motif Appliqué circle or circles
@ $8” x $@” @ $8” x @)2” & Appliqué Circles
@ $8” x !#4” Fat Quarter
@ $” x $@” @ $” x @)2”
! #2” x $@” ! #2” x !#2” ! &2” x !!2”
Fabric D ! &2” x $@”
@ #2” x *” PASS-01 Red ! &2” x @2”
! @2” x $@” ! @2” x !)2” ! %” x @2”
Featured Motif
@ @2” x $” @ !2” x ^2”
One panel or 3 yard
! @2” x #2” @ !2” x @2”
@ @2” x #”
@ @” squares
! !2” x $@” ! !2” x ^2” Fabric E Appliqué circle or circles
@ !2” x $” PASS-02 Blue
$ !2” x #2” Appliqué Circle
@ !2” squares Obese Eighth
@ !2” x !”
@ !” x @” Fabric F @ !2” x %”
BLOS-03 Blue @ !2” x @2”
Accents @ !2” squares
8 yard Appliqué squares

Let’s Begin 3. Cut each &4” Fabric A square one diagonally
Before you begin read all instructions. to make corner triangles. Sew four Fabric A
Referring to project Cutting Chart, cut triangles to unit from step 2 as shown. Press.
First Cuts strips as indicated in chart
then cut smaller pieces listed under Next
Cuts from these strips. Refer to General
Instructions (pages 114–115) for Accurate
Seam Allowances and Assembly Line Method
to construct this quilt. Use a 4”-wide seam
allowance throughout this project. Press
seams in direction of arrows as indicated in
each diagram. 4. Sew unit from step 3 between two $8” x
!#4” Fabric A strips as shown. Press. Sew this
Making the Blocks unit between two $8” x @)2” Fabric A strips.
Top Panel: Block 1 Press. Referring to Adding the Appliqué (page
1. Sew one !2” x @2” Fabric C piece between 34) and layouts (pages 29–30) stitch two
two !2” x #” Fabric B pieces as shown. Press. squares and two small circles to finish the
Make two. Sew one &2” Fabric C square between Top Panel: Block 1.
two units from this step as shown. Press. $8” $8”
#” @2” #”
!2”
Make 2
&2”
@)2”
&2”
2. Sew one !2” x @2” Fabric C piece between

two !2” x $” Fabric B pieces as shown. Press. Middle Panel: Block 2
Make two. Sew unit from step 1 between two
1. Sew one !2” x @2” Fabric D piece between
units from this step as shown. Press.
two !2” x #” Fabric B pieces. Press. Make two.
$” @2” $” Sew one &2” x !!2” Fabric D piece between
!2”
two units from this step as shown. Press.
Make 2 #” @2” #”
!2”
Make 2
!!2”
&2”

2. Sew one !2” x ^2” Fabric D strip between 7. Sew one unit from step 6 to one %2” x $”
two !2” x $” Fabric B pieces. Press. Make two. Fabric A piece as shown. Press. Make two, one
Sew unit from step 1 between units from this of each variation.
step as shown. Press. $” $”
$” ^2” $”
!2”
Make 2
%2” %2”
8. Sew one %” x @2” Fabric D piece to one

@2” x #” Fabric A piece as shown. Press.
@2”
%”
3. Sew one !2” x !” Fabric A piece and one
!2” Fabric F square as shown. Press. Make #”
two. Sew one of these units to one !” x @”
Fabric A piece. Press. Make two, one of each 9. Sew one !2” x $” Fabric B piece to one !2”
variation. x $” Fabric A piece. Press. Make two. Sew one
!2” !” !”
unit from this step to one @2” x $” Fabric A
!” @” @” piece as shown. Press. Make two, one of each
!2” variation.
Make 2
@2” @2”
4. Sew one unit from step 3 to one @” Fabric
A square as shown. Press. Make two, one of
each variation.
$” $”
@” @”
10. Sew one unit from step 8 between two

@” @” units from step 9 as shown. Press. Sew one
5. Sew one !2” Fabric A square to one !2” !2” x ^2” Fabric A strip to unit as shown.
x @2” Fabric F piece as shown. Sew one unit Press.
from this step to one !2” x #2” Fabric A piece. ^2”
Press. Make two, one of each variation. !2”
!2” !2”
#2” #2”
!2” !2”
6. Sew one unit from step 4 to one unit from
step 5 as shown. Press
#2” Make two,
#2” one of each
variation.

11. Sew one #2” x !#2” Fabric A strip to 3. Sew one unit from step 2 to one (2” x !#”
one unit from step 2 as shown in top section Fabric A piece as shown. Press. Make two, one
of diagram. Press. Sew unit from step 10 of each variation.
between two units from step 7, checking (2” (2”
orientation of units prior to sewing. Press.
Sew units together. Press.
!#2”
#2”
!#” !#”

units from step 3 as shown. Press.
12. Sew unit from step 11 between two $” x

@)2” Fabric A strips. Press seams toward Fabric
A. This completes the Middle Panel/Block 2.
Bottom Panel: Block 3

1. Sew one &2” x @2” Fabric D strip between
one @2” x #2” and one @2” x !)2” Fabric A
pieces as shown. Press.
#2” &2” !)2” 5. Refer to Triple Delight Quilts Appliqué
@2”
patterns (page 36) and Adding the Appliqué
(page 34) to stitch circle border, large circle
and medium circles to unit to complete the
2. Sew one !2” x #2” Fabric A and one !2”
Bottom Panel: Block 3.
x %” Fabric F strip. Press. Make two. Sew one
unit from this step between one %2” x *” and
one #2” x *” Fabric A pieces as shown. Press.
Make two, one of each variation.
#2” %”
!2”
Make 2
%2” #2” #2” %2”
*” *”

Adding the Appliqué 2. Slide 16” interlocking stretcher bars
The instructions given are for Quick Fused together check for square by measuring from
Appliqué Method for other methods refer to corner to corner, adjust if necessary. Staple
General Instructions (pages 114–115) for at corners to secure in place.
Appliqué Technique. Note: It is recommended
to use removable stabilizer on the wrong side
of the fabric when machine appliquéing. This
will give stability to the piece, even stitching,
and prevent puckering of fabric.
1. Trace circles—one large border, one
large, one medium and two small circles and
trace two squares on page 36 on paper side Staple stretcher bars at corners
of lightweight fusible web leaving 2” space
3. Place quilt wrong side facing up and
between pieces. Cut approximately 4” away
center stretcher bars on top. Pull fabric
from trace line.
around bar, staple in the middle of each
2. With fusible web paper-side up, fuse stretcher bar making sure quilt is taut. Turn
to wrong side of fabric scraps following unit over to check block placement. Adjust
manufacturer’s instructions. Cut on traced placement if needed.
line.
3. Refer to layouts on page 29–30 to arrange
and fuse appliqués to blocks. Finish all
appliqué edges with machine satin stitch or
decorative stitching as desired.
Finishing the Wall Art

(page 115) for Finishing the Quilt. Layer and
baste backing, batting, and quilt top together. 4. After checking placement continues
Hand or machine quilt as desired. Add beads, working from center, stretching and stapling
buttons and trims to embellish the art panels quilt, stopping at corners.
as desired.

5. Pull corner tight and check front to make Making the Pillows
sure there are no ruffles. Fold excess fabric Referring to Triple Delight Wall Art
at 90° angle, crease and form corner. Staple instructions on pages 30–34, sew desired
tightly to back, repeat for all corners. Add block or blocks together for pillow tops.
hanger to back of bar. Note: Panels can be The quilt blocks can be made into either 20”
finished using binding strips if stretcher bars pillows or a 16” pillow with 2” flange.
are not desired.
1. Layer batting between pillow top and
lining piece. Hand or machine quilt as
desired. Trim batting and lining even with
pillow top.
2. On one !#” edge of backing piece fold
under 4” to the wrong side and press. Turn
under an additional 4” and press. Stitch along
folded edge. Repeat for other backing piece.
3. Place quilted pillow top and two backing
pieces right sides together matching raw
edges and overlapping backing pieces
(finished hem edges toward center). Using
a 4”–wide seam sew around all edges, clip
corners and turn right side out. Press. If
making 16” finished pillow with 2” flange
measure 2” from outside edge and marked
pillow front. Stitch on marked line to finished.
Insert pillow form.
Option: Making a Pillow Form---Cut two
@)2” fabric squares for 20” pillow or cut two
!^2” fabric squares for 16” pillow. Using 4”-
wide seam sew around all edges leaving a 4”
opening for turning. Stuff pillow to desired
fullness with polyester fiberfill. Hand stitch
opening closed.

Triple Delight Quilts
Appliqué Patterns
Patterns are for quick-fuse technique
these are the finished sizes Make 1 Large Border Circle
Make 1 Large Circle
Make 2 Medium Circles
Tracing Line
Placement Line
Make 2 Squares Make 2 Small Circles

Fly
&
Away
Translucent
ava i l a b le n ow
book review
by Vicki Dar Gifts Galore!
W ith the season of giving rapidly approaching, many people
people fall into the trap of waiting too long to start working
on their gift list. It’s far too easy to find yourself in the midst of a
buying frenzy that leaves you with gifts that don’t come close to
representing your true feelings for the recipient.
A handmade, thoughtfully prepared, handmade gift, large or
small, is always appreciated. Even with good intentions, sometimes
we lack ideas for suitable gifts, though. Asian Fabric to the rescue!

I’d like to introduce you to two lovely books the list and see the designer responsible for
from That Patchwork Place, a Martingale each project as well. I have no doubt you’ll
and Company imprint. They will provide you recognize several of the names.
with both the inspiration to get busy checking Only three of the 25 gifts mention Christmas
gifts off your list and the patterns, templates specifically. Two use stylized poinsettia
and instructions to insure you accomplish motifs and one featured pieced tree motifs-
the task with ease and success. -all would be lovely in most homes. The
Sew the Perfect Gift features 25 handmade remainder are less seasonal and will fulfill
gifts. Twenty-two different designers came your requirements for gift giving throughout
together for this book with most developing the year.
only one gift. Because of this, the projects Quilters will enjoy the first chapter which
represent a delightfully diverse selection of offers four sweet quilting projects. The third,
gifts and styles. titled “Time for Tea, Have a Cup With Me,” by
The Contents page separate the projects Kay Mackenzie, will be a guaranteed hit with
into five categories--Quilted Treasures, your tea loving friend. To make it extra special,
Around the House, Great Gifts for Special gift it with a homemade gift certificate that
Interests, It’s Easy To Be Green and Just In can be redeemed for afternoon tea and sweet
Time for Christmas. You can quickly scan treats with you.

towels with corresponding
kitschy images my mother
embroidered for me as a
housewarming gift when
I purchased my first home
in my early twenties. This
The second chapter features five projects project, by Cynthia Tomaszewski, reminded
designed to perk up the gift recipient’s home. me how quickly simple embroidery stitches
There are four different pillow selections. can transform a blank towel into a long
Titled, “The Wheat-Stalk Throw Pillow,” treasured gift.
the second pillow, by Vanessa Christenson, Collectively, the third chapter is my
provides a high impact design statement favorite. I can quickly think of several people
for a very limited cost. You’ll likely end who would relish all the gifts shown. A
up whipping up one or two for yourself at few interest specific gifts include, a tote for
same time. Plus, once you’ve mastered the knitting friends, a gardener’s apron and an
incredibly easy technique used, your creative adorable pincushion for sewists.
flame will be lit and ideas for additional The “Knitter’s Project Tote”, by Adrienne
designs will flow like hot lava. Smitke will come together fast. The publisher,
Whether you’ve embroidered before or Martingale and Company, has even included
never had the good fortune of trying one of the bonus patterns online that compliment this
original forms of embellishment, the “Happy gift. Combine the book and online projects for
Mornings Embroidered Towels,” should be on truly useful and memorable gift set that will
your list. I still have the name of the week be used for years to come.

