Appliqué with attitude bold stitches

C&

T PUBLISH

ING

ISBN 978-1-60705-533-4

9 7 8 1 6 0 7 0 5 5 3 3 4

5 2 7 9 5

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Also available as an eBook

CRAFTS/Quilting/Appliqué

10859

Appliqué with AttitudeFROM PIECE O’ CAKE DESIGNS

Becky Goldsmith and Linda Jenkins

10 Projects Featuring Big, Bold Stitches

Happy and perky and bursting with color!

• Mix & match full-size template designs for bright, cheerful quilts and home décor

• Add a happy, carefree layer of color and texture to your work

• Use this quick needleturn technique to add a touch of whimsy to anything you appliqué

What Piece O’ Cake fans are saying…

“I anxiously await each new book…”

“Wonderfully fun & free-wheeling appliqué…”

“Irresistible!”

Ap

pliq

ué w

ith A

ttitud

e FRO

M PIEC

E O’ C

AKE D

ESIGN

SB

ecky Gold

smith

an

d Lin

da

Jenkin

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Text and Artwork copyright © 2012 by Becky Goldsmith and Linda Jenkins

Photography and Artwork copyright © 2012 by C&T Publishing, Inc.

Publisher: Amy Marson

Creative Director: Gailen Runge

Editor: Lynn Koolish

Technical Editors: Carolyn Aune and Sandy Peterson

Cover/Book Designer: April Mostek

Page Layout Artist: Kristen Yenche

Production Coordinators: Jenny Davis and Zinnia Heinzmann

Production Editor: S. Michele Fry

Illustrators: Becky Goldsmith and Zinnia Heinzmann

Photography by Christina Carty-Francis and Diane Pedersen of C&T Publishing, Inc., unless otherwise noted

Published by C&T Publishing, Inc., P.O. Box 1456, Lafayette, CA 94549

All rights reserved. No part of this work covered by the copyright hereon may be used in any form or reproduced by any means—graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems—without written permission from the pub-lisher. The copyrights on individual artworks are retained by the artists as noted in Appliqué with Attitude. These designs may be used to make items only for personal use or donation to nonprofit groups for sale. Each piece of finished merchandise for sale must carry a conspicuous label with the fol-lowing information: Designs copyright © 2012 by Becky Goldsmith and Linda Jenkins from the book Appliqué with Attitude from C&T Publishing, Inc.

Attention Copy Shops: Please note the following exception—publisher and author give permission to photocopy pattern pullout pages P1–P4 for per-sonal use only.

Attention Teachers: C&T Publishing, Inc., encourages you to use this book as a text for teaching. Contact us at 800-284-1114 or www.ctpub.com for lesson plans and information about the C&T Creative Troupe.

We take great care to ensure that the information included in our products is accurate and presented in good faith, but no warranty is provided nor are results guaranteed. Having no control over the choices of materials or procedures used, neither the authors nor C&T Publishing, Inc., shall have any liability to any person or entity with respect to any loss or damage caused directly or indirectly by the information contained in this book. For your con-venience, we post an up-to-date listing of corrections on our website (www.ctpub.com). If a correction is not already noted, please contact our customer service department at [email protected] or at P.O. Box 1456, Lafayette, CA 94549.

Trademark (™) and registered trademark (®) names are used throughout this book. Rather than use the symbols with every occurrence of a trademark or registered trademark name, we are using the names only in the editorial fashion and to the benefit of the owner, with no intention of infringement.

Library of Congress Cataloging-in-Publication Data

Goldsmith, Becky, 1956-

Appliqué with attitude from piece o’cake designs : 10 projects featuring big, bold stitches / Becky Goldsmith and Linda Jenkins.

p. cm.

ISBN 978-1-60705-533-4 (soft cover)

1. Appliqué--Patterns. 2. Quilting--Patterns. I. Jenkins, Linda, 1943- II. Title.

TT779.G629425 2012

746.44’5041--dc23

2011040926

Printed in China

10 9 8 7 6 5 4 3 2 1

ACKNOWLEDGMENTSWe must thank Gailen Runge and Susanne Woods at C&T

Publishing. The idea of appliquéing with attitude came to us out

of the blue, and when we asked Gailen and Susanne if we could

squeeze this book into their production schedule, they happily

said yes. We have always loved working with the wonderful

people at C&T. They never let us down!

Without Lori Gray’s help we would not have met the deadlines

for this book; we had many other simultaneous deadlines to

make. Lori is an excellent quilter. She made many of the bindings,

sleeves, and backs, and basted many of the quilts. She even ran

quilting errands when needed. We send a great big thank-you

to Lori!

DEDICATIONFrom Linda My husband, Paul, is a retired truck driver.

Paul is my biggest fan. Without his help I could never have had

a second career in the quilting industry. He runs all the errands

on his Harley and works in the office helping with the shipping.

Over the years he has cut most of our kits. He has traveled with

me to many teaching engagements, helping to tote all the lug-

gage and supplies. Paul loves people, and they love him.

One last thing to share—Paul does most of my basting.

Remember that he is a retired truck driver; he had never held a

needle in his life!

Fifty years and counting!

From Becky When we were writing this book, my mother

had back surgery that changed her life. Her back is much better,

but her reaction to the anesthesia meant a stay in the hospital

and then in a skilled nursing/rehab facility. During the same

period my sister ended up in the hospital as well.

It was during this time that I realized what an amazing job

health-care workers do. The individuals who took care of both

Mom and Christy were caring and professional—even when it

was hard. I am so thankful for the people who dedicate their

lives to taking care of us when we need it. Thank you.

And I must thank Linda, who stepped in and did part of my

work on this book while I was busy taking care of my family. I

am so lucky to have such a good friend and partner!

3 Contents

ContentsDedication 2

Introduction 4

Basic Supplies 5

Color, Value, and Contrast 7

PROJECTS

TIPTOE THROUGH THE TULIPS 11

FOREVER FRESH 15

OUTSIDE IN 17

FLUTTERBY 20

DAISY DOODLES 23

TWIRLY TABLE TOPPER 27

CHIRPS 29

PIECEFUL COEXISTENCE 31

TEA TOWELS WITH ATTITUDE 34

PERFECTLY PRETTY PILLOWS 37

General Quiltmaking Instructions 41

General Appliqué Instructions 45

Appliqué Stitches with Attitude! 51

Hand Quilting with Perle Cotton 61

About the Authors 63

4 Appliqué with Attitude FROM PIECE O’ CAKE DESIGNS

IntroductionWe have spent much of the last 25 years appliquéing with invisible stitches. We

love the beauty of stitches that no one can see. About a year ago we had a new

thought: What would it be like to make appliqué stitches that were visible? It’s lots

of fun, that’s what!

This is needle-turn appliqué stitched with perle cotton in contrasting colors and

values. These bold stitches hold the appliqué pieces in place just as well as our

invisible stitches always have.

Appliquéing with attitude is fast! The stitches have a happy, carefree appearance,

and the perle cotton adds a new texture to appliqué. Although the projects in this

book are all stitched “with attitude,” we have found that a combination of visible

and invisible stitches in the same blocks is also a very good look. (Refer to our book

The New Appliqué Sampler for detailed instructions for invisible appliqué.) The

stitches and ideas found in this book will be useful in all your appliqué projects.

Use our patterns and stitch ideas to get your creative juices flowing, but feel free to

make up some of your own stitches with attitude!

5Basic Supplies

Basic SuppliesFABRIC: 100% cotton fabric is the most common

quilting fabric. It is readily available, affordable, and easy to

sew. Always prewash cotton fabric. It behaves better when it

has been washed and dried.

ROTARY CUTTER AND MAT: For most cutting,

including cutting strips, trimming blocks to size, and cutting

borders, rotary cutting tools will give you the best results.

FABRIC SCISSORS: Small, sharp scissors are best for

trimming fabric, clipping inner points, and clipping threads.

PAPER SCISSORS: Small, sharp scissors are more

precise than long shears for cutting templates.

CLEAR UPHOLSTERY VINYL: To make the

positioning overlays, use 54 -̋wide clear medium-weight

upholstery vinyl from a store that carries upholstery fabric

or 18 -̋wide clear vinyl such as Quilter’s Vinyl. Keep any

tissue paper that comes with it.

PERMANENT MARKERS: To make the positioning

overlays, a black Sharpie Ultra Fine Point Permanent Marker

works best.

THREAD: Use cotton thread with cotton fabric.


PERLE COTTON THREAD: To make lovely stitches

with attitude, we like Prescencia’s size 12 or 16 perle cotton

paired with a size 9 crewel embroidery needle. Size 12 is

thicker but still pulls through layers of fabric without a lot of

effort. Size 16 is like a very heavy hand quilting thread. The

thicker the thread, the more visible it is.

APPLIQUÉ THREAD: When you need to make invis-

ible appliqué stitches, you need the right thread. There

are many brands to choose from. We prefer a fine cotton

thread. These work well: Superior Threads MasterPiece,

Aurifil 50-weight thread, and DMC 50-weight machine

embroidery thread.

PIECING THREAD: All-purpose cotton threads such

as those made by Gütermann and Mettler work well for

piecing. If you prefer a finer cotton thread, use one of our

appliqué thread choices. When piecing with a finer thread,

shorten your stitch length.

MACHINE QUILTING THREAD: When we want

the quilting thread itself to be less obvious, we use one of

the finer appliqué threads listed above for our machine

quilting. When we want higher-profile quilting, we use a

heavier cotton thread such as King Tut by Superior Threads.

We quilt heavily, so the quilt is structurally sound even with

the finer thread. If you plan to quilt farther apart you should

use a heavier thread.

HAND QUILTING THREAD: For a quilting stitch

with attitude, we use Prescencia’s size 12 or 16 perle cotton.

We like Gütermann’s hand quilting thread for traditional

hand quilting.

SEWING MACHINE: For piecing you need a sewing

machine in good working order that sews a straight stitch.

Successful machine quilting requires the best sewing

machine that you can afford. In both cases it’s really helpful

to have a table that your machine fits into.

CREWEL NEEDLES: For hand sewing with perle

cotton, we prefer the size 9 crewel needle from Bohin for

both size 12 and 16 perle cotton thread. We use this same

needle when hand quilting with perle cotton.

APPLIQUÉ PINS: Use 1/2˝ sequin pins to pin the

appliqué pieces in place. Use larger flower-head quilting pins

to hold the positioning overlay in place where necessary.

PENCILS: We are now using (and loving) the

Sewline mechanical pencil with either the white or gray

refills.

CLEAR HEAVYWEIGHT SELF-LAMINATING SHEETS: Use these sheets to make templates

(pages 45–46). You can find them at most office supply

stores, online, and sometimes at warehouse markets. Buy

the single-sided sheets, not the pouches. If you can’t find

the laminate, use clear Con-Tact paper—it’ll work in a pinch.

SANDPAPER BOARD: When tracing templates

onto fabric, place the fabric on the sandpaper side of a

sandpaper board. These boards are available in quilt shops,

or you can make your own by gluing very fine-grit sand-

paper to a thin piece of Masonite or 1/4˝ plywood.

WOODEN TOOTHPICK: Use a round toothpick

to help turn under the turn-under allowance at points and

curves. Wood has a texture that grabs and holds the fabric.

NONSTICK PRESSING SHEET: If you are doing

fusible appliqué, a nonstick pressing sheet will protect the

iron and ironing board.

BATTING: We prefer to use a 100% cotton batting.

A GOOD LIGHT: Sewing is so much easier when you

can see what you are doing. A floor lamp is particularly nice,

as you can position it over your shoulder.

QUILTING GLOVES: Gloves make it easier to

hold on to the quilt during machine quilting. We like the

Machingers brand.

7Color, Value, and Contrast

Color, Value, and ContrastColor is what makes a quilt sing. Color draws you in and

makes you smile. It’s easy to see why so many quilters think

that color is the most important part of a quilt. But it isn’t—

value and contrast are at least as important as color is when

it comes to the success of your quilt.

Every color has a value. It will be light, medium, dark, or

somewhere in between. Contrast is the difference between

two or more values. It is the contrast between different

values that makes a design visible. Fabrics high in contrast

that are placed next to each other are very visible. Fabrics

low in contrast next to each other blend together.

Look at the fabrics below. Yes, they are different shades of

green, and yes, the prints are different—but they both have

medium value. Because they are so similar in both color and

value that you can’t tell them apart, cutting them up and

then sewing them back together into a quilt is a waste of

your time if you want people to actually see the pattern.

