text:
Publisher: Amy Marson

Creative Director: Gailen Runge

Art Director: Kristy Zacharias

Editors: Lynn Koolish and Joanna Burgarino

Technical Editors: Helen Frost and Nan Powell

Cover Designer: April Mostek

Book Designer: Rose Wright

Production Coordinator: Zinnia Heinzmann

Production Editor: Alice Mace Nakanishi

Illustrators: Tim Manibusan and Judith Baker Montano

Photography by Judith Baker Montano, unless otherwise noted
**Dedication**

**To my special family—a United Nations under one roof. You make my life complete.**
**Acknowledgments**

_Ornamentations_ , by Judith Baker Montano, 40˝ × 46˝, private collection

This book is the result of years of study and work with the support of many people in my private and public life.

Heartfelt thanks go out to my wonderful students. I owe them a great deal for my amazing career. I will always be grateful to them.

Lots of gratitude and thank-yous to my husband, Ernest Shealy, who is always there for me with encouragement and support. Living with an artist is not for the faint of heart!

I owe so much to the late Imelda DeGraw, textile curator of the Denver Art Museum, where I worked as her assistant. The textile department sponsored my first museum show in 1988. While I was writing the original version of _The Crazy Quilt Handbook_ , she granted me access to the museum's research and crazy quilt collection.

A loving thank-you goes to my children: Jason Montano, Madeleine Montano Morack, Tara Ohta, Dana Whitfield, and Kristen Szilagyi, and their wonderful spouses, Nicole Boucher Montano, Tony Morack, Yoichi Ohta, Eric Whitfield, and Jim Szilagyi. Together they have given me five amazing grandchildren—Nicole, Rie, Gen, Kelse, and Paloma. I am a lucky woman.

Thank you to my supportive friends and relatives: Karen and Jim Baker, Valerie Bothell, Jack and Ann Brockette, Phyl and Neil Drew, Kaffe Fassett, Brian Haggart, Candice Kling, Kathy Koch, Dulany Lingo, Brandon Mobley, Christine Nyberg, Karen Osatchuk, Di Pettigrew, Cindy and Alvaro Pisoni, Robin Richards, Anne and Peter Riseborough, Babs and Brent Seawell, Justin Shultz and Ricky Tims, Faye and Tom Walker.

A special thank-you to my wonderful editor, Lynn Koolish. She is always there for me with a calm and reassuring manner.

Thank you to my dear designer, Rose Wright. Kudos to my technical editor and longtime friend, Helen Frost, and to the C&T team.
Preface

**_The Crazy Quilt Handbook_ Revision**

Twenty-eight years ago I wrote _The Crazy Quilt Handbook_ , hoping it would last for a year, and it was in print for fifteen years! Next came _The Crazy Quilt Handbook, Revised 2nd Edition_ , in print for thirteen years. Much has changed for me over the years, but crazy quilting persists as a favorite art form. I have progressed as a teacher, discovered new techniques, and explored ideas for the beginning crazy quilter. So with more than 230,000 books sold, it is time to present the third updated edition!

This new edition features new patterns and up-to-date photographic how-tos and information. It presents concise text and illustrations without losing its basic form. I hope you enjoy this third edition of _The Crazy Quilt Handbook_ as much as I enjoyed creating it.

**Crazy Quilt Definitions**

Crazy quilting is the method of sewing varied shapes of fancy fabrics to a whole cloth foundation.

_The fabrics form a collaged asymmetrical design. After the foundation is covered, each seam is decorated with embellishments and embroidered stitch combinations. Unlike a traditional quilt, a crazy quilt has no batting and is tacked to a whole cloth backing._

_—Judith Baker Montano, 1986, 2001, and 2014_

_A patchwork quilt without ordered design_

_—Webster's Seventh New Collegiate Dictionary_

_A patchwork quilt of a type traditionally made in North America, with patches of randomly varying sizes, shapes, colors, and fabrics; a disorganized collection of things: colonial America was a crazy quilt of laws._

_—Oxford Dictionary_
Recollections

Crazy quilting is a constant love of mine, the answer to my many interests. I am drawn to the beautiful, outrageous crazy quilts that remind me of mysterious, glittering jewels, the gypsy cousins peeking out from a patchwork of traditional sister quilts. They are the wild, black-sheep children, tolerated by conservative relatives; perhaps that's why I relate to them. Not only beautiful, the crazy quilt combines many skills—embroidery, sewing, appliqué, embellishing, beading, painting, and color design.

When living in England during the early 1970s, I observed Victorian crazy quilts at the Victoria and Albert Museum. They sparked my interest, but my research turned up very little information. I continued on with traditional quilting but never lost the desire to make a crazy quilt. I was fascinated with these quilts.

With crazy quilting, I basically had to teach myself, and I came up with a machine method of piecing that is now known as the Montano Centerpiece Method. I've kept my first attempt as a lesson in humility—a vest made from old ties with cotton floss for embroidery (shown below). My first wallhanging was my pride and joy, and I keep these pieces to see the progress I have made over the years.

_Yesterday_ , by Judith Baker Montano, 30˝ × 40˝

My first crazy quilt wallhanging

Through trial and error, I perfected the Montano Centerpiece Method and mastered the basic Victorian stitches. A few years later Karey Bresenhan (founder of Quilts, Inc.) hired me to teach at her shop. Only three students signed up, and two were my friends! Today my classes are filled and have waiting lists, interest is worldwide, and crazy quilting is accepted as a true art form.

My first crazy quilt project

**Trailblazers**

During the early years while I worked in my sewing room, three trailblazers helped bring crazy quilting back to public attention. They are Dixie Haywood, who specialized in machine crazy quilting and published _Crazy Quilting with a Difference_ (1981, Scissortail Publications); Dorothy Bond, who printed the delightful stitch book _Crazy Quilt Stitches_ (1981, Dorothy Bond); and Penny McMorris, author of _Crazy Quilts_ (1984, Plume), a historical research book.

Over the last 28 years, I've done my best to carry the crazy quilt banner. Today there are crazy quilters all over the world, an international crazy quilt society, and countless crazy quilt groups. Some of my students are now writing books on crazy quilting, and that makes me proud.

_Australian Memories_ , by Judith Baker Montano, 28˝ × 39˝

**Links with the Past**

I believe that our background and upbringing dictate our special interests. The nature of my background has a lot to do with my love for crazy quilting.

I was raised on the historical Bar U Ranch in Alberta, Canada. My mother excelled at needlework, crafts, and music. She tried to teach us needlework, but I did not appreciate her efforts and would hide in the horse barn. I was her worst student.

Our ranch was situated next to a Stoney Indian reservation and a Hutterite colony. As a girl, I loved to visit our neighbors with my father. From my Indian friends, I developed an appreciation for rich, vivid colors and beading. From the Hutterite women, I gained an admiration for needlework. From my father, I developed a love for the land. Many of those Alberta sunsets find their way into my fiber art today.

Years ago my aunt Lola opened a trunk filled with inherited handiwork. Nestled between embroidered tablecloths were two crazy quilts created by my grandmother Baker and my great-grandmother Burns. They are wonderful links with the past and validate my passion for crazy quilting.

_Madeleine's Journey_ , by Judith Baker Montano, 36˝ × 36˝, courtesy of Madeleine Montano Morack

I made this vibrant wallhanging for my daughter Madeleine using jewel-tone colors and geometric embroidery stitches. Notice the use of the curved bridges (also see Creating Curved Bridges) and the striped ribbon that weaves in and out of the fabric patches.
HISTORICAL PERSPECTIVE:
The Crazy Quilt Legacy

The Victorian era dates from 1837 to 1901, coinciding with the reign of Britain's beloved Queen Victoria, who gave her name to an age. At this time, Great Britain had great power, with dominions on every continent, and exerted sweeping influence.

Queen Victoria married Prince Albert and had nine children, but Albert died at a young age, leaving Victoria to live out her life in perpetual widowhood. She collected endless mementos of her beloved Albert, until she lived amid the chaos of memorabilia. In the end, Victoria held court in the corridors of Windsor Castle because her rooms were too crowded.

Queen Victoria dominated the fashion of the times. Women wore tight bodices over huge hoop skirts, topped in the back by large bustles. Ribbons, laces, and ruffles appeared in profusion. At home, too, more was better, and the best decorators emulated the queen's clutter.

There is debate among historians as to whether the crazy quilt can be credited to American scrap quilts or the Victorian era. I believe it must be credited to the Victorians. The practical, hardworking pioneer woman "originated" pieced quilts, salvaging every precious bit of cloth to make into bed coverings. Quilted or tied, these were strictly utilitarian, for the pioneers had no time or materials for frivolous decoration.

After the Civil War (1865), when the nation came of age, fabrics were readily available and women had more money to devote to sewing for pleasure. Because needlework was one of the few "acceptable" occupations for women, crazy quilts were a natural outgrowth. They combined opulent colors, lush fabrics, and unrestrained pattern, serving as sentimental depositories of memorabilia.

Through a Victorian crazy quilt we can view life as it was. Bits of local and national history combine to give an overall impression of nineteenth-century life and customs. Lush velvets, satins, and rich silks mix with colorful glazed chintz and cottons. Crazy quilts portray the fabrics of life—those used every day and for special occasions. Mementos of special occasions decorate the quilts, and embroidered stitches mark important dates and the initials of the maker or loved ones.

Victorian crazy quilts were made only for display, to be admired and to highlight the decor. They were produced in all forms, from table runners, cushion covers, and piano drapes to sofa throws. Sometimes they were displayed on the wall. Many were framed with velvet borders and silk ruffles, or highlighted with borders of elaborate crochet.

The Centennial Exposition of 1876 in Philadelphia marked a watershed in the development of crazy quilting. In the popular Japanese Pavilion, a silk screen depicting a Shinto priest on a paved walkway fascinated viewers. Several historians believe that needleworkers tried to emulate the paver stones with crazy quilt piecing. Others say the Japanese "cracked ice" china, popular at that time, was the inspiration.

Antique table runner from author's collection, 30˝ × 30˝Photo by Robert Valentine, Giclee Print Net, Inc.

" _Througha Victorian crazy quilt we can view life as it was._"

Crazy quilting became the first American commercial needlework craze, lasting about ten years. Every woman had to have a crazy quilt, and the more intricate and busy it was, the better. The craze hit every demographic group, from poor to wealthy, rural to metropolitan.

Crazy quilting was a boon to many manufacturers, who encouraged its popularity. Silk factories produced new fabric designs along with silk packets, silk threads, and metallics just for crazy quilting. Women's magazines were full of advice on making crazy quilts and the art of homemaking. Companies manufactured all types of supplies, patterns, and designs for painting on velvet and embroidery.

Embroidery books of Kate Greenaway children and Oriental designs were especially popular. These books contained patterns that could be transferred to fabric. Using a sharp needle, a paper pattern was pin pricked along the outlines. A stamping pounce (small powder puff) filled with powder was gently tapped along the perforated line, creating a white trace on the fabric.

Heavily embroidered antique crazy quilt, 84˝ × 104˝, from author's collection

Antique quilt, 78˝ × 88˝, from author's collection

During this time, cigarette manufacturers placed small rectangular silk ribbon premiums in cigarette and cigar packages. The ribbons featured celebrities of the era—actors, opera stars, politicians—and flags, flora, and fauna. Victorian women, not allowed to smoke, encouraged male members of the household to do so in order to collect the silks for their crazy quilts.

Table cover, c. 1880, United States, Denver Art Museum Collection, gift of Mrs. Andrew Anderson, 1968.41, © Denver Art Museum 2001

Approximately 37˝ × 37˝, this table cover is made entirely of yellow cigar silk ribbons, sewn into squares and set together in a Log Cabin Barn Raising pattern. Silks were offered as premiums in boxes of cigars, and many Victorian ladies had large ribbon collections.

Detail of a Kate Greenaway design used in a Victorian crazy quilt. Miss Greenaway (1846–1901) was a popular English painter and illustrator, best known for her drawings of children.

Antique quilt top, 28˝ × 28˝, from author's collection

Cigarette silks are silk prints depicting flora, fauna, flags, and famous persons of the time, found inside cigarette packets. They were collected and used widely by Victorian women.

The Victorian-era woman did not have an easy life. She went from belonging to her father to belonging to her husband. She could not vote, there was no birth control, and a family averaged ten children. Not encouraged to attend university, she was schooled in "womanly arts" such as household management, painting, needlework, and cooking. Crazy quilting allowed her to show off her skill in needlework.

Victorian-era women were busy from morning to night with large households and families. The Age of Industrialization made cloth readily available and life was a bit easier, but it brought about a dilemma for the Victorian woman. One thing related to wealth is leisure time, and related to leisure time is needlework. So behind an ambitious man working his way up the ladder of success was a woman working in her spare time to produce a crazy quilt, just to prove how successful they were!

Women from the farms and countryside did not have easy access to silks and other fancy fabrics, but this did not diminish their love for crazy quilting. Their humble crazy quilts were made mostly of wool, cotton, and a few special fabrics. Some farm women worked in the fields like men but still found time for needlework. Their crazy quilts are tributes to every woman's basic need for beauty in her surroundings.

Souvenir ribbons of campaigns and special events were often sewn into crazy quilts.

Printed silks, such as this one from an antique Victorian quilt, were quick and easy ways to achieve a pictorial effect. Any fabric print, appliquéd and edged with embroidery stitches, can be used this way.

Outline embroideries highlight each fabric piece on this Victorian crazy quilt.

My grandparents emigrated from the United States to take up farming near Cayley in Alberta, Canada. My grandmother, Bessie Burns Baker, was a country woman who loved needlework, and she made a crazy quilt in 1932. Though she worked hard all day, she spent her evenings stitching by lamplight on her quilt.

Some of the fabrics are now deteriorating, but the stories remain. Past memories and future hopes are woven into this crazy quilt. Fabrics from her dresses mingle with fabrics from my grandfather's suits and shirts. One piece, from a baby dress, belonged to their first daughter, Agnes, who died of pneumonia at age five. A special handkerchief, sent back from the Great War by an uncle, is proudly displayed.

My grandmother's crazy quilt, while not as fancy as some crazy quilts, is a historical tribute to a young farmwife who labored to create something beautiful for her home.

My grandmother, Bessie Burns Baker, holding my father, Colonel James Allen Baker

This crazy quilt was made in the 1930s by my grandmother, Bessie Burns Baker. Courtesy of Mr. and Mrs. S. Lange

World War I souvenir handkerchief from my grandmother's quilt

**Antique Method of Piecing**

In some Victorian crazy quilts, the individual pieces were left unturned and tacked down with the embroidery stitches. This was not very satisfactory, as the edges raveled with use and time. In most cases, edges were turned under and appliquéd down.

Curved lines were thought to be more desirable than long, angular lines. Some Victorian pattern books suggested that larger pieces could be basted in place on the foundation and the smaller pieces fitted in. Remember the paver stones?

Just as we do today, the Victorians sewed the fabric pieces to a foundation. The foundation shapes were squares or rectangles, usually scraps and old pieces of fabric. These foundation shapes made for easier piecing and embroidery. After the embroidery was complete on the pieced shapes, the foundation pieces were sewn together and the joining seams were also embroidered.

Vintage crazy quilt showing foundation fabric
Crazy Quilting Today

As in Victorian times, we can use crazy quilting to decorate our lives today. The philosophies of fashion and interior design are now very flexible, and we live with what pleases us.

**Home Decor**

The eclectic look—mixing old with new, placing pattern on pattern, and using a broad color palette—is now quite fashionable. Crazy quilting fits right into this modern style of decorating.

Solid colors and larger shapes give a crazy quilt a sophisticated and modern look. In this case, instead of a traditional square, the quilt can be a rectangular banner, hung above eye level or displayed under glass as an art piece.