A few years back, I made myself an apron Cassie Barden has another project in this
to wear while I garden. It’s handy to have a chapter. The “City Roses Purse” would be
place for all the little items you always end splendid in so many Kona Bay fabrics. This
up needing. The “Green Thumb Gardener’s super simple pattern that can be made up
Apron” by Cassie Barden is the perfect choice quickly looks very classy and is the perfect,
for gardening friends. Depending on the not too big, not too small size.
fabric design, it could also be perfect for The “City Roses Purse” calls for one or two
barbecue fans, busy moms and make-up covered button kits. If you’ve never made
brushes waiting for action. covered buttons, you’ll enjoy learning how. I
The “Posy Pincushion” by Lum DeBono have given little bags of fabric covered buttons
would put a smile on a non-sewer’s face. The as a meet a girlfriend for lunch gift and the
captivating little cushion featuring graceful, recipient was delighted.
embellished posies will be like receiving a Chapter Five, It’s Easy To Be Green, fulfills
bright bouquet everyday. You’ll be thought of its promise with five delightful projects. Beth
every time they use it. Klovich and Karen Clifton have contributed
The pattern calls for felted wool. The two adorable little wool bags. As a bonus
instructions are provided later in the book. and maybe one of the things I appreciated
If you’re buying wool off the bolt, plan on most about the book is Beth’s page of Tips for
making more than one. Once the pieces have Working with Recycled Wool. I’m a newbie in
been cut, multiples will go together in little this area. Her lessons will be so helpful as I
more time than one. When you need another scour the thrift shop racks for wool sweaters.
gift, in a couple months, you’ll be glad you The last project I’ll mention is by Sara
made extras. Diepersloot. The “Lunch Break Reusable

Sew Gifts, too, gives you a
total of 25 handmade gifts
projects from a variety of top
designers. I see some of the
same designers we met in
the first book. The majority,
though, are new, insuring a
fresh perspective.
I’ll keep this review brief
Bags” are practical and beautiful and you as the deadline for the wrapping up the
can choose just the right fabric for each magazine looms. This newer gift treasure
recipient—think children, co-workers and trove has defined four chapters which cover
mail carriers. The list is endless! Who doesn’t ever popular areas of interest.
need a lunch bag at one time or another? The The first, “Bags, Bags, Bags,” will not
vinyl lining makes it easy to wipe down and disappoint. The title may seem simple but
they’re machine washable as well. the dynamic projects are not. Eight bags with
If you couldn’t tell, I liked Sew the Perfect Gift. eight different makers run the gamut from a
Just as I was ready to wrap up this review, I key wallet to an ipad cover to a hobo bag.
see an email from Martingale, the Publisher, Gifts for Special Interests, Chapter Two,
letting me know a new gift oriented book offers instruction for six adorable gifts. Both
was being released. Sew Gifts, the brand new of these gift making books address our need
title, I believe, attests to the success of Sew for gifts that will guarantee a nod of approval
the Perfect Gift. from both genders, young and old.

many of the finished
items from Sew Gifts. They
were even more enticing
when viewed in person.
Both Sew the Perfect Gift
and Sew Gifts include an
I loved all of these and could easily ramble impressive mix of projects that will make the
on about each item. A number of them are investment in each title well worth it. I can’t
likely to make my gift list. recommend one over the other. There is little
The third chapter, Kitchen Mates, brings overlap in the gifts the designers have created
a new gift twist to the table from the Sew and in a perfect world, you’ll acquire both.
the Perfect Gift. Four lovely, practical items Visit www.shopmartingale.com to view
including a too cute Little Girl Bake Shop Set photos of all the projects in both books.
for the budding chef will be appreciated by Both titles are priced at $24.95 for the print
friends and family who love to cook. and eBook version and $16.99 for the eBook
The last chapter title, Pillow Perfect, speaks version only. Even at full price, the cost per
volumes. Although only four pillows are project will save you money over time. All of
included, they are fresh and modern and can the projects have been created by top notch,
take on a variety of looks depending on the creative and experienced designers.
fabric designs you choose to work with. The books can be purchased at local quilt
I have just returned from International shops, book stores and directly from the
Quilt Market in Houston. Martingale, the publisher.
publisher of both titles, had a booth displaying

Lotus Collec
new pattern coming
next month
ction click quilt to download
a free pattern
Kitchen
Essentials
This striking fabric will bring a fresh

look to your kitchen while entertaining
in style wearing this chic apron.

Let’s Begin
Table Quilt Cutting Chart & Material List Potholder
Before you begin read all#1 Chart
instructions.
Referring to project Cutting Chart, cut
First Cuts strips as indicated in chart
Lotus Table Quilt Lotus Potholder #1
then cut smaller pieces listed under
31” octagon 11” square
Next Cuts from these strips. Refer to
General Instructionsmaterial list
(pages 114–115)
for Accurate Seam Insulated Batting/Fleece
Allowances and a yard
(see Heat Resistant Tip Box page 51)
Assembly Line Method to construct
Backing 3 yard
this quilt. Use a 4 ”-wide seam
Fabric Name, Placement & Yardage
allowance throughout this project.Cuts
Featuring fabrics from the
Lotus Collection.
Press seams in direction
Fabric Aof arrows ! as (2” x %2”
LOTU-01 Blue @ ^2” x @”
indicated in each diagram.
“Fussy Cut” Elements
3-2 yard (depending on fabric selection)
Instructions given for

Making the Lotus Block
FabricFabric
B ! !” x !)2”
one table quilt—two 1. Sew one (2” x %2” A piece
different layout LOTU-05 Blue @ !” x !)”
options are shown. to one !” x %2”Accent
Fabric
BorderB strip
@ as
!” x &”
shown. Press. Sew 8this ! !” x %2”
unit between
yard
@ !” x @”
two !” x !)” Fabric B strips. Press.
Make one for potholder
Fabric Cand four
! for
@2” x &”
LOTU-06 Green @ @2” x #2”
material list table quilt.
Background
@ !” x !!2”
Backing ! yard %2” 4
!” yard !” @ !” x !)2”
Batting #%” x #%”
*Yardage will vary depending on motif selection and fabric repeat. (2” !)”
Fabric Name, Placement & Yardage First Cuts Next Cuts Potholder #2 Chart
Fabric A !* !)2” square !”
LOTU-01 Blue $*
“Fussy Cut” Elements **
(2” x %2”
^2” x @”
Lotus Potholder #2
Make 1 ! (potholder)
!s-@ yards* (see note below) 11” quilt)
Make 4 (table square
Fabric A Purchase Tip: 2. Sew one ^2” x @”material
Fabric list
A strip to
To calculate the amount of yardage needed for your project draw on paper the one !” x @” Fabric BInsulated
piece as shown. a yard
Batting/Fleece
following sizes then cut out paper on traced lines take these templates to fabric store to
select the motif areas and determine yardage needed for table quilt. Press. Make two for(seepotholder
Heat Resistantand
Tip Box page 51)
!)2” square (one)---(2” x %2” (four)---^2” x @” (eight) eight for table quilt. Backing 3 yard
$ Fabric Name,@”
Placement & Yardage Cuts
Fabric B ^ !” x $@” !” x !)2”
LOTU-05 Blue * !” x !)” Fabric A ! *2” square
Accent Border * !” x &” LOTU-01 Blue
3 yard $ !” x %2” ^2”
“Fussy Cut” Center
* !” x @”
!”
Fabric C ! !%2” x $@” ! ** !%2” square
LOTU-06 Green $ #2” squares Fabric B
Make 2 (potholder) ! @2” x &”
MakeLOTU-05
8 (table quilt)
Blue @ @” x !!2”
Background * @2” x #2”
Border @ @” x *2”
s yard **cut !%2” square twice diagonally for 4 yard
side triangles.

3. Sew one !” x &” Fabric B strip to one unit Making the Table Quilt
from step 2 as shown. Press. Make two, one of 1. Refer to General Instructions (page 114) for
each variation for potholder and make eight, Simple Triangles technique. Draw a diagonal
four of each variation for table quilt. line on the wrong side of four #2” Fabric C
!” !” squares. This will be your sewing line. Place
marked squares on one !)2” Fabric A square
&” &” right sides together as shown. Stitch on drawn
line, trim 4” away from stitch lines and press.
Make 1 @, one of each variation (potholder)

Make 8, four of each variation (table quilt)
4. Sew one unit from step 3 to one @2” x #2”

Fabric C piece as shown. Press. Make two,
one of each variation for potholder and make Fabric C- #2””” squares
eight, four of each variation for table quilt. Fabric A- !)2””” square
@2” @2” 2. Note: Refer to quilt layout on pages 47–48

to view both block layout options for table
quilt, steps 2 & 3 diagrams show both options.
Sew one Lotus Block between two Fabric C
triangles as shown. Press. Make two.
#2” #2”
Option 1
Make 1 @, one of each variation (potholder)
Make 8, four of each variation (table quilt)
5. Arrange and sew together one unit from

step 1 between two units from step 4, one of
each variation, as shown. Press. Sew one !”
x !)2” Fabric B strip to unit from this step. Make 2
OR
Press. Make one block for potholder and four
blocks for table quilt. Option 2
!)2”
!”
Make 2
Make 1 ! (potholder)
Make 4 (table quilt) 3. Sew one block from step 1 between two

Lotus Blocks as shown. Press.
Option 1
Table Quilt Cutting Chart & Material List Potholder #1 Chart
Lotus Table Quilt Lotus Potholder #1