Even though these fabrics are different, they are so similar in color and value that it is hard to see the differences between them.

Placing fabrics high in contrast next to each other in your

quilt is one sure way of making that part of the design stand

out. Note the contrast in the fabrics below.

Lights and darks provide more value contrast.

If you want to subdue an area, use fabrics that are lower in

contrast. Most successful quilts have areas of both high and

low contrast.

Be aware that just because two fabrics are different colors,

that does not mean the fabrics are different values. The blue

and green below are different colors, but they look nearly

the same. If you use them next to each other in a quilt, you

may not be able to distinguish the blue pieces from the

green pieces. That can ruin a design.

Fabrics that are different colors but of similar value can run together visually and make patterns less visible.

Remember also that value is relative. A light yellow may be

visible against a dark yellow, but the darkest yellow will still

look very light against black. Always group together the

fabrics that you plan to use in a particular quilt to evaluate

which are light, medium, and dark.

DESIGNS ON FABRICFabric comes in solid colors—and everything else.

Solid colors are just that, solid color. It’s easy to think of

solids as boring, but that’s not true. Amish quilts, made with

only solid fabrics, are wonderfully graphic. Many of today’s

art quilters use solids much as they would paint to create

amazing quilts.

The “everything else” category is fairly crowded. Some prints

are so subtle they almost look like solids. Others, com-

posed of colors high in contrast, are very active. A printed


fabric can have any design imaginable on it: tiny dots, huge

flowers, stripes—the list is endless!

Scale refers to the size of the design on the fabric.

Small-, medium-, and large-scale prints

Some fabrics are quiet. Solids, tone-on-tones, and low-

contrast prints tend to be quiet. Your appliqué will usually

be easy to see on a quiet background.

Other fabrics are loud and busy. Busy fabrics tend to be

prints that are composed of colors that are high in contrast.

Big, busy prints can be fun and exciting when used as back-

grounds behind your appliqué. Remember, however, that

small appliqué pieces can get lost on a busy background.

Quiet versus loud

In the project instructions, we suggest placing all the

appliqué pieces on the backgrounds, then putting them

on your design wall before you begin sewing. This is the

best time to evaluate how the appliqué fabrics will work on

the backgrounds. If something isn’t right, it’s a lot easier to

switch before you’ve sewn anything down.

CHOOSING FABRIC FOR A QUILTBefore we begin a quilt, the first thing we do is figure out

what colors we want to work with—what is making us

happy right then. We make a stack of fabric for each new

quilt. In that stack are fabric choices for the backgrounds

and for the appliqué. We don’t worry about where we will

use each fabric; that comes later. We just focus on fabric

that we think might belong in the quilt we are about to

make. We begin the stack with fabric from our stashes,

adding new fabric from the quilt store as necessary.

When starting your quilt, you have to decide what you

want to use. If you tend to struggle with your color choices,

you may be overthinking. In some ways this is like deciding

what clothes you want to put on in the morning. See—you

already have practice making color choices!

Choose at least one color that you really want to work with

and add to it. Monochromatic (one color) color schemes

are simpler to work with than very colorful, scrappy color

schemes. Quilts made from two values (light and dark) are

simpler than more complex mixes of values. You can look

at the quilts in this book or in other books for inspiration. In

fact, if you keep your eyes open, you will find inspiration all

around you.

After you have decided on colors and selected fabrics, sepa-

rate the background fabric from the appliqué fabric. If you

have several background fabrics, stack them from darkest

to lightest. This is not as hard as it sounds. Look at the fab-

rics in front of you, and choose the darkest piece. Start the

stack with this piece. Continue choosing the darkest fabric

and placing it on the stack. You may or may not be able to

use all these fabrics.

Next, sort the appliqué fabrics by color. You might have a

green stack, a red stack, a blue stack, and so on. Sort each

color from dark to light as described above. Some fabrics

could go in more than one stack. Does this orange belong

in the red group or not? You can merge color stacks,

blending from one color into another.

9Color, Value, and Contrast

Fabric stack

Are you wondering why you are sorting and stacking the fabric? We have found that it’s easier to work

from an organized group of fabrics than it is to work from a disorganized pile. The more you arrange and

rearrange the fabrics in your stack, the more color combinations you will discover. Plus, it’s fun to play

with fabric.

Place the stacks next to each other. Does the background work with the appliqué fabric? Do you have the

necessary light, medium, and dark values to make your quilt? Are the colors working together? Any fabric

that doesn’t look good in the stack won’t look any better cut up and sewn into your quilt. This is the time

to remove any fabric that doesn’t work. If a fabric isn’t working, force yourself to put it away.

If you have trouble evaluating the fabrics in your stack, stand back and squint or look at them through a

reducing glass. Or, better yet, take a digital picture of them. Sometimes you see more in a photo than you

do when you’re looking at the real thing. Know that this is a process that does get easier with practice.

When you are happy with the fabrics you have chosen, cut and place the backgrounds up on your design

wall. Begin adding the appliqué fabrics in whatever order makes sense to you.

Place all the blocks, sashing, and borders—all the parts of the quilt—up on the wall. Take a giant step back

and really look at your work. Squint, use a reducing glass, take a picture—do whatever you need to do to

better evaluate the quilt. Begin stitching the appliqué only when you are happy with all your fabric choices.

Projects

11 Tiptoe through the Tulips

Tiptoe through the TulipsFinished block size: 10˝ × 10˝ • Finished quilt size: 48˝ × 48˝

Made by Linda Jenkins

Perky and quirky, this quilt is sure to make you smile!

Projects


MATERIALSRefer to Basic Supplies (pages 5 and 6) as needed.

Tulip block backgrounds: 8 fat quarters OR 11/8 yards of 1 fabric

Squares block backgrounds: 8 fat quarters OR 11/8 yards of 1 fabric

Outer border: 1/4 yard of 4 different fabrics OR 3/4 yard of 1 fabric

Outer border corners: 1/4 yard

Appliqué: A variety of large scraps

Binding: 7/8 yard

Backing and sleeve: 35/8 yards

Batting: 57˝ × 57˝

Additional Supplies

Upholstery vinyl for positioning overlays: 1/3 yard (54˝ wide) or 13/4 yards (18˝ wide)

Self-laminating sheets for templates (clear single-sided heavyweight, 9˝ × 12˝): 4 sheets

Sharpie Ultra Fine Point marker

Perle cotton: Size 12 or 16

Prescencia perle cotton colors used in pictured quilt: Dark Teal #3670 for

leaves; Black for tulips and stems; Brown #8080, Light Rust #7731, Medium

Yellow Green #4812, Orange #7567, and Light Medium Aqua #3664 for squares

CUTTINGTulip block background fabric: Cut 8 squares 12˝ × 12 .̋

Squares block background fabric: Cut 8 squares 12˝ × 12 .̋

Outer border fabric: Cut 4

strips 41/2˝ × 401/2˝ for the side

borders. (If the fabric is not

401/2˝ wide, you will need to

cut 5 strips 41/2˝ × 40 ,̋ sew the

strips together end to end, and

then cut 4 strips 41/2˝ × 401/2 .̋)

Outer border corner fabric: Cut 4 squares 41/2˝ × 41/2˝

for the border corners.

Cut fabric for appliqué as needed.

Binding fabric: Cut 1 square

25˝ × 25˝ to make a 21/2 -̋wide

continuous bias strip 230˝

long (see Making Continuous

Bias Strips, pages 42 and 43).

BLOCK ASSEMBLYRefer to the instructions on making the templates (pages 45

and 46), making the positioning overlay (page 47), and pre-

paring the appliqué (pages 48 and 49) as needed. Use pullout

page P1 for the appliqué patterns.

1. Make the templates and overlays for each block. (Attach

Parts A and B of Block #5 together before using the

pattern.)

2. Press the backgrounds in half horizontally and vertically.

Place them on your design wall.

3. Cut strips of fabric ranging in size from 21/2˝ to 4˝ wide

for the tulips. Cut any contrasting fabric you intend to use

as accent strips narrower, at 11/2 .̋ The length of the strips will

vary with the size of the tulip, from 61/2˝ to 10˝ long.

Piecing the TulipsThis is a lot like crazy piecing—there is no pattern.

Linda did find it helpful to draw lines on her tulip

templates to indicate where she wanted the seams to

be—radiating up and out from the base of the tulip.

As she overlapped the strips, she referred to these

lines on her tulip templates.

13 Tiptoe through the Tulips

4. Choose the fabric strip for the center of a tulip. Place it

right side up on your cutting mat. Choose the strip to go to

the right of the center. Place it right side up, overlapping the

center strip at a slight angle. Overlap the strips enough so

that when you cut, you cut through both pieces of fabric at

once. Keep the top edges of the strips even with each other.

Place strips right side up on mat.

5. Cut through both fabrics using a rotary cutter. You do

not need to use a ruler for this.

Cut through both fabrics.

6. Remove the excess fabric. Place the 2 strips right sides

together, matching the top edges. Sew them together. Press

the seam allowances open.

Sew strips together, and press seam allowances open.

7. Place the pieced unit right side up on your cutting mat.

Add another fabric to the left side of the 2 fabrics you have

sewn together. Overlap the new fabric with the first unit as

you did in Step 4, angling it as you please. Cut through both

fabrics. Discard the excess fabric. Sew the new fabric to the

unit and press the seam allowances open. Continue in this

manner until you have a large enough pieced unit for 1

tulip. Repeat for all the tulips.

8. Place the tulip templates on these pieced units and trace

around them; cut them out with their turn-under allow-

ances. Note: Position the templates in any direction you

like on the fabric, but be sure the tulip points do not fall

on the seams because they are very hard to turn under

for appliqué.

9. Cut out the remaining appliqué pieces with their

turn-under allowances. Place the appliqué pieces on the

backgrounds on your design wall. Use the overlays to

position them, or place them by eye. Play with your color

and fabric choices until you are happy with the way the

quilt looks.


10. The squares on Block #5 are

handled like any other appliqué shape.

You can cut them from pieced fabric,

like the tulips, or not.

Audition the Entire QuiltRead ahead in these instruc-

tions. It’s a good idea to place all

the borders on your design wall

before you begin any stitching.

11. Appliqué the blocks with size 12

or 16 perle cotton (pages 51–60). Feel

free to add more stitches inside the

larger appliqué shapes to add interest.

Tulip TipTurn the pieced tulip appliqué

piece upside down in your hand.

Carefully trim away the outer 1/8˝

of the seam allowance where it

falls under the turn-under allow-

ance. This reduces some of the

bulk from the turn-under allow-

ance, making it easier to create a

smooth edge on the tulips.

Trim seam allowance that is under turn-under allowance.

12. When the appliqué is complete,

press the blocks on the wrong side,

and trim them to 101/2˝ × 101/2 .̋

QUILT ASSEMBLYRefer to the quilt assembly diagram for quilt construction.

1. Sew the blocks together into rows. Press the seam allowances in alternate

directions so they nest when the rows are sewn together.

2. Sew the rows together. Press the seam allowances toward the bottom

of the quilt.

3. Sew the side borders to the quilt. Press the seam allowances toward

the borders.

4. Sew the border corners to the ends of the top and bottom borders. Press the

seam allowances toward the border strip. Sew the top and bottom borders to the

quilt. Press the seam allowances toward the quilt center.

5. Refer to Finishing the Quilt (pages 41 and 42). Layer and baste the quilt. Quilt

by hand or machine. Linda hand quilted the designs inside the squares with perle

cotton in contrasting colors (pages 61 and 62). The patterns for the designs she

used are on the template patterns (page P1).

6. Trim and bind the quilt (pages 42–44).

Block #1

Block #1

Block #2

Block #4

Block #4

Block #3

Block #2

Block #1

Block #4

Block #2

Block #1

Block #1

Block #5

Quilt assembly diagram

15 Forever Fresh

Forever FreshFinished block size: 26˝ × 331/2˝

Made by Becky Goldsmith, quilted by Linda Jenkins

Better than a bouquet of real flowers, this cute wall quilt will always be fresh and cheerful!


MATERIALSRefer to Basic Supplies

(pages 5 and 6) as needed.

Block background: 7/8 yard

Tabletop strip: 1/8 yard

Strip A: 1/8 yard (We used a

striped fabric for this strip.)

