It’s the 2011 Opportunity Quilt for the Foothill Quilters Guild of Auburn, California. They call it “Prince’s Plume.”

Many hands went into the making of this beautiful quilt.

For more information about the guild or this amazing opportunity quilt, contact the Foothill Quilters through their website, www.foothillquilters.org.

I made a new friend at the show! Knitting designer Lorna Miser, author of Faith, Love, Hope, Knitting was just across the aisle from me.

Lorna Miser

She had luscious loops, skeins, and twists of hand-dyed yarns, as well as cute knitted items like bags and footie socks.

Lorna has a new book coming out in November, The Knitter’s Guide to Hand-Dyed and Variegated Yarn.

My neighbor to the left was an old friend, Dee Lampson of Dee’s Designs. From her I purchased The Most Cute Jumper in the World.

This one had me written all over it. Dee makes jumpers, overalls, separates, and two-piece outfits from her own original patterns, using beautiful high-quality fabrics like we see in our independent quilt shops. Look for Dee at fine art and gift shows, quilting and sewing expos. She specializes in custom sizing, no size is too small or too large. Contact her at “deesdesigns1 (at) sbcglocal.net” if you need one of her designs.

I can’t tell you what a delight it is to see Dee’s creations after all the dreadful things that are offered to us at the mall.

Until next time,
Kay
By Kay Mackenzie

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Sarah Vee of Sew Joy, whose motto is “I have found happiness in making quilts – and joy in sharing my quilt making.”

Sarah: I have been a patchworker for most of the time I have been quilting. Almost 14 years now! I shied away from the “A” word for many years, even though some of the first quilts I fell in love with were in the Baltimore Album style.

Eventually I started to try it a block at a time. I made a wedding wallhanging with one large appliqué block –- no one could really tell if I had left anything out — and I did, almost half of the leaves!

When Kay’s book Easy Appliqué Blocks: 50 Designs in 5 Sizes came out, I was lucky enough to win a copy. Who could resist the possibilities! Around the same time, my sister sent my daughter a container that held all of her embroidery floss from doing cross stitch for many years. She was putting it aside to focus on quilting.

My daughter never had a chance! I claimed the box of thread like it was my first box of 64 crayons! I was no longer daunted by the delicacy of appliqué – I had colour on my side.

I put my first blocks from Kay’s appliqué book into a larger pieced quilt for one of my nieces. Instead of having my stitches blend in with my fabrics, I outlined them in black like a colouring book.

I use the blanket stitch because it’s easy (once you get the hang of it). You can change the size of the stitch to work on any piece, and you can work it by hand or machine. You can use it to secure pieces that are fused and also ones that are not.

I’m by no means an technical expert on supplies or technique. I use what I have, look at lots of pictures – and try stuff. Just take a quick look at these photos I took while working on my latest quilt. You’ll see how I made the colours and blanket stitch work for me to create my Bunny Lady quilt.

The basics: I’m using DMC embroidery thread. I use two strands because that seems to give the thickness I need to cover the edge of the fabric. I use a needle that works for me — not sure if it’s the ‘right’ one. The eye isn’t so small I can’t see to thread it, but not so big that it leaves a hole when going through my quilt top. It’s a medium-length needle so that the thread doesn’t glide out of it too easily.

Tip: Use a fairly long strand of thread. You don’t want to re-thread the needle any more times than you need to – just don’t make it so long that it tangles after every stitch (this isn’t quicker – trust me).

To start: Bring your thread up from the back right at the edge of your piece to appliqué. The length of the next stitch determines the length of your blanket stitch – how far it goes into your appliqué. Put your thread into the fabric and bring it back up almost right on top of where you started.

On the leaves I used smaller stitches closer together because I had to turn a lot of corners, and the leaves are fairly small. On the carrots, I took larger stitches because there was more open space in the middle of the appliqué pieces.

You work this stitch counterclockwise (at least I do because I’m right handed). Hold your thread across the edge of the piece working to the left.

From where your needle just came up, take a stitch down and to the right that lines up with your first stitch into the appliqué. Bring your needle up at the edge of your appliqué and go over the thread you are holding in place. Pull the stitch snug (but don’t make the piece pucker).