31” octagon 11” square
OR material list
Option 2 Insulated Batting/Fleece a yard
Backing 3 yard
Fabric Name, Placement & Yardage Cuts
Featuring fabrics from the Fabric A ! (2” x %2”
Lotus Collection. LOTU-01 Blue @ ^2” x @”
“Fussy Cut” Elements
4. Referring to layout on pages 47–48,
Instructions given for
arrange and sew row from step 3 between two
one table quilt—two Fabric B ! !” x !)2”
LOTU-05 Blue @ !” x !)”
rows from step 2. Press.
different layout
Accent Border @ !” x &”
options are shown.
8 yard ! !” x %2”
5. Press backing and quilt top trimming all @ !” x @”
Fabric C ! @2” x &”
(page 115) for Finishing the Quilt. Layer and LOTU-06 Green @ @2” x #2”
materialbaste
list backing, batting, and quilt top together. Background @ !” x !!2”
Backing Hand
! yard or machine quilt as desired. Refer to 4 yard @ !” x !)2”
Batting #%” x #%” the Quilt and bind as desired.
Binding
*Yardage will vary depending on motif selection and fabric repeat.
Fabric Name, Placement & Yardage First Cuts Next Cuts Potholder #2 Chart
Fabric A !* !)2” square
LOTU-01 Blue $* (2” x %2”
Quick Napkin Tip
“Fussy Cut” Elements ** ^2” x @”
Lotus Potholder #2
!s-@ yards* (see note below) 11” square
1. “Fussy Cut” a !^2” square from a motif fabric
used Tip:
Fabric A Purchase in quilt and one !^2” backing square. Place material list
fabric
To calculate the amountright sidesneeded
of yardage together matching
for your project drawoutside edges.
on paper the
Insulated Batting/Fleece a yard
following sizes then cut out paper on traced lines take these templates to fabric store to
2.areas
select the motif Using seam,
4”–wideyardage
and determine stitch
needed around
for table quilt. all edges
leaving a $”
!)2” square openingx %2”
(one)---(2” on one side for
(four)---^2” x @”turning.
(eight) Clip Backing 3 yard
corners, turn right side out and press. Hand stitch
$ !” x !)2” Fabric Name, Placement & Yardage Cuts
Fabric B
opening closed. ^ !” x $@”
LOTU-05 Blue * !” x !)”
Fabric A ! *2” square
3. Stitch napkin
Accent 4” from outside edge.* !” x &”
Border LOTU-01 Blue
3 yard $ !” x %2”
“Fussy Cut” Center
* !” x @”
Fabric C ! !%2” x $@” ! ** !%2” square

LOTU-06 Green $ #2” squares Fabric B ! @2” x &”
Background * @2” x #2” LOTU-05 Blue @ @” x !!2”
Border @ @” x *2”
s yard **cut !%2” square twice diagonally for 4 yard
side triangles.

Making Potholder #1
1. Refer to Locust Table Quilt, steps 1-5
Heat Resistant Tip Box
pages 48–49 to make one Lotus Block. Press.
A heat resistant material needs to be used when
2. Sew block between two !1 ” x !)2” Fabric C making potholders there are several different ones
strips. Press seams toward Fabric C. Sew this on the market follow manufacturers instructions
some will need to have additional fabric and
unit between two !” x !!2” Fabric C strips as
batting when using their product. This product
shown. Press. works great for potholders, table pads, oven mitts,
baby warmers, water heater covers, iron cozy, iron
!” !”
board covers, and other type of projects needing
protection from heat.
Quilted Iron Quick Fabric is 42”-wide, 100%
!!2” aluminum on a 100% cotton back, polyester
batting and polyester/cotton backing, heat
resistant up to 399 degrees, machine wash cool/
air dry flat or use a damp cloth to wipe clean.
Iron Quick Fabric is 45”-wide, 100% aluminum
3. Fold one @2” x &” Fabric C strip in half with 100% backing, machine wash cool/air dry flat
lengthwise and press. Unfold piece and fold or use a damp cloth to wipe clean, heat resistant
again bringing both outside edges to center up to 399 degrees, pre-washing is recommended.
mark. Press. Fold in half lengthwise and This product has no insulating properties some
form of fleece or batting is required when making
press. Topstitch close to both edges
potholder.
Insul-Bright Fabric is 45”-wide, 100% polyester,
insulated material, consists of hollow, polyester
fibers needle punched through a nonwoven
substrate and through a reflected metalized poly
4. Fold tab in half crosswise as shown and film. It is heat resistant not heat proof, at least
place on front of block a”-2” from outside one layer of cotton batting is recommended with
corner edge aligning raw edges. Baste tab in used for potholder, or oven mitt.
place and leave in this position.
6. Using 14”-wide seam, stitch around all

edges, leaving a 4” opening on one side for
turning. Trim batting close to stitching and
backing even with quilt edges. Clip corners,
turn right side out, and press. Hand stitched
5. Instruction for finishing will vary
opening closed. Press making sure hanging
depending on which heat resistant material is
tab is as shown below. Topstitch close to edge
used. For Quilted Iron Quick Fabric no batting
and add any additional stitching as desired.
or extra fabric is require so place the block
on heat resistant fabric right sides together.
For other products place block and backing
piece right sides together and place this unit
wrong side of backing on batting.

Making Potholder #2
1. Sew *2” Fabric A square Apron Cutting Chart & Material List
between two 1 @ ” x *2” Fabric
B strips. Press seams toward Lotus Apron
Fabric B. Sew this unit between
two @” x !!2” Fabric B strips as
shown. Press.
@” @”
!!2”
2. R e f e r r i n g t o M a k i n g
Potholder #1 (page 51) steps
3-6 to make and add hanging tab
and finishing the block.
Featuring fabrics from the Locust Collections
*Extra fabric may be needed for “Fussy Cut” pieces; amount

varies depending on motif selection and fabric repeat.
Fabric Name, Placement & Yardage Cuts
Fabric A ! @&” square (apron)

LOTU-03 Blue
Apron
1! yard*
Fabriac B ! *2” x @)2” (pocket)

LOTU-01 Blue # %2” x #2” (medium accent
Pocket & Accent tabs)
2-w yard*
Fabric C ! (2” x @)2” (pocket trim)

LOTU-05 Blue @ #” x *2” (medium accent tabs)
Trim & Neck Ties @ @2” x $2” (small accent tabs)
s yard @ @” x #^2” (neck ties)
! !2” x @&” (accent trim)
Fabric D ! @&” x #!” (apron backing)

LOTU-06 Blue @ %2” x @*2” (waist ties)
Apron & Waist Tie ! #2” x @&” (bottom)
!2 yards # #2” x %2” (accent tab backing)
@ !2” x $2” (small accent tabs)

Let’s Begin 4. Place pocket unit on top of apron #2”
Before you begin read all instructions. Take away from each side edge and !2” from
time to explore the areas to be “Fussy Cut” bottom edge. Topstitch bottom and side edges
paying close attention to design elements leaving pocket top free of stitches. Referring
where motifs appear when apron is worn. to diagram below, measure and mark a line &”
Use a 4”-wide seam allowances and press from each pocket’s side edge. Stitch on drawn
seams in the direction of arrows as indicated line to create three pockets.
in each diagram.
Making the Apron

1. Referring to curve pattern on pages
55–56, cut armhole curve from top corners
of @&” Fabric A square and @&” x #!” Fabric D
backing piece.
2. Sew (2” x @)2” Fabric C pocket trim to
*2” x @)2” Fabric B pocket as shown. Press. #2” #2”
@)2” &” &”
(2”
!2” from bottom edge
5. Layer %2” x #2” Fabric B accent tab and

#2” x %2” Fabric D accent tab backing right
sides together. Stitch sides and bottom edge-
*2”
leaving top free of stitching. Turn right side
out. Press. Make three motif tabs. Topstitch
sides and bottom edges.
3. Fold unit from step 2 in half right sides
wrong Fold
together matching raw edges. Using 14”-wide side
of
seam, stitch around all edges, leaving a 5” backing
Neck ties and Fabric C & D
accent tabs
opening on one side for turning. Clip corners, Motif tabs
turn, and press. Hand stitched opening Make 3
closed. The backing fabric is larger than the 6. Referring to step 5 diagram fold @” x #^2”
front creating a 12”-wide trim, stitch in the Fabric C neck tie crosswise in half right sides
ditch to hold backing in place. together to create a @” x !*4” folded piece.
Stitch both long sides leaving short edge free
Fold
of stitching. Turn neck tie right side out, press
and topstitch close to edges. Make two.
wrong side of fabric
7. Repeat step 6 to make two small accent
tabs using !2” x $2” Fabric D pieces, two
medium accent tabs using #” x *2” Fabric C
pieces and two small accent tabs using @2”
x $2” Fabric C pieces.

8. Fold %2” x @*2” Fabric D waist ties in half 11. Arrange neck and waist ties on apron
lengthwise as shown to create a @w” x @*2” unit 2” from edges and baste in place. Bring
folded piece. Draw a $%0 angle on one short accent tabs, waist ties, and neck ties in
end. Stitch angle and long side leaving other toward center to keep them away from seam
short end free of stitching. Cut 4” away from allowance area when sewing apron back and
angle stitch line. Turn right side out and press. apron together.
Topstitch both long sides and angle edge. Make 2” in from
two waist ties. outside edge
Fold
Make 2 waist ties
9. Referring to diagram below to arrange tabs

as desired on #2” x @&” Fabric D bottom piece
as shown. Note: Fabric D small tab is center
on Fabric C medium accent tab. Baste tabs in
place.
@&”
#2”
Place ties and bottom tabs toward center of apron

10. Sew !2” x @&” Fabric C strip between units prior to sewing backing and apron front together.
from step 4 and step 9. Press.
12. Place apron and backing pieces right sides
@&”
together. Using a”–wide seam, stitch around
all edges leaving a &” opening on one side for
turning. Clip corners, turn right side out and
press. Hand-stitch opening closed.
!2”

Apron Cutting Template
Section 1
Trace Apron Section 1 and 2 aligning placement

lines to make a whole cutting pattern.
Section Section
1 2
Trace Line
Placement LIne

*Using template to cut away
these areas of @&" Fabric A
square to make apron top
section piece.
Apron Cutting Template
Section 2
* * Trace Apron Section 1 and 2 aligning

placement lines to make a whole
cutting pattern.
Section Section
1 2
Trace Line
Placement LIne

The L’Ecole Semillion’s crisp,
food friendly characteristics
mean it will be appreciated by
most at your holiday table.
Next, we bring you a 100% Syrah
powerhouse by Force Majeure.
Launching in 2004, Force is a
relative newcomer but their wines
easily live up to their name.
Syrah ranks third in plantings of
Washington’s reds but is rising to
the top as a sought after varietal.
The bulk of Force Majeure’s
labels are collaborations. They
have cleverly worked with some of
Washington’s finest winemakers.
Force’s 2010 Collaboration III is
the result of winemaker Mark
McNeilly’s years of experience.
The beautiful color, rich
aromatics and smooth finish
and excellent value make this an
impeccable choice for enjoying
now or cellaring to enjoy for years
to come.
Rick and Debbie Johnson, the
creators of Walla Faces, have
by Vicki Dar merged winemaking, an inn and
art together.
The Walla Faces folks refer to
Celebrate Fabric & Wine by Vicki Dar this 100% reisling 2008 Ice Wine
As winter approaches, thoughts in Europe, number less than ten as ‘apple pie in a bottle.’
turn to holiday gatherings and but are popular none the less. Grapes for the wine are frozen on
time spent sitting by the warmth Savor sparkling wines alone the vine when they’re harvested
of a fireplace. The perfect glass as a celebratory marker or and transformed into a velvety,
of wine and a stack of stunning complement a meal or appetizers. rich work of liquid deliciousness.
fabric fit splendidly into that What a great way to welcome for Our next issue will bring you
picture. your guests. Port style wines from Washington
The wines and fabric we’ve Chateau Ste. Michelle recently state.
chosen to share can stand alone did a bottle makeover. The new
or, if used collectively, will make label is shown on the next page.
for a dynamic showing.. L’Ecole No. 41, maker of the
If serving all four wines, work 2008 Semillion, was the 20th
from left to right to offer your Washington winery. They started
guests the optimum tasting in 1983 and have grown to enjoy
experience. international distribution and
We start with the Domaine Ste. recognition.
Michelle Brut, from Chateau Ste Washington Semillion is
Click here
to download a
Michelle. earning a strong following and the free guide
Wineries in Washington making acreage dedicated to the grape is
what is referred to as Champagne likely to increase in years to come.
Winter Celebration Wine Picks from Washington state
2008 L’Ecole No.

