Modern PatchworkWinter 2017的目錄

It is that time of year again. Snow drifting on the doorstep, wood burning in the fireplace, and cider steaming on the stove … Wool socks warming cold feet, audio book cued for listening, and a sharp blade in the rotary cutter … It is time to sew. Usually you can find me alone in my studio on any given winter Saturday. Each January, I choose a project that will sustain my creativity through the season and provide an excuse to avoid doing housework. Sometimes, my snoring pug, Elvis, joins me. Occasionally, a chickadee perches on my studio window and watches me work or a neighborhood friend pops in for a cup of tea. But most of the time, I am lost in thought in my colorful haven and sewing.…

• Do your research: Work with a quilter whose technique and price match your expectations. • Ask for references: Or look at the quilter’s website— a picture is worth a thousand words. • Put it in writing: This clarifies things for both client and quilter. • Trim backing to size: Make sure the back of your quilt is square and the size requested by your quilter. • Prep before shipping: Press the quilt and trim away loose threads. • Spread the word: Always credit the quilter on your quilt label and when you show your work.…

As long as the letters contrast with the background, your quilt will be a success. For “Naive,” I made the background light and the letters dark. Here are some additional fabric suggestions: • Make all the letters the same color, or try a different color for each letter. • For a scrappy look, use a mixture of fabric in the same color family in each letter, as in “Can't Stop, Won't Stop”. • Use yardage or scraps you have on hand or buy fat eighths, fat quarters, and half-yard cuts. TIP: Letters that are right next to each other will be more legible if they are different colors. If letters are spread out, they can be all the same color. Experiment. See what you like.…

Bump up the thread weight: In this quilt, a thick thread— 28wt or 12wt—provides great texture in the quilting. As another option, seek out perle cotton or even embroidery floss. Choose a thicker needle: Because the thread is thicker, you need a needle with an eye big enough for the thread. I use an embroidery needle, as opposed to a hand-quilting needle. Condition your thread: Wax for your thread will definitely make a difference on the ease of stitching and will minimize the amount of batting pulled through with each stitch. Get in the habit of running your thread through the wax each time you thread the needle. Keep that needle threader handy: It’s perfect for this part of the process, too!…

The Tumbling Block has to be one of the most striking quilt blocks to work with. Three small diamond shapes result in a block that pops off the quilt with a 3-D illusion. The block can take different forms and layouts, but no matter the differences, you can find a perfect design for highlighting the shape. 1. Use contrast to emphasize the illusion. Quilting doesn’t need to be complex to create an interesting look. One of my favorite ways to quilt Tumbling Blocks is to use straight line patterns of different densities. Not only does it help the 3-D look of the block stand out, but it helps certain blocks pop out from the rest of the quilt. 2. Follow the points of the blocks. I am not a big…

MOMMYSEW.COM Who doesn’t love blue and white quilts? For this design, Jenn Nevitt was inspired by blue vintage tiles and created a quilt with a variety of contemporary blues and navys plus lowvolume prints in grays and neutrals. MATERIALS Finished Size: 64" x 72" Finished Block: 4" x 12" • 15–16 fat quarters* assorted blue prints • 15–16 fat quarters* assorted low-volume prints • . yard for binding • 4 yards backing fabric • Twin-size batting * fat quarter = 18" x 20" NOTE: Blue fabrics in the quilt shown are from Alison Glass’s Handcrafted Indigos for Andover Fabrics and the Bluebird collection from Cotton + Steel for RJR Fabrics. CUTTING Measurements include . " seam allowances. Keep cut blue pieces of each print in separate stacks. — 192 (3…

MATERIALS Finished Size: 28"x 28" pillow • 21 (5") squares in coordinating prints (Prints can be repeated.) • 1 yard paper-backed fusible web, 17" wide (I used PellonR 805 Wonder-UnderR.) • 1 yard white for pillow top background • 1 yard muslin for pillow top backing • 1. yards coordinating fabric for pillow back (Use cotton canvas for a sturdier pillow.) • 3. yards baby pom-pom trim • Circle Template A, on pattern insert • Craft-size batting • 28" square pillow insert • Zipper foot Optional • Basting spray NOTE: Fabrics used in project shown are Kona® Cotton (white) from Robert Kaufman Fabrics and Morning Walk by Leah Duncan for AGF Studio. CUTTING Measurements include . " seam allowances. Trace Template A on template material and cut out. Follow the…