This space defines how close together your stitches will be. On smaller pieces, or going around a corner, you probably want them closer together.

Keep going until you’re done, or almost out of thread! Make sure you leave a long enough tail so you can make a knot on the back.

You can see how I had fun with colour. I used different shades of orange on my carrots. Changing the colours made it more fun to go around so many carrots –- and also gives the up-close viewer a visual treat. The carrots in the border were not fused down, just pinned in place until I secured them with the blanket stitch.

The bunnies and carrots in the quilt top were fused, then stitched. I used bright, fun colours on them too. I used a fairly large stitch on the bunnies so it would be more visible.

I hope this was helpful and encouraging. I stared at many magazine diagrams and pictures of beautiful quilts before I finally tried my hand at appliqué and the blanket stitch. You’ll never know the possibilities until you try. Thanks Kay for providing so many possibilities with your designs and inspiration-packed blog. I’m looking forward to including appliqué on many more quilts.

With Joy,
Sarah Vee
www.sewjoy.blogspot.com

Kay: Thanks a million, Sarah, for your article sharing the joy of appliqué! You’ve gone from “A” word avoider to appliqué enthusiast, because you found your method! I love those patched bunnies… reminds me that I have some randomly pieced hunks of patchwork sitting in the UFO pile awaiting their final destiny! Hmm…

FYI, Sarah is hosting a Placemat Party Blog Hop from Monday, June 28, to Friday, July 2. Visit her blog to find a new hostess each day celebrating the release of Sarah’s first pattern, “Eat with JOY! Placemats”. There will be prizes, fun, refreshments, and hostess-gift ideas for summer parties. Sounds like summer fun!

Until next time,
Kay
By Kay Mackenzie

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I just discovered that Alex Anderson is offering a series of videos on hand and machine appliqué over at The Quilt Show website.

If you’re not already a member you do need to register but no $$ involved, the classes are free. Check it out at the appliqué classroom page and follow Alex through many hand and machine techniques. A great resource!

Cheers,
Kay
By Kay Mackenzie

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A Baker’s Dozen!

A Baker's Dozen from the staff at That Patchwork Place

Most of the staff at Martingale & Company (parent company of That Patchwork Place) are quiltmakers. In this collaborative pattern book they challenged themselves to use the yummy precut assortments available today… we’re talking jelly rolls, layer cakes, honey buns, turnovers, dessert rolls, fat quarters, and charm packs… to whip up a bakery case of delectable quilts.

Note: It isn’t required to use precuts. Each set of instructions also gives fabric requirements for pulling from your stash or from bolts at the quilt shop. But just in case you have been tempted by those luscious jelly rolls, layer cakes, etc., the book gives information on how to handle them, sort them, to wash or not to wash, and what to do about those confusing pinked edges.

Staff from all areas of Martingale contributed to the book, from web manager to the marketing department to customer service and relations, print and production, editorial, book design, illustration, accounting, author liaison, acquisitions and development, and the social networking coordinator, who quilted 11 of the quilts! I thought it would be fun to hear something about the process.

Mary Burns, Marketing Coordinator, tells the story of her quilt Flying Shuttles.

The Editorial Department put out a call to the staff for designs using precut fabrics or fat quarters. I don’t really consider myself a quilt designer. I think of myself as just your average quilter. Everyone here is so encouraging though—I work with such wonderful and creative people—so I decided to jump in!

I had a fat quarter pack of Kim Diehl’s “Country Haven” and I knew I wanted to do something old-fashioned and folksy to go with the décor of my 1901 farmhouse. I found a traditional pieced block called “Cracker” in my trusty Judy Hopkins book 501 Rotary-Cut Quilt Blocks. I set the blocks in circles and called it Colvin Mill Wheels, after a historic mill near my sister’s house in Virginia.