41 Columbia
Valley Semillion
avg price $14
Chateau Ste. Michelle
Michelle Brut
avg price $11
Remarkably brilliant
Both Domaine Ste Michelle Sparkling Brut with vibrant fruit and
Columbia Valley and Michelle Brut have balanced acidity, this wine shows fragrant
delicate flavors of apples and citrus and lively citrus blossom and honey aromas, with pretty
acidity, They are the perfect accompaniment layers of lemon bar, apricot and keylime
for a wide array of foods. Perfect for greeting expanding on a balanced finish.
guests and celebrations.
Recommended
Spicy fries, artichoke or cheese dips, calamari Shellfish, crab cakes, spicy chicken, asparagus,
and salty snacks roasted vegetables, young fresh cheese
Recommended Kona Bay fabric and pairing notes | all designs
Passion Kona Bay Sateens

PASS-07 Red 6362-A
Just the way sparkling wines bring together The rich sheen and silky feel are an added
a celebration and carry it to the end, so does bonus to the traditional Japanese design that
this Passion design. Showcasing the elements would feel at home in a quilt or on kimono
from the entire collection, it can be the being worn in Kyoto a century ago. The
starting point to effortlessly pull together a delicate designs filling the larger motifs add
variety of projects. balance and interest.
| Wine tasting notes provided by the wineries
Force Majeure
Collaboration
Series III
avg price $58
2008 Walla Faces Reisling Ice Wine

Collaboration Series III is 100% Syrah that avg price $25
exhibits the abilities of the winemakers to This beautiful ice wine features a bright dried
deftly capture Washington State’s distinctive apricot and pear nose. Silky texture with
fruit intensity and richness. The goal is to mouth filling sweetness that is not cloying
create a pure expression of Red Mountain but is incredibly rich ending with clean acidity
Syrah where the fruit is unleashed and the and a lingering finish that keeps you wanting
“powerful elegance” of Ciel du Cheval takes more. A great stand-alone dessert wine that
center stage. will also pair well with stone fruit oriented
desserts. Serve well chilled.
d Food Pairings
Beef, lamb, roasted turkey, grilled salmon Cherry pie, peach cobbler, plum compote,
and strongly flavored cheeses apricot upside down cake
are part of larger collections and are available at your local quilt shops
Shadowland II Mikoto
SHAD-06 Fire MIKO-03 Coral
The subtle intensity of the dynamic layers will As elegant as softly colored royal icing that has
add the brillance of an autumn centerpiece been intricately piped onto a cake blanketed
to your table or next fabric creation. You can with a rich buttercream frosting, Mikoto will
almost feel the sun breaking through the provide a sophisticated and superb accent in
clouds as it hightlights fall flowers in the any environment from modern to traditional.
garden.
click quilt for FREE
pattern download
Tomorrow Morning
available now
Mizutaki
Chicken & Vegetable Hot
Pot, A Fukuoka Speciality
As winter gets closer, we begin to think about warm
comfort food. In Japan, thoughts often turn to nabemono.
Often simply referred to as nabe, the different dishes might
most closely resemble American stews or hearty soups.
Nabe (nah-bay) means cooking pot and mono means
things. There are two main categories of nabe in Japan.
Mizutaki falls into the first where the cooked elements are
eaten with a dipping sauce to enhance the flavor.
Mizutaki is a Fukuoka, our featured Asian Fabric travel
destination, specialty that is said to have been created
by Heisaburo Hayashida after traveling to Hong Kong and
living with an English family when he was only 15. When he
moved to Fukuoka in 1905, he brought his creation, a blend
of English broth and the Chinese method of simmering
vegetables, with him. Assorted variations of Mizutaki
spread throughout Japan and are still enjoyed today.
We have provided a basic recipe but, later, you may want
to experiment by adding other favorite vegetables, chicken
meatballs or seafood instead of chicken.
In Japan, hot pot meals are typically kept warm (if not
prepared all together) on a burner at the table. The recipe
can be prepared on the stove and simply served at the
table but a table burner will add to the fun and will surely
be remembered by your guests, young and old.

Download this
fun Fukuoka
restaurant guide
if you plan a
trip or just for fun and to learn
more about Fukuoka food specialties.

Mizutaki
(Makes approximately
six servings)
ingredients
8 cups dashi stock (page 65)
1 tsp salt
4 boneless, skinless chicken
thighs, cut into pieces
1 block of tofu, cut into blocks
2 leeks, white and light green
parts, sliced on an angle into
2” pieces
1 napa cabbage, cut into 2” pieces
4 ounces mushrooms, sliced
(shitake preferred)
preparation 1 bunch of enoki mushrooms
1 medium carrot, peeled, cut into
Add 3-4 cups of dashi stock to the pot along with chicken.
2-inch pieces, and thinly sliced
Bring to a boil. Turn the heat down and simmer until chicken
2 heads baby bok choy, cut into
is cooked. Skim off any foam on the surface.
bite-size pieces
Add other ingredients and simmer until vegetables have Ponzu sauce for dipping
softened. Do not overcook. (page 65)
Put ponzu sauce in bowls for dipping. Provide a bowl for
each person.
Remove cooked ingredients from pot and enjoy with the dipping sauce. Additional warmed Dashi
may be added as needed.
NOTE: If you are preparing the hot pot at the table, you can add ingredients other than the chicken
as you enjoy your meal to avoid overcooking vegetables. Another Japanese custom you might
want to explore is adding cooked rice to the hot pot after all the ingredients have been eaten. The
warmed, richly flavored rice is then served as the last course of the meal.

Hot Pot History
Dashi
ingredients
4 cups water Nabemono
1 cup dried bonito flakes meals have been
a long time favorite in Japan.
preparation Hot pot style cooking, though, is thought to have
originated with Mongol if not before. Although
Boil water. Add bonito flakes and let they established the largest land empire in
simmer for 3 minutes. world history, the Mongols were nomads. It was
Strain and use as needed in recipe. necessary for them to move several times a year
in a constant effort to keep themselves and their
animal herds fed.
Ponzu Sauce The Mongol warriors, too, were on the move.
To travel unimpeded with cooking supplies, a pot
ingredients was hung over the campfire. Various items went
2 Tbsp rice vinegar into the pot and dinner was served.
2 Tbsp mirin During the Kofun period in Japan, between
the third and sixth century, homes began to
⅓ soy sauce
incorporate an irori. An irori is a traditional style
2 Tbsp light brown sugar
Japanese hearth that served the dual purpose
1 Tbsp bonito flakes
of heating the room and providing the heat for
1 pinch red pepper (optional)
cooking.
½ cup lime juice Like the earliest cooking pits in Japan, the
irori was filled with sand to contain the fire. For
preparation cooking, a hook and pulley system was hung from
Mix rice vinegar, mirin, soy sauce, the ceiling. A pot was placed on the hook and
bonito flakes and brown sugar well. could be easily raised and lowered.
Bring to a boil over medium heat. As time went on, similar set ups but on a
Remove pan and let cool. smaller scale were incorporated into a table,
allowing the family to sit about the table, cook
Strain, discarding bonito flakes.
and share a meal. Today, most families use a
Add lime juice and red pepper. portable butane burner like the one pictured
Refrigerate in a glass jar until above for hot pot style cooking.
needed. Will keep in refrigerator up
to 3 days.

In stores now
nd
Shadowla
Col lect ion
Q u i lt s
Be sure to pick up the original
Shadowland Collection Quilts
book—remade quilts with
new cutting instructions
will be made available for
download. Must purchase
book for insurcitions.
n Yenter
gned by Jaso
Fabric desi eorg ie Gerl
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Quilts insp
Cats &
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Splendor
Bed Runner
Add a spark of color to any

simple bed setting with this easy
to make bed runner.
Splendor Bed Runner Cutting Chart & Material List
Splendor Bed Runner Quilt (below) featuring fabrics from

*^” x @%” the Shadowland II collections.
This quilt version is shown on page 69,

fabrics used in this quilt are from the
Shadowland II, Blossom, Flyaway, and
Color Movement fabric collections.
material list
Fabric Name, Placement & Yardage First Cuts Next Cuts Backing @2 yards
Batting @(” x ()”
Fabric A ! (2” x $@” @ (2” x !)2”
SHAD-10 Cream ! ^2” x $@” $ ^2” x &2” Read Cutting Tip prior to cutting fabrics. Cut strips as indicated
Background & #2” x $@” $ #2” x !)2” in chart then cut smaller pieces listed from these strips.
@ yards %^ #2” squares
!) @” x $@” $ @” x @^” Fabric Name, Placement & Yardage First Cuts Next Cuts
* @” x !@”
* @” x !)2” Fabric E ^ @w” x $@”
@ @” x ^2” SHAD-06 Forest @ !2” x $@” $ !2” x !^2”
# !2” x $@” * !2” x &2” Sashing & Binding
* !2” x $2”
w yard
Fabric B ! !)2” x $@” $ !)2” x ^2”

Fabric F ! !)2” x $@” $ !)2” x ^2”
SHAD-06 Fire SHAD-08 Gold
Block Featured Fabric Block Featued Fabric
2 yard 2 yard
Fabric C $ !2” x $@” @ !2” x @^”

Fabric G @ ^2” x !)2”
SHAD-07 Spring @ !2” x @$2”
SHAD-08 Marmalode
Sashing ! !2” x (2”
Block Featured Fabric
3 yard @ !2” x @”
a yard
Fabric D @ !2” x $@” $ !2” x !)2” Fabric H ! !)2” x $@” $ !)2” x ^2”
SHAD-07 Yellow SHAD-07 Rust
Sashing Accent Block Featured Fabric
6 yard 2 yard

