Dresden Plate Wedding Ring Toutorial

May 9th, 2018

DRESDEN WEDDING RINGsmI love Dresden plate  and wedding ring quilts. In 1999, I combined elements of both designs and created the original quilt above from ethnic fabrics. This spring Gina Perks (from Payson, AZ   owner of The Copper Needle Quilt Shop) discovered the design and requested a shop sample made from fabrics in her quilt shop. She chose a retro collection by Jen Kingwell for the rings. I added background prints of light gray fabrics.


I decided to add an inch around the edge of the quilt so the plates did not hang over the binding. It took a lot of fiddling to do the points and I decided to simplify the process so the points could be appliqued on to the larger background edge. Well, this is such an unusual way to make a quilt that I decided to completely revise the original pattern. This tutorial is a supplement to the pattern. you can order it from my website virginiarobertsondesigns.com

The next quilt I made was a runner made from two rings and fabrics from the Kaffe Fasset Collective artists. On this sample, I fractured the background in the circle centers in order to make the quilt more scrappy. The templates for the fractured background is included in the revised pattern.  Also, because I didn’t have enough Kaffe lights for the background. I had to use a batik for the outside edges.

dpwrr2smWhen cutting the wedges, start with four inch strips. Mark one strip with a plastic template, flipping and flopping the template as shown. Then  layer several strips under the marked one. Use a short rotary ruler to cut out multiple wedges. Pin in the center of each wedge with thin, flat head pins if needed.


Chain piece across the top (widest end)   of  the wedges. Clip them apart, turn inside out with a collar point turner and assembly line press the points. Work on a design board as you sew, because you might want to add or change some of your fabric choices. Here is a shot of Gina’s quilt in progress, on a flannel board.


Lay the points in a line, center each point and press. presssmWhen the wedges are pieced in arcs of eight, add a light and a dark corner square  C to each end of one arc.

dpwr1Pin the centers, then each end.

dp2sm dp3sm

Sew from the wedge side. It will ease into the football. Don’t try to do it all at once, Do an inch at a time, keeping the raw curved edges even. Remove the pins as you sew.

dp4smNow pin the arc with the squares on each end to the pieced unit that you just completed. Start at the center, then pin the corner block corners with opposing seams.dp5sm

Sew with the pieced arc unit on top as before. Then press well with a spritz of water. Press either away or towards the football, depending on where you want to quilt.


Join four completed football units by sewing them at the corners. Don’t sew through the 1’4″ seam allowances. Leave them open for pressing alternating corners later.

dp9smPin the circle centers (template A) to the back of the pieced footballs.


Flip the points into alternating sides. Glue all the points from the front, then remove the pins as you glue.  dp13smdp10sm

Applique by hand or machine. The photo shows the back of a machine appliqued circle. I used clear thread on top and regular light thread in the bobbin. I used a narrow blind hem stitch. If you hand applique, use an invisible ladder stitch.


Assemble the quilt or runner, circle by circle, in rows. Piece rows together with A center pieces.


When the quilt or runner is pieced, add sides and borders. Do corners first, folding on the diagonal to pin to the center of the corner circles.


Pin the edges of the background fabrics to the back of the quilt. Make sure your project is square and even before gluing. Then glue the points from the front as with the circles. Cut out the extra layers behind the overlapped wedge points to reduce the bulk.

dp18smFold the C corner edges under 1/4″ and glue baste to the background sides.


You may need to adjust the ends of  the corner and side  pieces to fit, centered with the C corner seams as shown. I pieced the  adjusted seams by hand.


I hope these extra photos help you construct your Dresden Plate wedding Ring.  You can contact me through my website.   virginiarobertsondesigns.com I would love to see photos of your quilts and share them on Facebook.


The Big Red Bag Toutorial

February 10th, 2016


This tutorial  is designed to supplement my pattern for The Big Red Bag.  You need to order the pattern to get all the details and measurements. Click here for ordering information on virginiarobertsondesigns.com As you can see below, I have illustrated my Big Red Bag in blue.


The bag is so big that I used a stiff, sew in interfacing to support the sides and bottom of the bag. The technique is quilt-as-you-go onto Hobbs, cotton fusible batting. This way the fabric strips do not pucker during sewing. The batting fuses on both sides and I use rolls of the stuff for my bags, table runners and wall hangings. If you can’t find it at your local quilt shop call me and I will send you some.  It is 96″ wide and you order it by the yard.