At the last minute, I sketched out an alternate layout of Cracker blocks in vertical rows—and that’s the one that was chosen. (Hooray for last minute inspiration!) At that point the quilt didn’t have any appliqué, but after I pieced it and sewed on the cream border, it just looked like it needed something. I sketched out a flowing vine, some leaves, and folksy flowers. Fortunately, they were thrilled—but I only had a couple weeks before the deadline for finished quilts— and I was scheduled to be at Spring Quilt Market the first week and on vacation at my sister’s in Virginia the second week. What was I thinking?!

As Marketing Coordinator, one aspect of my job is to get everything ready for our booth at Quilt Market. The month up to and including Market is extremely hectic. I stayed up late every night the week before we left, finishing the pieced borders and machine appliquéing all my vines and leaves, cutting out all my folksy flowers and flower centers and packing them all in my carry-on—didn’t want to risk losing it!

I use freezer paper applique on the wrong side of the fabric, with the shiny side up so that I can press the seam allowance to the sticky side, then cut a slit in the back and remove the paper. I machine-appliqued the vines and leaves and hand-appliqued the flowers and flower centers. I finished appliquéing the centers onto the flowers on the plane; it really made time fly!

When we got to the hotel, I laid the quilt out on my bed and figured out where I wanted the flowers to go. Despite my valiant efforts, by the time Market was over, I still wasn’t finished appliquéing the flowers—how naïve of me to think that I could work hard at Market and still have time and energy to finish the quilt! So off to my sister’s house the two of us went, my quilt and I, with a promise that I’d email a photo of the finished quilt before the deadline. It’s kind of fitting that I finished it in all the way across the country in Virginia, near the Mill that originally inspired me to use the Cracker block.

I changed the title of the quilt to “Flying Shuttles” because the way the Cracker block turns left and right reminds me of how a shuttle flies through a loom. When I showed it to my teenage sons at home, the Cracker blocks reminded them of the old Intellivision game, Astrosmash, and the space shuttles that you had to shoot to win. Either way, I just love how this quilt turned out–and apparently I’m not the only one, because the quilt has been chosen to be in That Patchwork Place Quilt Calendar 2011—I’m Miss November!

So there’s my saga, hope you find it amusing. The hardest part about designing a quilt pattern is that you have to write down everything you do, and have it make sense to someone who’s never done it before. Now I know! It’s not as easy as it sounds!

Cathy Reitan, Martingale’s author liaison, set a personal challenge for herself with her design.

Circles and Chains by Cathy Reitan

I have always created with textiles, starting in high school with fashion sewing from patterns and then moving into copying store fashions. As I moved into my 30s and had a family, the focus changed to children’s designs and home dec sewing with a little bit of quilting. With the dawn of children having their driver’s licenses and freedom from being a slave to the car, I began to quilt. You know, the kind of quilting where you plan a project, shop for the items you need, and work on it for significant lengths of time, not just in stolen moments.

I usually use traditional civil war colors and patterns with a lot of hand work. When the opportunity to design a quilt for A Baker’s Dozen came along, I set myself a goal of using colors out of my normal color palette and geometrical shapes that where also not the norm for me. Circles and Chains was the result. I combined the traditional Irish chain block ( just could not completely give up the traditional) with the geometric fast-fused applique circles. I made couple of sample blocks and threw them away because the colors I picked were not strong enough to support the jelly roll I wanted to work with. Back to the quilt store for the brown and yellow solids and another trial block was made. The effect of the deeper color was much better with my jelly roll. I used several colors I love to hate, primarily orange paired with turquoise which is color that I am repeatedly drawn to but matches nothing in my house. Now I just need a child to give up a bedroom so I can decorate with a new color scheme!

Working at Martingale is a great place to inspire creativity and take the next leap of faith because there is always someone to encourage and praise your efforts. There is always someone to bounce and brainstorm ideas with. Of course with so many beautiful samples coming in from authors the list of projects I want to make is always longer than the hours left in my lifetime!

Adrienne Smitke from the illustration department describes the collaborative effort that went into her design.

Ladybugs!

This quilt was a team effort, and I think that’s part of why I like it so much. Not only are the colors and motifs cheerful and welcoming, when I see this quilt I think about all the different elements of its construction and how many different hands helped stitch it together.