Outer border: 5/8 yard

Appliqué: A variety

of large scraps

Binding: 3/4 yard


Batting: 34˝ × 42˝

CUTTINGBlock background: Cut 22˝ × 26 .̋

Tabletop strip: Cut 11/2˝ × 201/2 .̋

Strip A: Cut

3˝ × 201/2 .̋

Outer border background: Cut 2

strips 31/2˝ × 28˝ for

the side borders.

Cut 2 strips

31/2˝ × 261/2˝ for the top

and bottom borders.

Additional Supplies

Upholstery vinyl for positioning overlays: 1 yard (54˝ wide)

or 13/8 yards (18˝ wide)




Prescencia perle cotton colors used in pictured quilt: Dark Teal

#3670 for leaves, Brown #8080 for

vases, Deep Rose #2333

for flowers, and True Red

#1902 for flowers


Binding: Cut 1

square 21˝ × 21˝ to

make a 21/2 -̋wide

continuous bias strip

150˝ long (see Making

Continuous Bias Strips,

pages 42 and 43).

BLOCK ASSEMBLYRefer to the instructions on making the

templates (pages 45 and 46), making

the positioning overlay (page 47), and

preparing the appliqué (pages 48 and

49) as needed. Use pullout page P2 for

the appliqué patterns..

1. Make the templates and overlays

for the center block. Note: The circles

around the left flower have been

omitted in the quilt shown on page 15.

You can choose to leave them in or

omit them, depending on the look

you want.

2. Press the background in half hori-

zontally and vertically. Place it on your

design wall.

3. Place the tabletop strip and strip A

on your design wall.

4. Cut out the appliqué pieces with

their turn-under allowances. Place the

appliqué pieces on the background on

your design wall. Use the overlay to

position them, or place them by eye.

Play with your color and fabric choices

until you are happy with the way the

quilt looks.





5. Appliqué the block with size 12 or

16 perle cotton (pages 51–60). Feel




press the block on the wrong side,

and trim it to 201/2˝ × 241/2 .̋

QUILT ASSEMBLYRefer to the quilt assembly diagram for

quilt construction.

1. Sew the tabletop strip to strip

A. Press the seam allowances to the

tabletop. Sew this unit to the bottom

of the block. Press the seam allow-

ances toward the tabletop strip.

2. Sew the side borders to the quilt.

Press the seam allowances toward the

borders.

3. Sew the top and bottom borders

to the quilt. Press the seam allowances

toward the borders.

4. Refer to Finishing the Quilt

(pages 41 and 42). Layer and baste the

quilt. Quilt by hand or machine.

5. Trim and bind the quilt

(pages 42–44).

A


17 Outside In

Outside InFinished quilt size: 30˝ × 36˝

Made by Becky Goldsmith

Perfect for a child’s room, this cheerful quilt brings a bit of the great outdoors inside.



Block background: 7/8 yard

Inner border: 1/4 yard

Middle border: 1/3 yard



Binding: 3/4 yard


Batting: 38˝ × 44˝

Additional Supplies:

Upholstery vinyl for positioning overlays: 2/3

yard (54˝ wide) or 13/8 yards (18˝ wide)




Prescencia perle cotton colors used in pictured quilt: Medium Yellow-Green #4812 for leaves; Dark Taupe #8327

for tree trunk and branches; Brown #8080 for cat; True Red

#1902 for birds, ball, and dog; and Black for the animals’ faces

CUTTINGBlock background: Cut a rectangle 22˝ × 28 .̋

Inner border: Cut 2

strips 11/2˝ × 261/2˝ for the

side inner borders.

Cut 2 strips 11/2˝ × 221/2˝ for the

top and bottom inner borders.

Middle border: Cut 2

strips 2˝ × 281/2˝ for the

side middle borders.

Cut 2 strips 2˝ × 251/2˝ for the

top and bottom middle borders.

Outer border: Cut 2

strips 3˝ × 311/2˝ for the

side outer borders.

Cut 2 strips 3˝ × 301/2˝ for the

top and bottom outer borders.


Binding: Cut 1 square 22˝ × 22˝

to make a 21/2 -̋wide continuous

bias strip 150˝ long (see

Making Continuous Bias

Strips, pages 42 and 43).

19 Outside In




preparing the appliqué (pages 48

and 49) as needed. Use pullout page P3

for the appliqué patterns.

1. Make the templates and overlays

for the block.

2. Press the background in half hori-

zontally and vertically. Place it on your

design wall.



appliqué pieces on the background on

your design wall. Use the overlay to




quilt looks.





4. Appliqué the block with size 12 or

16 perle cotton (pages 51–60). Feel



Embroider the cat’s face and the dog’s

eyes, and birds’ eyes and legs using

black perle cotton.


press the block on the wrong side,

and trim it to 201/2˝ × 261/2 .̋


1. Sew the side inner borders to the quilt. Press the seam allowances toward

the borders.

2. Sew the top and bottom inner borders to the quilt. Press the seam allowances

toward the borders.

3. Sew the side middle borders to the quilt. Press the seam allowances toward

the borders.

4. Sew the top and bottom middle borders to the quilt. Press the seam allowances

toward the borders.

5. Sew the side outer borders to the quilt. Press the seam allowances toward

the borders.

6. Sew the top and bottom outer borders to the quilt. Press the seam allowances

toward the borders.


by hand or machine.




FlutterbyFinished block size: 10˝ × 10˝ • Finished quilt size: 30˝ × 35˝


Gentle butterflies flutter happily on a quilt—sure to make babies and grown-ups alike smile!

21 Flutterby

CUTTINGButterfly and Tulip Block 4 backgrounds: Cut 5

squares 12˝ × 12 .̋

Square and rectangular setting blocks: Cut 4

squares 51/2˝ × 51/2 .̋

Cut 3 rectangles 51/2˝ × 101/2 .̋

Border fabric: Cut 4

strips 3˝ × 301/2 .̋






Strips, pages 42–43).




pages P1 and P4 for the appliqué patterns..

1. Make the templates and overlays for each block.


Place them on your design wall.

3. Cut out the appliqué pieces with their turn-under allow-

ances. Place the appliqué pieces on the backgrounds on

your design wall. Use the overlays to position them, or place

them by eye. Play with your color and fabric choices until

you are happy with the way the quilt looks.

4. Place the squares and rectangles on your design wall

with the blocks.

Audition the Entire QuiltRead ahead in these instructions. It’s a good idea to

place all the borders on your design wall before you

begin any stitching.

5. Appliqué the blocks with size 12 or 16 perle cotton

(pages 51–60). Feel free to add more stitches inside the

larger appliqué shapes to add interest. Optional: Embroider

the antennae on the butterflies with perle cotton.

6. When the appliqué is complete, press the blocks on the

wrong side, and trim them to 101/2˝ × 101/2 .̋


Butterfly and tulip block backgrounds: 7/8 yard

Square and rectangular setting blocks: A variety of large scraps OR 3/8 yard

Border: 1/2 yard


Binding: 3/4 yard


Batting: 38˝ × 43˝

Additional Supplies

Upholstery vinyl for positioning overlays: 1/3 yard (54˝ wide) or 3/4 yard (18˝ wide)




Prescencia perle cotton colors used in pictured quilt: Dark Teal #3670

for butterflies, Brown #8080 for tulip, Black for stems, Medium Yellow Green

#4812 for leaves and butterfly wings, and Orange #7567 for butterfly body



1. Sew the appliqué and setting blocks together into units as shown in the quilt

assembly diagram. Press the seam allowances in alternate directions,

so the seams nest together.

2. Sew the units together. Press the seam allowances toward the right side or

bottom of the quilt.

3. Sew the side borders to the quilt. Press the seam allowances toward the borders.

4. Sew the top and bottom borders to the quilt. Press the seam allowances

toward the borders.


by hand or machine.



23 Daisy Doodles

Daisy DoodlesFinished quilt size: 39˝ × 43˝


As refreshing as a field of flowers, this pretty quilt is sure to bring a smile to your face.






1. Make the templates for the daisy and the butterfly.

2. Make 1 overlay each for the daisy and the butterfly. Be

sure to include the horizontal and vertical centerlines on

each overlay (see Making the Positioning Overlay, page 47).

3. Press a horizontal and a vertical centerline into the back-

ground. Referring to the diagram and measuring out from

each centerline, make a small mark on each outer edge of

the background at the end of the dashed lines. Do not

draw lines across the background. Press the vertical and

horizontal lines into the background as indicated in the dia-

gram, using your marks as guides.

Center

Cent

er

3½˝ 3½˝ 7˝7˝

4˝4˝

4˝4˝

4˝4˝

4˝4˝

The dashed lines are pressed-in lines.


Block background: 11/8 yards

Outer border: 11/4 yards


Binding: 7/8 yard

Backing and sleeve: 3 yards

Batting: 47˝ × 51˝

Additional Supplies


yard (54˝ wide) or 3/4 yard (18˝ wide)



Pencil or erasable fabric marker

Paper: 81/2˝ × 11˝ sheets taped together OR a strip of shelf paper

Rickrack: 5 yards in the width you prefer (Becky used 5/8 -̋wide rickrack.)


Prescencia perle cotton colors used in pictured quilt: Black

CUTTINGBlock background: Cut a rectangle 31˝ × 35 .̋

Border fabric: Cut 2 strips

7˝ × 35˝ from the lengthwise

grain for the side borders.

Cut 2 strips 7˝ × 41˝ from

the lengthwise grain for the

top and bottom borders.






Strips, pages 42–43).

25 Daisy Doodles

4. Use a pencil or erasable fabric marker to draw dots on

the intersections of the pressed-in lines as indicated in

the diagram on page 24. Please pay close attention to the

diagram, and place dots only where indicated. Not every

pressed-in intersection gets a dot.

5. Place the background on your design wall.

Using the Overlay with This QuiltRefer to the diagram on page 26, and place the center

of the daisy overlay over a marked dot. Line up the

drawn lines on the overlay with the pressed-in lines in

the background. Repeat for each daisy and for

the butterfly.


ances. Place the appliqué pieces on the background on your

design wall. Use the overlay to position them, or place them

by eye. Play with your color and fabric choices until you are

happy with the way the quilt looks.


place all the borders (with the border appliqué pieces)

on your design wall before you begin any stitching.

7. Appliqué the block with size 12 or 16 perle cotton

(pages 51–60). Work from the center out. Feel free to add

more stitches inside the larger appliqué shapes. Using the

photo on page 23 as your guide, mark and embroider the

antennae on the butterfly with perle cotton.

8. When the appliqué is complete, press the block on the

wrong side, and trim it to 291/2˝ × 331/2 .̋

BORDER ASSEMBLYRefer to the instructions on making the templates (pages 45




1. Make the leaf templates for the borders.

2. Make an overlay of the leaf pair.

3. Press a vertical and a horizontal centerline in each side

border background. Referring to the diagram and measuring

out from the center, make a small mark where indicated

on each outside edge. Press connecting creases between

pairs of marks to make the additional vertical lines in each

background.

4˝ 4˝8˝

center

8˝

Mark centers of leaf pairs on side borders.

4. Prepare the top and bottom borders in the same

manner, referring to the diagram below.

7˝7˝ 7˝7˝ 3½˝ 3½˝

center

Draw lines on pattern to mark centers of leaf pairs on top and bottom borders.

5. Place the borders on the design wall around the center

block.

6. It is a good idea to choose the rickrack at this point, as

its color can have an impact on your leaf fabric choices. Pin

the rickrack around the center of the quilt.


ances. Place the appliqué pieces on the border backgrounds

on your design wall. Use the overlay to position each leaf

pair, or place them by eye. Play with your color and fabric

choices until you are happy with the way the quilt looks.

8. Appliqué the borders with size 12 or 16 perle cotton

(pages 51–60). Feel free to add more stitches to add

interest.

9. When the appliqué is complete, press the borders on the

wrong side. Trim the side borders to 51/2˝ × 331/2 .̋ Trim the

top and bottom borders to 51/2˝ × 391/2 .̋



1. Sew the side borders to the quilt. Press the seam allowances toward

the borders.

2. Sew the top and bottom borders to the quilt. Press the seam allowances

toward the borders.

3. Pin the rickrack to the inside edge of the quilt borders. Sew the rickrack to the

quilt, leaving the first and last few inches unsewn. Sew the 2 raw ends of the rick-

rack together by hand or machine where they meet so that the seam allowances

will be hidden. Press this seam open. Finish sewing the rickrack to the quilt.


by hand or machine.



