Color Options from American Patchwork & Quilting June 2008
Quilt tester Laura Boehnke creates a color option of at least four blocks for every quilt in American Patchwork & Quilting magazine. See her variations from this issue.
Big Block Beauty Color Option
Cute Cowboy Pillow
What cowboy or cowgirl wouldn’t like quilt tester Laura Boehnke’s western-theme version of “Big-Block Beauty”? The star, plaid, and bandana prints she used are from the Spirit of the West collection by Maywood Studio.
To make a 25”-square floor pillow, add sashing to one block, surround it with a 2”-wide-finished border, and sew on a backing. Stuff with fiberfill or insert a Euro-size pillow form.
In this modern take on a traditional pattern, bars of saturated color form a striking counterpoint to a single floral fabric.
Sun-Drenched Strips Color Option
Quilt tester Laura Boehnke liked the simple style of “Sun- Drenched Strips” so much she repeated the quilt top pattern exactly using soft, pastel flannels.
“It’s perfect for a baby quilt or for a toddler to cuddle up with on the couch,” she says.
Fabrics are Bunny Luv Flannel, Woolies Light Flannel, and Tulips Flannel, all from Maywood Studio.
A striking, vintage Ocean Waves quilt, this throw combines sky-blue setting pieces, scrappy triangles, and an unexpected touch of pink along the top and bottom.
Making Waves Color Option
X Marks the Spot
For this 40x28” version of “Making Waves,” quilt tester Laura Boehnke arranged six assembled Ocean Waves X-shaped units three across and two deep.
For elegant, yet exotic style, Laura used the Moroccan Spice and Tunisia collections by P&B Textiles.
A 2”-wide-finished navy blue border sets off the lush East Indian market palette—a good choice for masculine appeal.
Vintage rice-paper prints from Europe and Asia inspired these subtle Asian fabrics. An inner border made of block segments visually extends the blocks beyond the quilt center.
Asian Persuasion Color Option
Neon colors in bold, leafy prints with a Haitian influence make this hot version by quilt tester Laura Boehnke anything but ordinary. She kicked it up a notch with the Mambo collection by Rosemarie Lavin for Windham Fabrics.
“I wanted to show how simple it is to completely change the texture, tone and style of a quilt by just choosing different fabrics,” Laura says. “This pattern’s big blocks can easily adapt to lots of different color palettes.”
Dash of Summer
Churn Dash blocks star on a super-simple table topper.
Dash of Summer Color Option
Dash of Pink
Using Judie Rothermel’s Charleston IV 1850–1865 collection from Marcus Fabrics, quilt tester Laura Boehnke created a quilt in classic pinks and browns that hearkens back to Civil War days.
“Churn Dash is such a familiar early quilting pattern,” says Laura, “I wanted to reproduce it in vintage colors reminiscent of the quilts our great-great grandmothers might have made.”
Pieced and appliquéd flowers adorn a simple background. Make piecing the blocks easy by using partial seams.
Flower Patch Color Option
Double Star blocks resemble pinwheels as they spin across a vivid wall quilt, which simply pulls out the center section of “Flower Patch” to stand on its own.
Quilt tester Laura Boehnke chose bold prints from the Gardenia collection by Linda Lum DeBono for Henry Glass & Co. and Marble Mania mottled solids by Patrick Lose for Timeless Treasures.
“I like the contrast of the stripes and dots fencing in the curvy appliquéd flower while the pinwheels stand guard,” Laura says. “It makes its own fanciful little garden.”
A few stars and several stripes combine for a rousing rendition of the grand old flag. Rectangular blocks assembled in Courthouse Steps style mingle among welcoming homes.
Hometown Parade Color Option
Take out the stars and stripes and narrow the neighborhood to nine blocks to make this almost-quare throw.
Quilt tester Laura Boehnke chose prints in familiar deep, warm tones from Jo’s Jamestown collection by Jo Morton for Andover Fabrics.
“I wanted to come up with a hearthside look that was a bit more subdued,” she says, “so I framed the quilt with a brown outer border, used darker green plaids to dim the lights in the windows, and chose strips with less contrast for the Log Cabin blocks.”