While I really like sewing, I love shopping for fabric. I could spend hours browsing either online or in the fabric store through the ever changing rows of color and pattern. It is more often the fabric that helps inspire the kind of quilt or project I want to make rather than the other way around. I had been trying to come up with an excuse to work with Momo’s Wonderland fabric line since its release. While browsing for ideas, I took a closer look at the polka-dot print in this fabric line and discovered that some of the dots were actually ladybugs. Inspiration struck and I knew ladybugs would make a cute and easy appliqué design. To compliment the ladybugs, I pulled three simple flower shapes from the print used in the border.

As a technical illustrator I spend a lot of time working with Adobe Illustrator (a vector drawing program), so it was easy for me to draw the full size applique patterns on the computer. This allowed me to easily tweak and size them as I needed to fit the blocks. You don’t need to be a professional designer to use a computer to create your own patterns. Many computers already come with drawing software, or you can simply Google “vector drawing program” online to explore the many options available. It can take a little time to get used to the drawing tools in these programs, however you shouldn’t be discouraged. Like with any skill, practice makes perfect.

Once the quilt design was complete, that’s when the teamwork began. I knew I wouldn’t be able to finish two complete quilts (my other quilt in the book is “Rose Garden,” page 62) in the time available, but my co-workers came to the rescue. Despite that they were all working on additional quilts of their own for A Baker’s Dozen, they pitched in and each took on a part of the process.

While I cut and sewed the pieced blocks, Karen Soltys worked on the appliqué blocks. Karen has a wealth of great tips for how she made the machine appliqué simple and easy. First she traced all the large shapes on fusible web and then, before cutting any of them out, traced the smaller shapes inside the larger ones. She cut those smaller pieces out of the centers of the larger ones, and fused them onto their contrast fabrics. This not only saved on fusible web, but made the finished appliqué blocks much softer and more flexible.

After all the shapes were fused to their fabrics and then to the white background blocks, Karen machine-blanket-stitched around all of the shapes using chocolate brown machine-quilting thread to add definition to the designs. She recommends using open-toe presser foot so that you can easily see where you’re stitching. In addition, she used a 50-weight thread (“regular” sewing thread) in the bobbin, which required loosening the machine tension a bit so that the bottom thread wouldn’t pull up to the top as she stitched.

Karen handed off the appliquéd blocks to Cathy Reitan, who hand-embroidered the beautiful details for the flower stems, lady bug wings, and antennae before assembling the blocks and borders into a quilt top. Karen Burns, who did the stunning machine quilting on almost all of the quilts in the book, stitched all-over swirls in the appliqué blocks to help the motifs stand out, and then added flowers in the borders reminiscent of the flowers in the fabric pattern. Finally the quilt came back to Cathy, who sewed on the binding and hanging sleeve. It was really thrilling to see how all of the blocks and pieces were assembled into a stunning final product, and to know each of us had a hand in it. Now the quilt hangs behind my desk at work and each day I am greeted by its cheerful motifs and reminded of the teamwork that helped put this quilt together.

I really enjoyed hearing these stories, hope you did too. Martingale has supplied a copy of the book to give away, so leave a comment before 7:00 p.m. California time on Saturday, May 8, to enter the drawing to win this delicious collection of quilt patterns. (U.S. and Canada only)

Until next time,
Kay
By Kay Mackenzie

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Carol and Bobbi had a special exhibit of their tile quilts in the show. Passing these at warp speed as I did the first time, these beautiful pieces have a stained-glass look, but lighter and airier. Bobbi says that a lot of people compare them to stained-glass quilts, but they’re not. Construction-wise, instead of “leading” applied over the raw edges of the shapes, these shapes are finished with turned edges, and the background is left exposed to create the spaces between shapes.

Tile Quilt Revival: Reinventing a Forgotten Form is Carol and Bobbi’s fascinating, educational, and inviting book that reintroduces this “unique and somewhat obscure” form of appliqué quilt.

Tile quilts are explained this way:

Traditional tile quilts… are constructed with small pieces of cotton fabric appliquéd in a random manner to a white background, leaving a narrow space between the pieces; this white space serves as the “grout” between the tiles or “mortar” between the pavers or stones.