Working with RickrackRickrack shrinks, so it is a good

idea to prewash and dry it. This

way you can be sure that it has

shrunk as much as it’s going to

before you sew it to the quilt. We

machine wash and dry ours in a

lingerie bag.

To sew, pin the rickrack securely

in place. With matching thread

in the sewing machine, run a line

of stitches down the long center

of the rickrack. You may find it

helpful to use a walking foot. To

keep the rickrack from curling,

run a line of stitches just inside

the outer curved edge of the

rickrack on each side, or if you

prefer, stitch the outer curves

down as you quilt.

27 Twirly Table Topper

Twirly Table TopperFinished block size: 10˝ × 10˝ • Finished quilt size: 32˝ × 32˝


This stylish quilt will dress up any tabletop or wall. Change the colors and the design will work in any season: red and green for Christmas; blue and white for snowy winter days; or red, white, and blue for the 4th of July!


MATERIALSRefer to Basic Supplies

(pages 5 and 6) as needed.

Twirly flower block backgrounds: 7/8 yard

Square setting blocks: 3/4 yard


Appliqué: A variety

of large scraps

Binding: 3/4 yard


Batting: 40˝ × 40˝

CUTTINGTwirly flower block backgrounds: Cut 5

squares 12˝ × 12 .̋

Square setting blocks: Cut 4 squares 101/2˝ × 101/2 .̋

Outer border fabric: Cut 2 strips 11/2˝ × 301/2˝

for the side borders.

Cut 2 strips 11/2˝ × 321/2˝ for

the top and bottom borders.


Binding: Cut 1 square

21˝ × 21˝ to make a

21/2 -̋wide continuous



Strips, pages 42 and 43).




preparing the appliqué (pages 48 and

49) as needed. Use pullout page P2 for

the appliqué patterns.

1. Make the templates and an overlay

for the twirly flower block.

2. Press the backgrounds in half horizon-

tally and vertically. Place them on your

design wall with the setting squares.



appliqué pieces on the backgrounds

on your design wall. Use the overlay to




quilt looks.

Additional Supplies

Upholstery vinyl for positioning overlays: 1/3 yard (54˝ wide) or

1/3 yard (18˝ wide)

Self-laminating sheets for templates (clear single-sided heavyweight, 9˝ × 12˝): 1 sheet



Prescencia perle cotton colors used in pictured quilt: Pinks #2323, #2333,

and #1742 for flowers

and Medium Yellow

Green #4812 for circles

Audition the Entire QuiltRead ahead in these instructions.

It’s a good idea to place all the

borders on your design wall



or 16 perle cotton (pages 51–60).

Feel free to add more stitches to add

interest.



and trim them to 101/2˝ × 101/2 .̋

QUILT ASSEMBLYRefer to the quilt assembly diagram for

quilt construction.

1. Sew the blocks together into rows.

Press the seam allowances in alternate

directions.

2. Sew the rows together. Press the

seam allowances away from the center

of the quilt.

3. Sew the side borders to the quilt.

Press the seam allowances toward

the borders.

4. Sew the top and bottom borders

to the quilt. Press the seam allowances

toward the borders.





(pages 42–44).


29 Chirps

ChirpsFinished size of each small quilt: 10˝ × 10˝


How can you look at these and not smile? Make as many as you like because they look great together or hung separately. These fast, cute quilts are perfect for gifts.


CUTTINGBlock backgrounds: Cut 1 square 12˝ × 12˝

per quilt.


Binding: Cut 2 strips 21/4˝ × 40˝

per quilt (see Making

Straight Binding, page 43).

Quilt backs: Cut 1 square

14˝ × 14˝ per quilt.


Block backgrounds: 1 fat quarter per quilt


Backing and sleeve: 1/2 yard per quilt OR 11/4 yards for all 4 quilts

Straight binding: 1/4 yard per quilt OR 2/3 yard for all 4 quilts

Batting: 14˝ × 14˝ per quilt

Additional Supplies


yard (54˝ wide) or 11/4 yards (18˝ wide)

Self-laminating sheets for templates (clear single-sided heavyweight, 9˝ × 12˝): 1 sheet per design



Prescencia perle cotton colors used in pictured quilts: Dark Teal

#3670 for birds, Light Rust #7731 for bird nest and bird, Rose #1742

for branch, Brown #8080 for bird wing and beaks, Pale Yellow #1214

for leaves, Red #1490 for bird wings, Light Sage #5229 for leaves, and

Dark Teal #3670 and Light Sage #5229 for hand quilting in leaves




preparing the appliqué (pages 48

and 49) as needed. Use pullout page P4

for the appliqué patterns.

1. Make the templates and an overlay

for each block.

2. Press the backgrounds in half hori-

zontally and vertically. Place them on

your design wall.



appliqué pieces on the backgrounds

on your design wall. Use the overlay to




quilt looks.

Audition the Quilts TogetherRead ahead in these instructions.

If your bird quilts will be hanging

together, it’s a good idea to place

them all on your design wall



or 16 perle cotton (pages 51–60).

Feel free to add more stitches to add

interest.



and trim them to 101/2˝ × 101/2 .̋

QUILT ASSEMBLYRefer to the quilt photos (page 29) for

quilt construction.





(pages 42–44).

31 Pieceful Coexistence

Pieceful CoexistenceFinished quilt size: 22˝ × 42˝

Made by Becky Goldsmith, quilted by Linda Jenkins

Cats and birds can live together in pieceful harmony, if only on this cute quilt!


MATERIALSRefer to Basic Supplies (pages 5 and 6)

as needed.

Bird block backgrounds: 3/8 yard

Cat block background: 3/8 yard

Dark strips: 3/8 yard

Medium-dark strips: 3/8 yard

Medium strips: 3/8 yard

Light strips: 3/8 yard


Binding: 3/4 yard


Batting: 28˝ × 48˝

Additional Supplies

Upholstery vinyl for positioning overlays: 1/4 yard (54˝ wide)

or 3/4 yard (18˝ wide)




Prescencia perle cotton colors used in pictured quilt: Dark Teal

#3670 for leaves; True Red #1902

for bird wings, legs, and beaks;

Dark Taupe #8327 for bird nest;

Dark Peach #1325 for cat; and

Dark Teal #3670 for hand

quilting in leaves

CUTTINGBird and cat block background fabrics: Cut 3 rectangles 8˝ × 16 .̋

Dark strip fabric

Strip A: Cut 2 strips

11/2˝ × 141/2˝ for the cat block.

Strip B: Cut 2 strips


Strip G: Cut 4 strips 11/2˝ × 201/2˝

for the bird blocks.

Strip H: Cut 4 strips 11/2˝ × 141/2˝


Medium-dark strip fabric

Strip C: Cut 2 strips


Strip D: Cut 2 strips


Strip E: Cut 4 strips 11/2˝ × 181/2˝


Strip F: Cut 4 strips 11/2˝ × 121/2˝


Medium strip fabric

Strip E: Cut 2 strips


Strip F: Cut 2 strips 11/2˝ × 121/2˝

for the cat block.

Strip C: Cut 4 strips 11/2˝ × 161/2˝


Strip D: Cut 4 strips 11/2˝ × 101/2˝


Light strip fabric

Strip G: Cut 2 strips


Strip H: Cut 2 strips


Strip A: Cut 4 strips 11/2˝ × 141/2˝


Strip B: Cut 4 strips 11/2˝ × 81/2˝



Binding: Cut 1 square

21˝ × 21˝ to make a 21/2 -̋wide

continuous bias strip 150˝

long (see Making Continuous

Bias Strips, pages 42 and 43).

33 Pieceful Coexistence




pages P3 and P4 for the appliqué patterns.

1. Make a paper pattern for each block. Draw a 6˝ × 14˝

rectangle for each block. Draw horizontal and vertical

centerlines on each rectangle. Make a copy of the birds on

Chirps Blocks 1 and 2 template patterns (page P4). Make 2

copies of the leaf patterns in Chirps Block 1. Make a copy of

the cat pattern from Outside In (page P3).

2. Refer to the quilt assembly diagram (right). Trim away

excess paper, and tape the appropriate template copy onto

each paper pattern. The leaves from Chirps Block 1 are

repeated in the bird blocks. Make the overlays and tem-

plates from these paper patterns.


Place them on your design wall with the strips.


ances. Place the appliqué pieces on the backgrounds on

your design wall. Use the overlay to position them, or place


you are happy with the way the quilt looks.


place all the borders on your design wall before you

begin any stitching.

5. Appliqué the blocks with size 12 or 16 perle cotton

(pages 51–60). Feel free to add more stitches to add

interest. Wait to stitch down the tails of the birds in the

lower block until the strips have been sewn to the block

background (Steps 7–11).

6. When the appliqué is complete, press the blocks on the

wrong side, and trim them to 61/2˝ × 141/2 .̋

7. Sew a light strip A to the top and bottom of each bird

block. Press the seam allowances toward the strip.

8. Sew a dark strip A to the top and bottom of the cat

block. Press the seam allowances toward the strip.

9. Sew a light strip B to the side of each bird block. Press

the seam allowances toward the strip.

10. Sew a dark strip B to the side of the cat block. Press the

seam allowances toward the strip.

11. Continue in this manner, working in alphabetical order,

sewing strips to the blocks. Work from light to dark on the

bird blocks and from dark to light on the cat block. Press

carefully so that you do not stretch the blocks out of shape.


1. Sew the blocks together. Press the seam allowances in

either direction.

2. Refer to Finishing the Quilt (pages 41 and 42). Layer and

baste the quilt. Quilt by hand or machine.


A

C

E

E

G

G

C

A

B B DDF FH H11

9

9

12

12

13

13

10

1110



Tea Towels with AttitudeFinished size of each tea towel after washing: 18½˝ × 25˝*

Pretty tea towels dress up a kitchen. Your kitchen will be especially well dressed with these lovely designs. They make wonderful gifts!


*Please note that tea towels may vary in size.


Tea towels: As many as you like

Fabric strip: 1/4 yard per towel (NOTE: You can cut 2 strips from this yardage if you want to use the same fabric for 2 towels.)


Additional Supplies

Upholstery vinyl for positioning overlays: 1/3 yard

(54˝ wide) or 1/3 yard per towel (18˝ wide)

Self-laminating sheets for templates (clear single-sided heavyweight, 9˝ × 12˝): 1 sheet per design



Prescencia perle cotton colors used in pictured towels: Dark Teal #3670, Light Medium Aqua #3664, and Red #1490

CUTTINGPlease note that tea towels may vary in size. You may need to adjust some of the measurements below to fit your towels.

Fabric strip: Cut 1 strip

41/2˝ × 21˝ per towel.


TEA TOWEL ASSEMBLYRefer to the instructions on making the templates (pages 45



page P2 for the appliqué patterns

1. Tea towels generally shrink a lot the first time they are

washed and dried. It is important to prewash them and the

fabric for the fabric strip before you move on to Step 2.

2. Make a paper pattern for each tea towel. Cut a piece of

paper the size of each of your tea towels.

3. Using the Forever Fresh pattern (page P2), make copies

of the twirly flower head from the first flower; the entire

center flower and vase; and the flower, the top 5 leaves, the

top part of the stem, and the vase from the third flower. Cut

away excess paper, and tape the appropriate copies to the

paper patterns. Draw a horizontal tabletop below each vase.

Be sure to place the copies on the pattern paper so that any

vertical centering lines on the copies are straight on the paper.

4. Make the templates and overlays from these patterns.

5. Fold each fabric strip in half lengthwise, with wrong sides

together. Sew this seam with a 1/4˝ seam allowance. Place the

tube on your ironing board. Move the seam to the center,

and press the seam allowance open and the tube flat.

Sew fabric strip wrong sides together. Move seam to center, and press seam allowances open and tube flat.

6. Remove the hem stitches for about 3˝–4˝ on each

side of the tea towel, up 5˝ from the corner. Open the

folded edge.

35 Tea Towels with Attitude

7. Place the fabric strip right side up with the seam against

the tea towel. Position the bottom of the fabric strip 1˝

from the hemmed bottom of the tea towel. Be sure the

ends of the fabric strip extend at least to the raw edge on

each side of the tea towel.

