Writer Dawn Goldsmith invited me to do a guest post on her blog, Subversive Stitchers: Women Armed with Needles.

sm-needlesOf course I wanted to do that! What a great name, and an admirable spirit! I’m not all that subversive actually, but I am totally armed with needles. I wrote a post about the three main sharp implements in my life, showing a few examples of what I’ve done with them.

Be sure to check out Subversive Stitchers, a blog about the abounding creativity of women who wield all sorts of needles.

Thank you, Dawn, one writer to another. What a treat for me.

Until next time,
By Kay Mackenzie

Daily blogger Pat Sloan put up a post showing some of the antique appliqué quilts that were displayed during Festival in Houston. They are so amazing.

Until next time,
By Kay Mackenzie

Susan Brubaker Knapp and I became acquainted through a Yahoo discussion group for pattern designers. Her Blue Moon River blog was one of the stops on my Easy Applique Blocks Book-a-Round in April. In May, Susan and I were able to meet in person during Spring Quilt Market in Pittsburgh. (See my post-Market post.)

We were both as high as kites above Pittsburgh. Me because my book had just come out, and Susan because she had just found out that not one but two of her quilts had been chosen for the 2010 Quilting Arts Calendar, one of them actually being on the cover! That’s right, those stunning citrus slices are Susan’s. Not only that, she and C&T Publishing were hard at work on Susan’s first book due out in the fall.

During the summer, C&T contacted me to ask if I would like to write an blurb about Susan’s book. Would I! They sent me an advance galley copy of Applique Petal Party so I was able to pore over the gorgeous floral designs and the written information. I wrote my blurb and sent it in.

Check out the interview with Susan on the C&T blog.

Now the book is out!

Applique Petal Party is presented in a unique format… a glossy heavyweight sleeve contains an instruction booklet and… get this… 16 full-size patterns! Each block is 13”, so what a convenience. You can make the Petal Party quilt, a smaller wall quilt, or use these designs whenever you need an appliqué block. Click here to see the full quilt on the C&T site..

The booklet gives great hand appliqué instructions plus construction information for the Petal Party quilt that goes from cutting to quilting to binding and labeling. The quilt has scalloped borders so here’s your chance to learn how to do those, including the binding part.

My blurb? It just flowed from my brain through my fingertips to the keyboard. When I got the book, I saw that my quote had made the back cover! In fact, it’s the only one!!! Wow!


Susan has generously sent me an autographed copy to give away in a drawing to a lucky reader. Leave a comment before 7:00 p.m. on Halloween to enter the drawing. (U.S. and Canada only unless you’re willing to pay the shipping.)

Until next time,
By Kay Mackenzie

Today I thought I’d post my illustrations showing how to hand-appliqué points. When I was learning to appliqué, this was one of the biggest mysteries to me, and when I finally “got it” my confidence took a big boost.

To begin with, you’ll want a turning allowance of no more than 3/16″. A quarter inch is just too much bulk to stuff under a point.

The stitches are exaggerated for illustration purposes.

Sew to within two or three stitches of the point.point1.gif

Trim off the folded-under puppydog ear that is sticking out the other side of the point.point1a.gif

Fold the tip down square across.point2.gif

Take the remaining stitches to the point, the last one coming right out of the tip.

Turn the project.point4.gif

Starting at the point, tuck the turning allowance under. Don’t try to start further up and work down to the point. There will be no room at the point for the turning allowance if you try to do that. Work from the very point upwards.point5.gif

When all is arranged satisfactorily, continue to stitch.point6.gif

I hope this is helpful to you if you’ve found pointy points to be a mystery too.

Until next time,
By Kay Mackenzie

All graphics © Kay Mackenzie

I wrote this article awhile ago. I couldn’t get a magazine interested in it, so
I publish it for you here, because I think it’s quite an interesting proposition. This was before I learned back-basting.