The books starts out with a brief history of tile quilts, with great photos showing examples from the past. Then comes a section on how to make a tile quilt, reinterpreted for today. When I read the following, the heavens opened up and I heard the heavenly choir!

The tile quilt technique, with its large and simple shapes, creates an ideal showcase for bold, contemporary fabrics. Interesting, large-scale prints are will suited for the tile pieces. If you’ve ever found yourself admiring some of the daring prints now available but wondering how to use them, a tile quilt is an idea project for putting them to good use.

Hallelujah! I have a tub of fabrics in my stash labeled “Modern” that has been… well… sitting there.

Now my “daring” prints have a destiny!

The techniques used in the book are so simple they’re ingenious! No need to consider seam allowances, to reverse patterns, or to figure out where to place the pieces. Another really great thing about this book is that it has fantastic appliqué instructions… needle-turn by hand, turned-edge machine-appliqué and fusible machine appliqué too, all expertly explained and illustrated. If you’re reading this blog, you probably like appliqué already, but how about this section where the authors say:

Even if you don’t love to appliqué or don’t consider yourself to be skilled at it, chances are you will enjoy the tile quilt process because it is not exacting. The tile-and-grout form is quite forgiving, and the inevitable deviations from strict uniformity in the grout add to the visual interest and appeal of a piece.

How cool is that?? Get your A-word friends to take a look!

After the appliqué information, there are instructions for several projects with full-size pull-out patterns.

Then there’s a Gallery of Contemporary Tile Quilts. These are fun and inspiring to look at as you see what quilters of today are doing to reinvent the form.

C&T Publishing is graciously sponsoring a giveaway of a copy of Tile Quilt Revival! Leave a comment before 7:00 p.m. California time on Friday, March 5, to be in the drawing. U.S. and Canada only, unless you’d be willing to pay the shipping.

Those subscribed by email, click over the the blog itself and scroll to the bottom of the post to leave a comment.

I wanna start a tile quilt right now, but dang I have deadlines!

Until next time,
Kay
By Kay Mackenzie

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This is an old block originally called Wandering Foot. That name was thought to bring on the wandering foot to youths who slept under it, so a new name was given to it… Turkey Tracks. Much more attractive, don’t you think? It’s also called Iris Leaf when it’s green on white.

Fused and unstitched.

After some investigation on the Superior website, I discovered that the Holy SuperBobs are Bottom Line, a line of thread developed by Libby Lehman. It’s 60-weight polyester. I perused the rainbow and picked out the color that matched the best.

Wow, you can hardly make it out! It really is whisper-fine.

I fired up my Bernina and adjusted the blanket stitch down a few ticks, reasoning that a very fine thread should be given a pretty small stitch. A few minutes later, and voila! The block was stitched, and looked great! My machine liked the thread, which I used in both the top and the bottom, and Mother Superior says it’s not linty like cotton.

How’s that for blending in? From a short distance you can’t see the stitching at all. This thread might be a nice choice when you really want to mimic hand appliqué while still using your machine, or when using the turned-edge blind-hem stitch method of machine appliqué (which BTW I am not adept at).

One thing I did note is that the edges of the appliqués feel a little “crispy” compared to when I use cotton thread.

On to MasterPiece. MasterPiece thread is 2-ply 50-weight cotton, favored by the Piece o’ Cake gals and by Alex Anderson.

A simple forget-me-not.

Fused and unstitched.

My choices from the rainbow.

I adjusted the blanket stitch to my usual setting, just a couple ticks down in width and length. Away I went!

I like it, my machine likes it. I wound a bobbin for the green, but for the dabs of yellow and blue I used bobbins I already had wound with DMC. Worked great! They really are equivalent in weight so that’s a plus for me that I can mix and match at this stage of evolution in my thread stash.

Now on to hand appliqué. I just happened to have a block in the queue that I needed to stitch up twice, to use as an example in the new book I’m working on for Martingale.

Here are the threads I chose.

Poly on the left and cotton on the right.