I glue stick the batting to the interfacing. Don’t iron the batting yet. It needs to be covered with fabric first. I mark the piecing lines onto the batting. All the measurements are in the pattern. These guide lines help keep your piecing straight.

The pattern has a front, back and bottom section of batting/interfacing . Refer to the paper pattern for directions. All the seams are 1/4″.




Fuse the first strip to the batting.  Start on the left side. Use the guide line at the top of the batting. The bottom of the strip will be trimmed of later. I use parchment paper to keep the iron from touching the batting. As the bag gets covered with fabric strips the paper is no longer needed.


Lay a second strip on top of the first fused strip and sew using a 1/4″ seam. The right sides are facing.


Flip back the second strip and fuse it to the batting. Keep the iron away from the batting. Use a hot, dry iron for the fusing.


Continue sewing, flipping and pressing the strips to the batting/interfacing bag unit until it is covered with fabric strips.


Turn the bag unit over and trim the strips even with the interfacing.  Do second side of the bag.  The pattern has a front, back and bottom section of batting/interfacing . Refer to the paper pattern for directions.


Make the decorative trim strip for the top of the bag. Fold a 1″ strip in half and press. Lay this pleat along the edge of a top trim strip and sew very carefully. After sewing, flip the pleat over and press well.

Lay the trim strip along the top of the bag unit and press to the batting. Do the other bag unit.


Glue the batting to the interfacing to create the bag bottom. There is an extra shorter piece of extra thick stabilizer like Timtex glued to the center of the interfacing. It is secured by the quilting. Fuse a piece of fabric to the batting. Mark the quilting lines. They are centered on the bag bottom. Machine quilt.


Make the handles using the pattern measurements. Fuse a strip to the edge of the handle fabric. Fold the batting section and fuse the other side of the batting strip. Press a 1/4″ seam along the opposite edge of the handle. Fold, the fabric with the 1/4″ pressed edge over on top of the batting fused section and topstitch along the folded seam. Top stitch the other side of the handle.


Sew the handles to the bag. Make a button loop according to the diagrams on the pattern. Sew it to the center of the top of the back of the bag. Now sew the bag front to the bottom to the bag back as shown.


Fold the bag in half. Match and pin the trim strip and the pleat. Sew both sides of the bag shut. The bag is getting thick now and you need to be using a #90 top stitch or #100 denim needle, good, strong polyester sewing thread and a decent sewing machine that can handle all the layers without skipping stitches.  Mark the bottom corners with the plastic template as described in the pattern.


Cut out the corners on the bottom of the bag.


Here is what it looks like as you rotate the bag to sew the bottom seam that creates the sides of the bag.


Sew the bottom on both sides of the bag.



Here is the sewn seam that creates the sides of the bag. Isn’t this cool?


Now turn the bag inside out and admire it. Here is a side view showing the matched pleat and trim strips.


Make the bag lining. Sew the two pockets to the lining as directed. I usually make at least four pockets on each side so they don’t sag or snag inside the bag. I usually do a narrow section for pens, too.


Fold the lining in half with the right sides facing and sew the side seams. Leave a 6″ section along one pocket divider open for turning the bag inside out later. Mark and cut out the bottom corners of the lining the same way as the bag was done.


Rotate the cut lining to sew the bottom.


Sew the bottom on both sides of the lining creating the sides.


Insert the bag into the lining with the right sides facing.


Match the side seams and pin the lining to the bag. Never sew over the pins. It can cause expensive damage to your machine.  Sew all around the top of the bag.


Now pull the bag through the opening on the side. Squeeze and scrunch the bag to fit, being careful not to rip the lining in the process.


Check all the lining seams and be sure there are no pleats. Adjust and rip & sew as needed. If you were accurate with all the cutting and sewing everything should match and fit just fine.


1/4″ of the lining will show along the edge of the bag. Press the lining edge well. Pin the lining around the top of the bag so it  stays flat and smooth. Then sew around the top of the bag just under the lining. Match the bobbin thread to the lining color and the top stitching thread to the bag.


Try some different color combinations of button stacks for the bag.


Here is the one I choose. I used a hot pink 2 1/4″ giant Dill button as the base and then added felt circles and smaller buttons that bring out the bag fabric colors. The directions are in the Big Red Bag Pattern . More button stacking ideas are available in my Button Stacking 101 booklet.

If you are like me, you are already onto making the next bag.