Crazy quilt throw pillows are a fast and easy way to make a decorative statement using a variety of squares, rectangles, hearts, fans, and circles.

A good mix of washable, colorful fabrics makes for versatile table runners and place mats.

Let your imagination guide you in decorating with crazy quilting. A crazy quilt can be a dramatic focus for a room or a special, colorful accent.

I made these pillows for my bedroom, featuring sea green and teal fabrics highlighted with silk ribbon embroidery.

Crazy quilting is combined with traditional piecing to create contemporary pillows for my living room.

Photos by Robert Valentine, Giclee Print Net, Inc.

**Family Memories**

Crazy quilting is a great way to commemorate important occasions. By using fabrics and embellishments with sentimental value and then adding specific dates and initials, you can turn a framed project into a family treasure.

Wallhangings fit any decor and can be the collection point for family mementos. Use photos printed onto fabric along with cherished embellishments.

_The Hanley Quilt_ , by Judith Baker Montano, 42˝ × 46˝, in the collection of Joan Hanley

_My Family Quilt_ , by Judith Baker Montano, 60˝ × 72˝

A collection of nationalities, a regular United Nations of eccentric personalities, who have come together to form my beloved family

**Friendship Quilts**

The crazy quilt is a perfect vehicle for a friendship quilt. Years ago when I was leaving Texas, my quilt guild friends contributed fabric pieces as a going-away gift. Creating the Kingwood crazy quilt kept me happy and busy in my new home. When it won Judges' Choice at the Colorado State Fair, everyone was pleased. Friendship crazy quilts make an ideal project for guilds and church groups.

Friendship quilt, 68˝ × 68˝, courtesy of the author

I made this friendship quilt from fabric pieces given to me by friends from the Kingwood Quilt Guild.

**Clothing and Accessories**

Crazy quilting can be worked into smaller projects such as clothing, accessories, and jewelry. Pendants and neck pouches can be made in any shape or size. Crazy quilt jewelry is not only wonderful to wear, but it makes a very personal gift, too. Just remember to keep the fabric pieces proportionately small.

Crazy quilt bags with vintage Bakelite handles

There are books devoted to art to wear, with patterns that adapt well to crazy quilting. The versatility of crazy quilting allows you to personalize a garment to your mood or lifestyle. Colors can be vibrant or subdued; fabrics can be glitzy or soft, elegantly sophisticated or casual country style.

Style, Color, and Fabric

**Create Your Own Look**

Crazy quilting is the most painterly of all the quilting techniques. There are no patterns and very few rules. I encourage my students to think like painters and to use the muslin foundation as the canvas. The collaged fabrics are the first color wash, and the embroidery and embellishments are the ongoing layers that add depth and texture. This allows you to create a mood or feel when making crazy quilt projects. Even though the examples that follow are for clothing, the same approach applies to all types of crazy quilting.

**Country Casual**

To achieve a casual, natural country look, choose tweeds, checks, plaids, wool suiting, cottons, flannels, and denims. Use dusty values to create an antique, faded look. Use tea-dyed laces and bone and metal buttons.

Country casual man's denim and plaid vest

**Softly Feminine**

Use pastel and light dusty values to create a feminine mood. Choose soft organza, gauze, silk, and moiré fabrics. Decorate with layers of lace, doilies, and a variety of ribbons. Keep the embellishments small and dainty.

**Sophisticated Drama**

Work in jewel values and solid colors to create a sophisticated look. Use glittery embroidery stitches and beads. Work in bright monochromatic schemes (gold on gold, black on black). Use the play of texture—along with matte and shiny finishes—to create interest.

Sophisticated drama using jewel-tone colors (modeled by my daughter, Madeleine Montano Morack)

**Victoriana**

Create the Victorian look using deep, rich colors in satin, silk, and low-nap velvet. Achieve a cluttered look by overlapping layers of lace, ribbons, embroidery, beading, and embellishments. Allow the embroidery, lace, and ribbon lines to meander through the project.

**Color**

**The Color Wheel**

Crazy quilting doesn't give you license to throw in every color, without rhyme or reason. The choice of color and materials is very personal and a difficult one for many. I recommend the purchase of a standard color wheel for reference.

Think of a color wheel as a genealogy chart. The three main characters are three parent (primary) colors. Mixed together, they create three child (secondary) colors. All together they create six grandchild (tertiary) colors, and when they have a family reunion they create the color wheel. The excitement of color is making combinations that work.

**Primary Colors**

Red, blue, and yellow are the foundation, or pure, colors (hues).

**Secondary Colors**

Orange, green, and purple are each made by mixing two primary colors.

**Tertiary Colors**

Mixing a primary color and a secondary color results in a tertiary color: yellow-orange, red-orange, red-violet, blue-violet, blue-green, and yellow-green.

**Color Combinations**

Choosing colors for a project can be daunting, but the process is simplified with the use of a color wheel. Start by looking for one major color to use in your project and go from there.

**Complementary**

A complementary color scheme uses colors that are directly across from each other on the color wheel, such as red and green or yellow and purple.

**Monochromatic**

A monochromatic color scheme uses a single color.

**Analogous**

An analogous color scheme uses neighboring colors on the wheel, such as blue and blue-green or red and red-orange.

**Triadic**

A triadic color combination uses three colors spaced equidistant on the wheel, such as orange, purple, and green.

**Understanding Color**

**Color or Hue**

There are twelve pure spectrum colors or hues on the basic wheel—three primary, three secondary, and six tertiary colors (see the outer ring of the color wheel). You can mix together these twelve colors into an infinite number of combinations.

**Value**

Value is the measure of relative lightness or darkness of a color (hue). Adding white lightens the color to a tint, while adding black darkens it to a shade. For example, pink and burgundy are light and dark values of red. Remember that value is relative, and a color's value is affected by the colors around it.

Softly feminine little girl's summer dress (modeled by my youngest granddaughter, Paloma Boucher Montano)

**Tint**

A tint is any color with white added, extending from a very pale tint to a barely tinted pure color (see the third ring of the color wheel).

**Tone**

Tone refers to a color's value, as in lightness or darkness. Any color can be toned down by adding gray (black + white = gray; see the second ring of the color wheel).

**Shade**

A shade is any color with black added, extending from a dark, nearly black shade to a barely shaded pure hue (see the inner ring of the color wheel).

**Intensity**

Intensity describes a color's strength or weakness—whether the color or hue is in a pure state or muted toward gray. To change a color's intensity, or make it duller, the color is mixed with its complement. To create a dull red, mix red with green. To change the intensity of blue, mix it with orange. A color is dullest when mixed with an equal amount of the complementary color.

**Choosing Colors**

You create the mood or feel of the project by choosing the color value for the crazy quilt fabrics.

I work in complementary colors for crazy quilting. Choose a favorite color and go directly across the wheel to find its complementary color. These two colors will always go together.

Note that the color wheel has a warm (oranges and reds) side and a cool (blues and greens) side.

Most complementary color combinations have a cool and a warm side, making each other glimmer and shine.

Staying with one value is important in creating the project's mood or feel. You do not want extreme lights and darks in crazy quilting because the finished piece will look spotty. (Remember the painter's rule that lights come forward and darks recede.) Think of this as the first color wash in painting when sewing the fabrics in place.

**The Montano Color Theory**

I use a chart in teaching students how to choose colors for crazy quilting. Thinking like a painter, I break my color selections into five categories: light, light medium, medium, dark medium, and dark. In fabric terms, this translates to pastel, light dusty, dusty, dark dusty, and jewel tones.

**Extenders**

To extend a project economically and visually, I add neutral fabrics. A neutral added to any combination extends it without changing the basic effect. Neutrals are white, cream, gray, taupe, and black. When in doubt, throw in an extender.

**Highlights**

A highlight color is that little touch of color that adds zing to a project.

**Pastel**

Pastels are pure colors that have white added to them. Red becomes pink, purple becomes lavender, yellow becomes cream, and so on. Pastels create a very light, airy feel. Words such as _soft_ , _baby_ , _feminine_ , and _sweet_ describe pastels.

**Extenders:** White and cream

**Highlight:** Silver

**Light Dusty**

Light dusties are pastel colors that have a bit of black added to create a soft, grayed-down appearance. Words such as _desert_ , _hazy_ , _dusk_ , _patina_ , and _tea stain_ describe this look.

**Extenders:** Light gray, cream, and light taupe

**Highlights:** Silver and light gold

**Medium Dusty**

The medium dusties lie directly in the center between the pastels and the jewel tones. Beyond this point, the painter no longer uses white and black to gray down the colors but instead uses varying degrees of black.

**Extenders:** Dark cream (khaki), medium gray, and medium taupe

**Highlights:** Silver and medium gold

**Dark Dusty**

Create dark dusties with the addition of degrees of black to a chosen color. _Victorian_ , _moody_ , _Rembrandt_ , and _antique_ are words best describing this look. Crazy quilting is a Victorian technique, so choose dark dusty values for a traditional look.

**Extenders:** Black and dark gray

**Highlights:** Silver and old gold (a dark greenish gold)

**Jewel**

Think of pure color when creating jewel tones. _Mardi Gras_ , _fireworks_ , and _neon lights_ best describe this look. I choose jewel tones to create art-to-wear garments that will be seen from the runway. There are two types of jewel tones: jewel-tone brights, which are pure color, and jewel-tone deeps, which have black added to the pure colors.

**Extender:** Black

**Highlights:** Silver, old gold, and rust orange

**Fabrics**

After you've decided on the mood and color value of your crazy quilt project, it's time to choose the fabrics and embellishments, which will affect the feeling or mood of the project as well. Always pull the fabrics, supplies, and embellishments in advance.

Crazy quilting uses a wide range of fabrics, from bargain bin polyesters to couture silks, and a variety of weights, from gauzes to velvets. Avoid heavyweight fabrics, as they will create a ridge along a seamline, causing problems for embroidery. Always check the back side of a fabric because it might work as well as the front.

For monochromatic projects, work with texture, matte, and shine. Remember that monochromatic means one color value and not various shades of a color.

Traditional crazy quilting needs a good mix of solids, patterns, and textures. Make sure there is a variety of shiny and matte finishes to add further interest.

**Solids**

Solid-color fabrics can have a shiny or matte finish. They can be combined in a jacquard fabric (shiny and matte) that will read as a solid.

**Textures**

Fabrics that read as texture can be solids or patterns. All textural fabrics will have a feel to them, such as velvet, tweed, corduroy, wool, and moiré. Make sure the texture is not too thick, as the embroidery will be lost in the nap.

**Patterns**

A fabric pattern can be anything from a tiny pin-dot to a plaid to an overall big floral chintz. The larger prints can be cut at various points and used in a variety of projects.

_Monet's Garden inMay_, by Judith Baker Montano, 49˝ × 59˝

This square from _Monet's Garden in May_ has a good mix of solids, textures, and patterns.

Large Sabre Party Pouches

_From left to right:_ Pastel, light dusty, medium dusty, dark dusty, and jewel. Notice how each pouch creates a mood or feel because of the chosen fabrics and color tone.
Before You Get Started

**Hints for Successful Crazy Quilting**

The great charm of crazy quilting is that there is no pattern and you can think like a painter. If you've decided on a color palette and selected your materials carefully, you've already laid the cornerstone of the finished piece. I think of the piecing as the first color wash in a watercolor painting. As you sew, make sure the pieces complement each other in color and fabric type. The outcome is your own individual interpretation.

**Using Plastic Window Templates**

Often an artist will squint through a small circle made with his or her hands, eliminating all the surrounding distractions to concentrate on the subject.

Quilters can do something similar with window templates. Using template plastic, cut out a window the exact size and shape of the finished project. This window lets you see only the design area, eliminating the distraction of unfinished edges, seam allowances, and so on. The crazy quilt foundation is always cut larger than the pattern outline. While this allows for shrinkage, it also give you room to play with design placement. By moving the window around on the foundation, twisting and angling it, you can choose just the right combination of color and shape.

Trace the actual-size line (or sewing line, depending on the project) of the pattern onto the template plastic. Use sharp scissors or a craft knife to pierce the center of the plastic. Cut out the center. Or you could start by cutting in from the side and then taping over the first cut.

_Victorian Pets_ , by Judith Baker Montano, 36˝ × 44˝

**Hiding Seamlines**

Victorian crazy quilters hid the block seamlines by appliquéing patches to cover them. I use a similar method when I'm joining crazy quilt squares or garment pieces (vest fronts and backs, for example).

At the joining side and shoulder seams, I let fabric pieces hang over the foundation edge and clean cut the other side (A). To sew up the seam, I peel back the loose edges, exposing the muslin backing. After the seam is sewn, the loose edges are turned under and appliquéd down, completely hiding the seamline (B). I use this method anywhere I want to give the impression of allover crazy quilting.

**Adapting Crazy Quilting to Garment Patterns**

With a little planning, you can easily add crazy quilting to garments.

•Choose patterns with flat areas for embellishment, such as cuffs, borders, or yokes, to showcase the crazy quilting.

•The lines of the garment should be simple so as not to compete with the crazy quilting.

•Darts are not impossible; use lightweight fabrics in these areas to achieve a clean line.

•It's better to highlight small areas of crazy quilting rather than go for an overall effect.

**Design Elements for Successful Crazy Quilting**

There are five basic elements in successful crazy quilting. With the right mix of color, repetition, balance, fabrics (solids and patterns), and embellishments, you will be happy with the result. The ideas here relate to virtually any project, regardless of size or intended use. Garments are discussed below, but the same principles apply to full-size quilts, framed pictures, and accessories.

**Repetition and Balance**

Repetition and balance go hand in hand; you cannot have one without the other. Achieve balance by repeating color, shape, pattern, and/or texture throughout the project.

When creating an art-to-wear project, emphasize a particular shape or color and achieve design balance by repeating the shape or color throughout the work. You can see the application of this theory in my crazy quilts—I use repetition and balance in all of them. I choose one or two colors and highlight fabrics to travel through all the blocks of a crazy quilt in order to achieve balance.

Asymmetrical design uses uneven numbers for balance. It is more pleasing to the eye than symmetry. I use asymmetrical design when creating art to wear and accessories.

**Design Placement**

Often you will see a garment that obviously took many hours to produce but it isn't very flattering. I have made many mistakes over the years, and I have learned to position the crazy quilting where it will be seen, but not in a place where the attention doesn't suit the wearer of the garment.

With that in mind, here are some suggestions.

•Do not place crazy quilt strips around the bottom of a jacket or vest, as this draws attention to ample hips.

•Do not bull's-eye crazy quilt sections in the middle of the back or over the bust area.

•Do not use batting in crazy quilt garments. Some bodies do not need more padding.

•The drape of a garment is important. Make sure the foundation is lightweight and the crazy quilt fabrics are not heavy.

•Place the crazy quilt sections where they can be seen. I once made a vest with most of the handiwork under the arms.

•Do not crazy quilt the whole garment. This gives the impression of wearing a quilt. Use asymmetrical design for placement, such as over a shoulder and down the opposite side at the hem. Focus on a special fabric or embroidery.

**Student Work**

I am always proud, pleased, and surprised by my students and their work. Here is a sampling of student work. All the projects were started in my five-day seminars.

_LaVeta Madness_ , a four-square wallhanging, by Pat Curtis of Nacogdoches, Texas, 30˝ × 30˝

_Let the Good Times Roll_ , a celebration of Mardi Gras, by Billie Breedlove of DeLand, Florida, 30˝ × 30˝

_Whine and Lime_ , a crazy quilt, by Leslie Evans of Santa Fe, New Mexico, 43˝ × 43˝

_Crazy Quilt_ , a crazy quilt wallhanging, by Mary Nuzum, 23˝ × 23˝

_Crazy Quilt 1_ , a crazy quilt wallhanging, by Carolyn Burrough, 30˝ × 30˝

Photos by C&T Publishing, Inc.
Crazy Quilt How-Tos

**Preparing the Foundation**

Always cut the foundation larger than the actual pattern. This allows for any puckering of tight tension that could draw up the size. For example, if I am going to piece the yoke of a vest, I transfer the yoke outline onto the foundation. On this foundation, I draw the actual seamlines, but I cut out the shape ½˝ larger all around. This is a principle I follow in all crazy quilt projects, from quilt squares and vest fronts to purses and pendants.