I started with the polyester first. I was really excited about trying out this thread for hand appliqué. In the past, when I’ve tried other brands of poly thread, it went around in circles, kinked up, and raveled at the end. I’m delighted to report that Bottom Line stays straight. It sinks right into the turned edge of the appliqué and hides itself really well, and I was not plagued with knots or kinks. Yay! The one thing I did notice is that since it’s more slippery than cotton thread, my thread tail kept shortening up on me and I lost the thread out of the needle a couple times. I guess this just takes getting used to coming from the fabric of our lives.

I was on a roll watching the chocolate challenges on Food Network, so I plunged on ahead to the second version, using MasterPiece cotton. Excellent on all counts.

Can you tell the difference in the completed piece? Neither can I, so I’ve been keeping sticky notes on them .

These pink dogwood blocks may seem kinda pale, and that’s on purpose. I’m going to embroider around the edges of one of them to illustrate how you can better define the edges of your appliqués when you want to use low-contrast fabrics.

Well, thanks guys! I got a lot done yesterday!

Chime in! I’d like to hear from others who use Bottom Line or MasterPiece. How do you use it, why do you like it?

Until next time,
Kay
By Kay Mackenzie

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Lura Gordy of Sherwood, Oregon, was the driving force behind this beautiful masterpiece. Here’s her story:

Kay,

I enjoy the process of appliqué. In fact, I learned needle-turn appliqué using the patterns in your Teapots 2 book. I wanted to make my sister a table runner and six placemats as a gift. I started out using a faux appliqué method but was unable to get the fine details. I went to your blog and tried several of your methods. I also attended the monthly appliqué club meetings that are connected to the quilt guild of which I am a member. The more I learned, the more I liked what I was doing.

I suffer from restless leg syndrome and by doing appliqué work in the evenings, I keep the restlessness away. Once the table runner and placemats were finished, I appliquéd enough blocks to make another set.

The first of the year, I volunteered to be a member of a committee to design and make a raffle quilt for the Tualatin Valley Quilt Guild in Sherwood, Oregon. I suggested a quilt with appliquéd teapots and I volunteered to appliqué the blocks. I used the patterns from both of your teapot pattern books to make 24 blocks. We used 22 of the blocks (10″) which made a very large king size quilt. The center block was appliquéd by Ann Hartman who is in charge of the appliqué club and a member of the guild.

Now I am working on patterns from your book of baskets. I am trying new techniques and new ways of embellishing the blocks. I enjoy your patterns and books.

Thank you,
Lura Gordy

Here’s a closeup of the center block. The basket (not one of mine but it sure is beautiful) is surrounded by cups and saucers, cream and sugar, and a plate of cookies from my Teapots books.

Erin Davis of In Stitches Quilting in Newberg, Oregon, was the one who took the quilt to a retreat for Show & Tell, which led me to find it on the Anyone Can Quilt blog. Erin was kind enough to send me a great picture, and she reports, “On behalf of the Tualatin Valley Quilt Guild, it was a fun project to work on and we are proud of the outcome.”

Me too! Big time! What a huge treat! Thank you, Lura and all the members of the Tualatin quilters, for such a spectacular job. I hope the quilt raises lots of funds for the guild.

Until next time,
Kay

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Stitches are exaggerated for illustration purposes.

Clip almost to the turn line.

Sew to within 2 or 3 stitches of the notch. There will be very little turning allowance in this area. That’s okay. Use very small stitches and tuck under any loose threads.

Turn the project. Tuck under the first bit of turning allowance on the other side of the notch. In this illustration, some threads from the motif fabric are sticking up in the notch. The needle is not stitching; it is behind the motif, ready to sweep the misbehaving threads under.

Use the shaft of the needle to sweep across the notch, creating a tiny fold and encouraging any threads to go under. The needle is still not stitching, just sweeping.

Take the remaining stitches down to the notch. The last one, directly in the notch, should pick up 3 or 4 threads of the motif fabric.

Sweep again if needed. With the tip of the needle, dig under the motif fabric and insert the needle exactly where the current stitch came out. Swing the needle and come out going uphill for the next stitch. Snug the thread down well to create a sharp notch.

I hope that whatever Santa you celebrate brings you all good things
this year.