This block, set on the bias, features a popping secondary design of pinwheels encircled in white. Each block incorporates half-square triangles (HSTs), quarter-square triangles (QSTs), and paper piecing. Lots of fun for all you piecing fans out there! MATERIALS Finished Size: 66" x 84" • 1¼ yards yellow-green solid (Wasabi) • 1¼ yards yellow-green print • ½ yard navy solid (Nautical) • 11⁄8 yards teal print for blocks and binding • 21⁄8 yards medium gray solid (Shale) • 13⁄8 yards light gray solid (Shadow) for background • 15⁄8 yards white solid (Bleach White) NOTE: Both sides of this fabric are used. If using a fabric with a definite right and wrong side, additional yardage will be required. • Paper-Piecing Template, on pattern insert • 5¼ yards backing fabric • Full-size…

MATERIALS Finished Size: 64" x 78" • 2¼ yards acid green forbackground • 1¾ yards deep purple for branches and binding • ¼ yard dark olive • 1⁄8 yard red • 3⁄8 yard brown • 3⁄8 yard turquoise • ¼ yard orange • 7⁄8 yard purple • 4¾ yards backing • Twin-size quilt batting • Circle templates, on pattern insert • Template material CUTTING Measurements include . " seam allowances. Cut 1 Circle Cutting Template and 1 Circle Pressing Template from the template material. From acid green fabric, cut: — 4 (17 ½ "-wide) strips for A From deep purple, cut: — 15 (1 ½ "-wide) strips for B. — 4 (3 ½ "-wide) strips for C. — 8 (2 ¼ "-wide) strips for binding. From dark olive, cut: —…

Foundation Paper Piecing 1. The shapes on paper piecing blocks are numbered. 2. Using fabric pieces that are larger than the numbered areas, place fabric 1 on the unprinted side of the paper, right side up. 3. Position fabric 2 on top of fabric 1, right sides facing and edges aligned. Make sure the edges of fabric 2 will extend at least . " beyond the printed lines when pressed back into place. 4. With the paper on top, stitch directly on the pattern line between pieces 1 and 2, extending the stitching into the seam allowances at the end of the seams. 5. Press fabric 2 back. Fold the paper back along the stitched line and trim the seam allowance. 6. Continue to add pieces in numerical order. 7.…

Curved blocks precision cutting and sewing will make a difference in piecing success. Here are some tips for troubleshooting them. Smooth curves: Always sew with the L-shaped piece on top so you can see the fabric as it eases into the curved shape of the quarter circle as you sew. Off-kilter blocks: If the fabric is pulled when sewing, the block might stretch out of square. Try trimming the block to size, or pick out the stitches, press the pieces with starch, and sew again. Tucks: Sometimes small tucks may get sewn into the seam. If this happens, pull out the stitches around the tuck, ease the fabrics back together, and re-sew the open portion with a smooth curve. Save time: Making a single block can be time consuming. Batching…

MATERIALS Finished Size: 48" x 48" • 9 fat quarters* assorted mottled solids for blocks • 1 yard white • ½ yard orange for binding • 3 yards backing fabric (If using 54"-width fabric, only 11/2 yards are needed.) • Twin-size quilt batting * fat quarter = 18" x 20" NOTE: Fabrics in the quilt shown are from the Palette collection by Marcia Derse for Windham fabrics. CUTTING Measurements include . " seam allowances. Horizontal sashing strips are exact length needed. You may want to make them longer to allow for piecing variations. From each fat quarter, cut: — 1 (12 ½ ") square for blocks. From white, cut: — 3 (6 ½ "-wide) strips for horizontal sashing. — 1 (12 ½ "-wide) strip. From the strip, cut 6 (6…

Half-Square Triangle Blocks Two at a time Half-Square Triangle blocks (HSTs) are some of the most versatile blocks we use in quilting, but the bias-edge seam makes them a bit of a challenge. This quick method for making two identical HST blocks at once eliminates the need to sew along a cut bias edge—you get more blocks with less fuss. 1. Cut 2 squares 7⁄8" larger than the desired finished size of your block. 2. Using a ruler, draw a diagonal line on the wrong side of the lighter square from the upper left to the lower right corner. 3. With right sides facing, pair a dark square with the marked light square. 4. Stitch ¼ " on each side of the drawn line. 5. Cut along the drawn line,…