For good piecing, I never work on an area larger than a 12˝ × 12˝ square. On a larger foundation, the outside pieces become too wide, too long, and stripy. To prevent this, I cut large garment patterns in half for a more manageable size and better piecing.

After the foundation has been filled in, I cut down the piece to the proper size. I do this with all crazy quilt projects.

Fabric choices for the twenty-block crazy quilt top

**How Much Fabric You'll Need**

There is no pattern or one set way to create a crazy quilt block, so it is hard to judge the amount of fabric needed. Therefore, I always plan on more fabrics than needed, and this gives me freedom of choice.

**Note:** _When choosing fabrics for a project, always make sure that half are patterns and half are solids. Be sure to have a good variety of textures along with shiny and matte finishes._

• **For 1 crazy quilt block** Use 10 to 12 fabrics. For a single block, be sure to use each fabric at least twice to create design flow. With this number of fabrics you have freedom of choice.

• **For 4 crazy quilt blocks** Use 14 to 18 fabrics. Be sure to have enough of each fabric so it can be used twice in each block. Make sure the highlight fabrics travel through all the blocks.

• **For 12 to 20 crazy quilt blocks** Choose about 30 fabrics. This way you can have several selections of a chosen color—such as 5 blacks, 5 greens, 5 purples, 5 rusts, 5 golds, and 5 blues. The highlight fabrics can travel throughout the quilt but not appear in every block.

**Choosing Supplies**

After deciding on the size and colors of the crazy quilt project, pull all the supplies you think you will need. Always pull the fabrics and foundation fabric first, because after the blocks are started you cannot change your mind.

After the fabrics are pulled, I cut working pieces (12˝ × 12˝ squares are good) and then set the larger pieces of fabric aside. I cut all the foundation pieces at the same time.

Next, I pull the laces, trims, and ribbons. If the laces and medallions are too light for the project, I dye them using Colorhue Instant-Set Silk Dyes. These are instant-take dyes and are very easy to use. (Refer to Fabric Dyeing.) Be sure to have a good variety of choices and enough of the chosen pieces to use throughout the project.

I choose the embroidery threads and silk ribbons in advance and decide which of these will act as highlights. Beads, doodads, and buttons are pulled and kept on a separate tray. I use three or four trays to keep my supplies separated and ready.

Note the pleasing mix of solids, patterns, and textures. There is a good mix of fabric types, with a balance of cool and warm colors. The embellishments and stitches create a complementary mix.

**The Montano Centerpiece Method**

I came up with this machine piecing method in the 80s because how-to books on crazy quilting did not exist. The traditional method of piecing with hand appliqué and embroidery was too slow for me. I wanted a faster piecing process so that I could get to the embroidery and the embellishments!

For seventeen years _The Crazy Quilt Handbook_ was the only crazy quilt book on the market. Many people assumed the Montano Centerpiece Method was the Victorian method of crazy quilting. But, I can assure you, a dyslexic artist (me!), trying to come up with a faster method of piecing, perfected this signature technique.

For a crazy quilt, large or small, you must work on a square or rectangular foundation (muslin). I recommend working on a 12˝ × 12˝ square or smaller because the piecing is easier to handle.

If you are right-handed, be sure to work in a clockwise motion to fill in all the angles. If you are left-handed, work counterclockwise.

MY CARDINAL RULE:

In traditional crazy quilting I have one cardinal rule: Never put pattern against pattern! Always "bounce" patterns against solids and textured solids. If you use busy patterns against busy patterns, the embroidery stitches will not show, and that is the highlight of a crazy quilt. I work hard to arrange the patterned fabrics against solid fabrics and to bounce the cool and warm colors off each other.

1. Choose a solid fabric and cut a 5-sided piece. This will act as the centerpiece. Place the 5-sided centerpiece on the muslin, and set it off-center. Make sure that none of the sides are parallel to the outside edges. It must be off-center in all ways.

2. Cut a wide rectangle (2½˝–3˝) that is long enough to overlap each end of Angle 1. Make sure it is a print that complements the solid center. Place the rectangle right sides together along the edge of the centerpiece. Sew from end to end of Angle 1.

3. It is not necessary to use ¼˝ seams. Sometimes a wider or narrower seam will be better. Trim the seam if it is wider than ¼˝. Flip over the rectangle and steam press.

4. Place the second rectangle along Angle 2, covering the previous rectangle. From now on there will always be a previous piece to cover. Sew from the end of the previous piece to the end of Angle 2 of the solid centerpiece. Trim along the new seamline. Flip over the rectangle to the right side and steam press.

5. I use _pieced rectangles and curves_ in Round 1 to make my crazy quilting look more collaged. For Angle 3, I use a curved angle. To do this, cut a wider rectangle with a curve on one side. Be sure it is long enough to cover the angle and the previous piece. Clip the curved edges, use a glue stick to secure them to the back of the piece, and then steam press.

6. Place the curved rectangle down on Angle 3 and mark with a white pencil. Trim the seam to ¼˝ and glue the curved rectangle into place, using a glue stick. It is not sewn down; it will be held in place by the next piece of fabric.

7. Sew the next rectangle along Angle 4. Notice that this will hold the curved rectangle in place until it can be appliquéd down.

**Note:** I make _Montano miteredrectangles_ to give the illusion of more angles and to use more of my chosen fabrics. This avoids using long strips of fabrics. Note that you can make the angle very steep or shallow, and you can decide which way the angle will lie.

8. Cut 2 rectangle pieces the same width. Place them right side up, as they will be when sewn together. Place them beside the next angle on the centerpiece to decide the direction of the mitered angle. Make sure it does not line up with any previous angles, as this creates a stripy look! Make sure patterns are not next to each other.

9. Feel the fabric of the 2 rectangles and cut the angle on the heavier fabric. The cut angle will become a guideline. Place the fabrics, right side up, exactly as they will be when sewn together into a rectangle.

10. Fold the lighter-weight piece along the cut angle and press with your fingers. This will create a crease in the lighter-weight fabric.

11. Holding together the 2 pieces, turn them to the back and slip your thumb under the flap of the lighter-weight fabric. Make sure that the crease and the cut angle of the heavier fabric are lined up. Sew along the angled cut line of the heavier fabric.

12. Cut away the flap of the lighter fabric and press the seam open. Don't worry if the long edges are not exactly even, as you can trim them down. This method is the answer to filling in long sides and gives a more mosaic look to your work.

13. Place this mitered rectangle along Angle 5, right sides together, covering the previous rectangle and the first rectangle piece. Place the mitered rectangle so equal amounts of the 2 fabrics will show. Stitch the piece in place. Trim any fabrics that hang beyond the foundation edges.

14. Cut seamline to seamline to create angles for Round 2. Always create as many angles as possible; in this case, 6 angles have been created. Choose the beginning angle of Round 2; in this case, it is in the lower left corner. Sew Angle 1 of Round 2 in place.

**Note:** I use _pie wedges_ (fan shapes) to fill in long lines. They also allow for several fabrics to be used along one line.

15. Cover Angle 2; in this case, it is covered with a curved rectangle. Angle 3 is now a very long line. Use pie wedges or fan shapes to cover long lines. This enables you to use many different fabrics and adds interest to the work. Draw a line along the long angle. Choose a pivot point for the pie wedges. For guidance, draw the lines of the pie wedges using a water-erasable pen.

16. Work with rectangle shapes and always bounce cool colors against warm colors and patterns against solids. Always start at the top of the wedge and sew down, toward the pivot point.

17. With right sides together, always sew beyond the previous point by 1 stitch. Cut closely along the seam. Steam press each wedge as you go.

18. The last rectangle (wedge) is folded under as an appliqué seam. Trim out the excess from behind and use a glue stick to secure in place.

19. Angle 4 of Round 2 has been covered by a mitered rectangle (see Steps 8–12). Be aware that Rounds 2 and 3 will require all pieced curves (see Steps 5 and 6), mitered rectangles, and pie wedges for a mosaic look.

20. Angle 5 of Round 2 is covered by a pieced rectangle with undulating curves. Use a mix of convex and concave curves for added interest. Use both on the same rectangle for undulating curves.

21. The mitered rectangle on Angle 6 of Round 2 completes this round. Now it is time to cut the final angles for Round 3.

22. There are only 4 angles for Round 3. Check to see where you can use the dominant fabrics.

23. Here is the finished square. A pieced concave rectangle has been added to the lower left corner. This pulls the color throughout the block. An undulating piece in the lower right features an embroidered flower. Steam press the front and back of the block. Trim the block to the desired size.

24. The next process is to place the ribbons, lace, and trims. These large embellishments are placed down before the embroidery. This way they do not cover any embroidered seams. Arrange the trims, lace, and ribbons so that raw edges will be caught in a seam. Do not place them along a seam—save the seamlines for embroidery. Note how the lace slips under the black curved piece (left side).

Twenty-block crazy quilt top

**Problem Solving**

If the piecing does not look right, take a deep breath and review the following.

**ROUND 1**

•Did you cut the centerpiece in proportion to the size of the foundation—not too small and not too big?

•Did you always include a mitered rectangle and a curved rectangle in the round?

•Did you keep the rectangles to 2½˝–3˝ wide?

•Did you always cover the previous piece of fabric when you were sewing along an angle?

•Did you cut the new angles for Round 2?

•Did you keep cool colors against warm ones and patterns against solids?

**ROUND 2**

•For this round, did you cut as many angles as possible—at least six?

•Did you cut the angles by cutting from seamline to seamline on each fabric?

•Did you use a lot of pieced curves, mitered rectangles, and pie wedges?

**ROUND 3**

•Did you cut more angles for Round 3?

•Did you make sure the fabrics on the outside edges will show after the block is trimmed and the blocks are sewn together? Sometimes the outside pieces get very skinny.

•Are the fabrics traveling throughout the block or project? Repeat the colors often.

**Creating Curved Bridges**

I make narrow curved bridges for added interest and to fix many problems. A bridge is simply a piece of fabric that is a concave curve on one side and a convex curve on the other. The bridges are added after the crazy quilt piecing is complete.

If curved bridges are going to highlight a project, I make up a lot of them ahead of time. I create patterns of various widths from template plastic.

If a fabric has been used only once in a block it can create a bull's-eye. Fix this by making a bridge out of the fabric and positioning it on the opposite side, drawing the color through the block.

Add bridges to the block seams to add special interest and to blur the block seamlines.

Curved bridge

Undulating bridge

Blurring seamlines. Note that the two blocks at the top have two rust corners that butt together, giving the illusion of one fabric piece, and that the two squares on the bottom have one rust fabric each. To pull this color through the project, a curved bridge of rust fabric is placed in the upper right.

**Fussy Cutting Special Fabrics**

To highlight a print, you can fussy cut around the desired shape. Sometimes the piece will be worked into the actual piecing and sometimes it will lie over seamlines to help blur the joining seams.

Cut the fabric ⅛˝ beyond the desired shape. Clip the edges, apply glue with a glue stick, and turn them under. Be sure to press the piece before placing it in position. In the embroidery process, I always use a buttonhole stitch for fussy-cut shapes.

**Overlapping**

Use curves to hide the joining seams and to blur long lines. All curves must be hand appliquéd in place. When the curved pieces are pressed and appliquéd in place, they will cover the raw edges. This works for both concave and convex shapes. Notice that both shapes have been used in the sample.

**Piecing TogetherBlocks**

When you are planning to piece together blocks, make sure that the fabrics along the joining seams complement each other. After two blocks are pieced, I pin them to a foam core board for reference. It is now very important that all the following blocks complement each other. I add the blocks as they are pieced to see how the colors and shapes are flowing. Sometimes I let the same fabric (on two different blocks) butt together on the joining seam. This gives the illusion of being one piece and blurs the joining seams (see the blurring seamlines photo).

**Note:** Do not piece together blocks until after the ribbons, lace, and trims are added.

**Preparing for Embroidery**

**Note:** _After a block has been pieced, steam pressed, and trimmed to size, there will be several loose seams (curves, pie wedges, and so on) that will require tacking. Do not do this yet! Wait until the large embellishments are in place. Sometimes these loose seams are perfect for hiding the raw edges of meandering embellishments._

**Placing Lace, Ribbons, and Trims**

Begin by deciding just how much embellishment you want to use. The mood or feel of the project often dictates the number of embellishments used. Some projects call out for lots of laces, ribbons, and trims while others will need only a few metallic trims and lots of embroidery. My rule of thumb is never to allow the embellishments to take over the project. Leave room for fabrics to show through, and leave the seamlines clear for embroidery stitches.

After the crazy quilt blocks are pieced and pinned on the design wall, I then decide on the number and types of embellishments. I choose a set number of trims, laces, and ribbons to add to each block before I join together the blocks.

Check the pulled embellishment materials to make sure there will be enough of each to travel throughout the quilt. Sometimes the unifying factor is color, such as several types of lace all dyed one color. Sometimes it will be a specific trim or ribbon.

The trims, ribbons, and laces are placed down in several stages—before the blocks are joined together and after. Decide on the number of pieces to use on each block and glue these into place, using a glue stick.

_Victorian Actresses_ , by Judith Baker Montano, 48˝ × 48˝

This is a heavily embroidered and embellished crazy quilt featuring original Victorian cigarette silks.

Photo by Robert Valentine, Giclee Print Net, Inc.

Four-square wallhanging, by Judith Baker Montano

Angelo Asti (1847– 1907) created the first Glamour Girls. He was born in Italy but lived in Paris, France, where he painted many beautiful portraits. Later, the paintings were reproduced as postcards, which are highly prized collectibles today.

**Using a four-blockwallhanging as an example:** After the trims, ribbons, and laces are in place, sew the blocks into units of two. At this point, more trims or ribbons can meander over the joining seams. Next sew the two units of two blocks together and add more trims, ribbons, and laces. This helps blur the seams and creates interest throughout.

**Joining Together the Blocks**

If you are making a large quilt or wallhanging, sew together the blocks in rows. Check the block seams and add or continue on with some trims and laces; then sew together the rows and finish up with a few more large embellishments. Now the project is ready for embroidery.

**The Finishing Process**

_For extra help, look through the list of tips and techniques on C &T Publishing's website at ctpub.com/quilting-sewing-tips._

Crazy quilts do not contain batting and there are no quilting lines, so completion is quite simple.

**Borders**

Choose the border for a crazy quilt with care. Because a crazy quilt is a collage of fabrics, embroidery, and embellishments, it is best to choose a border fabric that will not compete. Make sure the fabric is of equal weight to the finished blocks. Sometimes I back the border fabric with lightweight cotton to make it the same weight as the crazy quilt blocks.

Attach the borders to the quilt top in the traditional way and miter the corners.

Be aware that you are not working with cottons but with fancy heavier-weight fabrics, and that will require extra care. If you are using velvet be aware of the nap, and make sure the nap of the fabric runs in one direction!

Corner details. _Upper left:_ A ½˝ binding with square corners. _Upper right:_ A 5˝ mitered border with a ¼˝ framing border and a beaded binding. _Lower left:_ A 5˝ mitered border, heavily embroidered, with a 1½˝ binding. _Lower right:_ A ½˝ mitered binding.

**Backing**

Choose a backing with some weight, such as a drapery-weight brocade or other drapery-weight fabric. Cut the backing a few inches larger than the front (it can be cut down later). Place the backing facedown onto a flat surface. Place the crazy quilt on top of the backing (wrong sides together). Make sure the backing shows all the way around.