8. Topstitch the fabric strip to the tea towel. Use a walking

foot if you have one. Cut the ends of the fabric strip even

with the raw edges at the sides of the tea towel.

Sew fabric strip to tea towel with walking foot. Cut strip even with raw edges of tea towel.

9. Fold the side edges back in place and resew the side hems.

Resew side hems.

10. Press vertical and horizontal lines into the tea towel

with the twirly flower to match those on the pattern.

Press a vertical line on each of the tea towels with vases

where indicated on the pattern. The top of the fabric strip

will line up with the “tabletop” line on the overlay.

11. Place the tea towels on your design wall.

12. Cut out the appliqué pieces with their turn-under

allowances. Place the appliqué pieces on the tea towels on

your design wall. Use the overlay to position them, or place


you are happy with the way they look.

Audition the Towels TogetherRead ahead in these instructions. If your tea towels

will be used together, it’s a good idea to place them all

on your design wall before you begin any stitching.

13. Appliqué the tea towels with size 12 or 16 perle

cotton (pages 51–60). Feel free to add more stitches to

add interest. Be sure to bury any tails of thread under the

appliqué—don’t leave them exposed on the back of the tea

towels.

14. When the appliqué is complete, press the tea towels on

the wrong side.


37 Perfectly Pretty Pillows

Perfectly Pretty PillowsFinished square pillow: 11˝ × 11˝ • Finished rectangular pillows: 11˝ × 15˝


Don’t you just love the way pillows perk up a room? Linda used the designs from Forever Fresh (page 15) to make these great pillows.



Pillow backing: 1/2 yard

or 1 fat quarter


Prescencia perle cotton colors used in pictured pillow: Light

Medium Aqua #3664 for flowers,

Medium Yellow Green #4812 for

leaves, Orange Red #1166 for vase,

and Gold #1068 for flower base

Additional Supplies for All Pillows:

Upholstery vinyl for positioning overlays: 1/3 yard (54˝ wide) or

1/3 yard per design (18˝ wide)

Self-laminating sheets for templates (clear, single-sided, heavy-weight, 9˝ x 12˝): 1 sheet per design


Make or buy pillow forms in the following sizes:

Square pillow: 12˝ × 12˝

Rectangular pillows: 12˝ × 16˝

NOTE: The pillow forms we bought measured smaller than the sizes stated on the packaging. That’s why our pillows finish smaller than the pillow forms. It is a good idea to measure the pillow forms that you purchase and adjust the cutting sizes if necessary.

Square pillow

Pillow front background: 1/2 yard or 1 fat quarter

Appliqué: A variety of fabric scraps


or 1 fat quarter



Medium Aqua #3664 for circles

and True Red #1902 for flowers

Rectangular pillow with vase and flower




or 1 fat quarter



Medium Aqua #3664 for tulip base,

Medium Yellow Green #4812 for

leaves, Brown #8080 for tulips and

stems, and Gold #1068 for circles

Rectangular pillow with flower



CUTTINGSquare pillow

Pillow front background: Cut 1 square 13˝ × 13 .̋

Pillow backing: Cut 2

rectangles 111/2˝ × 71/2 .̋

Rectangular pillow with vase and flower

Pillow front background: Cut 1 rectangle 13˝ × 17 .̋


rectangles 111/2˝ × 91/2 .̋

Rectangular pillow with flower

Pillow front background: Cut 1 rectangle 13˝ × 17 .̋


rectangles 111/2˝ × 91/2 .̋


39 Perfectly Pretty Pillows

PILLOW FRONT ASSEMBLYRefer to the instructions on making the templates (pages 45




1. Make a pattern for each pillow. Cut a piece of paper the

size of each pillow.

2. Make copies of the appropriate flowers from the pat-

terns for Forever Fresh (page P2). Cut away excess paper, and

tape the appropriate copies to your pattern paper.

3. Draw a vertical and horizontal centerline on each

pattern.

4. Make the templates and overlays from these patterns.

5. Cut out the appliqué pieces with their turn-under

allowances.

6. Appliqué each pillow front with size 12 or 16 perle

cotton (page 51–60).

7. After the appliqué is complete, press the pillow fronts on

the wrong side.

8. Trim the pillow fronts:

Trim the square pillow to 111/2˝ × 111/2 .̋

Trim the tall rectangular pillow to 151/2˝ × 111/2 .̋

PILLOW ASSEMBLY1. The 2 pieces of the pillow backs overlap. Turn under

and press 1/2 ,̋ and then another 1/2 ,̋ along the hem side

of each pillow back piece. Stitch the hem in place with

matching thread.

2. Place the pillow back pieces and the pillow top right

sides together. Overlap the hemmed edges of the pillow

backs, and place the raw edges even with the edges of the

pillow top.

Overlap hemmed edges of pillow backs so that raw edges are even with edges of pillow top.

3. Sew the pillow top and backs together. Trim away the

extra fabric at the corners.

4. Turn right side out, and press.

5. Insert the appropriate pillow form.

41General Quiltmaking Instructions

General Quiltmaking Instructions

FABRIC PREPARATIONPrewash your fabric before using it. Prewashing is a good

way to test for colorfastness and shrinkage. It is better that

the fabric bleed or shrink before it is sewn into the quilt.

Prewashed fabric has a better hand and it smells better. In

addition, washing removes the chemicals in the fabric that

some people are allergic to. Prewashed fabric appliqués

better because it frays less.

We wash cotton fabric in the washing machine using Orvus

Paste. Orvus Paste is a neutral synthetic detergent that can

be bought by the gallon. It is soluble in both hot and cold

water and rinses out freely. It is intended to be used on ani-

mals large and small—and it is wonderful for cotton fabric.

Use 1–2 tablespoons of Orvus Paste per washer load. If you

have a front-loading washer, mix 1 tablespoon or less of

Orvus Paste in water before using.

It’s a good idea to have Synthrapol and Retayne on hand

when washing fabric and quilts. Synthrapol is a product

that you add to the wash water that keeps dye molecules

that come out of the fabric from redepositing back into the

fabric. Retayne helps keep the dye molecules in the fabric to

begin with. Because water chemistry varies, it is important

to experiment a little to find out how these products work

best for you. You can also use Shout Color Catcher sheets.

Follow the manufacturer’s instructions.

After washing, dry cotton fabric in the dryer on warm. Do

not add a dryer sheet because it softens the fabric, making

it a little harder to work with. Remove the fabric from the

dryer while it is still warm. Smooth out the wrinkles, and fold

it to fit your shelf or drawer. It is not necessary to press the

fabric at this point. You will need to press it before you cut it.

About Our Fabric RequirementsCotton fabric is usually 40˝–44˝ wide off the bolt. To be safe, we calculate the fabric requirements based on a 40˝ width.

Use the fabric requirements for each quilt as a guide, but remember that the yardage amounts vary depending on how many fabrics you use and the sizes of the pieces you cut. Our measurements allow for both fabric shrinkage and a few errors in cutting.

SEAM ALLOWANCESAll machine piecing is designed for 1/4˝ seam allowances.

FINISHING THE QUILT1. Assemble the quilt top following the instructions for

each project.

2. Construct the back of the quilt, piecing as needed.

3. Place the backing right side down on a firm surface. Tape

it down to keep it from moving around while you baste, but

do not stretch the backing out of shape.

4. Place the batting over the backing, and pat out any

wrinkles. Do not stretch the batting out of shape by

smoothing or stroking it.

5. Center the quilt top right side up over the batting.

6. Baste together the layers. Yes, we thread baste for both

hand and machine quilting.

7. Trim the batting 1˝ away from the quilt top. Trim the

backing fabric 1” farther out. Fold the backing over the

exposed batting, and baste it in place. This protects the

outer edge of the quilt during quilting.


8. Quilt by machine or by hand.

9. After quilting, trim the outer edges, leaving 1/4˝–3/8˝ of backing and batting

extending beyond the edge of the quilt top. This extra fabric and batting will fill

the binding nicely.

Trim backing and batting so they extend 1/4˝–3/8˝ beyond edge of top.

10. Finish the outer edges (page 44) with continuous bias binding (below).

(Chirps, page 29, use straight binding (page 43).

MAKING CONTINUOUS BIAS STRIPSBecause the folded edge is on the bias grain of the fabric, bias binding wears

better than straight binding.

Bias from a SquareIt takes a surprisingly small amount of fabric to make quite a bit of bias with this

method, and there is virtually no waste.

For binding, we normally cut our strips 21/2˝ wide. The binding is pressed in half

lengthwise, wrong sides together. The raw edges are sewn even with the quilt top,

and the folded edge is turned to the back and hand stitched over the raw edges

of the quilt. (See Sewing the Binding to the Quilt, page 44.)

1. Cut a square of fabric in half diago-

nally. Refer to the project instructions

for the size of the square.

2. Sew together the 2 triangles, right

sides together, as shown. Be sure to

sew the edges that are on the straight

of grain. If you are using striped fabric,

match the stripes. You may need to

offset the fabric a little to make the

stripes match.

Straight

BiasBias

Sew together straight-of-grain edges of triangles.

3. Press the seam allowances open.

Make a short cut 21/2˝ into each side

as shown. Cuts are always made on

the bias grain of the fabric—check the

grainline before you cut.

BA

2½˝

BA

2½˝

Make short cut 21/2˝ from each side.

43General Quiltmaking Instructions

4. With the fabric right sides together,

match the A’s and B’s. Pin and sew.

Press the seam open.

A B

Pin, sew, and press.

5. Use a rotary cutter and ruler to cut

the continuous bias strip 21/2˝ wide.

Cut through one layer only.

6. Press the binding strip in half

lengthwise, wrong sides together.

Bias from StripsWhen you don’t need a very long

length of continuous bias binding, it

can be easier to make it from strips

rather than from a square.

1. Cut several strips on the bias at the

designated width. Angle both ends at

the same 45° angle.

Cut strips on bias. Cut the ends at the same 45° angles (not shown).

2. Place 2 strips right sides together.

Offset the ends so that a V is formed

at the 1/4˝ seamline.

Place strips together with offsetting ends.

3. Sew the strips together end to end,

with a 1/4˝ seam. Press the seams open.

Trim away the dog ears that extend

beyond the edges of the strips.

4. Press the binding strip in half

lengthwise, wrong sides together.

MAKING STRAIGHT BINDINGStraight binding is a nice alternative

on small quilts, such as the Chirps

quilts (page 29).

1. Cut strips 21/4˝ wide for the Chirps

quilts. For other quilts, cut strips 21/2˝

wide. Cut off the selvages at the ends

of the strips.

2. Place the end of a strip right side

up on your cutting mat. Place the end

of a second strip right side down on

top of the first strip at a 90° angle. Let

1/2˝ of the end of each strip stick out.

3. Draw a line between the points

of the 2 V’s formed by the overlap-

ping strips. Sew the strips together on

the drawn line, or use the fast2sew

Ultimate Seam Guide.

Draw line between V’s, and sew strips together.

4. Cut away the excess fabric, leaving

a 1/4˝ seam allowance. Press the seam

allowances open. Continue sewing

strips together in this manner to make

the needed length of binding.

5. Fold the binding strip in half

lengthwise, wrong sides together, and

press.


SEWING THE BINDING TO THE QUILT1. Be sure the outer edges of the quilt are trimmed (page 42).

2. Open the binding to a single layer, and cut the first end of the binding at a 45°

angle. Turn under this end 1/2˝ and press. Refold the binding in half lengthwise.

3. With the raw edges even, pin the binding to the edge of the quilt top, begin-

ning a few inches away from a corner. Start sewing 6˝ from the beginning of the

binding strip, using a 1/4˝ seam allowance and the walking foot.

4. Stop 1/4˝ away from the corner, and backstitch several stitches.

Stop 1/4˝ from corner.

8. Overlap the ends of the binding,

and cut the second end at a 90° angle.

Be sure to cut the binding long enough

so that the cut end is covered com-

pletely by the angled end.

9. Slip the 90° end into the angled end.

Slip 90° end into angled end.

10. Pin the joined ends to the quilt,

and finish sewing the binding to

the quilt.

Pin joined ends, and finish sewing.

11. Turn the binding to the back of

the quilt, covering the raw edges. If

there is too much batting, trim some

to leave the binding nicely filled. Hand

stitch the folded edge of the binding

to the back of the quilt. Hand stitch

the mitered corner edges down as well.

5. Fold the binding straight up as

shown. Note the 45° angle.