Let’s Begin 2. Repeat step 1 to make two of Unit 2 using
Before you begin read all instructions. #2” Fabric A squares and ^2” x !)2” Fabric G
Referring to project Cutting Chart, cut pieces, make four of Unit 3 using #2” Fabric A
First Cuts strips as indicated in chart squares and !)2” x ^2” Fabric H pieces, make
then cut smaller pieces listed under four of Unit 4 using #2” Fabric A squares and
Next Cuts from these strips. Refer to !)2” x ^2” Fabric B pieces.
General Instructions (pages 114–115) for Unit 2 Unit 3
Accurate Seam Allowances and Assembly
Line Method to construct this quilt. Use
a 4”-wide seam allowance throughout
this project. Press seams in direction of
arrows as indicated in each diagram.
Fabric A- #2” squares Fabric A- #2” squares
Fabric G- ^2””” x !)2””” Fabric H- !)2””” x ^2”””
Making the Quilt Make @ Make $
1. Refer to General Instructions (pages Unit 4
114–115) for Simple Triangles technique.
Draw a diagonal line on the wrong side
of four #2” Fabric A squares this will
be your sewing line. Place two marked
squares on one !)2” x ^2” Fabric F piece
as shown. Stitch on drawn line, trim 4” Fabric A- #2” squares
Fabric B- !)2””” x ^2”””
away from stitch lines and press. Sew Make $
remaining marked squares to piece as
3. Arrange and sew together one #2” x !)2”
shown. Trim and press. Make four and
Fabric A strip, one Unit 1, one @” x !)2” Fabric
label Unit 1.
A piece, one Unit 2, and one (2” x !)2” Fabric
Unit 1
A piece as shown. Press. Make two one of each
variation.
#2” @” (2”
!)2”
Fabric A- #2” squares
Fabric F- !)2””” x ^2”””
Make $
(2” @” #2”
!)2”

4. Arrange and sew together one #2” x #2” @” @” @”
!)2” Fabric A strip, two of Unit 3, three
@” x !)2” Fabric A strips, and one Unit 1
!)2”
as shown. Press. Make two one of each
variation.
@” @” @” #2”
!)2”
5. Arrange two @” x @^” Fabric A strips, one unit 6. Sew one !2” x !^2” Fabric E strip
from step 3, one !2” x @^” Fabric C strip and one unit between two !2” x $2” Fabric A strips.
from step 4 as shown. Press. Make two and label Press. Make four. Sew one !2” x @$2” Fabric
Block 1 and Block 2. Block measures @^” x @$2”. C strip between two units from this step.
Block 1 Press. Make two.
@^”
$2” !^2” $2”
@”
!2”
Make 4
@$2”
!2”
!2”
Make 2
7. Sew one !2” x !)2” Fabric D strip

between two !2” x &2” Fabric A strips.
@” Press. Make four. Sew one unit from step
Block measures @^” x @$2” 6 between two units from this step. Press.
Block 2
Make two and label Block 3. Block measures
@^” %2” x @$2”.
@”
&2” !)2” &2”
!2”
Make 4
Block 3
!2”
Make 2
Block measures %2” x @$2”
@”
Block measures @^” x @$2”
8. Sew one !2” x @” Fabric C piece between 11. Sew one !2” x (2” Fabric C strip between
two @” x !@” Fabric A strips. Press. Make two. two units from step 10 as shown. Press.
!@” !2” !@” (2”
@”
Make 2
9. Sew one Unit 4 between two ^2” x &2”

Fabric A pieces as shown. Press. Make two.
Sew one unit from step 8 to one unit from this
step as shown. Press. Make two. !2”
^2”
&2”

units from step 9 as shown. Press and label
Block 4. Block measures @$2” square.
Block 4
&2”
Make 2 Make 2
10. Sew one @” x ^2” Fabric A piece to one

Unit 4 as shown. Press. Make two. Sew this
unit between two @” x !@” Fabric A pieces.
Press. Make two.
^2” @” @”
@”
Block measures @$2” square

!@”
Finishing the Quilt

1. Referring to layout on page 69–70, arrange
Make 2 Make 2 and sew together Block 1, two of Block 3, one Block
4, and one Block 2 as shown. Press.
(page 115) for Finishing the Quilt. Layer and
baste backing, batting, and quilt top together.
Hand or machine quilt as desired. Refer to
Binding the Quilt and bind as desired.
Exotic
Garden
free pattern
download
available soon
William
available now
Holiday
Ikebana Quilt
Designer: Melanie Formway Chang
Create a floral arrangement by “Fussy Cutting” floral
motif, adding fabric paint, beading and free motion
quilting to create a wall piece for the holidays.
Holiday Ikebana Cutting Making the Appliqué Pattern
Chart & Material List Permission is granted by Kona Bay Fabrics
and Asian Fabric magazine to copy pages
Holiday Ikebana Quilt 82–84. Trace pattern pages aligning lines
to make a whole pattern and enlarge this
pattern by 200%.
Note: Template is for placement of appliqués
on background fabric piece and elements from
this template can be used for hand appliqué.
For quick-fused method appliqué individual
pieces will need to have a reversed image trace
on paper side of fusible web.
Preparing the Appliqué

1. Find flowers that would make a nice
focal point in the design. Melanie used two
peonies measuring approximately 7” and 5”
across. The cherry blossoms and leaves were
material list
attached adding some variety to the floral
Backing w yard
Batting @&” x #*”
arrangement. The ones used in this quilt were
Lightweight Fusible Web & Stablizer dusty rose before paint was added. Following
q yards of each manufacturer’s instructions, apply fusible to
Threads Multi-green, metallic & matching
Wooden Red Beads
back of floral fabric. Fussy cut flower design
Fabric Paint Jacquard after painting.
Red, green, yellow, metallic gold,
teal & black 2. Trace a reverse image of ornaments,
Loew Cornell (fabric brush) series 223 plant stand, ceramic pot interior, ceramic pot
shader size 4
exterior, and pine branches patterns (pages
2” Stencil Brush
Water Container 82–84) on paper side of lightweight fusible
Aluminum Foil web leaving 2” space between pieces. Cut
Paper Towels
approximately 4” away from traced line.
Plastic Knife or Pallete Knife
Brown Fabric Marker With fusible web paper-side up, fuse to wrong
side of fabric scraps following manufacturer’s
Yardage Cuts instructions. Cut appliqué on traced lines
Background ! @$” x #)” after painting is complete.
2 yard
Bottom ! %” x @$”
4 yard
Appliqué Fabrics
Ceramic Pot Exterior ! #” x 1!%”
Ceramic Pot Interior ! &” x !%”
Plant Stand ! $” x @)”
Ornaments ! #” x !%”
Pine Branches ! ^” x (”

Painting the Quilt 4. Add red-orange to cherry blossoms.
1. Using a small piece of aluminum foil and Using red-orange and red, add reflected
palette knife, darken red paint by adding colors to ornaments and leaves. Ornaments
small amount of green to achieve rust. and flowers are now ready to cut and fuse to
Lighten red by adding yellow to make red- background.
orange.
2. Apply a small amount of paint to the brush
and drag it lightly on a paper towel (both
sides). Using red-orange cover most of each
petal allowing white from original flower to
remain.
Making the Quilt

1. Using 4”-wide seam, sew 24” x 30”
background fabric piece to 5” x 24” bottom
fabric piece. Press.
2. Referring to photo on page 77, place plant
3. Add rust to shadowed areas of petals. stand (1) in center on background with top
approximately %2” from bottom of quilt.
Fuse following manufacturer instructions.
3. Center top line of ceramic pot interior (2)
approximately &2” from bottom of quilt. Do
not fuse until remaining pieces are placed
this will make it possible to re-position pieces
depending on the floral fabric you chosen.
4. Referring to photo on page 77, arrange
and fuse pine branches (3 & 4), partial
ornament (5), and outside ceramic pot (6)
on quilt top.
5. Referring to photo on page 77, arrange
and fuse pine branches (7,8,9 & 10), flowers
over pine branches and edge of bowl (11 &
12) on quilt top.
6. Arrange and fuse remaining four
ornaments (13,14,15,16) to quilt.

7. Add gold and rust paint to black Finishing the Quilt
background fabric piece. 1. Layer and center quilt top and backing
8. Using teal and black mixed to match right sides together on batting piece (wrong
leaves lightly shadow white background side of backing on batting). Using 14”-wide
around design and up the left side with the seam, stitch around all edges, leaving a 5”
stencil brush. (Make sure to wipe all excess opening on one side for turning. Trim batting
paint off onto paper towels.) close to stitching and backing even with quilt
edges. Clip corners, turn, and press. Hand
9. Use free motion embroidery as part of stitched opening closed.
the quilting or place stabilizer behind area
to add decorative stitching. Using multi- 2. Referring to Melanie’s Quilting Tip, hand
green thread, stitch pine needles in fan shape or machine quilt as desired.
creating some needles long and others short. 3. Refer to photo to stitch red berry beads
to quilt.
Beads added after quilting

Melanie’s Quilting Tips Using brown thread, stitch bare branches,
partially filling in wider areas. Complete
Quilt stitching around fused pieces,
filling with brown fabric marker.
background area as desired, stitch gold
accent quilting to bottom piece. Using gold
thread, create ornament hangers.