MATERIALS Finished Size: 56" x 56" • 1 fat eighth* each of dark teal, blue, green, pale blue, light green, yellow, light purple, light pink, plum, and dark red • 1 fat quarter** each of denim blue, light teal, orange, and light orange • ¼ yard white • 2¼ yards icy blue cotton/linen blend for background • ½ yard for binding • 3½ yards backing fabric • Twin-size quilt batting *fat eighth = 18" x 10" **fat quarter = 18" x 20" NOTE: Fabrics used in the quilt shown are Essex Linen (Chambray) and Carolyn Friedlander’s Widescreen (Pacific) from Robert Kaufman Fabrics; and Pure Elements Solids from Art Gallery Fabrics. CUTTING Measurements include . " seam allowances. Strips are exact length needed. You may want to make them longer to…

MATERIALS Finished Size: 60" x 60" • 3½ yards of purple for background • ½ yard each lime and aqua • ¼ yard each orange, black, blue, and pink • ½ yard binding • 3¾ yards backing • Twin-size quilt batting NOTE: Fabrics in the quilt shown are from the Just a Speck collection by Jen Kingwell for Moda Fabrics. CUTTING Measurements include ¼ " seam allowances. Press seams open. From purple, cut: — 12 (2 ½ "-wide) strips. — 10 (8"-wide) strips. From each strip, cut 5 (8") squares. Cut each square in half diagonally for C triangles. From both lime and aqua, cut: — 4 (2 ½ "-wide) strips. — 4 (1 ½ "-wide) strips. From both orange and black, cut: — 2 (2 ½ "-wide) strips. From…

Edge-to-edge: Using a computerized machine, designs are stitched across the quilt, from one edge to the other. The machine does most of the work, but the quilter rolls and guides the process. Edge-to-edge designs are purchased by the longarmer and can be customized to work with your quilt. This is the most economical option for most quilts, and there are plenty of options. My machine has over 30,000 digital designs. Pantographs: These are long paper repeats that are traced from the back of the machine. Paper pantographs are generally used by quilters who do not have computerized machines and who want a consistent quilting repeat across the quilt top. Free motion: This is when a longarm quilter does freehand work on the quilt as opposed to letting the computer do…

Some times I just want to sew—right now! This is one of the reasons that I’m a fan of improv work. It’s an opportunity to just cut and sew, and an occasion to get started without knowing where things will end. Improvisation is about process more than planning. I also quite enjoy hand applique, especially the portability and the finished effect of fabric on fabric. In addition, the unique shapes that are achievable with applique are not always possible or practical to attempt with traditional piecing. So one day I decided to combine my love of improv quilting with my love of hand applique. Typically, applique involves a template and precisely preparing each piece for hand sewing. There are many different approaches to applique and the prep work, but each…

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French-fold Binding A well made binding will protect the edges of your quilt, add to the overall design, and make it last longer. The following technique is for creating a French-fold binding, also known as a double-fold binding. PREPARE THE BINDING 1. Measure the perimeter of your quilt and add approximately 24". The additional length will accommodate the mitered corners and the finished ends of the binding, and give you a few inches to spare. 2. Cut enough 2 . "-wide strips to equal the desired length. 3. Join the strips together using diagonal seams. To do this, place two strips, right sides together at right angles. The area where the strips overlap forms a square. Sew diagonally across the square. Trim the excess fabric . " from the seam…

Easy Envelope Pillow Backs—Two Ways Use these simple directions to finish pillows with an envelope closure. Binding or no binding? That’s up to you. MATERIALS • Pillow top • Backing fabric • Pillow form • Bamboo point turner • Binding strips: 2 ¼ " x the pillow perimeter + 5" (for the envelope back with binding option only) ENVELOPE BACK WITHOUT BINDING 1. Cut 2 pieces of backing fabric, each the height of the finished pillow plus ½ " (for seam allowances) and the width of the finished pillow plus 6" (for overlap). As an example, for a 16" x 16" pillow, cut 2 rectangles, each 16 ½ " x 22". 2. Fold and press the rectangles in half widthwise, wrong sides facing. (In our example, the rectangles would be…