Fold binding up.

6. Fold the binding straight down,

and begin sewing the next side of

the quilt.

Fold down binding and sew.

7. Sew the binding to all 4 sides of the quilt, following the process in Steps 4–6.

Stop a few inches before you reach the beginning of the binding, but don’t trim

the excess binding yet.

45General Appliqué Instructions

General Appliqué Instructions

PREPARING THE BACKGROUNDS FOR APPLIQUÉAlways cut the background fabric larger than the size it will be when it is pieced

into the quilt. The outer edges of the block can stretch and fray as you handle

it while stitching. The appliqué can shift during stitching and cause the block to

shrink slightly. For these reasons it is best to add 1˝ to all sides of the backgrounds

when you cut them out. We have included this amount in the cutting instruc-

tions for each quilt. You will trim the blocks to size after the appliqué is complete.

1. Cut the backgrounds as directed in the project instructions. For blocks with

pieced backgrounds, cut and sew them together as directed.

2. Press each background block in half vertically and horizontally. This establishes

a center grid in the background that will line up with the center grid on the posi-

tioning overlay (page 47).

3. Use a pencil to draw a 1/4 -̋long mark at the edge of the block on top of each

pressed-in grid line. Be sure not to make the lines too long or they will show on

the block. These little lines will make it easier to position the overlay correctly as

you work with it and will help you find the center when trimming the block.

4. Use a pencil or marker to draw a little X in a corner of the block background.

This X will be in the same corner as an X that you will draw on the overlay. Be

sure to place the X near the edge so it won’t show on the finished block.

Draw 1/4 -̋long marks at each end of pressed-in grid, and draw small X in corner.

MAKING APPLIQUÉ TEMPLATESEach appliqué shape requires a tem-

plate, and our unique way of making

templates is both easy and accurate.

NOTE: If a shape is repeated, such as the daisy petals in Daisy Doodles (page 23), you only need to make 1 daisy petal template (The pattern is on pullout page P4). These templates are strong enough to be reused many times.

1. Use a photocopier to make 1–3

copies of each block. If the pattern is

large, copy it in sections. If the pat-

tern needs to be enlarged or reduced,

make these changes before making

copies.

Determining the Number of CopiesYou need a complete paper

shape for each appliqué piece

that requires a template. When a

shape overlaps another, you need

2 copies. Look at each shape to

determine how many copies it

requires—or make 3 copies of

each pattern knowing that you’ll

probably have some extra copies.


2. Cut out the appliqué shapes from these copies. Cut

them in groups when you can—it saves on the laminate

(page 6). Leave a little paper allowance around each shape

or group. Where a shape overlaps another, cut the top and

bottom shapes from different copies.

3. Place a self-laminating sheet shiny side down on the

table. Peel off the paper backing, leaving the sticky side of

the sheet facing up.

4. Place the templates drawn side down on the self-

laminating sheet. Grasp a template sheet at 2 sides, cupping

it in the center. Carefully place the center on the laminate,

gently laying it down toward the edges. Use as many lami-

nating sheets as necessary.

Place appliqué shapes drawn side down on self-laminating sheets.

TipWhen a template is bigger than the laminate sheet,

cover most of the area with a laminate sheet. See

how much more laminate is needed, and cut that

much from a second laminate sheet. Peel the backing

away, and stick the additional laminate to the paper

template, letting the laminate edges overlap.

5. Cut out each shape. Try to split the drawn line with

your scissors—don’t cut inside or outside the line. Keep the

edges smooth and points sharp.

Carefully cut out each template.

You’ll notice how easy these templates are to cut out. That’s

the main reason we like this method. It is also true that a

mechanical copy of the pattern is more accurate than hand

tracing onto template plastic. As you use the templates, you

will see that they are sturdy and hold up to repeated use.

Fusible AppliquéAlthough we prefer hand appliqué, we know that many quilters like to use fusible web. When considering fusing these projects, remember that it is difficult to hand stitch through fused fabric, especially with thicker perle cotton. We find that hand stitching as we describe it in this book is fast and fun to do.

USING THE TEMPLATESThe templates are numbered. The numbers indicate the

stitching sequence. Begin with #1 and work your way

through the block. Templates are placed with the drawn,

shiny side up on the right side of the fabric.

1. Place the appliqué fabric right side up on a sandpaper

board (page 6).

2. Place the template right side up (shiny laminate side up)

on the fabric, with as many edges as possible on the diag-

onal grain of the fabric. A bias edge is easier to turn under

and will fray less than an edge cut on the straight of grain.


3. Trace around the template. The sandpaper board will

hold the fabric in place while you trace. Make a line you

can see! Be sure to draw the line right up next to the edge

of the template. It won’t matter if the line is wide. It will be

turned under in hand appliqué.

Place templates with as many edges as possible on bias.

4. Cut out each appliqué piece, adding a 3/16̋ turn-under

allowance. Add a scant 3/8˝ allowance to any part of an

appliqué piece that lies under another piece.

Cut out each appliqué piece.

MAKING THE POSITIONING OVERLAYThe positioning overlay is a piece of clear vinyl (page 5) that

is used to position each appliqué piece accurately on the

block. The overlay is easy to make and use, and it makes

your projects portable. It can be used with just about any

appliqué method.

1. Cut a piece of the vinyl to the finished size of each block.

If the vinyl has a tissue paper lining, cut the vinyl and tissue

at the same time, and set aside the tissue paper until you

are ready to fold or store the overlay. If your vinyl isn’t wide

enough, you can tape together 2 pieces with clear tape on

the front and back.

2. Tape the pattern onto a table to keep it from shifting.

3. Tape the vinyl over the pattern. Use a ruler and a Sharpie

Ultra Fine Point Permanent Marker to draw the pattern’s

horizontal and vertical centerlines onto the vinyl.

4. Accurately trace all the lines from the pattern onto the

vinyl. The numbers on the pattern indicate the stitching

sequence—include these numbers on the overlay. They also

tell you which side of the overlay is the right side.

Tape vinyl over pattern, and draw centerlines, pattern lines, and numbers.

5. Draw a small X in a corner of the positioning overlay.

Trace pattern onto vinyl. Draw small X in corner of overlay.

6. To store the overlay, place the tissue paper over the

drawn side of the overlay, and fold or roll the 2 layers

together.


USING THE POSITIONING OVERLAY1. Place the background fabric right side up on your work

surface. We like to work on top of a sandpaper board. The

sandpaper will keep the background from shifting as you

position appliqué pieces on the block.

2. Place the overlay right side up on top of the background.

3. Line up the pressed-in centerlines in the background

with the centerlines of the overlay. If you have not done so

already, mark an X on the block in the same corner as on

the overlay so that you always know how to position the

overlay. Pin the overlay if necessary to keep it from shifting

out of position. Flat flower-head pins work best.

Place overlay on background, and line up centerlines.

4. Finger-press the turn-under allowances before placing

the appliqué pieces on the block. As you finger-press, make

sure that the drawn line is pressed to the back.

Finger-PressingFinger-pressing is a very important step in needle-turn

hand appliqué. You’ll be amazed at how much easier

this one step makes needle-turning the turn-under

allowance.

Hold the appliqué piece right side up. Use your

thumb and index finger to turn the turn-under allow-

ance to the back of the appliqué so that the chalk line

is just barely turned under. If you can see the chalk

line on the top of your appliqué, it will be visible after

it is sewn.

Use your fingers to press a crease into the fabric along

the inside of the chalk line. Good-quality 100% cotton

will hold a finger-press very well. Do not wet your fin-

gers or use starch or scrape your fingernail along the

crease. Just pinch it with your fingertips. Finger-press

every edge that will be sewn down.

Finger-press each piece with drawn line to back.


5. Place the appliqué pieces right side up under the overlay

but on top of the background. It is easy to tell when the

appliqué pieces are in position under the overlay. Start with

the #1 appliqué piece. Be sure to place the appliqué pieces

in numerical order. Position a single piece at a time.

Use overlay to position appliqué pieces.

6. Fold the overlay back and pin the appliqué pieces in

place. You can pin against the sandpaper board; doing so

does not dull the pins. We usually position and stitch only

1 or 2 pieces at a time. Remove the vinyl overlay before

stitching.

7. Place 1/2˝ sequin pins parallel to (and 1/4˝ inside) the chalk

line. It is sometimes easier to baste large pieces to the back-

ground. Baste along the same line you would pin, parallel to

(and 1/4˝ inside) the chalk line.

Pin appliqué pieces in place.

8. Sew the pieces in place as described in Appliqué Stitches

with Attitude! (pages 51–60).

9. When you are ready to put away the overlay, place the

saved tissue paper over the drawn side before you fold it.

The tissue paper will keep the lines from transferring from

one part of the vinyl to another.

For Your InformationWe don’t trim the fabric behind our appliqué.

We believe that leaving the background intact makes

the quilt stronger. And should the quilt ever need to

be repaired, it’s easier if the background has not

been cut.


PRESSING AND TRIMMING THE BLOCKSAfter the appliqué is complete, press

the blocks on the wrong side. If your

ironing surface is hard, place the

blocks on a towel so the appliqué will

not be flattened. Be careful not to

stretch the blocks as you press.

Carefully trim each block to size.

Refer to the 1/4˝ lines you drew in the

center of each of the 4 edges of the

backgrounds to help you center the

blocks. Take your time when trim-

ming. Be sure of your measurements

before you cut. If you are using a ruler,

remember to measure twice and

cut once.

Trimming Tips l Always look carefully at

the block before you trim.

We add 1˝ to each side of the

finished size when we cut the

background for each block and

border. You should be trimming

off about 3/4˝ from each edge of

the block. If you are about to

trim much more (or less) than

that, check your measurements.

l Use the short lines that you

drew at the ends of the pressed-

in grid to help you center the

cuts.

l Take your time. If it helps you

visualize how much you need to

trim away, compare your paper

pattern to the block.

SPECIAL APPLIQUÉ TECHNIQUE: CIRCLE APPLIQUÉWhen sewing outer curves and circles, you can control only one stitch at a

time. Use the needle or a round wooden toothpick to smooth out any pleats

that form.

Circles that are closer to 1˝ in diameter look better when sewn with the serrated

edge stitch (page 55). Larger circles can be sewn with any stitch.

1. Prepare and position the circles as you would any other appliqué piece,

including finger-pressing each circle. Use 2 or more pins to hold the circle in place.

Never use just 1 pin, as the circle could shift out of place as you sew.

2. Begin sewing. Turn under only enough turn-under allowance to take 1 or 2

stitches. If you turn under more than that, either the edge will flatten or a pleat

will form, causing a point.

Turn under only enough for 1 or 2 stitches.

3. If a pleat forms, use the tip of the needle or toothpick to reach under the

appliqué to spread open the fold. The point will smooth out as you open up the

pleat. (Refer to tip Points in the Circle on page 56.)

4. As you approach the last stitches of the circle, the turn-under allowance will

form a triangle. To close the circle, turn under this last bit of turn-under allowance

all at once. The circle will tend to flatten out.

5. Use the tip of the needle to smooth out the pleats in the turn-under allow-

ance and to pull the flattened part of the circle into a more rounded shape.

51Appliqué Stitches with Attitude!

Appliqué Stitches with Attitude!We used three different very visible stitches on the appliqué in this book: a running stitch, a mock blanket stitch,

and a serrated edge stitch variation. Feel free to design stitches of your own as you make your quilts.

We used Prescencia’s perle cotton (page 6) in our quilts. Size 12 is a little thicker and therefore more visible. Size 16

is thinner and pulls through the fabric a little easier. We didn’t use size 8 because it was too hard to pull through

the fabric.

Bohin’s size 9 crewel needle (page 6) works with both weights of perle cotton. If you need a needle threader, we

found only one that works with these perle cottons and this needle—it is the Quilter’s Threader by Collins.

Prepare the appliqué as described in General Appliqué Instructions (pages 45–50).

KNOTTING THE THREADThe Beginning Knot

Hold the threaded needle in your hand. Hold the tail of the thread between your thumb and index finger, next to the needle.

1 3While pinching the thread tail next to the needle, hold the thread with your other hand, and wrap it around the needle once.

Gently pull the needle from your hand while still pinching the wrap and thread tail. Continue pulling until the knot is formed between your fingers.

42Pull the wrap down the shaft of the needle until it is pinched with the thread tail between your thumb and index finger.