Holiday Ikebana Quilt
Permission is granted by Kona Bay Fabrics and

Asian Fabric magazine to copy pages 82-84 and
enlarge pattern pages by 200%, trace full-size
pattern pages aligning lines to make a whole
template
Note: Template is for placement of appliqués on

background fabric piece if wishing to use an
element from this drawing for quick-fused
appliqué the element must be a reversed image.
#11

#11
#7
#8 #9 Leaves
#13
#4
#12
#3
#2 #5
Leaves
#6
#1
#15

#11
Leaves
Leaves
#14
0
#1
#12
Leaf
small cluster
of flowers
#6
#1
#15
#16

contributors
melanie formway chang

Melanie’s artistic side surfaced early,
with fabric playing an important role. She
credits her mother, and later a BA in Home
Economics, with fostering an interest in
fabrics. A passion for painting has also been
actively developing for thirty-plus years. She
has worked in watercolors, oils and acrylics.
Now, she has added fabric paint. Her skillful
use of paints prompted an invitation to the juried Watercolor Society of
Oregon and she has won her numerous awards.
In the 1990’s, Melanie started quilting and discovered a way to merge
her two loves. Since, painting on fabric has become her focus. Today, she
teaches classes to eager students in a variety of venues.
Long a pattern designer for Story Quilts, the occasional contribution has
blossomed into a busy schedule of new patterns. Each year, Melanie looks
forward to joining Story Quilts at International Quilt Market in Houston.
Melanie and her husband recently migrated from Oregon to Oceanside,
California to welcome their first grandchild. She continues to speak to
guilds, teach fabric painting and design for Story Quilts. Life is full.
When we visited, Melanie shared some very important words of
wisdom, “Create it, give it away and share the joy. There is no point in
putting your artwork in the closet. Everyone needs beauty in their lives.”
Visit www.storyquilts.com to see more of Melanie’s work.

in stores
quilt to dow
s this now ~ click the
wnload a free pattern
F
ukuoka is a modern, bustling city. It’s that. To make the dolls, artisans first
been named to several “best places to design a suitable mold which is filled with
live” lists, and its reputation among clay and then fired in a kiln. The resulting
tourists is growing. Although it has been figure is then painted in brightly colored
slow to gain a label as a tourist hotspot, it clay paints.
is not for lack of a multitude of activities The dolls represent the human figure,
guaranteed to accommodate everyone in and are made using clay found in the
your travel party. local area. Tradition has it that the dolls
Fukuoka is actually a blend of two became a local specialty after a tiler
ancient communities. One was Fukuoka, working on a castle for feudal lord Kuroda
the home of the feudal lord and, hence, a Nagamasa presented his employer with
castle and the local samurai. The other was just such a doll. At the time, and for
Hakata, one of Japan’s oldest cities with a centuries thereafter, the figures were
vibrant port where industry and commerce almost always inspired by well known
reigned. characters from Noh and Kabuki theater
The two communities were brought plays. However, in recent years there has
together in 1876. The partnership has been been a trend toward crafting Hakata dolls
a successful one, but it’s definitely easy that depict modern lifestyles. Hakata dolls
to see that although the samurai ensured are still made throughout Fukuoka, with
that the new city would bear the name of some shops allowing visitors to observe
their hometown, the name Hakata is still the manufacture of new dolls. Buying
very much a part of the local vocabulary. In at least one of these dolls is considered
fact, many of the places around Fukuoka a must do for travelers to the area, and
and the handicrafts produced there are still their beauty and relatively inexpensive
identified by the Hakata name. price make them a remarkable souvenir.
The Fukuoka region has long been Another of Fukuoka’s better known
known for excelling at several traditional handicrafts is its Hakata-ori cloth.
crafts. Among the most famous of these is Traditionally used as obi sashes for
the Hakata dolls, also called Hakata ningyō. beautiful kimonos, the cloth is so popular
Made of earthenware clay, it is thought that that it is now used for many other
the dolls were first crafted in Hakata during everyday items. This style of weaving
the 17th century, although the origins of the first came to Fukuoka in the 13th century.
dolls may stretch back much further than Merchants visiting mainland China are

Fukuoka,
Japan
Exquisite handicrafts
and casual dining
make Fukuoka magical
said to have brought the weaving techniques of marinating the roe in sake, chili and
home with them, and the process has been various citrus juices. Mentaiko may be eaten
refined and improved over the intervening on its own, but is often used as a filling for
centuries. The cloth was so superior that onigiri, a tasty rice ball that is frequently
it quickly became famous throughout the served wrapped in seaweed.
nation, with many of Japan’s leading citizens In a nation known for the quality of its
wishing to own the sumptuous textile. ramen, Hakata ramen is considered to be
Hakata-ori cloth features a blend of plain among the top three of this style of dish in
weave called hira-ori that features highly the nation. The base is a pork bone soup that
intricate designs. Also incorporated into the is cooked slowly to allow the richness of the
fabric is a ribbed or twilled portion known as flavors to permeate the liquid. The noodles
mon-ori. Although the cloth is still a popular themselves are straight, white and very thin.
choice for a kimono sash, it is also becoming They are cooked quickly, tradition stating
a mainstay for neckties, handbags, stuffed that the recipe was designed to accommodate
toys and as furniture upholstery. Items made the whims of impatient Hakata children.
using Hakata-ori cloth are widely available Choices for ramen topping vary widely with
throughout the region, and many artisans mushrooms, green onions and pickled red
make it possible to observe the weaving ginger being among the most popular.
process firsthand. Though it may initially sound unappetizing,
Like many cities in Japan, Fukuoka is Fukuoka’s other famous dish is motsunabe.
associated with several local specialty The main ingredient in this hearty stew is
dishes. One of these is mentaiko, a side typically the intestines of beef cows, although
dish of marinated roe from cod and pollock. pig offal is sometimes used instead. This
Usually a spicy treat, mentaiko originated in flavorful dish includes cabbage and garlic in
Korea before being brought to Japan in the addition to a soy sauce soup and champon
aftermath of World War II. Chefs in Fukuoka noodles.
made it a specialty, perfecting the technique Mitzutaki, a healthy yet hearty chicken

and vegetable hot pot, originated
in Fukuoka but is now popular
throughout the country. Mitzutaki
is the perfect table centerpiece
and meal for a small gathering of
family or friends. See our recipe on
page 64.
Perhaps the best part of enjoying
traditional Fukuoka fare is doing so
at one of the many streetside yatais.
These casual food carts are found in
the Nakasu and Tenjin districts of
the city, and are widely patronized
by locals and tourists. Most yatai serve sake “city within the city”. The depiction is accurate
and beer in addition to tasty dishes like with somewhere in the neighborhood of
ramen and mentaiko. They usually open for 250 shops, restaurants and entertainment
business in the late afternoon and remain options. There are even two hotels that sit on
in operation until the small hours, making the canal that runs through the mega-mall.
them popular with young people out enjoying The JR Hakata City complex on the other
the Fukuoka nightlife. However, these food side of town offers a comparable number of
carts are popular with people of all ages, and merchants without the canal.
visiting them is considered an indispensable If you prefer leisurely browsing and
part of the Fukuoka experience. boutiques instead, seek out the side street
If shopping for more than just food is on shops in the Imaizumi neighborhood. Like
the intinerary, Fukuoka offers the likes of the locals, you’ll discover up and coming
Canal City Hakata. This large shopping and designers and handcrafted items created
entertainment complex refers to itself as a continued on page 94

The Cats of
Fukuoka Kona Bay Fabrics is well known for
it’s love of cats as is our featured travel
destination—Fukuoka. It is often referred
to as one of two cat heavens. Fukuoka
fisherman have taken the love of cats to
an extraordinary level.
Japanese photographer Fubirai has
encouraged us to share his warmhearted
pictorial of the Fukuoka shore felines.
Many of the cats roam the port region
wild. Their independence, as you will
see, does little to detour the care
and attention they receive from local
fisherman and other inhabitants,
though. That, combined with the regions
temperate climate makes it easy to see
how Fukuoka came to be called cat
heaven.
Cats have long played an important
role in Japanese culture and the fondness
seems to build with each passing decade.
Traveling throughout Japan, cat statues,
images and motifs are found everywhere.
Farmers for centuries have relied on
their furry cat friends to control the
rodent population. In Japan, this was
particularly important when it came to
rice and silk.
In addition, Japanese legend has it that
a cat saved its master by waving his paw
as if motioning for him to move towards
him. As the man did, lighting struck
where he had been standing. Ever since,
the maneki neko (cat) statue, with raised
paw, is thought to bring good fortune
and luck to its owner.
In Fukuoka, the tides have turned. Here,
the raised arms of the working fisherman
seem to be the ones bringing luck and
good fortune to the local cat population.
To view more delightful and artistic
photos by Fubirai, visit the website here:
http://d.hatena.ne.jp/fubirai/. Scroll
down on the right for a rough translation
to English.

with artistic flair. Even if you’re not a shopper, The shrine itself is a golden structure that
you’re likely to walk away inspired. sparkles warmly on sunny days.
Fukuoka is a rich destination for travelers Tourists flock to Fukuoka to attend
with its modern transportation systems the many colorful festivals that happen
and many fascinating attractions. Chief throughout the year. The city is mainly
among the city’s delights is the Hakata recognized for two memorable annual events:
Machiya Folk Museum. This is the single Dontaku and Yamakasa. Dontaku, otherwise
best place to discover the regional history of known as Golden Week, is probably the city’s
Fukuoka. Exhibits include superior examples largest festival, and it’s an occasion marked
of traditional architecture and a workshop by many celebrations. About two million
where the fashioning of traditional crafts can tourists flood the city at the end of April and
be observed. The museum is stretched out the beginning of May with happenings like
over three buildings. An interesting mix of a theater festival, special museum exhibits
displays that include dioramas depicting local and parades. Visitors also attend handicraft
festivals and ordinary household items from workshops and come to see Fukuoka’s flowers
a bygone era make this a worthwhile stop. in full bloom.
Another impressive attraction is the Yamakasa happens every July, and
Fukuoka Asian Art Museum. This state-of- has been celebrated since 1241. The event
the-art facility features an imposing edifice memorializes the occasion on which Hakata
and one of the most spectacular collections was saved from a plague by a priest who was
of contemporary Asian art found anywhere. carried around the city on a shrine. Seven
Works on display here were created in a host teams made up of male residents from each
of different countries, resulting in a gratifying of Fukuoka’s neighborhoods now participate
mix of mediums and themes. in a similar feat. Each team races against
Fukuoka also has its share of natural the clock while carrying floats weighing
beauty. Ohori Park offers plenty of scenic thousands of pounds. The racers are garbed
vistas with a central pond and an elaborate in traditional loin cloths and are cheered
Japanese style garden. The pond is particularly on by countless spectators who are not
interesting, as it was once part of the moat deterred by the middle of the night timing
for nearby Fukuoka Castle. Only ruins of the of the event. The festival lasts for two weeks,
castle remain today, but the disused towers allowing plenty of time for various events
and ramparts still make for a romantic and numerous practice runs.
vision that no visitor should pass up. A trip Whether it’s festival season or not, Fukuoka
to Ohori Park also makes it easy to view the is a fascinating place as it is filled with rich
Gokoku Shrine and its enormous torii gate. culture and interesting history.

Mountain
Flight Quilt
Designer: Helene Knott
This elegant mountain landscape steps down out

of the frame to invite you into the scene. Cranes
wing across the forests toward distant mountains
and the mysterious vistas that lie beyond.