**Note:** I often use a fabric spray adhesive to attach the top to the backing. This is a temporary hold and gives you time to tack the top and backing together. I use 505 Spray and Fix.

Make sure the top and bottom are smooth, without any wrinkles. Now it is time to baste the top and bottom together.

Baste together the front and the backing using large basting stitches in a 4˝ square grid, starting in the center and working your way out. After all the horizontal and vertical lines are in place, the crazy quilt is ready for tacking.

**Tacking**

There are no quilting lines in a crazy quilt, yet the top needs to be attached to the backing. The Victorian ladies tied their quilts together with the ties facing the back. Ribbon bows or pom-poms were often added to cover the tack stitches on the back, creating a pleasing design. You may wish to do the same.

I use Nymo beading thread (size 0) for invisible tacking and tack at each intersection of the basting lines. (I use a water-erasable pen to mark the intersections.) Always work from the center and radiate out. Keep the tack stitches very small and keep the knots on the top, hiding them in the embellishments and embroidery stitches. The tack stitches can be highlighted on the backing with small ribbon or thread ties.

The tied back of the crazy quilt _Australian Memories_. The author covered each tack mark with silk ribbon ties.

**Binding**

Before trimming the border edges, check the measurements to make sure nothing has shifted.

Crazy quilt bindings can vary from fancy beaded edgings to traditional quilt-style bindings (refer to the corner detail photos). Make sure to keep the corners crisp and even.

After the binding is complete, be sure to add an identification label and a hanging sleeve.
Embellishments Galore

For most people, embellishing is the best part of crazy quilting and the most satisfying. Embellishments turn a pieced crazy quilt project into something beautiful and magical.

I divide embellishments into two categories—those completed before piecing and those done after.

Embellishments that are pieced into the crazy quilt project are the larger, more ambitious decorations. Embroidered florals, calligraphy, painting on fabric, photo transfer images, and punchneedle embroidery fall into this category. These are worked onto pieces of fabric that can be trimmed and shaped to fit into the piecework.

The second category includes all the embellishments added after the piecing is complete. Examples are layering lace, ribbon manipulation, and trims, along with embroidered seamlines, silk ribbon embroidery, beading, buttons, and doodads. After the foundation is covered with crazy quilting, the embellishments, lace, ribbons, and trims are added in a set order to create a layered look. After these are in place, the remaining seamlines are embroidered with thread and silk ribbons. The final layers are created with beading, buttons, and doodads.

Let's look at each technique in turn, beginning with the enhancements used in crazy quilt piecing.

_Alta Vida La Veta_ , by Judith Baker Montano, 48˝ × 56˝. Courtesy of the La Veta Library

This quilt features hand-painted watercolors of all the vintage houses, sheds, and barns in La Veta. The fabrics are from Ornamentations (my first fabric line with Robert Kaufman), and all the thread and ribbons are from the Montano series with Treenway Silks.

**Embroideries**

Embroidery is the main focal point in crazy quilting. The Stitch Dictionary features Victorian stitches and variations that can be used for embellishment and seam embroidery.

There are many embroidery books available that feature all types of embroidery, from traditional Victorian patterns to contemporary floral designs. These are among the few decorative elements you can preplan and complete before piecing the foundation. Choose the decorative details that you like the best and that are most appropriate in design and size to your project.

**Cross-Stitch**

Create original cross-stitch motifs or select a design from a cross-stitch pattern book. Use cross-stitch in projects that you make to honor special occasions, complete with names, dates, and other information. Fabrics for cross-stitch come in a wide variety of weaves, thread counts, and colors.

Detail from friendship quilt

**Outline Embroidery**

Victorian crazy quilts feature a multitude of outline embroideries; animals, children, and flowers were favorite motifs. Many of the Victorian embroidery patterns are still available today, as are many modern embroidery design books. The stem stitch is used for outline embroidery and is much like a drawn line.

To keep your embroidery books intact, use tracing paper to transfer the embroidery designs onto fabric. If the fabric is light enough, you can see the design through the fabric to trace, or a sunny window will substitute for a lightbox. Some favorite motifs are outline drawings of hands or baby feet, a duplicate of a child's drawing for a juvenile project, or ideas borrowed from a coloring book.

Outline embroidered pansy from _Victorian Pets_

**Satin Stitch**

The Victorian needleworker was an expert at the satin stitch, and it often appears in crazy quilts. These needleworkers used silk threads and usually padded the satin stitch to give it dimension. Use this stitch to make a special feature in your project.

Antique sample of satin-stitched bluebird

**Combination Stitches**

Use a combination of stitches and threads to create floral bouquets and gardens. Long and short stitch, circular buttonhole stitch, lazy daisy, and chain stitch fill in very fast (see Stitch Dictionary).

Vintage sample of combination stitches in a garden project

Combination stitches from antique crazy quilt

**Silk Ribbon Embroidery**

This beautiful embroidery technique is worked with a chenille or tapestry needle, using 4mm silk ribbon. Very dimensional, it adds texture and interest to your crazy quilt. Although silk ribbon embroidery is usually worked in a hoop, I often add it after the piecing is complete to decorate seamlines and to add more floral designs. For a variety of silk ribbon stitches, refer to Stitch Dictionary.

Silk ribbon embroidery from hat box lid

Silk ribbon embroidery on a crazy quilt purse

**Punchneedle Embroidery**

Punchneedle embroidery is an ancient Russian technique that uses a hollow needle much like a hypodermic needle. These needles come in several sizes, and a variety of threads can be used. The fabric is stretched drum tight, with the back of the fabric facing out. The design is punched from the back to the front with a threaded hollow needle. The result is a carpet of tiny loops that create the design on the right side. The loops can be sheared to give a velvety look. The work is very durable and washable. Metallic threads can be used to good effect with this technique.

Punchneedle embroidery can be used to highlight a pattern in a fabric. If the design of the fabric shows through to the back, you can follow the lines to punchneedle parts of the pattern. The beauty of this technique is that it's very fast and pretty. Any embroidery pattern can be used, even line drawings from coloring books and magazines.

**Calligraphy**

Those blessed with fine penmanship or who have taken a calligraphy course can add poetry, quotations, and/or signatures to their crazy quilting. Use a permanent fine-line pen, but test the pen on scrap fabric first. You can also use multicolored permanent pens to trace line drawings or to outline watercolors on fabric.

**Coloring the Fabric**

Victorian women were often trained in the fine art of watercolor and oil painting. A popular pastime was oil painting on velvet, and many needleworkers created beautiful paintings of flora and fauna to be used in their crazy quilts. Unfortunately, over time the oil paints tend to crack and peel off from the velvet.

**Fabric Painting**

Acrylic paints are very suitable for fabric painting. They can be used right out of the tube for a painterly look, or watered down and used like watercolor. These paints dry very quickly and can be painted over in a matter of minutes. Be sure the paint doesn't dry on the brush, because it won't come out. For wallhangings and projects that won't be handled, set the painting by pressing it, from the back, onto a towel.

I use watercolor paints to paint small pictures onto fabric, such as those in Garden Shed and Cottage Garden. I use professional-quality tube watercolor paints. I always create line drawings with permanent pens and then fill in with watercolor paints. Make sure the watercolor paint is diluted with water to avoid mistakes—it's better to have several layers of color than to ruin a project with too much paint.

Painting on fabric (antique)

Fabric painting with punchneedle, by Alice Bertling, made as a gift for me

**Fabric Dyeing**

Most fabric dyes can be used for painting or dyeing, and they allow much creative freedom.

You can change the color of a fabric or simply add bits of color. Check at your local craft shop for these products. Some dyes are meant for specific fabrics, and because we use a variety of fabrics in crazy quilting, choose the dye accordingly (see Resources).

It is very important to make sure that a dye is permanent. If a project is to be washable, it is best to test the dye and the fabric. Simply follow the instructions and dye the fabric, rinse as instructed, and let dry. Now rewash it to check for any color in the water, or press a tissue into the damp fabric to check for residual color. Better safe than sorry.

Keep a record of the water-to-dye ratio for future use. It is very difficult to create the same effect twice, but this will help. Another good hint to remember is that fabric always looks darker when wet, and the intensity of color usually pales as it dries. For serious projects, I keep a small notebook with the dye ratios and a small snippet of fabric alongside.

Dyeing your fabrics gives you more control over the colors in your project, particularly if you want a wide range of shadings. Dye, however, marks everything it touches, so work with a sheet of plastic over your worktable and use rubber gloves.

**Plastic Bag Dyeing**

I love dyeing silk fabrics, but the mess can get out of hand. Imagine my delight when I heard about the plastic bag method using Colorhue Instant-Set Silk Dyes (see Resources). This dye is perfect for this method because of the very fast "take" (it dyes the fabric the instant it touches and sets). All the dye goes into the plastic bag, and there is a minimum of mess and cleanup!

**Plastic bag dyeing supplies:**

•One yard or less of silk fabric

•Colorhue Instant-Set Silk Dyes

•One plastic cup for each of the chosen Colorhue dyes

•Large zip-top plastic bag

•Plastic gloves and apron

•Sink and running water

1. Mix up the chosen dye colors following the instructions on the dye package and set them aside in 1- to 1½-cup portions.

2. Dampen the silk fabric and wring it out. Place the damp silk into the plastic bag.

3. Pour in the first dye color (in this example it is green) and give the bag a few squeezes. Reach in and loosen up the fabric for the next dye color.

4. Pour in the second color (in this example it is brown) and squeeze the plastic bag until you feel the fabric is completely covered. Pull out the fabric to check. If there are patches that are not covered to your satisfaction, simply mix up some more dye and redo.

5. Rinse the fabric under running water until the water runs clear. Squeeze out the excess water and hang up the fabric to dry.

It really is that simple, and the results can be stunning. In this example, I have dyed a silk crepe fabric. The brown and green colors blended at the edges and created a wonderful design.

**Painting with Dyes**

You can use dyes on fabrics in the same way you use watercolor and acrylic paints. I use a variety of watercolor paintbrushes and paint directly onto dry fabric that is tacked in a stretcher.

I use Colorhue Instant-Set Silk Dyes (see Resources) because the dye can be diluted with water and is easily controlled.

I often paint landscape or garden scenes using the dyes just as I would use watercolor paints. These painted fabrics act as backgrounds for stitching. I use a combination of free-form embroidery stitches to embellish the project.

Landscape on silk

_Shantzie's Garden_ by Judith Baker Montano

A tribute to my grandmother, Adeline Shantz, an amazing grandmother and gardener

**Photographs on Fabric**

Photographs, old and new, can be transferred to fabric using various procedures. Please be aware of copyright laws when you are working with images other than your family photos! Always use photographs with good contrast, and the results will be great.

A hand-painted Victorian-era French postcard printed on silk fabric

**Australian Photo Method**

This is a method that I have used for years to print a collection of old photographs onto fabric. It creates a black-and-white image with a slightly smudged antique look.

**Materials:**

•Photocopy of a photograph (The photocopy must be made with dry toner. It cannot be a laser or color copy print!)

•Pure gum turpentine

•Blotting paper

•Large metal spoon

•Cotton balls

•Natural, fine-woven fabric (cotton batiste or silk; synthetic fabrics won't work, so no polyester)

**Process:**

1. Place the blotting paper on a table. Place the ironed fabric on the blotting paper and tape the corners.

2. Place the photocopy facedown on the fabric.

3. Dip a cotton ball into the turpentine and squeeze tightly, removing all excess moisture.

4. Rub the back of the photocopy with the cotton ball until the paper becomes opaque.

5. Hold the photocopy in place with one hand, and with the other hand rub the back of the photocopy very hard with the spoon, concentrating on faces and details.

6. Lift up a corner of the paper to check the image. If needed, add a bit more turpentine to the cotton ball. Rub the back of the paper. Burnish with the spoon again.

7. When the image has transferred, remove the photocopy.

8. Iron the image from the back.

9. If desired, color with watercolors or acrylic paints.

A French postcard applied to silk fabric with the Australian photo method

**Inkjet Printer Method**

Silk and cotton fabrics bonded to paper carrier sheets are readily available for inkjet printing. Choose the photograph or painting that you wish to print and scan the image into the computer. Using a photo-editing program (such as Adobe's Photoshop or Photoshop Elements), arrange the photos and print them onto the prepared sheet. I purchase Jacquard silk inkjet printing sheets in bulk, as I use this method a lot. I do purchase archival printer inks to make sure that the colors will not fade.

Photographs printed on silk from _My Family Quilt_

Australian cottage painting printed on silk

**Ribbons andRoses**

The variety of ribbon offered today makes crazy quilting more fun than ever. Sew wide ribbons just as you would a piece of fabric right onto the foundation. Other ribbons can meander or fold into floral shapes. Weave narrow ribbon through lace or twist it and tack it down with French knots. Metallic, velvet, organza, and printed ribbons add to the layers of color, pattern, and texture.

**Embellishment on Ribbons**

I often embroider and embellish wide ribbons to add more detail and layers. Hide the raw ends of the ribbons in folds and seams or take the ends out to the foundation edges. The ribbons act as a background for buttons, beads, and embroidery stitches. Use embroidery threads that contrast nicely with the ribbon.

Detail of embellished ribbons

**Meandering Ribbons**

For meandering, 4mm silk ribbon is very pliable and handles like bias. Tack it with closely spaced beads or French knots to create a meandering design.

Meandering silk ribbon held in place with French knots

**Wired Ribbons**

French ombré wired ribbons add beauty and texture to a crazy quilt project. To create a ruched or gathered look, cut a length of wired ribbon twice the length needed. Hold one end in your hand and push the ribbon into it, creating a messy, gathered look. Now squeeze the ribbon into a ball to distort it more. Pull the ribbon out to the desired length and tack it into place. Decorate it with beads, buttons, and silk ribbon embroidery.

**Ribbon RuffleFlowers**

Silk ribbons make wonderful ruffle flowers. Choose ribbons ⅜˝–½˝ wide and cut the length to about 3˝. I use Hanah Silk bias ribbon for these.

1. Run a gathering stitch down the center of the ribbon (A).

2. Pull the thread to gather the ribbon at the knotted end (B).

3. Hold the gathers (up and in one direction) in your free hand and pull gently with the thread (C).

4. Tack through the base several times, make a knot, and sew in place.

Ruffle flowers can be highlighted with French knots or beads.

**Ruth's Ruched Ribbons**

Ruth Stonely, from Brisbane, Australia, was my dear friend and a wonderful fiber artist. She taught me this easy technique, and I now use it in place of a ruffled ribbon. This technique looks more natural and artistic.

1. Thread a fine needle with a smooth metallic thread. Choose a long length of 4mm silk ribbon.

2. Anchor the silk ribbon firmly to the fabric with the thread. Make a slipknot on the back and come up to the front at A. Hold the ribbon in your free hand. Take large uneven running stitches along the ribbon. Make the running stitches for 4˝–5˝. Bring the needle down into the fabric at B, anywhere from ½˝ to ¼˝ from A.

3. Pull gently and let the ribbon gather up on the metallic thread. Arrange the gathers gently with the tip of the needle.

4. For a fuller look and more contrast, try using 2 ribbons placed side by side. A second 4mm silk ribbon can be added into a single line of ruched ribbon. Simply anchor the second ribbon into the desired area and hold the 2 ribbons in your free hand.

5. Make sure the ribbons overlap just slightly on the inside edges. Now take large, uneven running stitches along the overlapped edges.

**TwistedRibbons**

To create twisted ribbons, follow these steps:

1. Choose a design such as a bow, a zigzag, or a heart; then cut the ribbon 1¾ times the length needed.

2. Anchor an end of the ribbon in place with a bead or French knot.

3. To form a specific shape, lightly trace the shape onto the fabric and then follow the lines with the ribbon, twisting it at a right angle, alternating left and then right, as you go. Place a knot or bead to secure each twist. If the beads or knots are too far apart, the ribbon will snag.