The Ending Knot

When you are ready to knot off the thread, send the needle to the back of the block. Take a small stitch in the background fabric behind the appliqué, near the stitches. Pull the thread all the way through. This is the anchor stitch.

Take another stitch through the anchor stitch, and pull the thread slowly until a loop forms.

Bring the needle and thread around the left side of the loop, and then send the needle up through the loop from bottom to top. Pull the thread tight, and the knot will form against the fabric.

Run the needle between the background and the appliqué to bury the tail of thread. Cut the thread even with the back of the block.

1

2

3

4

RUNNING STITCHThe running stitch will feel familiar to those of you who

have hand quilted. The stitches create a dashed line that

accentuates the edge of the appliqué.

Bring up your needle through the appliqué fabric about 1/16̋ inside the finger-pressed crease that is at the inside edge of the drawn line. Use the needle to turn under the turn-under allowance, and hold it in place with the finger (underneath) and thumb (on top) of the hand holding the fabric. The knot and the thread tail will be buried under the appliqué.

About the Running StitchThe stitch, and the space between 2 stitches, will be

1/16̋ –1/8˝ long. The needle will follow the edge of the

appliqué and be about 1/16̋ away from it.

Stitch from right to left (if you are right-handed). Hold the block so that the edge of the appliqué runs from side to side. Your left thumb should be sitting right on top of the folded edge and positioned so that when you stitch, the needle is pointed at the end of your thumb, not the side of your thumb.

1

2


Place the needle a stitch length to the left of the point where you brought up the thread. Poke the needle straight down through the appliqué and the background until you hit the tip of your finger underneath.

Rock over your finger underneath, and push the needle back up through the background and the folded edge of the appliqué. Try to make the stitches and spaces between them uniform. Really bend over the bottom finger so that your needle travels as straight as it can up through the layers. Keep pinching the fabric together with your left finger and thumb to keep the layers together and to help you make the stitch length you want.

Unless the fabric is very tightly woven, you can pack 2–4 stitches at a time on the needle. Push the needle up the length of just 1 stitch, and then point it right back down through the layers until you can feel it with your bottom finger.

3

4

5

Push the needle down until it feels like you have gone the distance you want to go, and then bend it back up over your bottom finger.

When you think you have all the stitches you can make on the needle, pull the needle and thread through the fabric. Don’t pull the thread so tight that you pleat the edges, but don’t leave the thread loose either. Continue in this manner, turning under the edges along the finger-pressed crease and rocking the needle up and down to make the stitches.

Ending a Running StitchBecause the first running stitch is brought up through

the appliqué only, the beginning of that stitch is not

held tightly to the background. There are some shapes

that you stitch all the way around, such as the birds in

Outside In (page 17). In these cases we stitch over the

first stitch with the last stitch.

6

7


A

B

C

D

E

Continue in this manner, turning under the edges along the finger-pressed crease and making stitches perpendicular to the edge.

NOTE: Each stitch you make should be perpendicular to the edge of the appliqué—just as those stitches would be in a true blanket stitch. These stitches can be long or short, close together or farther apart. You get to decide what looks best on your quilt.

3

MOCK BLANKET STITCHThe mock blanket stitch holds the edge of appliqué in place more securely than does a blanket stitch. You can make bigger

bolder stitches or smaller, quieter stitches, or you can combine big and small stitches all on the same edge.

3⁄16" A

Bring up the needle through the appliqué fabric, about 3/16̋ inside the inside edge of the drawn line at A. The knot and the thread tail will be buried under the appliqué.

1 ABC

Use the needle to turn under the turn-under allowance, and hold it in place with the finger (underneath) and thumb (on top) of the hand holding the fabric. Place the needle at B, just inside the folded edge of the appliqué. Poke the needle straight down through the appliqué and the background until you hit the tip of your finger under-neath. Rock over your underneath finger and push the needle back up through the background and appliqué, about 1/8˝–3/16̋ away at C.

AC

B

2

All you have to do is shift the points where the needle enters the fabric. Stitch

from A to B and back up at C. Stitch from C to D and back up at E. Make the

cross-stitches large or small, straight or a little skewed.

A

B

C

Cross-stitch with mock blanket stitch.

Cross-stitch with running stitch.

C A

D

E

F B

C A

DEF B

Cross-Stitch AccentsYou can add a few cross-

stitches every now and then to

add variety to the edge of the

appliqué. You’ll notice below

that Linda added little cross-

stitches mixed with the other

running stitches in her quilt

Tiptoe through the Tulips to add

texture and variety.

Add cross-stitches wherever you like.


SERRATED EDGE STITCHThe serrated edge stitch is made much like the mock blanket stitch, but it is different in that the stitch goes over the edge

of the appliqué and is smaller and uniform. This stitch is particularly nice on circles.

Rock over your underneath finger and push the needle back up through the background and appliqué, about 1/16̋ –1/8˝ to the left of the beginning of the last stitch.

Continue in this manner, turning under the edges along the finger-pressed crease and making stitches perpendicular to the edge.

3

4

Bring up the needle through the appliqué fabric, about 1/16̋ –1/8˝ inside the inside edge of the drawn line. The knot and the thread tail will be buried under the appliqué.

Use the needle to turn under the turn-under allowance, and hold it in place with the finger (underneath) and thumb (on top) of the hand holding the appliqué. Place the needle above the point where you brought the thread up, just outside the folded edge of the appliqué. Poke the needle straight down next to the appliqué, into the back-ground, until you hit the tip of your finger underneath.

1

2


TipEach stitch you make should be perpendicular to the

edge of the appliqué. These stitches look better if they

are small and uniform in size and distance apart.

Points in the CirclePleats may form in the turn-under allowance as you

turn it under. This causes a point at the edge of the

circle. When a pleat forms, reach into it with the end

of the needle or a toothpick. (Always dampen the end

of the toothpick; it works better.) Spread the folded

fabric apart so that it is evenly distributed. The point

will disappear.

STITCHING OUTER POINTSA perfect point is one in which the turn-under allowance

is tucked away underneath the point, just inside both chalk

lines. Because stitches with attitude are bigger, the fabric on

each side of the point is not held down as tightly over the

turn-under allowance as it is in invisible appliqué.

Stitching Outer Points with a Running StitchRefer to Running Stitch (pages 52 and 53).

Finger-press the appliqué piece, and pin it to the block. As you approach the outer point, push the needle all the way through to the back of the appliqué at B. Park the needle out of the way, and use a dampened toothpick to turn under the turn-under allowance in the remaining steps. If the stitches are not spaced so that you can bring the needle down through the point, bring it up instead.

Turn the appliqué in your hand. Use the toothpick to begin working the turn-under allowance into place under the outer point.

AB

1

2


Use the end of the toothpick in a sweeping motion to smooth any folds or pleats in the turn-under allowance away from the point.

Use the toothpick to turn under more seam allowance as necessary.

3

4

A

BC

Make the first stitch after the point by bringing the needle back to the front of the block at C, a scant stitch length away from the tip of the point. As you make this stitch, move as much of the turn-under allow-ance as possible away from the edge of the appliqué, under the point. Continue stitching the appliqué with a running stitch.

TipSometimes you may find that the point lies better if

you make a small stitch over the end of it. This stitch

makes the point lie flatter, and some fabrics look

better with this extra stitch.

Small stitch over end of point

C

A

B

5


Stitching Outer Points with a Mock Blanket StitchRefer to Mock Blanket Stitch (page 54).

E

C

D

Turn the appliqué in your hand a quarter-turn. Push the needle through the appliqué and background fabric at E, and bring it up again at or very near C.

EF

GC D

Again, turn the appliqué in your hand. Use the toothpick or needle to begin working the turn-under allowance into place under the outer point. Use the end of the toothpick to smooth any folds or pleats in the turn-under allowance away from the point.

Push the needle through the appliqué and background fabric at F, and bring the needle back to the front of the block, a stitch length away from the last stitch at G. The 3 stitches at the point make a “chicken foot.”

A

C D

E

B

3

AB

C DE

FG

4

5

Finger-press the appliqué piece, and pin it to the block. Sew until you are within 2 stitches of the outer point at A. Push the needle through the appliqué and background fabric at B, and bring it up at C, 1/16̋ to a scant 1/8˝ from the end of the point.

A

BD

C

Push the needle through the appliqué and background fabric at D, and bring it up again at or very near C.

ACB

1

ACD B

2


STITCHING INNER POINTSThe challenge of inner points is to control the fraying. To do that you will need to alter the stitch and be careful as

you turn under the turn-under allowance at the deepest part of the V. The key is to make stitches that control the

fabric and enhance the look of the inner point.

Inner points are sewn the same way no matter which stitch you are using.

A

You will sew a “chicken foot” at the inner point. Plan the stitches so that the needle comes up in position to make the first stitch of the chicken foot at A, a scant 1/8˝ inside the edge of the fabric.

A

B

C

Push the needle through the background at the deepest part of the V at B, and bring it up 1/8˝ inside the edge of the fabric at C.

3

AC

B

4

Finger-press the appliqué piece, and pin it to the block. Sew toward the inner point. When you can no longer turn the turn-under allow-ance without distorting it, clip the inner point. Note: Clip to, but not through, the chalk line. Be sure to center the clip.

.Use the toothpick to gently turn under the first side of the turn-under allowance at the inner point along the finger-pressed line. Don’t pull or overmanipulate the fabric at the inner point.

Using the Toothpick at the Inner PointYou can gently tap the fabric under at the V with

the dampened toothpick, turning the turn-under

allowance to the finger-pressed fold. Do not over-

work the allowance. Turn it gently so that the edges

do not fray.

1

2


Turn the appliqué in your hand. Use the dampened toothpick to turn under the turn-under allowance on the second side of the point.

AB

DC

Push the needle through the background at B, and bring it up a scant 1/8˝ inside the edge on the other side of the inner point at D.

5

6

AB

D C

Push the needle through the background at B, and bring up the needle 1/16̋ inside the edge at E. Continue stitching the appliqué.

NOTE: To see a video, go to www.pieceocake.com/Lessons/LessonsFromPOC-Attitude.html.

AC

DE

B

7

61Hand Quilting with Perle Cotton

Hand Quilting with Perle CottonWe thread baste our quilts whether we

are hand or machine quilting. Refer to

Finishing the Quilt (pages 41 and 42).

Hand quilting with perle cotton is a

great way to accent your appliqué.

You can combine perle cotton hand

quilting with machine quilting, or you

can quilt your entire project by hand.

MARKING THE QUILTMark the quilt lightly before you layer

and baste the 3 layers together. Only

mark where necessary; that will leave

you with fewer marks to remove later.

Place the quilt top right side up on a

table. Slide a rotary cutting mat under

the area where you are marking. The

mat will help keep the quilt top from

slipping as you draw on it. You can use

a sandpaper board or sheet of fine-

grain sandpaper for this, but, because

they are smaller, you must move them

more often as you draw. We use the

marking pencils listed in Basic Supplies

(page 6) to mark our quilts.

HOOPS AND HOOPINGWe prefer round, 1 -̋deep wooden

hoops. The 14 -̋ and 16 -̋diameter

hoops work best for us. There are a

variety of hoops on the market. Try as

many as you can until you find the one

that suits you best. Buy the best quality

hoop that you can afford.

Be careful when putting your quilt in

the hoop. Do not stretch or pull the

quilt out of shape. All seamlines should

remain straight. The quilt should give

just a little in the hoop.

Always make sure that the back of the

quilt is smooth after hooping your quilt.

THE STITCHSit in a comfortable chair. Put your feet

up on a footstool. Besides feeling good,

your raised knees make a nice brace for

the hoop.

Good lighting is important. Place a light

so that it shines from the area of your

left shoulder. If the light comes from

the right, your hand will cast a shadow

on your work. (Left-handers should

place the light on the right side.)

In hand quilting there is a stitch, then a

space, then a stitch, then a space, and

so on. The length of the stitches and

spaces may be the same—or not. These

stitches are showy as well as functional.

If you want longer stitches and shorter

spaces, that’s fine. Your stitches will look

better if they are uniform. The key to

good stitches is practice.

Which Quilting Needle?Perle cotton is too thick to use

with most quilting betweens

(needles). We used the size 9

crewel embroidery needle for

this hand quilting.

1. The quilting stitch is made using

both hands. Right-handers, wear your

thimble on the middle finger of your

right hand. Place your left hand below

the quilt. (Left-handers, reverse

these directions.)