Let’s Begin
Symbols of luck, longevity and fidelity,
cranes are considered National Treasures in
Japan holding a place of honor along with that
of Mt. Fuji, Japan’s beloved iconic mountain.
Before you begin read all instructions and
Mt. Flight Quilt Cutting Chart & Material List
sew using a perfect 4”-wide seam. Appliqué
templates include placement lines indicating
Mountain Flight Quilt where appliqué pieces will overlap and
alignment lines to help join larger templates
together to make one pattern piece. Refer
to General Instructions on page 114–115 to
select your prefer method of appliquéing.
Instructions are given for fusible web
machine appliqué, patterns have been
reversed for this method if using hand
appliqué or freezer paper method reverse
the templates provided in this issue. An
overlay master pattern has been provided of
material list the quilt top before layering and quilting this
Binding 3 yard will be used as a guide when laying out pieces.
Backing d yard Note: Some appliqué pieces are added before
Batting 28” x 20”
the borders are sewn while others are added
Other Appliqué Supplies
(depending on technique used after the borders have been sewn to the unit.
lightweight fusible web, stabilizer,
freezer paper an/or plastic template) Assembling the Quilt
Yardage Cuts The instructions given are for Quick Fused
Appliqué Method for other methods refer
Sky ! !$2” x @!2” or @!2” x !$2”
to General Instructions (pages 114–115)
2 yard horizontal pattern
or for Appliqué Technique and Helen’s Freezer
q yard verticle pattern Paper method tip box (page 98). Use an
Fabric B ! @2” x @$2”
appliqué pressing sheet with the overlay
Lattice & Border @ @” x !$2” template under the transparent sheet to aid
3 yard* *may vary depending on
with appliqué placement and fusing trellis
bias method used
unit together. Note: Appliqué pieces 1-5 will
Appliqué Fabrics be added to the sky fabric before borders
Distance Mountain ! %” x $” (#1)
Mountain ! *” x %” (#2)
are sewn and pieces 6, 7 and 8 will be added
Hill ! !)” x %” (#3) afterwards.
Background Forest ! *” x %2” (#4)
Mount Fuji ! @)” x !!” (#5) 1. Mountain Flight Quilt Overlap Templates
Mist ! @%” x (” (#6)
Foreground Forest ! @^2” x !)” (#7) appear on two pages (100–101) join design
Snow Cap ! !)” x &” (#8) matching alignment lines to make a whole
Cranes ! Scrap
pattern piece. Enlarge pattern by 200% to
make a full-size layout guide.

2. Instructions are given for quick-fused 7. Place full-size Corner Lattice Template
appliqué method if using other methods (page 102) under appliqué pressing sheet.
deletes steps 2 and 3. Trace all landscape Turn a scant 4“ under on one end of each
patterns on pages 103–110 on paper side lattice piece and fuse to secure. Fuse strips
of lightweight fusible web leaving 2” space to pressing sheet aligning the turn under end
between pieces. Cut approximately 4” away as noted on pattern and allowing the excess
from traced line. Note: On larger appliqué ends extend beyond the seam allowance,
fusible web pieces the center of the web can strips can be weaved or just overlap. Trim
be removed if desired just cut 4“–a“ to the the ends to match the outside edge shown
inside of traced line to remove center section. on lattice template.
3. With fusible web paper-side up, fuse 8. Fuse lattice pieces together following
to wrong side of fabric scraps following manufacturers instructions, once the unit
manufacturer’s instructions. Cut on traced has cool it can be lifted off of the pressing
line. sheet. Referring to layout, place lattice units
on each top corner of sky fabric and fuse
4. Arrange appliqué pieces 1-5 on !$2” x
in place. Using a straight stitch, edgestitch
@!2” sky fabric piece starting with Distance
lattice edges now or stitch in place during
Mountain #1 then add Mountain #2 making
the quilting process.
sure pieces overlap as shown on appliqué
template piece. Continue adding, overlapping,
and fusing Hill #3, Background Forest #4 and
Mount Fuji #5.
5. Before adding the borders the lattice units
need to be made and attached to sky fabric
piece. Use bias tape maker to make 4“-wide
tape following manufacturer’s instructions.
Note: 2“-wide cut width is the measurement
required by Clover brand bias tape maker,
this measurement may vary with other
brands. Since the lattice is straight and not 9. Sew one @2“ x 1!$2“ Border strip to right
curved strips pieces can be cut on the straight side of panel. Press seam toward border.
of grain. Add thin strips of fusible web to back 10. Apply appliqué Mist #6 to base of
of strips. mountain aligning the right edge with raw
6. Cut from folded 4“-wide lattice strips the edge of border, fuse or stitch in place. Sew
following lengths (letters indicate placement, @2“ x !$2“ Border strip to left side of panel.
see page 102); four @2“ lengths for A and F Press seam toward border.
pieces, two $4“ lengths for B pieces, two $w“ 11. Apply appliqué Foreground Forest #7 to
for C pieces, two #w“ for D pieces, and two bottom of panel, press or stitch in place.
@w“ for E pieces. These lengths are generous
12. Sew @2“ x @$2“ Border to top of quilt.
but will allow for turning under one raw end
Press seam toward border. Apply Snow Cap
and extending the other end in to the seam
#8 appliqué piece to mountain it should
allowance.
overlap the border about w“.

Helene’s Freezer Paper Appliqué Tips
1. Place freezer paper matte side up over 4. Using a free-motion or darning foot,
the pattern. Note: appliqué templates need slightly shorter stitch length and matching
to be reverse image of pattern provided. thread, sew the appliqué using a straight
Trace each appliqué piece onto matte side of stitch along edge of shape next to the edge
freezer paper. Trace each piece as a separate of the freezer paper and not through the
template and cut each template out exactly paper, as shown.
on the traced line – do not add any turning
allowance.
2. Iron the freezer paper template to the
right side of the appliqué fabric and cut the
fabric out roughly about 1” larger than the
perimeter of the template as shown.
Stitch close to paper
5. After stitching carefully trim excess fabric

away close to the stitching (about 8”) using
a pair of fine bladed embroidery scissors as
shown. Remove the freezer paper template
(paper can be reused for another project if
Iron freezer paper appliqué
desired)
template on right side of fabric.
3. Pin fabric and template onto background

panel in appropriate place, use a transparent
overly if desired. Pin through the edge of
the fabric, not through freezer paper leaving
paper in place to serve as a stitching guide as
shown.
Trim close to stitching
6. Raw edges can be left to fray if texture

is desired or cover raw edges with a satin or
blanket stitch. Edge stitching can be added
to unfinished top if stabilizer is used, or wait
Pin fabric to quilt being careful until the top is layered and ready to quilt
not to pin paper. substituting the edge stitching in place of
quilting in the ditch (no stabilizer necessary
for this method).

Raw-Edge Machine Appliqué Cranes provide a good place to pin securely and
Finish scenic panel with a few graceful cranes also stabilize the fabric so it does not shift or
fussy cut from a suitable print. Choose cranes in an scrunch while you are stitching around the
appropriate size and place then in a suitable part motif. Place crane on quilt top and pin.
of the landscape where they will be in correct scale 2. Choose a matching thread and stitch
with the rest of the scene. Cranes can be backed with around the perimeter of the bird just inside
fusible web and fused to the panel or follow Helen’s the printed outline, preferably with a free
instructions for a raw-edged machine appliqué motion foot and a fine straight stitch as
technique that is fast and easy. The exposed edges shown in diagram below.
can later be covered with fine satin stitches if desired
or left raw and allowed to fray. This ‘frayed’ look is
particularly nice for foliage, animal fur, waterfalls or
frothy waves. If decorative stitching is used, it can be
stitched before layering and quilting in which case a
stabilizer is recommended, a stabilizer is not needed
Stitch inside of design line
if adding stitching during the quilting process. of motif fabric.
1. Cut out birds leaving a very generous margin 3. Cut away the fabric surrounding the
of fabric beyond the edge of the bird. This will cranes close to the stitching, being careful
not to cut the quilt top (about 8“ away from
the stitching as shown). If properly stitched
inside of the design lines of the print will allow
Helene’s Quilting Tips the crane to be cut on the printed outline
All appliqué pieces need to be stitched in place if removing the excess crane fabric.
fused stitch close to the raw edge if using other
appliqué methods stitch in the ditch. Larger
appliqués require additional quilting such as
sky, foreground trees and mountain. Helene
recommends streaky horizontal switchback
stitching for sky area, follow mountain slope
contours in a similar fashion, and puffy humped
stippling for the foreground trees. Keep quilting Trim close to stitching
designs simple and natural looking, especially for
heavily patterned prints. The border may need
additional quilting depending on the density
of quilting in center panel. Lay the quilt out Finishing the Quilt
flat after quilting if the borders ruffle or distort Press backing and quilt top trimming all
excessively add additional quilting to border to
conform it to the rest of the quilt. Blocking the
quilt can resolved minor distortions to the quilt.
(pages 115) for Finishing the Quilt. Layer
and baste backing, batting, and quilt top
To block the quilt, spray it lightly with water
and on an ironing board, gently steam press
together. Refer to Helene’s Quilting Tip for
from the wrong side straightening the edges as quilting suggestions. Hand or machine quilt
you iron until the quilt lies nice and flat. Helene as desired. Refer to Binding the Quilt and
recommends blocking once before applying bind as desired.
binding and again after binding is sewn to quilt.
Add a hanging sleeve if desired.

Mountain Flight Quilt Overlay Template
Snow
Cap
#8
Distance
Mountain Mountain #2
#1
Mount Fuji #5
Hill #3
Background Forest #4
Mist #6
Foreground Forest #7
Trace Line
Alignment Line
Copy pages 100–101, align placement lines to make a whole pattern, enlarge this complete pattern by 200% to
measure @$2“ x !^2“ this will be used to create a transparent overlay guide for positioning pieces.

Mountain Flight Quilt Overlay Template
Snow Cap #8
Mount Fuji #5
Mist #6
Foreground Forest #7
Trace Line
Alignment Line
Copy pages 00-00, match alignment lines to make a whole pattern, enlarge this complete pattern by 200% to measure
@$2“ x !^2“ this will be used to create a transparent overlay guide for positioning pieces.
Extend these ends into Extend these ends into
panel seam allowance panel seam allowance
Mountain Flight Quilt

Full-size Corner Lattice Template Right
Left
D D
E A A E
F B B F
C C
Tuck these raw ends under
Quilt Layout

Note: Templates include tuck under allowance overlap of
subsequent pieces is indicated by dotted placement line.
Trace Line
Placement Line
Distance Mountain
#1
Snow Cap
#8
Mountain
#2
Appliqué templates are reversed for Quick-Fused method.
Refer to General Instructions pages 114–115 for other appliqué

methods

Trace Line
Placement Line
Alignment Line
#5 (piece A)
Mount Fuji

Hills
#3
Trace Line
Placement Line
Alignment Line
Mount Fuji
#5 (piece B)

#6 (Piece A)
Mist
Trace Line
Placement Line
Alignment Line

Trace Line
Placement Line
Alignment Line
#6 (Piece B)
Mist

#6 (Piece C)
Mist
Trace Line
Placement Line
Alignment Line
Foreground Forest
#7
Piece B

Trace Line
Alignment Line
Foreground Forest
#7
Piece A

Background
Forest
#4
Foreground Forest
Piece C
#7
Trace Line
Placement Line
Alignment Line

contributors
helene knott
 www.heleneknott.com
Helene’s background is in art—primarily drawing
and painting. She was born and raised in central
California on the Monterey Peninsula, an area famed
as an artists’ enclave. As a child, she showed an
interest and a raw talent for artistic expression, an
interest that was cultivated by her parents, grandparents and teachers
alike.
Upon graduating from high school, Helene apprenticed to a
silversmith and explored metalworking and jewelry, later expanding
her interests to include designing stained glass art for a studio owned
by her husband. She continued her education, attending classes at
Monterey Peninsula Community College with an emphasis in art and
design. Several semesters were spent taking a series of courses that she
hoped would lay the foundation for an art degree but life intervened
and this goal was never realized.
Helene’s family moved to Portland Oregon in 1991 and she took
a hiatus from regular employment to explore fiber arts; an interest
she had in embroidery in her youth had blossomed into an interest
in quilting in the early 70s and she wanted to devote more time to
develop and fine-tune her skills in that medium. Helene joined a
local quilt guild, Northwest Quilters, and subsequently several other
quilting organizations while she continued expanding on her interest
in quilting.
In 1999 Helene began teaching design and quilting classes. To this
day, she teaches at local quilt shops and travels to teach and lecture
outside of Oregon as well. “I enjoy teaching immensely and in 2006, I
received a nomination for ‘Teacher of the Year’ by Professional Quilter
Magazine,” shared Helene, “I have expanded my interest into designing
commercial quilting patterns and currently have a number of successful
series that are published by Story Quilts Inc. These include my whimsical
Garden Patch Cats (cats shaped like fruits and vegetables); these patterns
are distributed worldwide with an enthusiastic following.”