Hand vs. Machine Appliqué: A Timed Experiment
by Kay Mackenzie

For quite a long time I was a hand appliquér only. But when I started designing appliqué patterns for publication, I turned to machine appliqué as a speedier way of creating second and third examples of the designs. After all, machine appliqué is a lot faster, right?

Somewhere along the way I became curious about how much time I was actually saving. I decided to conduct a personal timed study to compare a hand method and a machine method. I used a block from A Spin in the Garden, a pattern I was designing.

The spinning vine block in the middle
is the one I used.

I’ll begin by briefly describing the two methods I compared:

Traditional needle-turn using bias tape maker, freezer-paper templates, and a tracing-paper placement overlay.
Raw edge, small machine blanket stitch using paper-backed fusible web and a tracing-paper placement overlay.

I used the same block and the same fabrics for both methods. I did not time the initial steps that were common to both methods, including selecting fabrics, cutting background squares, finding my glasses, gathering all materials, supplies, and notions, numbering the shapes in placement sequence, and assigning the colors on the pattern.

After organizing my thoughts and the projects, I set to work, watching the clock and recording the time for each step. I did one method all the way through, then the other. Here are my results.

HAND Minutes MACHINE Minutes
Trace pattern quickly onto tracing paper to make placement overlay. 2 Trace pattern carefully onto tracing paper with a heavy marker to make placement overlay, also serves as reversed pattern. 5
Using front of pattern, trace a freezer-paper template for each shape except vine. Cut out templates precisely on drawn lines. 8 Using reversed pattern, trace a fusible-web template for each shape, including vine. Cut out templates roughly outside drawn lines. Cut away centers of flower and leaf templates. 14
Iron templates onto right side of assigned fabrics. 4 Iron templates onto wrong side of assigned fabrics. 7
Cut out shapes, leaving a turn-under margin outside template. Clip notches. 6 Cut out shapes on drawn line. 8
Make vine using bias tape maker. Apply thin strip of fusible to back of vine. Trace vine placement onto background fabric. 6
Clean and oil sewing machine, change presser foot, insert new needle. Wind bobbin for each thread color. Adjust blanket-stitch setting, test stitching. 8
Fuse vine in place. Stitch vine. Then, one shape at a time, using placement overlay, remove templates and place, baste, stitch using thread to match each shape. 160 All at once, using placement overlay, remove paper backing and place, fuse, stitch using thread to match each shape (all of one color is stitched before changing thread). Pull thread tails to the back, knot, and bury. 91
TOTAL 3 hours 6 min 2 hours 13 min





Click either block for a close-up.

It was interesting to note that the pre-stitching phase took longer for machine appliqué than for hand appliqué. Cutting out the centers of the fusible web templates is not applicable for freezer-paper templates, and ironing time for fusible web templates is longer than for freezer-paper templates. For hand appliqué, I didn’t need to set up my machine, and I could trace the overlay quickly and with less care, since it was for placement purposes only.

The time savings for machine appliqué showed up in the last stage, where the shapes were placed, secured, and stitched. The grand total difference in time represented about a 30% overall time savings for machine appliqué.

There’s a lot to think about when looking at these time results. You may be faster or slower at any of these steps than I am. There are many ways to appliqué, and you may use differing techniques that are slower or faster within either hand or machine methods.

Also worth noting is that when I first took up machine appliqué, I don’t think I saved any time at all, because I made a lot of mistakes. Forgetting to reverse the pattern, neglecting to remove the centers of the templates, having the fusible come apart from the paper backing before I had a chance to use it, fusing to the right side of the fabric (force of habit from hand appliqué), and probably a few other embarrassing ways to get things wrong — mistakes in machine appliqué are not a time saver! Now I am comfortable and practiced at both methods, and the times noted in this experiment refer to a “clean run.”

Time, of course, is not the only factor for choosing one method over another. Personal enjoyment, skill level, preference for appearance, portability, appropriateness for the chosen project, type of sewing machine, these things and more can come into play when choosing an appliqué method.