2. Thread the needle, and knot the

end of the thread. Insert the needle

into the top about 1/2˝ away from

where you want to begin stitching.

Bring up the needle a little in front of

your first planned stitch.

3. Gently pull the knot between the

layers. Leave a little slack between the

knot and the underside of the quilt

top fabric.

4. Use your needle to swish the tail

of thread under the quilt top, next

to the batting.

NOTE: If the thread is dark enough to shadow through the quilt top, bury the knot and tail of thread on the back of the quilt, not the front.

Making Multiple StitchesIt is more efficient—and your

stitches will be more uniform—if

you pack multiple stitches on

your needle before pulling the

needle through the quilt.

The needle is easer to maneuver

after the first stitch. The number

of stitches you can take at a time

depends on the thickness of the

fabric and batting, the size of your

needle and thread, and the direc-

tion of the line you are quilting.


5. Insert the needle straight down

through all the layers of the quilt until

you can just feel the point of the

needle on the tip of the middle finger

of your hand underneath. Push the

needle through a little farther—how

far depends on the size of the space

you want between the stitches. This

first stitch makes a backstitch that

keeps the knot from working its way

to the top of the quilt.

6. Rock the needle back with your

thimble while slowly pushing the tip

of the needle up with the middle

finger of your underneath hand. At

the same time, push down in front

of the stitch with your right thumb.

This creates a hill of fabric to push

the needle through. Push the needle

through for the length of a stitch.

7. To start the next stitch, lower the

middle finger of your underneath

hand. Rock the needle up with your

thimble so that the needle is pointing

straight down. The tip of the needle

should be in contact with the tip

of the finger underneath. Hold your

right thumb up slightly, away from the

quilt. Gently push the needle down

through the quilt for the length of a

stitch.

8. Rock the needle back again with

your thimble while slowly pushing the

tip of the needle up with the middle

finger of your underneath hand. At

the same time, push down in front

of the stitch with your right thumb,

making another stitch.

9. Pull the needle and thread through

the quilt. Pull the stitches tight, but

not so tight that they pleat the fabric.

10. Continue in this manner, rocking

the needle up and down in concert

with your other fingers. Pack 2 or 3

stitches on the needle.

11. Continue quilting to the end of

the line. To end the stitches, make

a small knot in the thread, 1/4˝ away

from the quilt top.

12. Insert the needle through the

quilt top as you would to begin

another stitch, but instead of taking

the needle to the back, let the needle

travel through the batting for least 1/2˝

before bringing it back up through the

quilt top.

13. Pop the knot through the top

into the batting. Carefully cut the

thread even with the quilt top.

NOTE: There is a lot of tension on the fabric and batting when the quilt is in the hoop. Never leave the quilt in the hoop when you are not working on it.

63About the Authors

About the Authors

Becky Goldsmith and Linda Jenkins first met

at the Green Country Quilters Guild in Tulsa,

Oklahoma, where they both held up their

hands and volunteered for jobs at their very

first guild meetings. Their friendship grew as

they worked together on many guild projects

and through a shared love for quilting, and for

appliqué in particular.

They started Piece O’ Cake Designs in 1994, as

they were each moving away from Tulsa. Becky

and her husband headed for Sherman, Texas,

with their two sons. Linda and her husband,

Paul, moved first to Pagosa Springs, Colorado,

back to Tulsa in 2001, and finally to Grand

Junction, Colorado, in 2008.

Linda owned and managed a beauty salon

before she started quilting. Over the years

she developed a fine eye for color as a hair

colorist and makeup artist. Becky took a lib-

eral sprinkling of art classes while completing

her interior design degree. They think that

their varied backgrounds have combined well,

making the quilts they design distinctive.

Becky and Linda initially self-published their

patterns and books but are now very happy

members of the C&T Publishing family.

Visit Becky and Linda at their website,

www.pieceocake.com, and their blog,

pieceocake.typepad.com/piece-o-cake-blog.

Also by Becky Goldsmith and Linda Jenkins:

Great Titles from C&T PUBLISHING &

Available at your local retailer or www.ctpub.com or 800-284-1114

For a list of other fine books from C&T Publishing, visit our website to view our catalog online

C&T PUBLISHING, INC.P.O. Box 1456 Lafayette, CA 94549 800-284-1114

C&T Publishing’s professional photography services are now available to the public. Visit us at www.ctmediaservices.com.

Tips and Techniques can be found at www.ctpub.com > Consumer Resources > Quiltmaking Basics: Tips & Techniques for Quiltmaking & More

Email: [email protected] Website: www.ctpub.com

For quilting supplies:

COTTON PATCH1025 Brown Ave. Lafayette, CA 94549 Store: 925-284-1177 Mail order: 925-283-7883

Note: Fabrics shown may not be currently available, as fabric manufacturers keep most fabrics in print for only a short time.

Email: [email protected] Website: www.quiltusa.com

Tiptoe through the Tulips

To make complete pattern, join the following pages, following the diagram for reference.

Use ruler to measure these inchmarks to verify that

printout is correctly sized.

1”

Tiptoe through the Tulips Block #5 Part A

Att

ach

to P

art B

her

e.


Att

ach

to P

art B

her

e.


Att

ach

to P

art B

her

e.


Att

ach

to P

art B

her

e.


1”

Tiptoe through the Tulips Block #5 Part B

There are a variety of ways that you can stitch these squares. Here are a few ideas: • You could use the same pieced fabric that you are using for the tulips.

• You could add more stitches with attitude (as marked with the dashed lines in other squares).

• You could embellish them with buttons and/or beads.

Attach to Part A

here.





Attach to Part A

here.



1”





Attach to Part A

here.





Attach to Part A

here.


1”

1

2

3 4

Tiptoe through the Tulips Block #1

1

2

3 4



1”


1

2

3 4


1

2

3 4



1”

1

2

3 4


1

2

3 4




1”

1

2

3 4


1

2

3 4

Tiptoe through the Tulips Block #2Tiptoe through the Tulips

1”



1”

Tiptoe through the Tulips Block #4(also used in Flutterby)

1

2

3 4


1

2

3 4


1

2

3 4


1”


1

2

3 4


1

2

3 4


1

2

3 4



1”


1

2

3 4


1

2

3 4


1”

To m

ake

com

plet

e pa

tter

n, jo

in th

e fo

llow

ing

page

s, fo

llow

ing

the

diag

ram

for r

efer

ence

.

1

2

3

4

5

6

78

910

11

12

13

14

15

16

17

18

21

22

24

19

27

23

28

28

Use these centering lines when appliquéing only this flower head.28

28

28

28

29

30

31

36

32

33

34

35

4041

42

4344

45

46

46 46

46

37

39

38

28

25

26

20

This line marks the seamline at the top of the tabletop strip.

Circles #28 can be appliquéd, replaced with buttons, or omitted.

Forever Fresh (Designs are also used in Twirly Table Topper, Tea Towels with Attitude,and Perfectly Pretty Pillows.)

1

2

3

4

5

6

78

910

11

12

13

14

15

16

17

18

21

22

24

19

27

23

28

28


28

28

28

29

30

31

36

32

33

34

35

4041

42

4344

45

46

46 46

46

37

39

38

28

25

26

20




Fore

ver F

resh

1”

1

2

3

4

5

6

78

910

11

12

13

14

15

16

17

18

21

22

24

19

27

23

28

28


28

28

28

29

30

31

36

32

33

34

35

4041

42

4344

45

46

46 46

46

37

39

38

28

25

26

20




1

2

3

4

5

6

78

910

11

12

13

14

15

16

17

18

21

22

24

19

27

23

28

28


28

28

28

29

30

31

36

32

33

34

35

4041

42

4344

45

46

46 46

46

37

39

38

28

25

26

20




Fore

ver F

resh

1”

1

2

3

4

5

6

7

8

8

9

9

10

11

11

11

12

12

13

1415

16

16

16

17

1718

19

20

22

23

21

25 26

Appliqué the bird’s tail after the borders are attached.

27

28

29

7

24 Use these centering lines when appliquéing only the cat in Pieceful Coexistence.

Outside In (Cat is also used in Pieceful Coexistence)

1

2

3

4

5

6

7

8

8

9

9

10

11

11

11

12

12

13

1415

16

16

16

17

1718

19

20

22

23

21

25 26


27

28

29

7



To make com

plete pattern, join the following

pages, following the diagram

for reference.

Outside In

1”

1

2

3

4

5

6

7

8

8

9

9

10

11

11

11

12

12

13

1415

1616

16

17

1718

19

20

22

23

21

25 26


27

28

29

7



1

2

3

4

5

6

7

8

8

9

9

10

11

11

11

12

12

13

1415

16

16

16

17

1718

19

20

22

23

21

25 26


27

28

29

7



Outside In

1”

1

2

3

4

5

6

7

8

8

9

9

10

11

11

11

12

12

13

1415

16

16

16

17

1718

19

20

22

23

21

25 26


27

28

29

7



1

2

3

4

5

6

7

8

8

9

9

10

11

11

11

12

12

13

1415

16

16

16

17

1718

19

20

22

23

21

25 26


27

28

29

7



Outside In

1”

1

2

3

4

5

6

7

8

8

9

9

10

11

11

11

12

12

13

1415

1616

16

17

1718

19

20

22

23

21

25 26


27

28

29

7



1

2

3

4

5

6

7

8

8

9

9

10

11

11

11

12

12

13

1415

16

16

16

17

1718

19

20

22

23

21

25 26


27

28

29

7



Outside In

1”

1

2

3

4

5

6

7

8

8

9

9

10

11

11

11

12

12

13

1415

16

16

16

17

1718

19

20

22

23

21

25 26


27

28

29

7



1

2

3

4

5

6

7

8

8

9

9

10

11

11

11

12

12

13

1415

16

16

16

17

1718

19

20

22

23

21

25 26


27

28

29

7



Outside In

1”

1

1

3

3

4

5

2

Antennae can be embroidered, drawn with permanent marker, or omitted.

Flutterby (also used in Daisy Doodles)

Flutterby

1”

1

2

Daisy Doodles

Daisy Doodles

1”

Leaf 1 Leaf 2

Pressed centerline

Daisy Doodles

Daisy Doodles

1”

1

2

3

4

56

7

8

7

910

1112

13

Chirps Block #1 (also used in Pieceful Coexistence)

1

2

3

4

56

7

8

7

910

1112

13



Chirps

1”

1

2

3

4

56

7

8

7

910

1112

13


1

2

3

4

56

7

8

7

910

1112

13


Chirps

1”

2

1

3

4

5

6

7

8

Chirps Block #2

2

1

3

4

5

6

7

8

Chirps Block #2


Chirps

1”

2

1

3

4

5

6

7

8

Chirps Block #2

2

1

3

4

5

6

7

8

Chirps Block #2Chirps

1”

2

1

3

4

567

Chirps Block #3

2

1

3

4

567

Chirps Block #3


Chirps

1”

2

1

3

4

567

Chirps Block #3

2

1

3

4

567

Chirps Block #3Chirps

1”

1

2

3

4

5

6

7

Chirps Block #4(also used in Pieceful Coexistence)

1

2

3

4

5

6

7



Chirps

1”

1

2

3

4

5

6

7


1

2

3

4

5

6

7


Chirps

1”

Appliqué with Attitude from Piece O’ Cake Designs Download

Copyright © 2011 by C&T Publishing, Inc.

ISBN 978-1-60705-534-1

Published by C&T Publishing, Inc., PO Box 1456, Lafayette, CA 94549. www.ctpub.com

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going green We have been working hard for the last several years to make our operations friendlier to the environment. We were certified as a California bay Area green business in 2007. since then, we have taken other major steps to green our operations, most notably by printing our catalogs and other sales materials on recycled paper. our catalogs and many of our most popular books are now available as downloads that you can view online. This is an important part of our efforts to save natural resources and reduce our carbon footprint.

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Happy and perky and bursting with color!

• Mix & match full-size template designs for bright, cheerful quilts and home décor

• Add a happy, carefree layer of color and texture to your work

• Use this quick needleturn technique to add a touch of whimsy to anything you appliqué

What Piece O’ Cake fans are saying…

“I anxiously await each new book…”

“Wonderfully fun & free-wheeling appliqué…”

“Irresistible!”

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Appliqué with attitude bold stitches

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