Table of contents for 99 in Love Patchwork & Quilting

Colour is such a personal thing. While my home and handmade wardrobe may be overflowing with neutral blues, greys and burnt oranges, my quilts have always well and truly been a celebration of colour. I’ve spent many an hour scrolling through Pinterest for palette inspiration or Instagram for striking combos, so if you’re like me and can’t always find the perfect pairing yourself, may I point you in the direction of our handy colour wheel and nifty booklet? One of our fave fabric designers Giuseppe Ribaudo (aka Giucy Giuce) is armed with tips and tricks to help you get colour confident with all your quilts, while the wheel does half the work for you! The main mag is brimming with gorgeous quilts and fun ideas to sew the rainbow too……

YOU WILL NEED Bluegreenchartreusecool) prints: nine (9) fat quarters Orange/pink (warm) prints: eight (8) fat quarters Background fabric (cream): 4yds Binding fabric: 5/ 8 yd Batting: 80in square Backing fabric: 4½yds FINISHED SIZE 72in square A WAVY CROSS HATCH QUILT PATTERN COMPLEMENTS THIS DESIGN PERFECTLY NOTES Seamallowancesarein, unless otherwise noted. Press after each seam. Press seams open throughout, unless otherwise instructed. RST = right sides together. WOF = width of fabric. Batting is 279 Cotton Mix 80:20 ( Lynne used Aurifil 50wt thread for piecing and 40wt for quilting ( For basting, Lynne used Odif 505 spray ( FABRICS USED Print fabrics are from the Blooming Bunch collection by Maureen McCormick for Moda Fabrics (modafabrics.com). CUTTING OUT 1 From the cool prints cut a total…

“Oh, aren’t you tricky!?” That’s the sound of me talking out loud to my project (we all talk to our projects, right?). Especially those particular projects that were going to be “so easy”, but suddenly become more challenging than expected. Tell me it happens to you, too? It happens to me… a lot. I’m notorious for biting off more than I can chew – or is that cutting off more than I can stitch? Either way, I’ve been in this predicament more often than I’d care to admit, and it’s a motivation killer. Luckily for you, I’ve learned a trick or two (or nine) for getting back on track, which I’m happy to share with you here. So let’s roll up our sleeves, grab a snack (I’m partial to trail…

YOU WILL NEED Canvas fabric: 1yd Lining fabric: 1yd Pink solid fabric: 6½in square Green solid fabric: one (1) fat eighth Floral print fabric: 6½in square Leather (or similar): 2in x 27in Foam interfacing (28in wide): 1yd Lightweight fusible interfacing (35in wide): ⅛/ 8 yd Batting: 12in square 1½in wide webbing: 2½yds Metal snaps: two (2) (optional) FINISHED SIZE 17in x 13in x 5in NOTES ■ Seam allowances are ¼in throughout, unless otherwise noted. ■ Press seams to one side, unless otherwise instructed. ■ HST = Half-square Triangle. ■ RST = right sides together. ■ WST = wrong sides together. ■ Debbie used Vlieseline Style-vil for the foam interfacing and Vlieseline S320 for the fusible interfacing. ■ Fabrics supplied by Hantex (hantex.co.uk). WITH ITS QUILTED POCKET AND BOX CORNERS, THIS…

Each month, our expert Kate Webber shows you how to make a project using a new and exciting technique! Portholes, or reverse appliqué, allow you to add small windows in your design to showcase feature fabrics. It is a relatively quick technique as it is sewn on the machine, produces neat edges (no raw edges in sight!) and keeps your treasured fabric designs whole. MAKING A CIRCULAR PORTHOLE Learn the basics of making perfect portholes with a simple circular shape, then show off your new skills and take them to the next level with Kate’s super cute ‘HOPE’ mini quilt! 1 Cut a square of background fabric measuring 1in larger than the finished block size you want to achieve. Cut a square of lining fabric 1–2in larger than the circle…

If you’ve been reading this column for a while, you’ll know that I’m not the world’s most adventurous machine quilter. When push comes to shove, I’ll probably go for my ‘tried and true’ cross hatched grid pattern. But, I’ll admit, there’s a fine line between ‘tried and true’ and ‘in a rut’. If you, like me, find yourself, more often than not, using those same quilting patterns again, again (and again!), here are five ideas to help you get out of that rut! 1 HOW ABOUT STENCILS? I’m a huge fan of stencils! These lightweight, reusable and inexpensive plastic sheets come in all sorts of different sizes. The funny thing is, I use them more as a visualisation tool than as actual stencils: when I’m feeling stuck, I like to…

How confident are you at picking colours for your projects? Whether you can colour match with your eyes shut or need a little guidance now and then, our tried and tested colour wheel tool is here to make choosing colours a breeze! Super-easy to use, it's arranged in a radiant rainbow of twelve pure colours, with tints, tones and shades too. All you have to do is pick a fabric, find the closest match on the colour wheel, position the hexie window over your fabric and spin the dial to discover the best colour combos to go with it. To make your quilting life even sweeter, we've put together an easy-to-follow guide to understanding colour and different ways to combine fabrics for any project. Plus, king of colour, Giuseppe Ribaudo…

YOU WILL NEED Cool prints: twenty five (25) 4½in x 7½in Warm prints: twenty four (24) 4½in x 7½in Background fabric: 23/4yds Binding fabric: ½yd Batting: 62in square Backing fabric: 3½yds FINISHED SIZE 54in square IF YOU'RE RAIDING YOUR STASH, WARM AND COOL SOLIDS WORK WELL WITH THE PRINTS TOO! NOTES Seam allowances are ¼in, unless otherwise noted. Press seams open throughout, unless otherwise instructed. Press all fabrics well before cutting. HST = Half-square Triangle. RST = right sides together. WOF = width of fabric. FABRICS USED Print fabrics are from the Blooming Bunch collection by Maureen McCormick for Moda Fabrics (modafabrics.com). CUTTING OUT BLOCK 1 1 From the cool prints cut a total of: ■ Twenty five (25) 3in squares. ■ Twenty five (25) 4½in squares. 2 From the…