I’m so glad I decided to conduct this personal timed study. Now I have learned that when either method is equally appropriate for my project, and time is the deciding factor, I’ll be saving almost a third by using machine appliqué.

-the end-

I’d love to hear what you think about this! Did I save as much time as you thought I would?

Quilt Puppy Publications & Designs

Today I’m writing about my favorite quilt as part of the Bloggers Quilt Festival put on by Amy of
Park City Girl.

My favorite quilt is usually the one I just started :) but if I had to pick just one, I’d have to say that it’s my Sixteen Baskets.


Here are the reasons why:

In many ways I think this is my best work. It’s hand appliquéd, back during the time that I favored the freezer-paper-template-on-top method (before I learned back-basting). The tiniest motifs are machine appliquéd or hand embroidered.

Each of the blocks is my original design… they’re published in my book Baskets to Appliqué. It was an exciting, emotional, fulfilling process developing the concept for each basket, and I still remember that time…. the mischevious kitty, the fat quarters rolled up, the nod to Baltimore, the pastel eggs inspired by Janet’s chickens who gave us eggs exactly those colors.

This quilt is also hand quilted. I took a picture that’s unevenly lit on purpose to try to get the quilting to show up. I love hand quilting and don’t get the chance to do it as much as I used to.


I love the soldier blue and the dogtooth border. (Also that it’s called a dogtooth border, because I love dogs.)

So that’s my favorite quilt. Thanks for visiting to see my entry in the Bloggers’ Quilt Festival! Visit Park City Girl every day through April 24 and get a ringside seat for other bloggers’ favorite quilts! It’s quite a show!

Until next time,
Quilt Puppy Publications & Designs

I’m just a little excited. Today’s the day that my book from That Patchwork Place, Easy Appliqué Blocks: 50 Designs in 5 Sizes, ships to quilt shops!

Easy Applique Blocks by Kay MackenzieI can hardly believe this day is finally here. It’s been three long years since I started working up the concept, and a year and a half since I got the contract. The future is now!

Just as the title says, there’s a library of 50 fun, fresh appliqué blocks. There are flowers, baskets, birds, animals, fruits, teapots, hearts, and a whole variety of what can only be described as offbeat and unique designs. Some of the blocks recall traditional appliqué motifs, while others are modern, fun, or whimsical in nature. All of the blocks were designed with easy sewing in mind.

There are illustrated instructions for three kinds of appliqué in the book, a lot of detail on freezer-paper-on-top and back-basting preparation for hand appliqué, plus stitching smooth curves, pointy points, and sharp notches. There’s also an overview of raw-edge fusible machine appliqué.

A really cool thing is that a CD is included! Enjoy browsing through the book, then use the CD with your computer to print out the blocks you’ve chosen in the size you want. The CD includes all 50 designs in five sizes each, plus reversed versions for back-basting or machine appliqué.

Can I let you in on a little secret? The three blocks in my All About Appliqué logo are three of the blocks from the book! I’ve been smiling about that for a year and a half.

Easy Appliqué Blocks will be at your favorite quilt shop soon. Ask for it there! It’s also available on Amazon and from the Martingale & Company website.

Copies signed by moi are available at my website, Quilt Puppy Publications & Designs.

Get up and do the happy dance with me! Thank you so much! Up with appliqué!

Quilt Puppy Publications & Designs

The Quilt Show posts Elly Sienkiewicz slides

Filed Under Baltimore Album, Designers, Embellishment, Hand appliqué | Comments Off on The Quilt Show posts Elly Sienkiewicz slides

I’m a member of The Quilt Show with Alex Anderson and Ricky Tims, described by them as “The World’s First Interactive Video / Web Magazine and Worldwide Online Community for Quilters.” They send me email updates a couple time a week. Their latest one announces an upcoming program with venerated appliqué artist Elly Sienkiewicz.