MATERIALS Finished Size: 60" x 60" • 8 fat quarters* saturated prints for Flying Geese and striped panels • 5 (10") squares or fat eighths** of assorted black-and-white prints for Flying Geese • 2 yards vertical black-and-white print for background •1/2 yard binding • 4 yards backing fabric • Twin-size batting Optional • Size 8 perle cotton for handstitched binding * fat quarter = 18" x 20" NOTE: Fabrics in the quilt shown are from the Hand Maker collection by Natalie Barnes for Windham Fabrics. ** fat eighth = 9" x 20" CUTTING Measurements include ¼ " seam allowances. Background strips C, D, and E are exact length needed. You may want to make them longer to allow for piecing variations. Using a variety of the saturated prints, cut a…

Hand Appliqué—Sit and relax The key to good hand applique is taking small stitches—so don’t sit down with this if you’re in a hurry. Pick a time when you can enjoy watching the stitches create the shapes. • Cut out the circles using the Circle Cutting Template. • Sew a running stitch around the outside, about 1⁄8" from the edge. • Place the Circle Pressing Template in the center of the cut circle and gently pull the running stitches to gather the edge around the template. Do not tie, knot, or cut the gathering threads. • Turn the circle over, press from the front, and then remove the Circle Pressing Template. Re-gather the threads again, as needed. • Pin the circle in place and sew to the background using red…

MATERIALS Finished Size: 19 ½ " x 19 ½ " • 13⁄8 yard black/gray tonal print for piecing and pillow back • ½ yard white • ¼ yard red print • 5⁄8 yard muslin for lining • 24" square batting • Templates A & B, on pattern insert • Template material • 22" square pillow form CUTTING Measurements include ¼ " seam allowances. Trace the templates on the template material and cut them out. From the black/gray tonal print, cut: — 6 of A. — 7 of AR (A reverse). — 3 of B. — 2 (20" x 26") rectangles for pillow back. — 2 (2 ¼ "-wide) strips for binding. From the white, cut: — 2 of A. — 5 of AR. — 4 of B. — 1 (2…

1HEXAGON PLAYGROUND QUILT by JENNIFER CHON Instructions on page 82 2BUBBLE UP PILLOW by SHAYNE DICKSON Instructions on page 52 3LINE QUALITY QUILT by DEBORAH FISHER Instructions on page 68 4ALPHABET QUILTS by LAURA HARTRICH Instructions on page 18 5CHAIN LINK QUILT by JEAN NOLTE Instructions on page 72 6PAINTBOX QUILT by NICHOLE RAMIREZ Instructions on page 60 7NIGHT + DAY WALL QUILT by GOSIA PAWLOWSKA Instructions on page 100 8RED COFFEE PILLOW by GOSIA PAWLOWSKA Instructions on page 76 9CIRCLES GALORE QUILT by JEAN NOLTE Instructions on page 88 10WESTSHIRE QUILT by JULIA WILLIAMS Instructions on page 112 GETTING STARTED 1 | When preparing to print the PDF, make sure that you are printing it at 100% and that there is no scaling. Check the settings for page scaling…

MATERIALS Finished Size: 56" x 72" Finished Block: 8" • 2½ yards light gray for background and binding • 2 yards medium gray for background • 3⁄8 yard each of 16 fabrics for circle appliqués • 4 fat quarters for circle appliqués NOTE: For maximum visual interest, use a variety of value and color for the circles. • Circle templates, on pattern insert • Template material • 15½ yards (20"-wide) lightweight fusible web (I used Mistyfuse®.) • 3½ yards of backing fabric • Twin-size batting Optional • Pressing sheet CUTTING Measurements include . " seam allowances. Trace the templates from the pattern insert or draw 3 circles of 8", 6", and 4" diameter, and cut from the template material. Following the manufacturer’s instructions, pre-fuse all the circle appliqué fabrics before…

MATERIALS Finished Size: 35" x 35" • ½ yard white • 1 yard tonal navy print • ¾ yard tonal raspberry print • 5⁄8 yard tonal yellow print • Templates, see pattern insert • Template material • 1¼ yard backing fabric • Crib-size quilt batting CUTTING Measurements include ¼ " seam allowances. Draw the templates on template material and cut them out. From the white fabric, cut: — 1 (7"-wide) strip. From strip, cut 4 of A. — 2 (6"-wide) strips. From strips, cut 12 of B. From the navy print, cut: — 4 (7"-wide) strips. From strips, cut 21 of A. — 4 of C. — 2 (2¼ "-wide) strips for binding. From the raspberry print, cut: — 3 (6"-wide) strips. From strips, cut 24 of B. From the…