Many of Helene’s quilts have
won awards in local, regional,
national and international shows;
one quilt—‘Low Tide’ receiving a Best of Country award in the Mancuso
World Quilt competition. Another—‘Evening Song’ was considered as
a runner up for the 100 Best Quilts of the Century in 2000. “Though my
exploration in design is widely varied,” says Helene, “Asian Art has
been a major influence in my style; in particular, I love the balance and
composition in Japanese art.”
Helene currently lives in Oregon City, Oregon on two acres of
wooded property with her husband, two cats (one a rescue kitty
from Afghanistan) and a parrot. Her closing comment was, “Life is
wonderful!”
Helene makes and designs quilts and patterns both for personal
indulgence and professionally as well. Many of her patterns are
available at www.storyquilts.com. In addition, she travels to teach
workshops and lecture; you can contact her through her website at
www.heleneknott.com.

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general instructions
How-to Help You! Half Square Triangles

This technique differs from the Simple
Before You Begin without breaking threads, continue this Triangle method; you will be making two
We recommend washing and pressing process to stitch additional units. Cut triangles at one time.
your fabric prior to cutting it into strips sections apart, press and continue with Step 1 Draw a diagonal line on the
and pieces. To help prevent fabric from next step. wrong side of one fabric square. Place
fraying in the washer, clip corners at a 45 marked square and one corresponding
Fussy Cut
degree angle removing a small triangle square right sides together. Sew a scant
This process is the selection and 4” away from drawn line on both sides,
piece.
cutting of a particular motif pattern which cut on drawn line, and press.
Achieving is featured in a cut piece. Remember to
a Perfect Block center design and always allow for seam
allowance.
Accurate Seam Allowance Fabric F- 2 2" x 2 2" Square to 2”
Simple Triangles Fabric D- 2 2" x 2 2" Make 2
Use 4”-wide seam allowance for all
projects in this magazine unless otherwise This is an easy way to make triangles Step 2 Measure unit and trim as
stated. If seam allowances differ as little from squares. indicated in construction diagram.
as z” assembling blocks will be difficult, Step 1 Draw a diagonal line on the
especially when incorporating several Applique Technique
wrong side of fabric square that will
block designs in a quilt. To check your become the triangle. This will be your Quick Fused Method
seam allowances follow these steps. stitch line. This method joins fabric to each
Step 1 Cut three 12” x 6” pieces of other with the use of fusible web. There
fabric from assorted scraps. Sew pieces are many types on the market and you
together to make one 32” x 6” piece. Step 2 Place marked square on
will need to refer to manufacturer’s
Press. fabric piece shown in construction step
instruction for specific requirements. If
matching raw edges. Sew on drawn line
Step 2 Center strip should measure 1” quilt does not require laundering you
and trim 4” away from stitching.
x 6”. If piece measures differently check can use heavy-weight fusible web and
to see if seams have been pressed flat. If follow steps 1-4. If your quilt will require
the piece still differs cut new strips and laundering use lightweight fusible web
adjust seam allowance until you achieve Fabric A- 2 2" x 2 2" and follow all steps. Remember that
the perfect stitch. Fabric B- 2 2" x 6 2" appliqués when pressed to background
fabric will be a reverse image from patterns
Pressing Step 3 Press seams as indicated in provided.
Press using steam or dry heat setting. construction diagram. Measure sewn Step 1 Trace all appliqué pieces on
Always use an “up and down” motion piece to check accuracy. the paper side of lightweight fusible
since a side-to-side motion can distort
Tip: There is a waste factor with web leaving 2” space between pieces.
the block or unit.
this technique but you can stitch an Cut approximately 4” away from traced
Assembly Line Method additional 2” away from stitch line. line.
Cut piece between stitching saving the Step 2 With fusible web paper side
Use this method when making
smaller version for some future project. up, fuse to the wrong side of fabric scraps
multiple pieces or blocks. Diagram 3
Step 1 Position pieces right sides following manufacturer’s instructions.
together, stitch unit. Step 3 Cut on draw line. Remove
Step 2 Align and sew the next unit future project paper backing, a thin film of adhesive
will remain on fabric.

General Instructions
Step 4 Referring to project photo, needle turn under a small portion of the Option 1
position and fuse all pieces of one fabric along trace line and secure with
appliqué design at a time onto thumb. Using a blind stitch, stitch along
Step 1 Position binding away from
corner leaving 8” free of stitches and
background. folded edge to join piece to background.
aligning raw edges with the edge of the
Tip: An Appliqué Pressing Sheet Stitch is hidden under fabric.
quilt. Sew using a 4”-wide seam.
is very helpful when there are many
Step 2 Stop sewing 4” from quilt top
elements to a design. Place your pattern
edge and backstitch. Clip threads and turn
(reverse image from pattern provided)
quilt. Fold binding up at a 45 degree angle
under the pressing sheet as a guide.
to create the mitered corner as shown.
Arrange pieces on sheet and press Blind Stitch
following manufacturer’s instructions.
Diagram 1
Allow piece to cool, remove appliqué Finishing the Quilt
unit and arrange on background to fuse
Backing fabric and batting should
unit in place. If the piece is not cooled,
be 4”-8” larger than the quilt top. Press
the fusible web could remain on the
backing and quilt top trimming all excess
sheet instead of the fabric.
threads from quilt prior to basting.
Step 5 If using a machine, cut a Step 3 Fold the binding back down
Step 1 Lay backing right side down,
piece of stabilizer larger than appliqué aligning top fold with edge of quilt and
batting and quilt top (right side up)
area and pin to wrong side of fabric. matching raw edges. Start stitching 4”
on top.
Stabilizer is used to achieve an even Diagram
from quilt 2 for all corners.
edge. Repeat
stitch. Using a satin stitch, blanket stitch Step 2 Backing and batting need to
or other decorative stitching to secure be taut prior to basting quilt. Start in the
appliqué in place. Start stitching from the center and work out toward edges. You
background to the foreground. Option: can hand stitch, pin or use a specialty
use a hand embroidery stitch instead. tool to baste quilt together.
Step 3 Check batting instruction for Step 4 Determine length needed for
Hand Appliqué quilting requirements. Hand or machine binding strip ends, trim and sew ends
If project specifies quick-fuse you quilt as desired. Remove basting. together. Stitch binding to quilt. Fold
will need to reverse all patterns and add binding to back of quilt, a diagonal fold
4”- wide seam allowance. The steps that Binding the Quilt
will form at the corners. Hand-stitch
follow will add the seam allowance after Two options are given for binding the binding to back of quilt.
pattern is traced onto fabric. quilt. For both options trim batting and
Step 1 Make a template of all pattern backing 4” beyond raw edge of quilt, Option 2
pieces and indicate where pieces overlap. this will give fullness to the binding. Sew Step 1 Measure quilt through center
Place template on right side of selected binding stripes end-to-end to make one from side to side. Cut two binding strips
fabric. continuous strip. Fold and press binding to this measurement. Sew to top and
strips in half lengthwise with wrong sides bottom of quilt matching raw edges with
Step 2 Trace around template using
together. To reduce bulk when joining edge of quilt. Press binding away from
a removable fabric marker. This will be
strips, cut ends at 450 angle and sew quilt top.
your turn under guide. Cut out shapes
together as shown. Step 2 Measure quilt through center
approximately 4” beyond traced line.
from top to bottom including the
Step 3 When layering and positioning
binding just added. Cut two strips to
pieces always work from the background
this measurement and sew to sides of
to the foreground.
quilt. Press.
Step 4 Enter from the wrong side of
Step 3 Fold top and bottom strips to
applique shape bringing the needle up
the back and pin in place. Repeat for
on the traced line. Using the tip of the
sides. Hand-stitch binding to quilt.

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patterns • decorating tips • fiber art • culture

114 General Instructions

Special thanks to:

Used exclusively and

Fukuoka, Japan • pg 88 2013 Asian Fabric 5

get together—QUILT MARKET—

8 Asian Fabric 2013

Issue #32 2013 • VOL 8 ISSUE 2

Quilt designer & EDITOR

2013 Asian Fabric 9

12 ASIAN FABRIC 2013

creation in fabric was a cross-

up, many hours were devoted to

Interplayers Theatre. Georgie

2013 ASIAN FABRIC 13

2013 Asian Fabric 15

16 Asian Fabric 2013

2013 Asian Fabric 17

There are 2 ways

to s ee all the 2. Mail: Asian Fabric Magazine

I would like to submit a quilt made from my latest

20 Asian Fabric 2013

2013 Asian Fabric 21

click quilt for

Featuring fabrics from the

Bed Backing * yards Fabric A ! ^2” x $@” $ ^2” x &2” $ !^

Fabric C $ !2” x $@” $ !2” x @$2” !^ !^

24 Asian Fabric 2013

Make 1 for Wall Quilt

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Triple Delight Wall Art

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2. Sew one !2” x @2” Fabric C piece between

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8. Sew one %” x @2” Fabric D piece to one

10. Sew one unit from step 8 between two

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4. Sew one unit from step 1 between two

12. Sew unit from step 11 between two $” x

Bottom Panel: Block 3

%2” #2” #2” %2”

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Finishing the Wall Art

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Make 1 Large Circle

Make 2 Medium Circles

Make 2 Squares Make 2 Small Circles

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This striking fabric will bring a fresh

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Instructions given for

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Make 1 @, one of each variation (potholder)

4. Sew one unit from step 3 to one @2” x #2”

@2” @2” 2. Note: Refer to quilt layout on pages 47–48

5. Arrange and sew together one unit from