Even if you’re not a member, you can click on the “Slideshows” tab at the top of the home page and view behind-the-scenes photos taken during taping by Photo Man Gregory Case. And you’ll enjoy some gorgeous Elly appliqué eye candy!

Until next time,
Quilt Puppy Publications & Designs

Before I got married at the tender age of 36, I never really had a hobby. I was too busy getting through college, then working one or two jobs supporting myself. After I married Dana and we headed off to Gambier (a tiny academic village in the middle of nowhere, Ohio), I finally had the luxury of not having to scrabble, and I cast around for a hobby.

The first thing I took up was folk-art painting. There was a series of classes at a (this is funny) quilt shop in Columbus so I made the 50-mile drive each way and really enjoyed it. I absolutely LOVE that tole painting, Pennsylvania-Dutch whatever the correct term is, look. After that, I spent a lot of solitary hours in the extra bedroom painting on a variety of wooden objects. I never could get any good at the scrollwork, though… instead of graceful and elegant, my scrolls always looked lumpy and drunken.

Somewhere along the way I was having lunch with a friend and another friend of hers. This other friend mentioned the quilt shop in the next town over, and how they had beginning quilting classes, and even taught appliqué. To this day I remember how my eyes got all round and I thought, ‘ooooh, appliqué.’

I made my way over to that shop and signed on for a beginning quilting class in the evenings. (My thinking was, my new husband leaves me alone to go back to his office in the evenings, this will be my revenge :). But, I was the only student so we switched the class to daytimes so that the teacher, who was also the owner, could mind the store at the same time. So I had a private lesson.

Okay, I’m coming to the moral of the story. A lady from Gambier whom I had previously met saw me at the quilt shop and announced that she was taking me to the next guild meeting. I didn’t know which end was up but it was nice, and I got a ticket to go see Georgia Bonesteel speak. Then, the next month, I got a phone call from somebody who said they were coming by to give me a ride. I hung up the phone and said to Dana, ‘Well, somebody’s coming to pick me up. I don’t know who it is, but if a car stops outside the house I’m going to get in.’

You can see where this is going. Instead of sitting alone painting on wood, I was becoming introduced to the vibrant, social world of quilting. It was just what I needed as a newlywed in a new town. Though I absolutely love the way it looks, folk-art painting didn’t stick with me. Quilting stuck.

Here’s a wall plaque of mine from my “folk art period,” from Tole Red Two by Annie Richardson.

Pattern from Tole Red Two by Annie Richardson

Painted plaque by Kay Mackenzie

Little Folk wall quilt by Kay Mackenzie
Here’s a fabric rendition I made years later. I call it Little Folk.

Thanks for listening,
Quilt Puppy Publications & Designs

One of my appliqué idols, Jeana Kimball, has written a very thoughtful piece on traditional hand appliqué in today’s quilt-show climate. Jeana’s website is Jeana Kimball’s Foxglove Cottage (be sure to check out her books and patterns) and here’s the link to the article on her Sewing Room blog.

My booth at the Tokay Stitch ‘n Quilt Guild’s show the first weekend in November was situated so that I had a lovely view of a Baltimore Album quilt, just down the aisle a bit. Of course I was drawn to it with strong magnetic force. I was so tickled and touched when I read Thelma Welch’s description:

“To me appliqué has always been the most intriguing part of the quilting craft. When a Baltimore Album class was offered in 1992 I signed on. All 20 blocks were completed years ago and put together with sashing from Smithsonian Baltimore Album 1850 reproduction fabric. Due to indecision about what border to use, as well as some burnout and a desire to do other projects, it was put away for many years. Finally, at the urging of my daughter, I designed a border and began hand quilting in January, finishing in July 2008.”

I’ll let you look at the quilt now and then tell you the final sentence. :)


“Since reaching the age of 83 I like to say it was on my Bucket List.”

OMG! The woman was 67 when she signed up for a BA class and 83 when she designed the beautiful border and hand quilted the whole thing! You go girl!