MATERIALS Finished Size: 60 ½ " x 72 ½ " Finished Block: 5 (12" x 13") blocks • 1 fat quarter* each pale pink (Peach), medium pink (Salmon), dark pink (Coral) • 3⁄8 yard each dark charcoal (Pepper) and blue green (Caribbean) • ¼ yard (not fat quarter) mint green (Candy Green) • 17⁄8 yards off white (Bone) for blocks and upper panel • 17⁄8 yards pale green (Ice Frappe) for blocks and bottom panel • 4 yards backing fabric • 5⁄8 yard binding fabric • Twin-size quilt batting • Templates A–D, on pattern insert • Template material • Paper-piecing templates, on pattern insert *fat quarter = 18" x 20" NOTE: Fabrics used in this quilt are Kona® Cotton solids from Robert Kaufman Fabrics. Kona color names are shown in…

The following supplies are recommended for applique. You probably have some of these on hand already. Needles: It is worth seeking out needles made specifically for applique. They are smaller, thinner, and generally have a tiny eye, which leave almost invisible holes in your fabric. Thread: The thinner the thread, the less likely you are to see it. Use silk, 50wt or 60wt cotton, or even a polyester bobbin thread if you prefer. For stitches that show the least, match the color of the thread to the applique. Notions: Keep a needle threader handy. Even with the best eyesight, the little eye on an applique needle combined with thin thread can make threading the needle a challenge. Thread wax or conditioner will make cotton thread slide more easily as you…

Find this book and more at quiltandsewshop.com. The Tumbling Block is a classic quilt block that uses light, medium, and dark values to create the 3-D look of a cube. Typically, this block is made with three diamonds and involves a somewhat complicated Y seam. Instead, this pattern uses different shapes to create the same effect and the blocks are assembled in columns. Finished quilt size: 56" × 62" Templates: A + B Fabrics — 1 ⁄3 yd each of 8 light-value solids* — ¼ yd each of 8 medium-value solid* — ¼ yd each of 8 dark-value solids* — ½ yd of medium gray *Choose a total of 24 solids that are divided into 8 different-colored sets of three matching values. Backing, Binding & Batting — 4 yd of…

STITCHINDYE.COM To create a quilt with an ombre look, design considerations included limiting the color palette, focusing the construction into stripes, and adding interest with value. By allowing the value to shift from light to dark and back to light, a striking quilt was formed. Considering the complexity of the design, the construction is straight-forward sewing. MATERIALS Finished Size: 81" x 98" Finished Block: 12" x 12 . " • Yellow solids, 3⁄8 yard each of 12 shades, including light and dark values • Gray solids, 12 shades needed total: — 3⁄8 yard each of 6 shades, including light and dark values — ½ yard each of 6 shades, including light and dark values • 7 1/2 yards backing • 7. yards backing NOTE: Precut strip sets work well for…

LIKEFLOWERSANDBUTTERFLIES.COM Perfect for a reading nook or even the floor, this oversized lounge pillow uses quick-and-easy fused applique. Dense quilting secures the edges and baby pom-pom trim adds a contemporary look. MATERIALS For 1 pillow Finished Size: 12" tall • 3 fat quarters* • Teal fabric, fat eighth** or large scrap • 1. yards midweight fusible woven interfacing, 20" wide • 3 yards piping • 24 ounces polyfill * fat quarter = 18" x 20" ** fat eighth = 10" x 18" NOTE: Fabrics in the pillow shown are from the Pandalicious collection by Katarina Roccella for Art Gallery Fabrics. CUTTING Measurements include . " seam allowances. Make a template for the large triangle by drawing a 16" horizontal line on a large sheet of paper. Make a mark at…

QUILTYHABIT.COM These pillows feature a minimal, off-center design using floating half-square triangles. Sitting next to each other, the pillows form an abstract evergreen tree—a perfect accent for the coming season. Make a set as a gift to brighten up any modern home or sew a single one to make a bold statement. MATERIALS Finished Size: 17" x 17" (each pillow) Materials listed are for both pillows. • ¼ yard white for borders • ¼ yard light blue for blocks • 1 yard navy for blocks and borders • 13⁄8 yards backing fabric • 2 (18") square pillow forms • 2 (22") squares batting • 2 (22") squares muslin for lining NOTE: Fabrics in the pillows shown are Cirrus Solids by Cloud9 Fabrics in Limestone, Sky, and Lagoon CUTTING Measurements include…