**Gathered Flowers**

Small ribbon rosettes add a delicate look to crazy quilt projects.

1. Use narrow satin or organza ribbon (⅜˝–½˝ wide) cut about 3˝ long.

2. Fold under an end and baste the ribbon along a long edge (A).

3. Gather tightly. Overlap the folded edge over the raw edge and stitch (B).

If you use thread that matches the ribbon, you can use it to sew the rosette directly onto the fabric. Tack it only where the edges meet. Add beads or French knots to the center along with lazy daisy leaves.

**Ribbon Leaves**

Create these easy ribbon leaves to complement ribbon roses.

1. Cut a ribbon 1½ times its width and fold it diagonally into a point (C).

2. Gather the wide edge with a basting stitch (D).

3. Trim the raw edges and tack the leaf in place under the rose (E).

These can be made with wire ribbon too.

**Concertina Roses**

1. Cut a piece of ⅜˝- or ½˝-wide ribbon about 18˝ (½ yard) long.

2. Thread a needle using matching thread and knot the end.

3. Measure 5˝ from an end and fold the ribbon at a right angle (F).

4. Fold the horizontal section of the ribbon up and over to the left.

5. Bring the ribbon up on the bottom and fold it up and over. The folds will take on a square look.

6. Keep folding from the right side to the top to the left side to the bottom until the short end of the ribbon is used up (G).

7. Grasp the 2 ends in your hand and pull down gently on the long end until a rose is formed (H).

8. With the knotted thread, go down through the top and up again (do this twice). Finish on the bottom and wrap the base tightly. Make a slipknot and cut the thread, leaving a 6˝ tail, which will be used to attach the rose later.

**Beading**

Two antique beaded pieces from my collection

Good beads come in a wide variety of shapes, sizes, colors, and finishes.

•Opaque beads give off a soft glow.

•Cut-glass beads reflect light like crystal.

•Transparent beads sparkle.

•Luster seed beads have a metallic look.

•Iris beads have a deep, iridescent luster.

**Needles and Thread**

Beading needles come in a range of sizes and lengths. A long, thin needle is used when the needle must be long enough to pick up several beads at a time. A shorter needle, called a sharps (I use a #10 sharps), is best for crazy quilting when only one bead at a time is sewn on.

I use Nymo thread by Belding Corticelli for all beadwork. Regular thread gives way over time, and the beads will be lost. Nylon filament will stretch and let the beads become loose. With Nymo thread, the bead is held firmly in place, sitting up on its side, where the most color shows.

**Beaded Highlights**

When beads are used to accent embroidery, sew them on one at a time. Pour a few beads into a wide, shallow dish for easy access. Bring the needle up at the point of the stitch, pick up a bead on the needle, and go down into the fabric in the same hole. Pull the thread with a bounce to lodge the bead securely on its side. Repeat this process until finished.

As a precaution, tie a knot at the back of every fourth bead. This way, if a bead is pulled off, it won't start a chain reaction.

Use beads in place of French knots to highlight stitches such as the featherstitch, cretan, herringbone, and buttonhole (see Stitch Dictionary).

**Sewn Beadwork**

To make flower shapes with lines of beads, sew the beads on in rows, curves, or circles. On a long beading needle, pick up as many beads as are needed for the line. Let them fall down the thread and into position on the fabric. Put the needle down through the fabric at the end of the bead line. Come up at every second or third bead and couch between the beads.

Couch the beading thread after every second or third bead. Work the beading thread around to form the desired shape, couching as you go.

**Knots, Cords, and Tassels**

Finishing touches are very important in giving a professional look to crazy quilt projects.

For extra pizzazz, you might consider making Chinese button balls and knotted loops instead of ordinary button closures for garments and purses. Tassels are another fun decoration for garments, quilts, pillows, and belts. Novelty cords are easy to make. Twisted, wrapped, or braided, they can decorate purses, pendants, and belts or be whipstitched as a frame around a crazy quilt pillow or frame.

**Chinese Button Balls**

Loops and Chinese button balls, made of rat-tail cording, add rich detail to crazy quilt garments.

1. Cut a 7˝ length of cording for each ball.

2. Fold the cord in half and form a loop (A).

3. Form a second loop that lies over the first loop (B).

4. Bring each end up and weave it through the loops (C). Make sure to weave in and out of the cords.

5. Gently work the cords into a ball. Exert even pressure on each end until a tight ball is formed (D). Leave a 1˝ tail to sew into the seam. Remember, the heavier the cording, the larger the button will be.

**Knotted Loops**

Knotted loops make wonderful closures to use with knots or buttons.

1. Cut a 6˝ length of rat-tail cord to make a good-sized loop.

2. Fold the cord in half (E) and tie a loose slipknot close to the open end (F).

3. Manipulate the knot with your fingers to flatten it (G).

On most garments, loops and balls are sewn into seams, but on some projects this is impossible. In this case, tuck the loose ends of the cording under and tack them in place, using strong matching thread.

**Tassels**

The Victorians loved tassels and used them generously on quilts and pillow corners. Tassels are great to use on wallhangings or to decorate pendants and purses. There are many books available on the art of tassel making, but the following is an easy way to make a basic tassel.

I make tassels with silk buttonhole twist. Decide how long the tassel will be and then cut a piece of cardboard the same size; for example, use 3˝-wide cardboard for a 3˝-long tassel.

1. Wind the thread around the cardboard (A). The more thread you use, the fatter the tassel.

2. Gather the thread at the top and tie (B). Use a thread long enough that it can be used later to attach the tassel to the project.

3. Clip the other end of the tassel and remove the cardboard. Now, wind a neck around the tied end using matching thread (C). If necessary, tie a thread onto the end for attaching the tassel to the finished item.

A very simple tassel can be made from cotton floss. One skein will make two tassels. Take the whole skein and simply cut it in half (keep the little paper holders at each end). Now wrap the folded ends, add a loop of thread, and attach it to your project.

**Braided Cords**

Using a variety of cords can give a new look to the traditional braid. Try mixing rat-tail, embroidery floss, silk ribbon, metallic cord, and yarns. Decide on the thickness needed and choose the cords. Remember that the total amount will be divided into three groups for braiding. For a tight braid, cut the lengths two times the length needed. For a loose braid, cut the length 1¾ times the desired length.

_Left to right:_ A tightly braided cord heavily decorated with beads and freshwater pearls. The next is loosely braided using a variety of cords. The pastel braid is another tightly braided cord. The last is a loose braid using heavier cords.

**Twisted Cords**

This method requires a doorknob, a hook, or a nail to act as an anchor for twisting.

I like to use a variety of cords for added interest. This method requires twisting and then folding the cord in half so it is much thicker.

These samples show what can be done with six different cords. The center cord is braided and the one on the right is a twisted cord. Note the differences in width.

Decide how many cords you will need for the desired finished thickness. Cut the cords three times the desired length of the twisted cord.

1. Hold all the strands together and tie a knot at an end. Attach the knotted end to the hook, nail, or doorknob. (I personally shut the knotted end into a heavy supply drawer.)

2. Stand at the end and begin twisting the cord until it kinks up when given slack. When the cords are in a very tight twist, grasp the cord in the center and slide a hand down at short intervals.

3. Untie the knotted end and tie all the loose ends together.

**Buttons**

Buttons add texture and dimension to crazy quilt projects. Save them for the final layer, as they add bulk and weight. Look for buttons at antique shops, garage sales, secondhand shops, and fabric shops. Pearl buttons have a special quality whether antique or new. Look for novelty shapes that will add interest. I don't mind spending extra for good buttons, as they add the final sparkle.

Button cluster and buttons sewn in rows on ribbons

Pearl button flowers

Paisley or snail shape

Mix a variety of buttons to make clusters and choose a mix of sizes and colors for extra interest.

Sew buttons onto crazy quilting with silk buttonhole twist, using a complementary color, or use Nymo thread; add beads as you sew on the buttons to create visual interest.

If the buttons are very old and valuable, use them on projects that will get little handling.

Used in rows, tiny pearl baby buttons are especially effective. They look like flowers if you sew them on with yellow silk thread and edge them with green lazy daisy stitches.

To make a paisley or snail shape, start out with a large, flat button and rotate outward, overlapping and decreasing the button size, to achieve the desired shape.

Stacked buttons with embroidery

Diamond shape

Button cluster

Cleaning Antique Lace

Old lace, doilies, and hankies, often soiled and stained, must be cleaned carefully before they can be used.

Try washing stained lace by hand in mild detergent. Wrap it in a towel and squeeze out excess water, and then let the lace dry flat. If stains persist, use diluted laundry bleach, rinse thoroughly, and wash after bleaching. If all efforts fail, try cutting away the stained parts, or let the stain dictate the look and tea dye the entire piece.

**Lace, Doilies, and Hankies**

**Lace**

Lace is a very personal embellishment. Some people love it and others don't. Decide on how much you want to use and make sure the type of lace and the color will enhance your project.

Lace acts as an element of texture and design in crazy quilting. White lace on pastel foundations gives a soft feminine look; black lace on jewel tones adds drama. Always keep lace embellishments in the same mood as the rest of the work.

Use long, narrow pieces of lace to break up large areas or to create curved lines. After I decide on a pleasing design, I use a glue stick to hold the lace in place. I then tack the lace into place using Nymo thread and a tack stitch. Lace can be highlighted with ribbon or embroidery stitches and beads or small buttons for sparkle. Colored lace can carry out a color scheme.

When using lace, keep in mind how much wear and tear a finished project will receive. The price and/or sentimental value will determine whether you can cut into the piece of lace.

**Coloring Lace**

TEA DYEING

I use white lace, doilies, and hankies only with pastel projects; otherwise I always color them. Light-colored laces and fabrics, steeped in tea, take on the patina of age. Different varieties of tea give off a different color, from rose to peach.

1. To make the tea solution, boil a kettle of water with 4 tea bags in it for 15 minutes.

2. Strain the solution and return it to simmer.

3. Put the lace into the simmering tea.

4. When the lace has simmered for 15 minutes, take it out and put it in a setting solution of ½ cup white vinegar to 3 cups of water. Let it set for about 15 minutes.

5. Rinse it thoroughly and press.

COFFEE

1. Use instant coffee and boiling water to create an antique patina for lace and fabric. The more teaspoons of coffee you use, the darker the effect.

2. Soak the materials in the coffee mixture for 10–15 minutes.

3. Rinse under water and dry.

I use coffee crystals in the studio, and this is always my backup for aging fabrics, laces, doilies, and hankies or for evening out stains.

WATERCOLORS AND DYES

If a project will never be dry cleaned or washed, I often use watercolor paints to add color to lace and fabrics. Some watercolors are actual stains and very permanent. I use tube watercolors and mix them with lots of water. The lace or fabric is dampened so that the paint wicks into the fabric and the colors will blend into each other.

Some dyes are made just for natural fibers, such as rayon or silk. They are applied just like watercolor paints. The rayon lace or medallion is dampened so that when the paint is applied with a paintbrush it wicks into the fabric. This creates a soft, muted look. Apply more dyes for a deeper tint. These are permanent dyes.

I use Colorhue Instant-Set Silk Dyes (see Resources) for cotton fabrics and laces. I always dampen the materials so that the colors will blend better. The dye can be added with a paintbrush. This approach is especially good for floral medallions.

Rayon lace

Medallions

DIP DYEING

Be sure to use plastic gloves and an apron for this process!

1. Make up 2 different colors of Colorhue dyes and pour them into shallow containers—I use a muffin pan.

2. Cut a length of lace about 2 yards long.

3. Dampen the lace and then roll it into a very loose roll.

4. Dip a side of the lace roll into a color about halfway in. Squeeze the excess back into the container.

5. Turn the roll to the other side and dip it into the second dye color. Squeeze the excess into the sink (do not squeeze this into the container, as it will affect the color).

The two colors will wick into each other, creating a wonderful dual color combination. I use this technique often for large crazy quilt projects.

Dip-dyed lace

**Doilies**

Small doilies can be used whole or cut into fan shapes and half-circles for spectacular effects. These pieces—round, oval, rectangular, or square—add a pleasing element of shape, texture, and color to the work. Just make sure the raw edges are hidden in seamlines. A doily covers a multitude of sins if your seams aren't quite perfect.

Lace doilies

**Hankies**

Handkerchiefs, especially old ones, can be a terrific design source. Many old hankies have beautiful tatted and crocheted edges, or fancy embroidered initials. Some have four decorated corners that make great triangular overlays. Hankies generally add a soft, feminine touch as well as a feeling of old-fashioned elegance.

_Ode toPaloma_, by Judith Baker Montano, 36˝ × 43˝

This heavily embellished crazy quilt was created to commemorate the birth of my youngest granddaughter.

_Australian QueenslandCottage_, by Judith Baker Montano, 28˝ × 14˝

_Morning Glorious_ , by Judith Baker Montano, 28˝ × 16˝

_The AguilarAdobe_, by Judith Baker Montano, 28˝ × 14˝

_The Old Carver Place_ (the author's home), by Judith Baker Montano, 24˝ × 12˝
Projects

Now it's time to put our theories into practice. The following pages feature full-sized patterns and step-by-step directions for twelve crazy quilt projects. Use these projects to gain experience with crazy quilt techniques and confidence in your design ability. Then branch out to design projects of your own—holiday decorations, tablecloths, full-size quilts, and more.

Crazy Quilt Chatelaine

**Finished size:** 4½˝ × 52˝

_Here is a beautiful chatelaine fashioned after a man's tie. It fits nicely at the neckline and feels comfortable to wear. Use cotton for the backing to prevent the chatelaine from slipping. Choose overall crazy quilting or simply decorate the pockets. The chatelaine pattern is adjustable at the neckline for a personalized fit._

Materials and Supplies

_Yardages given are based on 44˝- to 45˝-wide fabrics._

FABRICS:

•⅓ yard of muslin for foundations

•12 squares 9˝ × 9˝ of fancy fabrics (solids, prints, and textures)

•¼ yard of fancy fabric for pocket lining

•⅓ yard of cotton for backing

•1 rectangle 6˝ × 12˝ of iron-on interfacing

•1 rectangle 6˝ × 12˝ of fleece, such as Pellon Fleece

**FOR CRAZY-QUILTED POCKETS ONLY:**

•⅓ yard of fancy fabric for chatelaine

**OTHER MATERIALS:**

•Embroidery threads (various colors and types)

•Silk ribbons for embroidery (various colors and types)

•Needles (embroidery, chenille, and tapestry)

•Lace, ribbons, and trims for embellishments

•Beads, Nymo beading thread, and #10 sharps needle

•Buttons and doodads

•1 piece 9˝ × 9˝ of template plastic

•¼ yard of fancy ribbon for ribbon loops

•10˝ of ⅜˝- to 1˝-wide satin ribbon for scissor and pencil holders

•½ yard of ¼˝-wide satin ribbon for attaching tools

•1 piece 2˝ × 2½˝ of thick felt

•Snap for closure

•1½ yards of rat-tail cording

•Sewing notions and tools to attach to the chatelaine, such as scissors, thimble cage, and so forth

•Glue, such as Aleene's Original Tacky Glue

•Water-erasable pen

Crazy Quilting and Embellishments

1. Trace and cut out the 3 sections of the chatelaine pattern. Tape at the A's and B's to make a complete pattern. Trace the pocket pattern onto template plastic and cut out along the cutting line (refer to Using Plastic Window Templates).

2. Choose a crazy quilting option:

• _For overall crazy quilted chatelaine:_ Using the chatelaine pattern, cut 2 muslin front pieces ¼˝ beyond the cutting line. Cut 2 backing pieces on the cutting line.