I flagged down the president of the Tokay guild and asked her to send Thelma my way if she was at the show that day. A little while later, Thelma showed up, dressed in a fetching black and white outfit with pearls (as all the guild members in honor of their 25th anniversary) and some really cool tennies, proud as punch of her quilt, and when I made my request she seemed very pleased at the prospect of having her quilt up on a blog, especially since now her friends and relatives back east would be able to see it.

The blocks are “mostly Elly” with a few Thelma touches thrown in. For instance, a cow in one of the blocks was swapped out for a cat. She changed flowers here and added a bird there. The cutest thing Thelma pointed out was the variation in the peacock’s tail… “It was before we had the shaded fabric,” she told me with a chuckle, “so that’s the Clorox.”

Here are a couple of the gorgeous blocks. Whew, I sure hope I’m as spry, gracious, and productive as Thelma when I’m 83!




Until next time,
Quilt Puppy Publications & Designs

I met Elly!

Last night, fellow appliqué fan Brenda and I drove ‘over the hill’ to Sunnyvale to Eddie’s Quilting Bee for a slide lecture by Elly Sienkiewicz. The title was “What’s This Fascination with Baltimore Album Quilts?”

We got there a mite early, with just enough time to do a little shopping at Eddie’s, then it was upstairs to the meeting room to sup on a tasty light dinner and sip some wine. At 7:15, Eddie introduced Elly, who turned on the slide projector, and POP! the bulb broke. The replacement bulb didn’t fit, so…. no slides. Elly didn’t miss a beat, and just started talking to us about the BA era, about 1843 to 1856, and her research into the many symbols that recur both in the blocks and, curiously, on gravestones. She told us that the women of the time were fluent in the language of symbols, something that has slipped away from us in present times. There were many associations with Methodism, the Masons, and the Oddfellows.

kayelly.gifThough we missed seeing her slides, the subject was fascinating and it was just so cool to finally meet this grande dame of appliqué.

She is one of the nicest ladies you could hope to meet, and has done so much for us quilters in the realm of qppliqué.

Until next time,
Quilt Puppy Publications & Designs

My 6th Grade Shoes by Penelope Tucker and Ronda K. Beyer was another one of my favorite quilts at PIQF. That’s putting it mildly. Actually I had a little “moment” when I saw it.


See, what you don’t know is that this design is one of my all-time most worshipped. The blocks are from Fairmeadow by Jeana Kimball, a quilt that completely captivated me as an early quilter. Here’s my Fairmeadow book from like 15 years ago, long out of print, battered, scuffed, and much loved.

Fairmeadow by Jeana Kimball

I made my own Fairmeadow back then, slavishly collecting fabrics that replicated Jeana’s as closely as possible, and enjoyed every minute of the appliqué.

I heard a couple of years ago that my friend Pam Crooks was working on Fairmeadow in a hand appliqué class taught by her bud Penny, and now I finally got to see Penny’s version. According to the show description, “Penny was inspired by her beloved 6th grade shoes — lime green and turquoise — while selecting fabrics for this quilt. It reminded her of hot summer days in California in the 1960s. Excited to begin quilting, Ronda added her own design elements with her longarm machine.”

And guess what… this quilt won the PIQF 2008 award for Best Machine Workmanship! Congratulations Ronda! And thank you, Penny, for making this delightful rendition of the the blocks. Here are just a couple, and you can see the incredible quilting.


Until next time,
Quilt Puppy Publications & Designs

It was easy to choose my favorite quilt from all the entries at the recent Pacific international Quilt Festival.

Paws down, it was Pup Art by Nancy S. Brown of Oakland, California.

Pup Art by Nancy S. Brown

In the quilt description, Nancy wrote that she loves animals and they are almost always the inspiration for her quilts, and that Charles Schultz got it right when he said, ‘Happiness is a warm puppy.’