YOU WILL NEED Fabric A (teal): 3/4yd Fabric B (yellow): 3/4yd Fabric C (peach): 3/4yd Fabric D (pale pink): 3/4yd Fabric E (white): 1¼yds Backing fabric: 3¼yds Binding fabric: ½yd Batting: 58in square BACK THE QUILT WITH THE BOLDEST COLOUR FROM THE FRONT FOR MAXIMUM IMPACT FINISHED SIZE 52in square NOTES ■ Seam allowances are ¼in, unless otherwise noted. ■ Press seams to the side, unless otherwise stated. ■ RST = right sides together. ■ WOF = width of fabric. ■ HST = Half-square Triangle. FABRICS USED Fabrics are all Kona Cotton Solids by Robert Kaufman in Bluegrass, Canary, Peach, Flesh and White. CUTTING OUT 1 From Fabric A cut: ■ Two (2) 4½in x WOF. Subcut eleven (11) 4½in squares ■ Two (2) 5in x WOF. Subcut fourteen (14)…

YOU WILL NEED Twenty five (25) 11½in squares in assorted dark, mid and light shades Backing fabric: 3½yds total Batting: 65in square Binding fabric: 1yd FINISHED SIZE 55in square NOTES Seam allowances are ¼in, unless otherwise noted. WOF = width of fabric. WST = wrong sides together. Karen used batting by Hobbs from Lady Sew and Sew. Press all seams open throughout, unless otherwise instructed. A SIMPLE QUILT LIKE THIS IS THE PERFECT WAY TO TRY YOUR HAND AT FABRIC PRINTING! FABRICS USED Hand screen-printed cotton and linens by Karen Lewis Textiles. A variety of offcuts were used to piece the back. CUTTING OUT 1 From the binding fabric cut: ■ Six (6) 5in x WOF strips. MAKING THE QUILT TOP 2 Arrange your twenty five squares into five rows…

YOU WILL NEED Fabrics in eight colours (red, teal, purple, green, grey, pink, brown and blue) in the following shades: THE SUBTLE BACKING FABRIC IS A CALM COMPLEMENT TO THE BUSY COLOUR-PACKED BLOCKS! Darkestshadeone(1) fat quarter each Medium dark shade: one (1) fat eighth each Medium light shade: one (1) fat eighth each Lightest shade: ½yd each Background fabric: 1yd Backing fabric: 33/4yds Binding fabric: ½yd Batting: 64in square FINISHED SIZE 56insquare NOTES ■ Seam allowances are ¼in throughout, unless otherwise noted. ■ Press seams open throughout, unless otherwise instructed. ■ RST = right sides together. ■ WOF = width of fabric. ■ HST = Half-square Triangle. ■ Starch and press all fabrics well before cutting. ■ Pattern assumes fabric width is at least 42in. ■ Quilted by…

YOU WILL NEED Fabric A (darkest): ½yd Fabric B (medium dark): 1⅛/ 8 yds Fabric C (medium): 3/4yd Fabric D (medium light): 3/4yd Fabric E (lightest): 3/4yd Batting: 60in x 70in Binding: ½yd Backing fabric: 3½yds YOU ONLY NEED FIVE SHADES OF BLUE TO CREATE THIS BEAUTIFUL WAVE EFFECT! FINISHED SIZE 48in x 60in NOTES ■ Seam allowances are ¼in, unless otherwise noted. ■ Press seams open throughout, unless otherwise instructed. ■ RST = right sides together. ■ WOF = width of fabric. ■ Pattern assumes fabric is at least 42in wide, excluding selvedges. If your fabric is not this wide, you may need to cut an extra strip of each fabric. FABRICS USED ■ Solid fabrics are all Kona Cotton Solids in Sky, Breeze, Lake, Horizon and Malibu. ■…

YOU WILL NEED Print fabric scraps: seven (7) pieces each at least 2½in square Floral fabric: one (1) fat quarter Pink solid fabric: ⅜/ 8 yd Checked fabric: ½yd Cream fabric: 9in square Green fabric: 9in square Brown plush: 12in x 22in Beige plush: 4in square Dark brown plush: 3in square Black felt: 1in square Batting: 16in x 22in Lace trim: 8in Toy stuffing Pearl button (optional) Stranded embroidery cotton in black and cream One (1) copy each of the Sloth Body, Arm, Face, Eye Marking, Nose, Pillow, Large Leaf and Small Leaf templates Seven (7) copies of the Hexagon template FINISHED SIZE 12½in x 15in NOTES ■ Seam allowance are ¼in throughout, unless otherwise noted. ■ Templates include seam allowances. ■ Arrows on the templates indicate direction of fur…

FOUNDATION PAPER PIECING Learn the technique to piece each block Foundation Paper Piecing (FPP) designs are constructed from several smaller pieces to build a bigger design. Those smaller pieces are labelled with numbers on the template, which you sew together in numerical order. When you are sewing, you will sew along the printed lines – the FPP template will face you with the printed side up and the fabric that you will sew onto it will be right side down, with its wrong side against the back of the template. The finished sewn block will be a reverse image of the template. In this technique focus, we are going to use this month’s house plant block as an example, but the steps will be the same for any FPP template.…