• _For pockets-only crazy quilting:_ Using the chatelaine pattern, cut 2 fancy-fabric front pieces and 2 backing pieces on the cutting line. Join the chatelaine pieces at the center back with a ¼˝ seam.

_Continue for both styles:_

3. Cut 2 muslin squares 5½˝ × 5½˝ for the pocket foundations. Using the pocket pattern, cut 2 fleece, 2 interfacing, and 2 lining pieces on the cutting line.

4. Join the muslin front pieces at the center back with a ¼˝ seam.

5. Fill in the muslin pieces with crazy quilting.

6. Place the pocket window template on the crazy quilted squares and move it around until you find a pleasing design. Mark with the water-erasable pen. Cut out on the cutting line.

7. Fuse the interfacing to the back of the crazy quilted squares.

8. Embellish and embroider the crazy quilt pieces. Add beads, buttons, and doodads.

Chatelaine Assembly

1. Machine baste fancy ribbon loops to each end of the front pieces. Place the chatelaine pieces (front and backing) right sides together. Machine stitch all around with a ¼˝ seam, securing the ribbons in the seam. Leave an opening at an end.

2. Turn right side out and press the edges. Whipstitch the opening closed.

3. _For pockets-only crazy quilting:_ Add topstitching, buttons, and ribbon as desired.

_Continue for both styles:_

4. Sew a felt piece on an end for the needles (A).

5. For each pocket, stack the lining and finished fronts with right sides together. Add fleece to the lining. Sew together, leaving an opening at the bottom. Turn right side out and press. Hand stitch the opening closed.

6. On the back of a pocket, sew a ribbon for holding scissors and pencils (B). Stitch at intervals for holding tools.

7. Pin the pocket with the inside ribbon to the end of the chatelaine without the needle felt. Whipstitch the sides and bottom to the chatelaine.

8. Pin the remaining pocket to the other end of the chatelaine. Whipstitch it in place, leaving an opening at the side for easy access to the needles. Add a snap closure (C).

9. Whipstitch rat-tail cording around the front pockets to cover the seams (D). Tie the ends in a slipknot at the bottom center and cut the ends 1˝ to 2˝ from the knot. Touch the ends with a bit of fabric glue to stop them from fraying.

10. Sew ribbon to the pockets and attach scissors and sewing tools to the ends.

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>
Pansy Needlecase

**Finished size:** 4˝ × 4½˝

_This book-style needlecase is not only beautiful but also very useful. The small inside pockets are handy for holding scissors and small tools. The inside felt layers hold a variety of needles and pins. The velvet pansy adds an extra touch of Victoriana, and it can be used to embellish other projects as well. You will not be able to stop at just one._

**Materials and Supplies**

**FABRICS:**

•1 square 10˝ × 10˝ of muslin for foundation

•9 squares 6˝ × 6˝ of fancy fabrics (solids, prints, and textures)

•1 square 10˝ × 10˝ of fancy fabric for lining and pockets

•1 square 10˝ × 10˝ of iron-on interfacing

•1 rectangle 4˝ × 8˝ of heavy felt

•1 square 6˝ × 6˝ of silk velvet for pansy (hand dyed or low nap)

•1 square 10˝ × 10˝ of fleece, such as Pellon Fleece

**OTHER MATERIALS:**

•Embroidery threads (various colors and types)

•4mm silk ribbons for embroidery (various colors and types)

•Needles (embroidery, chenille, and tapestry)

•Lace, ribbons, and trims for embellishments

•Beads, Nymo beading thread, and #10 sharps needle

•Buttons and doodads

•Snap _or_ 6˝ of rat-tail cord and button for closure

•1 piece 9˝ × 9˝ of template plastic

•1 yard of fancy trim for edging

•Glue, such as Aleene's Original Tacky Glue

•Water-erasable pen

**FOR PANSY:**

•Black embroidery floss for petals and center

•Yellow perle thread for center

•Variegated silk or cotton floss for buttonhole edges

•Glue stick

Crazy Quilting and Embellishments

1. Trace the needlecase pattern onto template plastic and cut out along the cutting line (refer to Using Plastic Window Templates).

2. Cut 1 muslin rectangle 5˝ × 5½˝ (or cut 2 if you want crazy quilting on both sides). Cut the following 4½˝ × 5˝ rectangles: 3 from fancy fabric (2 linings and 1 backing), 4 from iron-on interfacing, and 2 from fleece.

3. Cut 2 fancy-fabric pieces 3¼˝ × 4½˝ for the pockets.

4. Fill in the muslin rectangle (or rectangles) with crazy quilting. Place the window template on the crazy quilt piece and move it around until you find a pleasing design. Mark with the water-erasable pen. Cut out on the cutting line.

5. Fuse the interfacing to the back of the crazy quilt, lining, and backing pieces. The interfacing gives added body to the pieces.

6. Embellish and embroider the crazy quilt piece (or pieces). Add beads, buttons, and doodads.

Needlecase Assembly

1. Hem the top edge of each pocket piece by folding over ¼˝, then another ¼˝, and then topstitching. Pin the 2 pockets in place on the lining pieces and sew down the centerline to hold the pockets in place. This forms the 2 sections of each pocket.

2. Place the lining piece with the pocket side up. Place the finished front facedown over the lining piece. Place a piece of fleece on top and line up the corners. Decide whether you want a loop and button closure; if so, pin the loop in place. Pin the pieces together and sew with a ¼˝ seam, leaving a 2˝ opening at the bottom.

3. Trim the fleece ⅛˝ from the seam to reduce the bulk. Turn right side out. Pay particular attention to the corners. Press and whipstitch the opening closed.

4. Repeat Steps 1 and 2 for the back of the needlecase.

5. Whipstitch the 2 sections together along the left side.

6. Fold the felt piece in half and hand stitch in place along the center of the 2 sections. To cover this line you can embroider a line of featherstitching.

7. Add a button or snap for the closure.

8. Glue the fancy trim in place using a line of fabric glue along the hinged side. Go up and around each side with the trim. When the glue is dry, tack the fancy trim in place with Nymo thread.

Victorian Pansy

**1.** Mark the pansy petal shapes on the wrong side of the velvet, making sure that the nap is running the same way for all the petals.

**2.** Place the pieces in order, securing each with a glue stick. Embroider the pansy in place, using tight buttonhole stitches. The dashed lines and arrows indicate where to stitch; it's not necessary to stitch the portions that will be covered by other stitching. Note the longer stitches on the tips and creases of each petal. These give a more painterly look to the petals. Use straight stitches for the wispy black stitches on petals 1, 3, and 4. Embroider straight stitches on petals 1, 3, and 4, and then add the center stitches.

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>
Weeping Heart Pendant

**Finished size:** 3¼˝ × 3¾˝

_This is a large heart pendant that can be worn with pride. The surface allows for lots of embellishments and embroidery. The weeping heart can be traditional or contemporary._

**Materials and Supplies**

**FABRICS:**

•2 squares 6˝ × 6˝ of muslin for foundations

•9 squares 7˝ × 7˝ of fancy fabrics (solids, prints, and textures)

•1 rectangle 5˝ × 15˝ of fleece, such as Pellon Fleece

•1 square 5˝ × 5˝ of leather for backing

**OTHER MATERIALS:**

•Embroidery threads (various colors and types)

•Silk ribbons for embroidery (various colors and types)

•Needles (embroidery, chenille, and tapestry)

•Lace, ribbons, and trims for embellishments

•Beads, Nymo beading thread, and #10 sharps needle

•Buttons and doodads

•1½ yards each of assorted cords for neck cord

•12˝ of rattail cording or other trim for edging

•1 square 6˝ × 6˝ of heavyweight art board (I use Crescent Hot Press Illustration Board.)

•1 square 9˝ × 9˝ of template plastic

•Darning needle and heavy thread

•Glue, such as Aleene's Original Tacky Glue

•Water-erasable pen

Crazy Quilting and Embellishments

1. Trace the heart pattern (below) onto template plastic and cut out along the actual-size line (refer to Using Plastic Window Templates).

2. Using the window template as a pattern, mark and cut out the following pieces: 1 muslin, 3 fleece, 1 art board, and 1 leather.

3. Choose a solid fabric for the center. Cut 5 angles and position the piece on the remaining muslin foundation. Fill in the muslin square using the Montano Centerpiece Method.

4. Place the heart window template on the crazy quilted square and move it around until you find a pleasing design. Mark the outline with the water-erasable pen. Cut out ½˝ beyond the marked line.

5. Embellish and embroider the crazy quilt piece. Add beads, buttons, and doodads.

Pendant Assembly

1. Starting from the bottom, stack the muslin, art board, 3 pieces of fleece, and crazy quilted heart. (The crazy quilted heart will be a bit larger than the others.) Turn the stack over.

2. With a darning needle and heavy thread, whipstitch the crazy quilt heart around the fleece and art board. Sew this piece into the bottom muslin. Go around twice, stitching deeper into the muslin on the second round to pull the assembly taut and even.

3. Twist or braid the neck cords together and cut to the desired length. Tie a slipknot at each end, leaving a ½˝ tail.

4. Glue the leather backing to the heart. Let some glue ooze out the edges. While the glue is still wet, insert the neck cord tails between the heart and leather backing at the points indicated on the pattern.

5. Press tightly. Some glue will ooze out. Starting at the center top, place rat-tail cording or trim along the edge and press. For a different look, cut a longer length of cord. Twist and glue the cord along the edges. Tie a knot at the bottom of the cord and add beads to the dangles to form an interesting tassel.

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>
**Victorian Picture Frame**

**Finished size:** 7˝ × 9½˝

_Memorialize the one you love in a beautiful Victorian picture frame. These frames make beautiful gifts for special occasions such as weddings, birthdays, anniversaries, and christenings. I found this pattern at Anne's Glory Box in Australia many years ago, and it is still a favorite of mine. My wedding picture is in one!_

**Materials and Supplies**

_Yardages given are based on 44˝- to 45˝-wide fabrics._

**FABRICS:**

•1 square 12˝ × 12˝ of muslin for foundation

•12 squares 9˝ × 9˝ of fancy fabrics (solids, prints, and textures)

•⅓ yard of fancy fabric for backing, lining, and frame prop

•⅓ yard of fleece, such as Pellon Fleece

**OTHER MATERIALS:**

•Embroidery threads (various colors and types)

•Silk ribbons (various colors and types)

•Needles (embroidery, chenille, and tapestry)

•Beads, Nymo beading thread, and #10 sharps needle

•Lace, ribbons, and trims for embellishments

•Buttons and doodads

•1½ yards of fancy braid for edging

•Silk ribbons for embroidery (various colors and types)

•1 sheet medium-weight art board (I use Crescent Hot Press Illustration Board.)

•1 piece 12˝ × 14˝ of template plastic

•Glue, such as Aleene's Original Tacky Glue

•Water-erasable pen

Crazy Quilting and Embellishments

1. Trace the prop pattern and frame pattern onto template plastic and cut out along the actual-size lines.

2. Mark 2 backs (without the oval opening) and 2 frame props on fancy fabrics, and cut out ½˝ beyond the marked lines. Mark 3 fronts (with the oval opening) on fleece; cut out 2 fronts on the marked line and 1 front ¼˝ beyond the marked line. From the art board, cut 1 front, 2 backs, and 2 frame props.

3. Trace the frame front on muslin; then cut 1˝ beyond the marked line. Do not cut out the oval.

4. Fill in the muslin square with crazy quilting. Be aware that the oval center will be cut away later. Press on the back.

5. Place the frame template on the crazy quilt square and move it around until you find a pleasing design. Mark the outline with the water-erasable pen. Cut out ½˝ beyond the marked lines. This allowance will be turned to the back later.

6. Embellish and embroider the crazy quilt piece. Add beads, buttons, and doodads.

Frame Assembly

1. Glue the 3 fleece pieces to the front of the art board frame, placing the largest fleece piece on top.

2. Glue the crazy quilt piece to the front of the padded art board front. Clip along the inside and outside edges. Fold the edges to the back and glue in place.

TIP

Clip as shown. When the blades of the scissors hit the art board, there is exactly enough fabric left intact to turn and cover the edge of the art board.

3. Spread glue across a side of each art board back. Place the fancy-fabric backs, wrong side down, onto the glued areas. Clip the edges, fold them back, and glue.

4. Glue the 2 backs firmly together. Keep them pressed until the glue is dry.

5. Score each art board prop on the dashed lines. Cover with fancy fabric on the unscored sides, as was done for the backs in Steps 3 and 4. Glue the props together below the scoring. Press together tightly until the glue is dry.

6. Glue the front and back together along the sides and bottom. Leave the top portion open so you can insert a photograph. Glue the prop to the back, centered 6˝ from the bottom.

7. Place beads of glue along the outside edges and cover with the fancy braid. Make sure the glued braid is along the top and on the front of the crazy quilt piece.

TIP

I often glue a 3˝ satin ribbon between the backing and the inside of the frame prop. This keeps the prop from slipping.TIP

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>
Oval Needlecase

**Finished size:** 3˝ × 9½˝

_This hinged needlecase looks a bit like a delectable Easter egg. You can't stop after making just one. These cases make wonderful gifts._

**Materials and Supplies**

**FABRICS:**

•2 squares 6˝ × 6˝ of muslin for foundations

•Small pieces of 6 to 8 fancy fabrics (solids, prints, and textures)

•1 rectangle 6˝ × 15˝ of fancy fabric for lining and backing

•1 rectangle 6˝ × 15˝ of fleece _or_ needle-punched batting

**OTHER MATERIALS:**

•Embroidery threads (various colors and types)

•Silk ribbons for embroidery

•Needles (embroidery, chenille, and tapestry)

•Lace, ribbons, and trims for embellishments

•Beads, Nymo beading thread, and #10 sharps needle

•12˝ of 1¼˝-wide heavy velvet ribbon for needles

•12˝ of satin ribbon for ties and hinge

•18˝ of fancy cording for edging

•1 rectangle 5˝ × 7˝ of template plastic

•1 rectangle 6˝ × 8˝ of heavy art board (I use Crescent Hot Press Illustration Board.)

•Glue, such as Aleene's Original Tacky Glue

•Darning needle and heavy thread

•Water-erasable pen

Crazy Quilting and Embellishments

1. Trace the oval pattern onto template plastic and cut out along the actual-size line (refer to Using Plastic Window Templates). Make an additional template using the cutting line.

2. Using the window template, mark and cut the following pieces: 4 art board and 1 fleece. Using the cutting line template, mark and cut the following pieces: 1 fleece, 1 muslin, and 3 fancy fabric (2 linings and 1 backing).

3. Fill in the remaining muslin square with crazy quilting.

4. Place the window template on the crazy quilt square and move it around until you find a pleasing design. Mark the outline with the water-erasable pen. Cut out ½˝ beyond the marked lines.

5. Embellish and embroider the crazy quilt piece. Add beads, buttons, and doodads.

Needlecase Assembly

1. Starting from the bottom, stack the muslin, art board, smaller piece of fleece, larger piece of fleece, and crazy quilted oval. (The crazy quilt piece will be a bit larger than the others.) Turn the stack over.

2. With a darning needle and heavy thread, whipstitch the finished oval around the fleece and art board, using the bottom muslin as an anchor. Sew around the oval twice, stitching deeper into the muslin on the second round to pull the assembly taut and even.

3. Spread glue on a side of an art board piece. Place the fancy backing fabric, wrong side down, onto the glued area. Clip the seam allowances, fold to the back, and glue in place.

4. Repeat Step 3 with the 2 lining ovals and remaining art board pieces. Place the velvet ribbon in place and glue the edges to the back.

5. Glue the crazy quilted oval to a lining oval. Insert the end of a 5˝ piece of ribbon for the tie and a 2˝ piece of ribbon for the hinge. Make sure that ¾˝ of each ribbon is between the ovals.