I contacted Nancy and she graciously sent me a little more information about this happy quilt. “I like to make animal portraits with hand appliqué but don’t get to use bright colors (which I love) very often in them. I have been telling my students for years that you can make animals in any colors as long as you keep the lights and darks where they belong. I finally decided to take my own advice. I chose puppies as a theme after making a baby quilt with a blue laborador on it and of course, I just love puppies. I dyed most of the fabric myself and overdyed some black and white prints to add some texture.”

Here are a few of the colorful pups from the quilt, which, as Nancy says, “celebrates those wonderful, bouncy bundles of joy.”

And, it wasn’t just me who was captivated by the puppies. I was delighted to learn that Pup Art won the 2008 PIQF Viewer’s Choice Award!

When I visited Nancy’s website at nancybrownquilts.com, I was reminded of one of her earlier quilts that I had fallen in love with when I saw it at PIQF. Be sure to check out all of her incredible quilts, especially Sunday in the Park with Mittens and look for the papillon in the front row! (Little dog, big fluffy ears.) Unbelievably, Nancy tells me that the papillon in that quilt belongs to a friend of hers and his name is Willie too!

Until next time,
Quilt Puppy Publications & Designs

I’ve had this Hawaiian appliqué block hanging around for 9 years, ever since DH Dana and I went to the Big Island. I got a pillow kit in a little quilt store there. I remember swapping out the background for something from my stash. The pattern was all cut out and ready to sew. I did all the stitching, and there it went into the UFO stack.


It’s been kicking around so long that I don’t even remember the name of the pattern… I think it’s Breadfruit. Anybody? Anybody?

Dana was so taken by Hawaii and its culture that about three years ago he started studying hula at the Hula School of Santa Cruz. He absolutely loves it. The halau (school) is coming up on its 10th anniversary and they are planning a huge ho’ike (hoedown) in celebration. The students are holding lots of fundraisers to be able to pay the musicians that are coming over from Hawaii.

So, a couple weeks ago I pulled out my block and decided to finally make it into a pillow. I can’t claim to know much about Hawaiian quilting, but I do know that you’re supposed to do echo quilting in succeeding rounds to recall the waves of the ocean. I gave it my best shot.

Yesterday I sent Dana with the project down to Round Robin Fabrics here in Santa Cruz to get a Hawaiian print for the back. He and Robin had a great time picking something out and they did a great job.


I completed the quilting, cut out two pieces for the back, and finished the pillow envelope style, stuffing in a pillow form.


Now the cat hair has been removed and the pillow is hermetically sealed in a plastic bag for delivery to the halau, to go in a raffle basket or as a door prize.

This is why it’s nice to have a little stack of UFOs. :)

Until next time,
Quilt Puppy Publications & Designs

American Quilter celebrates appliqué

Filed Under Articles, Baltimore Album, Designers, Hand appliqué, Machine appliqué, Needleturn | Comments Off on American Quilter celebrates appliqué

The November 2008 issue of American Quilter magazine, put out by the American Quilters Society, features “Appliqué Your Way” … yay!

Faye Labanaris contributes an article with photo tutorials for four different kinds of needleturn hand appliqué. Suzanne Marshall shares her method for creating bias stems. And Ann Holmes shows how she constructs her pieces for machine appliqué, in which “there’s no sewing until you quilt it.”

Not only is this issue full of great appliqué information, there’s a bagful of eye candy in the form of the winners of the recent Nashville show. Best of Show and Best Hand Workmanship Award both went to Baltimore Album-style quilts :).

The celebration continues in the next issue with Jeana Kimball’s back-basting technique. Jeana is one of my all-time favorite appliqué idols and I can’t wait to see this article.

Until next time,
Quilt Puppy Publications & Designs

The Appliqué Society shares

Filed Under Articles, Hand appliqué, History, Needleturn | Comments Off on The Appliqué Society shares

The Appliqué Society has a page on their website called Just Appliqué that offers really fun, useful, and interesting things for appliqué fans.