Thank you for buying my patterns. I do not mind if you sell a few items make from my patterns to support your fabric habit.  Please give me designer credit so I can make a living selling patterns. It is not cool to mass produce these items without obtaining permission.






Morphing Santas into Wizards

January 15th, 2014

santaThe Recycle Santa pattern was the result from using some small Pendelton wool scraps that I bought from the flea market in Santa Fe years ago. I also had vintage wool serapes with moth holes and old ethnic clothing scraps that are full of hand quilting and stitchery. It was all too interesting to through away so I created 40 or 50 Santas from the scraps. I sold them all last year.

So, this year, for Christmas open house, I sorted through my exotic cloth doll making fabrics for new silks and woven textiles to make more Santas.

purplesantsThis purple Santa has a tall hat with a wreath hanging in a crook. Chinelle stems were sewn to the top of the head before the hat was added. That way the hats could be bent into interesting shapes.

sarapesantaThis little serape Santa holds a glass fish, sports tourquiose beads for buttons and stands by a sea shell pincushion.

tealsantaThis batiked silk Santa’s hat is so long that he looks like a wizard. So I gave him an ivy wreath so that he is not so Christmasy.

santa1I just couldn’t stop making the Santa/wizards. This one has a twig for a staff. He looks like a forest elf.

santapumpkinsSo I am not ready to quit creating these cloth dolls yet. Here are some wizards and Santas among some  wild & crazy pumpkin pincushions  on display with our exotic ribbons and trims.

This creative spurt was so much fun!


Morphing Pumpkins

January 13th, 2014


I just love to sculpt these little pumpkin pincushions. I create them from stretchy fabrics such as knit, batik rayon, wool, and my favorite velvet. Last fall when I went shopping for pumpkin fabrics, most of the orange stretchy fabrics were found in the evening gown/dressmaking/bridal section of the fabric stores.

The smaller pumpkins have real twigs and felt leaves. The larger ones have wool and felt stems and leaves. I even started to put chinelle stems into the stems so they could be twisted like a real pumpkin stem.


I always put pumpkins from the farmer’s market on the front porch.  Well, the morphing started after Thanksgiving.


I just did not want to stop making the pincushions, so I did a series of heirloom tomato pincushions from some scraps of batik rayon. The tops have button stacks, flowers with felt beads and weird leaves & stems made from wool felt.


I even made some black pincushions with purple and green flower tops from some old rayon clothing.  A red rayon tomato pincushios lurks with the black ones.


Wool pumpkins are displayed with a wool Santa on top of the Valdini  crosheen.

pincushionjarThe next thing you know, mini pumpkin stacks started appearing on top of the pimento jar wine glass. (Created by Iris & Derrill Johnson.) I put an entire box of nice quilter’s pins inside the pimento jar to create a creative gift item.  The jar lid is covered using the sticky backed batik  from the Grandma.s Button Jar pattern.

pincushion 1Next, the pincushions began popping up in more tea cup wine glasses.


mothercupHere is a “Mother” themed tea cup wine glass complete with the matching saucer.

raspberry wine cup

This raspberry china cup wine glass is my favorite. The hand painted china cup is very thin and delicate and the stem is cut glass.

cup5We have a nice selection of variations on the wine glass theme in the shop. There are too many to post.

Anyway, working in a series often take me down many creative side trails. It is so much fun to explore the multimedia crossovers that occur when experimenting in the studio!




January 10th, 2014


I have always loved birds and used their images in my work. I never thought much about the symbolism or meaning of using bird images. They were just pretty shapes and colors like flowers  which I used in designing quilts. But then the soft sculpted birds appeared after a teaching trip to the Yellow Bird quilt shop. (Yellow Bird is closed now, but the shop was one of the Better Homes & Garden’s top 10 quilt shops.)

Every morning, on the way to the shop’ we would hit a bird. By the third day, we were really wondering what was going on for us to kill so many birds in a short time. There were too many for it to be a coincidence.  My hostess is a very wise and intuitive woman and when I wondered about the significance of these incidents, she had an insight the last day of my visit. My birds are a symbol for spirituality.

I have been conscious of the spiritual meaning of birds ever since.

Well, this year the theme for our Art Girl’s 2013  Holiday Open House was Birds.  I made a wire tree full of individual birds which were inspired by Julia Bordeman’s paper birds from last year)


These birds are from the Flock Of Wrens pattern. (another story of the inspiration in a different post…)


Garlands of birds already hang all over the shop. These blackbirds are created from a new collection of black and yellow fabric.