6. Glue the backing oval to a lining oval. Insert the end of a 5˝ piece of ribbon for the tie. Insert the other end of the ribbon for the hinge, leaving a ¼˝ space so it will lie flat when closed. Make sure the velvet ribbons form a V shape when the needlecase is open.

7. Place a bead of glue along the oval edges and cover with the fancy braid. Tuck the raw edges in between the 2 halves of each oval piece.

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>
Garden Shed

**Finished size:** 9˝ × 9˝

 **Finished center size:** 4½˝ × 5˝

_The Garden Shed project is a great way to combine artwork with crazy quilting. This small crazy quilt square can be framed like a painting or become part of a wallhanging or art-to-wear project. It is a good beginning project that helps you gain the confidence to go on to more complicated cottage projects._

**Materials and Supplies**

**FABRICS:**

•1 square 10˝ × 10˝ of muslin for foundation

•1 square 6˝ × 6˝ of white silk or fine cotton

•10 squares 7˝ × 7˝ of fancy fabrics (solids, patterns, and textures)

**OTHER MATERIALS:**

•Watercolor paints (blue, yellow, green, burnt umber, orange, red, and purple)

•2 watercolor brushes (1 medium and 1 fine)

•2 Pigma Micron pens, fine (black and brown)

•Mechanical pencil and tracing paper

•1 ready-made mat with 5˝ × 7˝ opening

•Embroidery threads (various colors and styles)

•4mm silk ribbons for flowers (2 greens, 2 pinks, purple, yellow, and coral)

•7mm silk ribbons for flowers (green, pink, and coral)

•Needles (embroidery, chenille, and tapestry)

•Lace, ribbons, and trims for embellishment

•Lightbox ( _optional_ )

•Framing mat, 9˝ × 9˝ ( _optional_ , for framing)

Painting Process

TIP

Paint with watercolors that have been diluted so that the stain will not be too heavy. It is better to paint several light layers than a single heavy one.

1. Trace the garden shed pattern onto the silk fabric with a mechanical pencil. Then trace the pencil lines with a Micron permanent-ink pen. (I use the finest line possible.) Using both pen colors, try to put in as much detail as possible.

2. Tape the top and bottom edges of the silk square into a 5˝ × 7˝ mat. This allows you to hold the silk square up and off the table. Don't worry if you get paint on the mat—this will be a working mat.

3. Work in a set order from the back to the front. Start with the blue sky. Lightly dampen the sky area with water to help the blue blend better. Make a wash and paint it on in horizontal strokes with the larger brush. Leave some white for clouds. Let the paint dry completely. The rest of the paint will be added to dry fabric.

4. Paint the tree shapes that are behind the fence by dabbing in 2 or 3 shades of green. Let the greens bleed into each other. Next, paint the fence, followed by the buildings and the grass areas. Dab in the shrubs and add some shadows, which can be created by adding a bit of purple to a color.

5. Once the watercolor is dry, press the fabric with an iron and prepare it for crazy quilting.

Crazy Quilting and Embellishment

1. Cut the watercolor into a 5-sided centerpiece and place it on the muslin square.

2. Fill in the square with crazy quilting. Try not to crowd the picture too much.

3. Embroider the garden flowers. Follow the stitch guide (below) and refer to Stitch Dictionary for help with the stitches.

4. Embellish and embroider the crazy quilt areas. Add beads, buttons, and doodads if desired.

5. Square up the block to 9˝ × 9˝.

**Framing Ideas**

For additional ideas for this project, refer to Framing Ideas or my book _Free-Form Embroidery with Judith Baker Montano_ (see About the Author).

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>
Chicken Bumble Pincushion

**Finished size:** 4˝ × 4½˝

_A bumble was originally a Victorian baby toy. I was gifted with a crazy quilted bumble in Australia and fell in love with it. Later I saw a rooster bumble made with quilted squares—and then made one for my friend Phyl Drew. They are fun to make and wonderful pincushion gifts. If you wish to make a traditional bumble, simply leave off the beak, wattle, and tail feathers._

**Materials and Supplies**

**FABRICS:**

•2 squares 5˝ × 5˝ of muslin for foundations

•Small pieces of 8 fancy fabrics (solids, prints, and textures)

•1 square 4½˝ × 4½˝ of fancy fabric for tail

•1 square 3½˝ × 3½˝ of fancy fabric for tail

•1 square 4˝ × 4˝ of red fabric for wattle and comb

•1 square 2˝ × 2˝ of gold fabric for beak

**OTHER MATERIALS:**

•Embroidery threads (various colors and styles)

•Silk ribbons (various colors and styles)

•Needles (embroidery, chenille, and tapestry)

•Lace, ribbons, and trims for embellishments

•Beads, Nymo beading thread, and #10 sharps needle

•1 square 8˝ × 8˝ of template plastic

•Polyester fiberfill

•2 black beads for eyes

Crazy Quilting and Embellishment

1. Trace the chicken bumble pattern onto template plastic and cut out along the cutting line (refer to Using Plastic Window Templates). Trace the comb and wattle patterns onto template plastic and cut out.

2. Fill in the 2 muslin squares with crazy quilting. Keep the pieces small.

3. Place the window template on the crazy quilt squares and move it around until you find a pleasing design. Mark the outline with the water-erasable pen. Cut out on the cutting line.

4. Embellish and embroider the crazy quilt pieces. Add beads, buttons, and doodads. Set aside.

Pincushion Assembly

1. Fold the 4½˝ × 4½˝ tail square into a prairie point and press.

2. Fold the 3½˝ × 3½˝ tail square into a prairie point and press. Pin this prairie point on top of the prairie point from Step 1 as shown.

3. Mark and cut 2 red wattles and 2 red combs. Sew on the sewing line, turn right side out, and press. Add additional embroidery to the wattle and comb as desired. Pin in place on a crazy quilt square.

4. Fold the gold 2˝ × 2˝ square into a prairie point; then fold again. Pin in place on the beak area, folded side up.

Pin the three pieces (wattle, comb, and beak) in the designated areas.

5. Place the crazy quilt squares right sides together. Sew on the sides designated 1, 2, and 3.

6. Turn right side out. Match up the seamlines of side 1 and side 3. Press down to form a center fold on each side.

7. Pin and sew the tail pieces on top of the side 1 seam. Trim the excess tail fabric.

8. Turn wrong side out and sew 1˝ in at the center fold on each side. Turn right side out and stuff the bumble with polyester batting. Hand stitch the opening closed.

9. Sew the eyes in place. Sew a bead on and through to the other side. Pull it in a bit to create an indentation.

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>
Floral Swing Purse

**Finished size:** 6˝ × 9˝

_This elegant purse is suitable for any occasion, be it an afternoon tea, a wedding, or an evening at the opera. If it is a very special wedding, the purse can be made to complement the bride's colors and then given to her as a loving and lasting memento._

**Materials and Supplies**

**FABRICS**

•1 rectangle 14˝ × 20˝ of muslin for foundations

•12 squares 9˝ × 9˝ of fancy fabrics (4 solids, 4 prints, and 4 textures)

•1 rectangle 14˝ × 20˝ of silk for lining

•1 rectangle 14˝ × 20˝ of iron-on interfacing

**OTHER MATERIALS:**

•Embroidery threads (various colors and types)

•Silk ribbons (various colors and types)

•Needles (embroidery, chenille, and tapestry)

•Lace, ribbons, and trims for embellishments

•Beads, Nymo beading thread, and #10 sharps needle

•Buttons and doodads

•10˝ × 13˝ piece of template plastic

•2 yards each of 5 cords for purse cording

•Glue, such as Aleene's Original Tacky Glue

•Water-erasable pen

**For floral overlay:**

•10 silk ribbons, 4mm, in floral colors

•5 silk ribbons, 4mm, in green

•2 silk ribbons, 7mm, for loop flowers

•2 satin ribbons ⅜˝ for concertina roses

•Beads or freshwater pearls for floral spray

•Rust and green thread for featherstitch

Crazy Quilting and Embellishment

1. Trace the purse pattern onto template plastic and cut out on the cutting line (refer to Using Plastic Window Templates).

2. Trace the window template on the muslin and cut out 2 panels ¼˝ beyond the outline. Mark and cut out the following pieces on the cutting line: 2 interfacing and 2 lining.

3. Fill in the muslin panels with crazy quilting. Iron flat, using spray starch on the back.

4. Place the window template on the crazy quilt panel and move it around until you find a pleasing design. Mark the outline with the water-erasable pen. Cut out on the cutting line.

5. Fuse interfacing to the back of the crazy quilt panels.

6. Embroider and embellish the crazy quilt panels. Add beads, buttons, and doodads.

Purse Assembly

1. Place the crazy quilt panels and lining pieces right sides together. Sew the outside edges of each pair with a ¼˝ seam, leaving a 3˝ opening on a side.

2. Turn the pieces right side out and press. Sew the lining opening closed. Whipstitch the 2 lined pieces together, leaving the upper sides open as shown on the pattern.

3. Make a braid or twisted cord. Mark the center of the bottom of the purse.

4. Place beads of glue along the outside edges and pin the cord in place, allowing for extra at the bottom to form a knotted tassel. Let the glue dry; then tack the cord in place with strong thread. Be sure to take extra stitches at the side openings.

5. Tie the cord ends into a knotted tassel at the bottom center. Decorate the tassel as desired.

6. Add a snap or ribbon ties.

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>
Heirloom and Postcard Collage

Detail from _The Hanley Quilt_

**Finished size:** 8˝ × 10˝

_Create a beautiful heirloom using theMontano Centerpiece Method to surround family photos or vintage postcards. I find postcards in antique stores or use copyright-free downloads. The collage can be framed as is, or you can piece together several to form a wallhanging or small quilt._

**Materials and Supplies**

**FABRICS:**

•1 rectangle 9˝ × 11˝ of muslin for foundation

•12 squares 8˝ × 8˝ of fancy fabrics (solids, prints, and textures)

•Silk fabric with 4˝ × 6˝ photo transferred on it for centerpiece

•2 rectangles 12˝ × 14˝ of fleece for framing

**OTHER MATERIALS:**

•Embroidery threads (various colors and types)

•Silk ribbons for embroidery

•Needles (embroidery, chenille, and tapestry)

•Lace, ribbons, and trims

•Beads, Nymo beading thread, and #10 sharps needle

•Buttons and doodads

•Picture mat with desired opening

•Glue, such as Aleene's Original Tacky Glue, for framing

Crazy Quilting and Embellishment

1. Cut the piece of silk with the photo transfer into a 5-sided centerpiece and place it on the muslin. Fill in the muslin with crazy quilting using the Montano Centerpiece Method.

2. Press and trim the piece to 8½˝ × 9½˝.

3. Embellish and embroider the crazy quilt piece. Add beads, buttons, and doodads.

4. If desired, add silk ribbon embroidery to highlight the photograph or postcard.

Wallhanging Assembly

Make the desired number of collaged rectangles. Sew together the rectangles with ¼˝ seams. Press the seams open. Add borders if desired (see Borders).

TIP

If you want your quilt to appear as an overall crazy quilt piece, hide your seamlines using the technique in Overlapping.

Framing Ideas

For additional ideas for this project, refer to Framing Ideas or my book _Free-Form Embroidery with Judith Baker Montano_ (see About the Author).
Victorian Christmas Ornaments

Finished sizes: Heart 3¾˝ × 3½˝ Basket 4½˝ × 3½˝ Bell 3¾˝ × 3¾˝ Stocking 3½˝ × 4¾˝

_Here are four Victorian ornaments that are sure to become treasured heirlooms. The heart, basket, and stocking can be made into double-sided soft ornaments that also function as gift holders. These ornaments will create wonderful memories for all the special people in your life._

**Materials and Supplies**

**FABRICS:**

•2 squares 7˝ × 7˝ of muslin for foundation

•Small pieces of 10 fancy fabrics (solids, prints, and textures)

•1 square 8˝ × 8˝ of fancy fabric for backing

•1 rectangle 6˝ × 14˝ of fleece, such as Pellon Fleece

**OTHER MATERIALS:**

•Embroidery threads (various colors and types)

•4mm silk ribbons (various colors and types)

•Needles (embroidery, chenille, and tapestry)

•Lace, ribbons, and trims for embellishments

•Beads, Nymo beading thread, and #10 sharps needle

•Lace, ruffled or flat, for embellishing and edging

•Buttons and doodads

•¾ yard of rat-tail cord

•1 square 10˝ × 10˝ of medium-weight art board (I use Crescent Hot Press Illustration Board.)

•1 square 7˝ × 7˝ of template plastic

•Large darning needle and heavy thread

•Glue, such as Aleene's Original Tacky Glue

•Water-erasable pen

Crazy Quilting and Embellishment

1. Trace the pattern of your choice onto template plastic and cut out along the actual-size line (refer to Using Plastic Window Templates).

2. Using the window template as a pattern, mark and cut out the following pieces for your chosen ornament: 2 art board, 3 fleece, and 1 muslin.

3. Fill in a muslin square with crazy quilting. Keep the pieces small. Press the square from the back.

4. Place the window template on the crazy quilt square and move it around until you find a pleasing design. Mark the outline with a water-erasable pen. Cut out ½˝ beyond the marked outline.

5. Embellish and embroider the crazy quilt piece. Add beads, buttons, and doodads.

Ornament Assembly

1. Place the backing fabric on a flat surface, wrong side up. Smooth glue on a side of the art board. Place the art board piece, glue side down, on the back of the backing fabric. Trim the fabric ½˝ from the art board edge and clip the edges.

2. Place beads of glue along the art board edge and fold the fabric over. Finger-press as you go.

3. Starting from the bottom, stack the muslin, art board, 3 fleece pieces, and crazy quilt piece. (The crazy quilt piece will be a bit larger than the others.) Turn the stack over.

4. With a darning needle and heavy thread, whipstitch the crazy quilt piece around the fleece and art board, sewing into the muslin on the bottom. Go around twice, stitching deeper into the muslin on the second round to pull the assembly taut and even.

5. Turn the assembly over and mark the top for the hanging cord.

6. Glue lace to the edge. The heart ornament has lace all around, the bell has lace on the bottom edge, and the basket has lace on the top edge. Make sure the lace extends beyond the edge of the shape. The stocking has lace across the top edge, forming a cuff.

7. Spread a heavy layer of glue across the back of the assembly. Position the backing piece on the back. While the glue is still wet, insert the tails of the hanging cord between the finished front and back at the marked points.

8. Press together tightly. Some glue will ooze out. Place rat-tail or other fancy cording along the edges and finger-press. Let the glue dry and tack the cord into place with thread.

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>
Cottage Garden

**Finished size:** 8½˝ × 11˝

 **Finished center size:** 4˝ × 5¾˝

_This painted and stitched project can be framed as a painting or tucked into a crazy quilt surrounding. Painted on aida cloth and surrounded by crazy quilting and stitching, this is a good cottage project for a beginner._

**Materials and Supplies**

**FABRICS:**

•1 rectangle 6˝ × 8˝ of aida cloth, 18 count (fine weave)

•2 rectangles 6˝ × 8˝ of fleece, such as Pellon Fleece

•12 squares 9˝ × 9˝ of fancy fabrics for crazy quilting

**OTHER MATERIALS:**

•2 Pigma Micron pens, fine (black and brown)

•Watercolor paints or acrylic paints (blue, red, yellow, umber, and green)

•3 brushes (small, medium, and large)

•Variegated yarns (a variety of mohair or wool)

•Embroidery threads (a variety of greens, reds, purples, and browns)

•4mm silk ribbons (flower colors, several greens)

•Needles (embroidery, chenille, and tapestry)

•Lace, ribbons, and trims for embellishments

•Beads, Nymo beading thread, and #10 sharps needle

•Mechanical pencil and tracing paper

•Spritzer bottle

•Lightbox ( _optional_ )

Painting Process

1. Trace the cottage outline onto the aida fabric with a mechanical pencil. Go over the tracing using a permanent brown fine-point pen. Sketch in shadow and detail using the permanent black fine-point pen.