Flying Geese Four at a time Flying Geese blocks are made up of the ‘Geese,’ which is a large, centered triangles in the unit, and the ‘sky’ which are the triangles on the sides. There are several ways to make Flying Geese blocks, but if your quilt pattern calls for several in the same color combination, this method can’t be beat. There is absolutely no wasted fabric, and no need to work with unstable bias edges. The Geese section begins as a single large square and 4 smaller squares make up the Sky. Here’s what to do: • First, to determine the size of squares to cut, write down the size of the finished block. For our example, we’ll use a 2" x 4" finished block. • For the large…

MATERIALS Finished Size: 42 ½ " x 50" Finished Blocks: (72) 4 ½ " x 6" • 12 fat eighths or large scraps assorted dark prints and solids for blocks • 12 fat eighths or large scraps assorted medium prints and solids for blocks • 10 fat eighths or large scraps assorted light prints and solids for blocks • 15⁄8 yards white print for blocks background • Fons & Porter Chain Link Template Set or Templates A-F, on pattern insert, and template material • 11⁄8 yards blue print for sashing and borders (must have 42" width of usable fabric) • 3⁄8 yard aqua print for binding • 2. yards backing fabric • Twin-size quilt batting *fat eighth = 9" x 20" • 2. yards backing fabric • Twin-size quilt batting…

Curved Piecing Curved piecing is ubiquitous in modern quilts, but some quilters ignore it because they’ve avoided learning how to sew curves. Like many things, piecing curves takes a little practice. With these tips, you’ll soon be creating smooth curved seams like a pro! NOTE: These illustrations show the Drunkard’s Path block but these tips are true for all blocks with curved pieces. 1. Cut a convex quarter circle piece and a concave L-shaped piece from contrasting fabrics. Fold each piece in half. Finger press at the curved centers. 2. With right sides together and the L-shaped piece on top, align press marks and pin in the center of the block. 2. With right sides together and the L-shaped piece on top, align press marks and pin in the center…

MATERIALS Finished Size: 44" x 52" • 17 fat quarters* in a mix of prints and solids • Triangle template, see pattern insert • Template material • 2 ¾ yards backing fabric • ½ yard binding • Twin-size batting * fat quarter = 18" x 20" NOTE: Fabrics in the quilt shown are from the Playground collection by Amy Sinibaldi and Pure Elements, both from Art Gallery Fabrics. CUTTING Measurements include ¼ " seam allowances. Trace and cut out the triangle template from the template material. From each fat quarter, cut: — 1 (4 . " x 18") strip. — 1 (4" x 18") strip. — 1 (3 . " x 18") strip. — 1 (3" x 18") strip. — 1 (2 . " x 18") strip. — 1 (2"…

MATERIALS Finished Size: 12" x 9", closed • ¼ yard dark gray for the sleeve front • Scraps in coordinating colors for the improv panels (Sleeve shown used 2 ½ " strips in 9 different colors.) • ½ yard pale pink for lining • ¼ yard coral for binding • 13" x 24" rectangle of batting Optional • Size 8 perle cotton or other embroidery thread NOTE: Fabrics used are from the Mod Basics Solids collection from Birch Organic Fabrics. CUTTING Measurements include ¼ " seam allowances. Instructions are for an 8" x 11" tablet that is less than 1" deep. Modify the panels as necessary for your particular tablet. From the gray, cut: — 3 (2 ½ "-wide) strips. From the strips, cut 2 (2 ½ " x 23")…

Half-Square Triangle Blocks Eight at a time Half Square Triangles (HSTs) are a staple in the modern quilter’s toolbox. This time-saving method helps you make 8 HSTs at a time—quickly and accurately. 1. Using a ruler, draw diagonal lines on the lighter square from the upper left to lower right and from the upper right to the lower left. 2. Draw center vertical and horizontal lines 3. With right sides together, pair a dark square with the marked light square. 4. Stitch ¼ " on each side of the diagonal lines only. 5. Cut along the drawn diagonal lines, and again at the center vertical and horizontal line, creating 8 HSTs. 6. Press the seam allowances either open or toward the darker fabric. Trim the dog ears. 7. Voila! You…