There are articles on international appliqué, there’s a resizing calculator, there’s a Show and Share section, free patterns, and a wonderful series of articles on the basic appliqué stitch, how to put together an appliqué sewing kit, and some information about the history of appliqué.

These resources are there for you to enjoy whether you’re a member of the Society or not. Thanks TAS!

Until next time,
Quilt Puppy Publications & Designs

How about a method of appliqué that gives super-accurate results, yet uses no glue, no starch, no freezer paper, no fusible web, no fusible interfacing, no vinyl or tracing paper. Just fabric, needle and thread, scissors, and a marking implement. Pretty cool, huh?

I promised awhile ago that I would write more about the back-basting, aka no-template preparation for hand appliqué. It’s really quite ingenious and is now my favorite way to work by hand. As I was stitching a Heart in Hand block today I took some pictures along the way to show how it works.

Use a reversed pattern for this method. Start by marking the reversed pattern on the back of the background fabric. I use the blue water-erasable pen. You can also use a marking pencil.

Rough-cut a hunk of the appliqué fabric that’s bigger than what you’ll need. Lay it in place on the front.

Pin the fabrics together. On the back, baste the two fabrics together with a small running stitch, exactly on the drawn line. Use a thick or fuzzy thread for this and a big honking needle. I use a size 7 cotton darner.

Baste all the way around the shape. This is what it looks like on the front.

Now trim the fabric to the shape of the motif, leaving your preferred turn-under margin outside the basting.

Clip and remove a section of basting stitches. In this freed-up area, start turning and stitching. Keep clipping and removing the basting a few stitches ahead of your appliqué. The thick needle and heavy basting thread leave behind temporary perforations that help the fabric turn along the stitching line. I use a size 10 milliner needle and DMC 50-weight cotton machine embroidery thread for appliqué,

Continue all the way around. Don’t press the block yet.

Hmm, not bad. A benefit of this method is that you can flip the block over to see how you’re doing. The marking serves as a built-in stitching guide!

Repeat the same process for the heart.

Once the block is completed, remove the markings from the back. I dip a Q-tip in water and stroke it along the lines. Let the block air-dry and check to make sure none of the blue has reappeared. (If so, just wet it again.)

After all the marks are gone and the block has air-dried, give it a quick press. All done!

I have really come to love this method, since it gets me on the sofa stitching a lot quicker instead of fiddling around with freezer paper templates at the ironing board. I hope you enjoy it too. Like anything new, it takes practice, so give it a whirl and then another. If you’re stalling because you don’t have the right needle or the perfect thread, well then there’s a kit available over at Quilt Puppy that has pattern, instructions, fabrics, both needles, and both threads all in it, to give you a jump start on becoming introduced to the method.

Until next time,
Quilt Puppy Publications & Designs

Stitching order

Filed Under Books, Hand appliqué, Patterns, Turned edge | Comments Off on Stitching order

Stitching order is often dictated by the design. Sometimes though, it can be open to interpretation. Take a look at this block design from Baskets to Appliqué.


In this instance, the base of the basket can go over or under the body, and the body can go over or under the inside.

lemon-basket.jpgWhen I made my basket, I put the body over the base, and the inside over the body, as this was an easier stitching situation for hand appliqué. It still looks like the inside.

Until next time,
Quilt Puppy Publications & Designs

Joanna’s Appliqué Today

Filed Under Hand appliqué, Needleturn, Photo tutorials, Threads | Comments Off on Joanna’s Appliqué Today

I discovered a very colorful, joyful blog by a young woman named Joanna. She has put up a couple of outstanding tutorials on needleturn appliqué, the first on prep and the second on the stitching.

Joanna marks differently than I do, handles points and notches just a touch differently, and uses glue to stick things down, whereas I’m a baster. Vive la différence! There’s no one right way. Appliquérs find the methods that work for them.

Thanks, Joanna, for your effervescent Appliqué Today.

Until next time,
Quilt Puppy Publications & Designs

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