I commissioned stained glass birds to hang in the north window. I made more fabric wrens in bright fabrics to hang in the front window. I hund a string of bird lights in the class room.


Last fall, on a birthday visit to see Mom in Kansas, I collected a bunch of 1950’s era ceramic birds. I scattered them all over the shop. This pink and gray planter is filled with cuts of the latest Art Gallery fabric collection.


A yellow bird planter was turned into a pincushion. The scrap of silk from dollmaking was a perfect match for this piece.


Evergreen stems were nestled in and around the ceramic birds. This Victorian display features retro tins, old pearl buttons and a fabric wallet by Ursula.


An orange bird roosts among a collection of fabric pumpkin pincushions. (Pattern available…)


More birds displaying stilletos and point turners…


It may not be a coincidence that my kitchens always have a rooster theme. Here is a rooster created from the new batiks that I designed for Clothworks.



Now I am doing roosters using antique quilt blocks for the background.


Spring !

December 24th, 2010

It is Christmas Eve and the shortest day of the year is over and the days are getting longer, now. Last year I had a bad case of spring fever so I went a little wild and did two art quilts with no rules. There are new inquiries about the quilt because it appeared in the winter issue of Quilter’s Home magazine. The quilt is shown on the wall of my studio.

SPRING ! The Process and the Story

by Virginia Robertson

I collected the antique templates used in these quilts at a quilt show 25 years ago. They are cut out of oatmeal boxes and used cardboard of different colors. Some of the original shapes are rounded from use. Others are bent and torn and one of them is stitched together. I left the photo copies “as is” to tell the story. I love the history that they portray. I always meant to have them framed for hanging on my studio walls.

This March, we still had six foot snow drifts around the house. The late spring blizzards just kept coming as late as May. In response to the protracted winter, I made these two quilts using the old templates. I used the wildest and brightest fabrics in my stash with” no rules folk art applique” and design. I worked directly with the fabrics… no preplanning or drawing. The idea was to bring spring into the studio by expressing the feeling of new life via light, bright textiles and simple botanical shapes from nature.

I backed 1/4-1/2 yard pieces of the applique fabric with paper backed fusing web. I took off the paper in large pieces to use again as tracing paper and applique pressing sheets. I even used some of the paper behind the appliqued areas to stabilize the fabric during the free motion applique process. I traced around each applique design and stacked several layers of backed fabric together for cutting. (Don’t place the fusing web sides together!) I did lots of different images this way, then set up to work on a design wall next to the ironing board.

Bright backgrounds were cut and different images were auditioned on each block. I did not fuse them at first. I just used a dot from a glue stick to hold the appliqués in place until I was satisfied with the results of the separate blocks and all the blocks together as a quilt top. I changed the backgrounds several times to get happy results. It was hard to use all the busy fabrics together on the cover wall hanging sample. I used a lot of Art Gallery, Free Spirit and Kaffe Fasset fabrics in the sample. I finally had my friends, “The Art Girls” over for a session where we fiddled with the fabric choices. I like the results! It is a happy quilt.

The queen sized lime green sample on the back cover was all made from Princess Mirah batiks by Bali Fabrics. I had a large amount of designer sample cuts from a visit to the Bali Fabrics warehouse in Sonoma. I just can’t get enough of lime green and I consider lime green a neutral.

Well. I got my fill after completing this quilt. Now where will I find a place for such a quilt as this? Both quilts make me think of early spring greens, flowers and warm, tropical breezes. When the quilts were hanging on my walls this spring, they made me smile. One guest commented “My, it has been a long winter!” Click here to purchase the pattern.

“Inspire the artist in you”

December 24th, 2010

This was the theme for the booth at Quilt Market a couple of years ago. As art director for Bali Fabrics, one of my favorite jobs is to create the booth quilts from Princess Mirah’s beautiful batiks. I have been getting inquiries about these quilts after they appeared in the photographs of the winter issue of Quilter’s Home Magazine. It was easy to do fabric tributes to four of my favorite artists since my background is in fine arts. I used the batik like fabric paint to recreate the famous paintings. The easiest one was the O Keefe skull because the fabric did all the work. I found the perfect batik  for the sky and the  various shades of brown, beige, cream and gray were all in three textured batiks. I just cut out the section needed to quilt-by-number.

Tribute to O Keefe

The sunflower quilt was the most time consuming. I struggles to get the depth-of-field needed from a limited color scheme. The sunflower quilt  is  my brother Paul’s favorite. He farms in Kansas, the sunflower state!