“A Happy Christmas to All” by Kay Mackenzie (detail), designs from
A Merry Little Christmas to Applique

Until next time,
Kay
By Kay Mackenzie

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I happen to have copies of both Artful Appliqué: The Easy Way from the year 2000 and still in print, and the brand-new Artful Appliqué II: Introducing Scrappliqué and 12 New Floral Designs by Jane Townswick, provided by Martingale & Company / That Patchwork Place. I’m putting them together and giving you guys an opportunity to win them as a package deal. How festive is that for an appliqué enthusiast?

Artful Appliqué:
The Easy Way

“Having been a die-hard patchwork fan for many years,” begins Jane in the introduction, “I thought there was very little reason for appliqué quilts to exist — until Nancy Pearson’s “Techny Chimes” stopped me dead in my tracks.”

I’m right there with you on that one, Jane. Here’s a page from my inspiration scrapbook. That’s Techny Chimes on the lower right.

“Beautiful hand appliqué is as individual as a fingerprint,” Jane continues.
I really appreciate this sentiment of encouraging individuality and de-emphasizing the need for exact copying and perfection, which IMO takes away from the pleasure of the work.

In the book Jane presents many unusual (to me) and innovative techniques for creating motifs — partial stitching, modified cutwork, and unit construction. (Just goes to show how different brains work differently.) These methods enable tiny, rich details that still have turned edges.

The appliqué information also shows how to achieve precision where precision is important, and individual, artful results where precision is less important.

Leaves don’t have to be green, did you know that? I know that, but I mostly forget it when I reach for my fabrics. You’ll see some stunning results in the book’s gallery of quilts where the quilters have reached past the green box.

The gallery includes many beautiful quilts made by Jane and her students. The author then includes 16 appliqué blocks, each one with complete skill-building instructions. It’s easy to see why this one is still in print after nine years, it’s a classic.

Artful Appliqué II: Introducing Scrapliqué and 12 New Floral Designs

I just received this one from Martingale so it’s hot off the presses! I can tell from the cover that the floral designs are even more free-form, natural, and detailed. Never fear, Jane takes you step-by-step through her way of mastering this realism. She does advises beginners to consult one of her previous books or another reference book for the basics of appliqué.

In this book Jane introduces Scrapliqué, a technique for creating mosaic-like fabric compositions for your motifs without having to stitch tiny pieces together. There’s also information on unit appliqué, where you can stitch an entire flower before stitching it to the background. Jane explains several advantages to this strategy.

The book has sections on color blending, free-form stems and branches, and a unique way of stitching sharp points. There’s a gorgeous gallery of quilts and 12 floral blocks with step-by-step instructions and photos. You’ll find anemone, camellia, iris, lady’s slipper, pansies, sweet peas, and more! All so detailed you wouldn’t believe it.

Martingale recently published an interview with Jane on their blog. Be sure to go and read that for more information on the artist.

Leave a comment before 7:00 p.m. California time on Thursday, December 17 (my bday ), for a chance to win this fantastic combo platter. U.S. and Canada only, unless you’d be willing to pay the shipping.

Happiest holidays to you!
Kay
By Kay Mackenzie

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Gloria gave me an order on the spot for a batch of the books and told me of her plans to make a sample to hang in her booth. Since that time she has become a wonderful friend and a mentor to me, sharing her knowledge of area quilt shows and giving me great tips. Every time I would talk to her or see her at a show she would tell me that the baskets were coming along. Last spring I saw the blocks, completed but not set together yet. They were just gorgeous… soft and rich looking.

Well, at the recent River City Quilt Guild show in Sacramento, I checked in with her during setup and there was the quilt, finished and up on the wall.

Victorian Baskets by Gloria Foley

Wow!!! Look at that red setting. Talk about punch! It looks so different from mine, I love it! Gloria used needleturn appliqué and, instead of a dogtooth border, she used prairie points in the border.

Sixteen Baskets by Kay Mackenzie

At the Sacramento show, people had fun walking back and forth between our booths to look at the two versions.

Until next time,
Kay
By Kay Mackenzie

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