Tribute to Van Gough

My personal favorite is the Tribute to Picasso. When I did the paper cartoon for it I simplified the original design for doing the applique.  I had to put back many of the details because the design did not work without those elements. Notice that the fabric design in the batik  background adds another element to the picture that was not in the original painting. I learned so much about the underlying design structure that Picasso used when creating this quilt.  He was a genius.

Tribute to Picasso

The Matisse paper cuts from his later years are the theme of this quilt.  I have used Matisse’s paper cut ideas in my cloth doll designing to create fabric paper dolls and a jointed doll.

Tribute to Matisse

I have been inspired by other famous  artists with my cloth doll making. I have a Frida Kahlo doll, a Picasso doll and the Arthritis dolls inspired by Matisse’s paper cut figures. Click here to see the cloth doll section on my web site.

I have new appreciation for these great artists. I also can’t believe that I get paid for doing  such a fun job!

The Apron Story

December 23rd, 2010

The Retro 1950’s Apron

by Virginia Robertson

I found the old blue apron in a flea market. It was starched crisp and bleached clean. The fabric is probably from a flower sack. The edges were encased with a hot pink bias binding that adds accent and sparkle to the apron.

I have always been fascinated with old aprons. Lots of the ladies from my childhood wore aprons. As a minister’s daughter in rural Oklahoma and Kansas the church ladies made fancy aprons to serve dinners in the fellowship hall. There was almost a competition with homemade, creative aprons.

I remember see-through organdy aprons with ruffles and fancy embroidery that the CWF ladies wore when serving meals at funerals and weddings. There were always lots of creative Christmas theme aprons during the holidays. Apron patterns were shared like recipes and plant cuttings.

The apron has become an iconic symbol to many women. The apron is useful, but it also expresses the purpose of a community of women working together and bonding as they serve. Putting on an apron is a statement of creative intent. You might say that the apron is the “cook’s bumper sticker”.

Over the years my Mom and I have talked about the symbolic meaning of the aprons in church and our society. In the Christian community the apron has a “Martha” symbol of service. The women use their aprons as a uniform of service and fellowship. Pretty aprons express the creative owning of a job lovingly given.

Mom always has an apron hanging in her kitchen that has special meaning in her life. One of her favorites is one that I made called “Mom’s Homemade Bread” The bib applique has an appliqued loaf of bread and a sheaf of wheat. Mom still bakes homemade bread every week and has a special bread route of lucky consumers.

The Retro 50's Apron My variation is to cut out two aprons and make it reversible. I added a hot pad that is the same tulip design as the apron.  If you would like to order the pattern click here.

Store or Storage ?

June 27th, 2010

(Or How My Studio Storage Is Out Of control!)

I have the best job in the world! I get paid to sew with the beautiful Princess Mirah batiks. I am on staff at Bali Fabrics as the quilting and design coordinator. Any way, they send me all the latest sample cuts to use for projects for the Batik Expressions pattern line, Quilt Market and to make projects for magazine articles and ads. I also order bolts of batik to make kits to sell on my web site.

Here are some captioned pictures that share some of my studio storage ideas.

Since I am currently without a store front, ( I have had four quilt shops in the last 25 years ) I have to tell you about my recent “storage” adventure. Needless to say, after four years working with Bali Fabrics, the fabric inventory has grown to over a hundred bolts of batik and many yards of leftover cuts.

First, we stored them in the shipping room until it overflowed. Then, we started storing it in the entry room next to my studio where I cut kits for the web site. Since it is the “company” entrance to our home, it needs to be pretty. My husband, Lynn, turned an old entertainment center into fabric shelving.

Art quilts hang on the walls and fabric bundles, buttons and dolls are displayed among the house plants.

Still, I was running out of storage space. I drew up a shelf plan for the entryway to hold the new bolts. Lynn looked at the plan and groaned. He thought his days of building store displays were over! He exclaimed “Is this another store?” I assured him that is only storage that is pretty.

On top of the new shelf are the fabric birds that we used in the Bali Fabrics booth at Quilt Market mixed in with a Jester doll created from Princess Mirah batiks.

I love buttons. I started using the giant Dill buttons on my purse samples. When the big button orders came in for the kits, I needed a pretty way to store them in my studio. I started out by color coordinating the warm colors, cool colors and the black & whites in baskets. It is sort of a “Button Soup”.

Then I ordered more buttons to do new assortments on the web site. These new assortments were displayed in pottery bowls and stacked on a shelf in the entry. There is an old round table that is loaded with buttons. I use baskets, ceramic bowls and even a 35 year old rotating monkey pod flower from Vietnam. The flower petals are bowls and they are removable, so they are perfect for colorizing the buttons.

I did a “Take and Teach” class at Spring Quilt Market for the Dill Button Company. It was called Button Stacking 101 and the ladies loved it! Dill sold a lot of buttons afterwards, too. Check out my web site for the Button Stacking 101 booklet and to the button section to see the different assortments.

When my quilting friends, “The Art Girls” come up to the studio to sew, they think it is a store. It is hard to get any art made because of all the shopping that they do! Watch for an article in Quilter’s Home magazine featuring my home. They will be doing a photo shoot in July and the article will be out in the fall or winter.

Old Dog, New Tricks !

March 27th, 2010

January  2010

” Old Dog, New Tricks”  is the name of my blog  and this story is how the name came to be. I did a lot of sewing while snowed in over the Christmas holidays. I had purchased a lot of the new fabric collections at the Quilt Market ” Sample Spree”. The fabric that I collected is designed by the hip, new designers. I made a series of table runners from the collections to try and understand how to use the bright, busy prints.

Frankly, I found the new fabrics hard to work into my projects.  The fabrics are busy with no visual relief in the fabric  selections and no quiet connectors.  I have been adding  my own connectors and quiet background fabrics by including textured batiks. There is an entire article called “Taming Wild Fabrics”  in the spring issue of McCall’s Quilting magazine issue on color.

So, I used each new collection  to do a series of table runners.  I tried to only use fabrics from the  same  collection. A table runner can be done in three or four hours, so it is a good way to experiment with new color combinations and small cuts of fabric.  I started by cutting several 2 1/2″ strips from each fabric in the   collection. Here are the new table runners that resulted from my experimentation.

This runner is created from Art Gallery Fabrics.

At first I didn’t like the runner. I thought it was too busy with no quiet background fabrics for visual relief. But when I left the studio and then came back  and saw it on the design wall I liked it!  It is a different way to use fabric. The surface is blended together into an even surface of similar values. The fabrics remind me of my first quilts made from 1960’s clothing scraps. There were no quilt shops then, just double knit polyester! I have made several more projects with Art Gallery fabrics and they have recently come out with some wonderful, new blenders. The hand on the fabric is fabulous, too.

Yellow Beather Bailey fabrics

Heather Bailey's large floral is set in the sides for a very fast project.

I just love Heather Bailey’s “Nicey Jane” collection. I mixed her prints with a little Kaffe on the nine patch to give it a checker board effect. The one inch lime green border helps seperate each block  from the edges. I call the pattern “the Three Hour Table Runner” because it is so fast to sew.

Black & White & Yellow runner with a large print featured in the block centers

A yellow micro dot border frames the blocks and a combination of four patches and triangles fill in the sides of the runner. The pattern is called “The Four Hour Table Runner”.

This runner is made with the "Meadowsweet" fabric collection.

The fabrics look like 1960’s kitchen curtains! I made this as a shop sample for Beth Watts at Fabric Chicks shop in Minden, Nevada. (There will be a separate post about my visit to her fabulous shop.)

"Urban Green" runner version #1

"Urban Green" version #2

I replaced the pink border with a black & green dot border on version #2 and it gives the runner a different look.  The fabric collection is by Fabri-Quilt. The pattern is “The Four Hour Table Runner”.

Another Kaffe fabric experiment.

Kaffe runner version #2

Kaffe Table Runner

Kaffe runner version #1

I picked version #3 for the pattern front. The pattern is called “Black & Orange Kaffe Modular Table Runner #1”.  I did a lot of experimenting with the fabrics and I like the way the squares seem to overlap on version #3.  The black edges seem to make the squares show up better.

"Autumn Leaves" The background is too dark in this first try.

"Autumn Leaves"This second runner with a lighter background.

The lighter background really helped on the second runner.  I used a “Sushi Roll” from Princess Mirah Designs to create the runners. The green squares lay on top of the brown squares for an interesting look.

There are a lot more runners, but you probably get the idea. Now that I have worked out how to use the new fabric collections on runners, I will start on quilt projects. These collections also worked well on my new “Market Bag” pattern. Check out my website to see some of them.