2. Prepare and dilute the paints—you may have to use 2 or 3 layers, but diluted paints work best and make for fewer problems overall (see Fabric Painting).

3. Dampen the sky area, using a spritzer or the large brush. Paint the sky. Keep the cottage roof dry.

4. Dab in the trees with green. Allow the greens to merge with each other.

TIP

Dry the paint in between layers with an iron or hair dryer.TIP

5. Lightly dampen the foreground area; then block in the grass and flower beds using umber, green, and yellow.

6. Mix blue and red paint to create purple paint for shadows. Paint these shadows in the areas you think would be in shadow.

7. Using a light hand, paint the walls and pathways umber. Dampen and lightly paint the house using a mix of yellow and umber. For shading on the house, use a mix of yellow, umber, and purple.

8. Let all the layers dry thoroughly. Add further details with watercolor pencils, if desired.

Embellishment

When all the painting is completed and dry, embroider the garden flowers. Follow the stitch guide (below) and refer to Stitch Dictionary for help with the stitches. _Always start from the farthest point in the background and work your way forward!_

Surround the cottage with crazy quilting and embroidery. You can make the finished project as small or large as you like.

Framing Ideas

For additional ideas for this project, refer to Framing Ideas or my book _Free-Form Embroidery with Judith Baker Montano_ (see About the Author).

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>
Sabre Party Pouch

**Finished size:** 5˝ × 7¼˝

_This is a two-sided sabre pouch in a large, dramatic size. It can be made into a casual bag or an elegant one depending on the fabrics you choose. For a special occasion, perhaps a piece of your dress's fabric can be used in the crazy quilting._

**Materials and Supplies**

**FABRICS:**

•1 square 10˝ × 10˝ of muslin for foundation

•10 squares 9˝ × 9˝ of fancy fabrics (solids, prints, and textures)

•1 square 10˝ × 10˝ of fancy fabric for backing

•1 rectangle 10˝ × 20˝ of fancy fabric for lining

•1 rectangle 10˝ × 20˝ of iron-on interfacing

**OTHER MATERIALS:**

•Embroidery threads (various colors and types)

•4mm silk ribbons for embroidery

•Needles (embroidery, chenille, and tapestry)

•Lace, ribbons, and trims for embellishments

•Beads, Nymo beading thread, and #10 sharps needle

•Buttons and doodads

•1 rectangle 9˝ × 12˝ of template plastic

•2 yards each of 5 cords in various colors for twisted cord

Crazy Quilting and Embellishment

1. Trace the pouch pattern onto the template plastic. Cut out along the cutting line (refer to Using Plastic Window Templates).

2. Trace the window template on the muslin and cut out the shape ¼˝ beyond the outline. Trace and cut the following pieces on the cutting line: 1 backing, 2 interfacing, and 2 lining.

3. Fill in the muslin panel with crazy quilting. Press the panel from the back. Fuse a piece of interfacing to the back.

4. Place the window template on the crazy quilt piece and mark with the water-erasable pen. Cut out the shape on the cutting line.

5. Fuse the interfacing to the back of the crazy quilt and backing pieces.

6. Embellish and embroider the crazy quilt panel. Add beads, buttons, and doodads.

7. Fuse the remaining piece of interfacing to the backing.

Pouch Assembly

1. Place the lining pieces on the crazy quilt and backing pieces, right sides together. Sew together the top edges of each set using a ¼˝ seam. Trim the seam to ⅛˝.

2. Place the seamed pieces, right sides together, on top of each other. Sew along the outside edges using a ¼˝ seam and leaving a 3˝ opening on a side of the lining.

3. Reach into the opening in the lining and pull the piece right side out. Press the piece well. Sew the lining opening closed. Now push the lining to the inside. Press or sew along the top seam.

4. Make a braid or twisted cord. Place beads of glue along the edges and pin the cord in place, allowing for extra at the bottom to form a knotted tassel. Tack in place with a strong thread.

5. Tie the cord ends into a knotted tassel. Decorate the tassel as desired.

For all printable patterns or digital content: <http://tinyurl.com/11103-patterns-download>
Stitch Dictionary

_This is a dictionary of stitches and motifs commonly used in crazy quilting. Once you have mastered the basics, you can go on to the variations. Most often, embroidery stitches are used to cover seamlines on base work, but they can also be used as decorative elements anywhere on the piece. Combinations of stitches work well in crazy quilting because they add so much color and design. By using different colors of thread for each step, you can create wonderful highlights in your work. Try the combinations illustrated, and then try your own. Remember that repetition of stitches is an important element in good design. If you are left-handed, reverse the stitch instructions._

_Judith Baker Montano's Embroidery & Crazy Quilt Stitch Tool (C&T Publishing) features illustrations for both left-handed and right-handed stitching._

**EmbroideryStitches**

**Buttonhole Stitch**

Work this stitch from left to right in a horizontal line.

1. Come up at A, hold the thread down with your thumb, and go down at B.

2. Emerge at C, bringing the needle tip over the thread and pulling it into place. The bottom line formed should lie on the seamline. Keep the vertical stitches straight and even.

**COMBINATIONS**

**VARIATIONS**

**ButtonholeClosed Stitch**

Work this stitch from left to right.

1. Come up at A, hold the thread down with your thumb, and go down at B, angling the needle to the left to come up at C.

2. Go back down at B, angling the needle to the right.

3. Come up at D. Bring the needle tip up and over the thread and pull it into place.

**Buttonhole Circular Stitch**

1. Draw a circle.

2. Come up at A on the outside of the drawn line.

3. Work in a counterclockwise direction. Go down at center B; come up on the right of the thread at A, with the needle tip over the thread.

4. Pull firmly into place and repeat the stitch. Continue around until the shape is filled.

**ChainStitch**

This stitch is similar to the lazy daisy except that it is continuous. Work the stitch from the top or work from right to left.

1. Come up at A and form a loop, using your thumb to hold it in place.

2. Go down at B, right beside A but not into it.

3. Come up at C with the needle tip over the thread.

4. Repeat this stitch to form a chain.

**Chevron Stitch**

Work this stitch from left to right along two parallel lines.

1. Starting on the bottom, come up at A and go down at B.

2. Come up at C. This will be the center of the stitch. Move to the right and make a straight stitch up to the top line.

3. Insert the needle at D and come up at E.

4. Go down at F and come back up at D, which is the center of the stitch. Make a straight stitch to the right and down to continue the pattern.

5. Work the stitches evenly, alternating from side to side. Think of the small backstitches as little tabletops!

**COMBINATIONS**

**Colonial Knot**

This lovely little knot sits up and has a little dimple in the center.

1. Come up at A. Hold the thread loosely in your free hand and push it into a backward C.

2. Poke the tip of the needle into the backward C so that the thread lies on top of the needle. With your free hand, wrap the thread up, over, and under the tip of the needle. This forms a figure eight.

3. Pull the wraps firmly around the needle and go back into B, which should be right beside A.

4. Hold the knot firmly off to the side while you gently pull the thread through the fabric.

**Couching**

Couching is a decorative way to hold a long (laid) thread in place.

1. Draw a line where the couched thread will be and position the thread on the line. This is known as a _laid_ thread. Choose either a matching thread or a decorative thread, ribbon, or yarn.

2. Come up at A and go down at B, creating a small loop stitch to hold the laid thread in place. Place the holding stitches at regular intervals.

**Cretan Stitch**

Work this stitch from left to right, along two parallel lines for more even spacing.

1. Start at the bottom left corner. Come up at A, go down at B, and come back up at C.

2. Twist the needle in a downward vertical stitch toward the center but not into it. Keep the tip of the needle over the thread.

3. Go down at D and come up at E, taking an upward vertical stitch.

4. Work this stitch evenly on each side of the seam. Keep the vertical stitches evenly spaced.

**VARIATION:CRETAN DECORATIVE**

**COMBINATIONS**

**Featherstitch (Single and Double)**

This stitch begins with a single featherstitch and alternates back and forth.

**Single featherstitch** This stitch is best worked along a drawn line or a seamline to create even stitches. Work the stitch from the top down.

1. Come up at A and go down at B (keeping your stitches even with and straight across from the left of A); then come up at C.

2. Now move to the right of C and go down at D, emerging from E.

3. Repeat the stitches, alternating back and forth and working downward in a vertical column.

**VARIATION**

**Double featherstitch** The double featherstitch is worked in the same manner as the single featherstitch (at left), but 2 stitches swing to the left and 2 stitches swing to the right, alternating downward.

**COMBINATIONS**

**FrenchKnot**

1. Come up at A and wrap the thread twice around the needle.

2. Hold the thread firmly in your free hand and insert the needle at B (making sure to be right beside A but not going into it).

3. Hold the knot in place until the needle is through the fabric and the thread slips from under your thumb.

**Fly Stitch**

The fly stitch looks like the letter Y.

1. Come up at A and go down at B (even with and to the right of A).

2. Come up at C with the needle tip over the thread. Draw the thread gently through the fabric.

3. Go down at D (which should be the length of the desired finished stitch) to form the catch stitch.

**Herringbone Stitch**

Work this stitch from left to right. The herringbone stitch lies evenly on both sides of the seam. Keep the horizontal stitches even, as these stitches create the design.

1. Come up at A, go down at B, and then up at C, making a small horizontal backstitch.

2. Continue stitching, alternating from top to bottom, always moving from left to right.

**COMBINATIONS**

**Lazy Daisy Stitch**

The lazy daisy is a looped stitch, like a free-floating chain stitch.

1. Come up at A and form a loop, using your thumb to hold it in place.

2. Go down at B, right beside A but not into it.

3. Come up at C with the needle tip over the thread. Go down at D to make an anchor stitch.

**Note:** The anchor stitch can be short or long, depending on the desired effect.

**COMBINATIONS**

**PistilStitch**

This stitch is often used for stamens in the centers of flowers.

1. Come up at A and go up the thread a short distance. Wrap the working thread twice around the needle to form a French knot.

2. Hold the knot firmly in place and go down through the fabric at B, making sure the pistil stitch is stretched out.

3. Hold the knot in place until the needle is through the fabric and the thread slips from under your thumb.

**Running Stitch**

Work this stitch from right to left.

1. Come up at A, go down at B, and emerge at C.

2. Make small, even stitches while working the needle above and below the fabric. The space between the stitches should be the same length as the stitches themselves.

**Satin Stitch**

This stitch was a favorite of Victorian crazy quilters. Work this stitch in single or double layers to create a thick, smooth blanket of stitching. The stitch can be worked straight up and down, side to side, or at an angle by laying straight stitches close together to conform to an outlined shape.

1. Come up at A and down at B. Emerge at C.

2. Continue this sequence to fill in the shape.

**StemStitch**

This stitch is used for outlines. I often use it for tight curving lines—the trick is to keep the needle on the inside of the curve. Switch the needle from side to side in an undulating line, always on the inside of the curve. The working thread should always be on the outside of the curve.

Work this stitch from left to right.

1. Draw a line the desired length of the stem stitch.

2. Come up at A and go down at B, making a backstitch along the drawn line.

3. Come up at C (the midpoint of the previous stitch). Keep the thread below the needle and work in evenly spaced stitches.

**ABCStraight Stitch**

1. Come up at A and go down at B, making the stitch the desired length.

2. Pull the thread firmly into place. The straight stitch can vary in length and direction. Make sure the stitches are not too long or too loose because they will snag.

**Fans**

Embroidered fans are a traditional decorative touch in crazy quilting. They are very effective when used in a row to cover seamlines or when enlarged to act as a highlight. Be sure to pull the threads firmly into place or they will snag and lose their shape.

**COMBINATIONS**

**VARIATIONS**

**Webs**

What is a crazy quilt without a spider and its web? This is a favorite embroidery motif. Use short lengths of a fine-quality metallic thread or a single strand of silk floss for the best effect. All the spokes of the webs shown are couched down.

**Spiders**

I make spiders with six legs instead of eight. Each leg is made of two chain stitches connected to a body made of two iridescent beads.

**Free-FormTrees**

My favorite stitches for trees are the feather, stem, and chain stitches. The trunk and branches are stem and chain stitches, laid closely together to act as fillers. The variety of colors creates shading. Random uneven featherstitches represent leaves and twigs. Combine stitches to create a variety of trees. The sampler at right shows combinations of lazy daisy, satin, straight, chain, and featherstitches, along with French knots. These combinations create trees with widely different personalities. Bonsai, evergreens, weeping willows, apple trees, and other types of trees and shrubs can be wonderful highlights in crazy quilting.

Detail from _Ode to Paloma_. The tree branch spans two blocks. It was created using chain and stem stitches, cheese cloth, and feather stitches.

**Silk Ribbon Stitches**

**Threading Up**

Silk ribbon is delicate and quite expensive, so use it wisely. Use a short length of ribbon (12˝ to 16˝). Choose a needle big enough to make a hole in the fabric—this way the ribbon will not be stressed.

• **Needle eye lock** This holds the ribbon firmly on the needle. Thread the ribbon through the eye of the needle and pierce an end of the ribbon directly in the center, about ⅛˝ from the end. Hold the needle and pull the long end of the ribbon through the hole to firmly lock the ribbon onto the needle.

• **Soft knot** After making the eye lock, make a soft knot by grasping and piercing the end of the ribbon (A). Make a straight stitch, working from the bottom up (B). Pull the needle and ribbon through the straight stitch to form the soft knot.

• **Ribbon manipulation** Tension is very important with silk ribbon embroidery. Pull it too tight and the ribbon will look like thick thread; leave it too loose and the shapes will lose their form. In most of the stitches, it is important to keep the ribbon flat against the fabric. You can use your free thumb to hold the ribbon flat. Keep your thumb in place while stitching and tighten the ribbon over your thumb. This will remove any wrinkles or twists. A round toothpick or a knitting stitch holder is also good for manipulating and holding the ribbon flat.

• **Ribbon smoothing** Sometimes the ribbon will fold and needs to be adjusted before the next stitch is taken. Hold the ribbon flat with your free thumb and slide the needle under the ribbon. Gently slide the needle back and forth from the thumb grasp to the needle. This will flatten out the fold and give the stitch more volume.

**Bullion Tip LazyDaisy**

Use about 12˝ of 4mm ribbon on a chenille needle.

1. Come up at A and then go back in at A and come up at B. Form a loop as in a lazy daisy.

2. Hold the loop with your free thumb and push the needle through the loop until just the eye is sticking out and the needle is over the loop. Push on the eye of the needle to tip up the end of the needle.

3. Wrap the ribbon around the needle 2 or 3 times, making sure the ribbon lies flat.

4. Hold your thumb down on top of the wraps and gently pull the needle through the wraps. Tighten up the knot to form a smooth tip.

5. Stretch the stitch out and go down at C. This stitch can be used for a floral or leaf shape.

**Iva's Rose**

Iva Galloway from Puyallup, Washington, is the creator of this wonderful rose. It can be worked in 7mm ribbon for a large, blowsy rose or in 4mm ribbon for a small, dainty rose.

**7MM ROSE**

Use about 12˝ of ribbon on a large chenille needle.

1. Come up at A, measure 2½˝ to 3˝ of ribbon, and tie a firm slipknot at this point.

2. Insert the needle at B, just below the knot. Take generous zigzagging running stitches to the base.

3. Go down into A, but be sure not to go through the knot!

4. Pull gently into place. The slipknot acts as a stopper and forms the center of the rose.

**4MM ROSE**

Use about 12˝ of ribbon on a medium chenille needle.

1. Come up at A, measure 1½˝ to 2˝ of ribbon, and tie a firm slipknot at this point.

2. Follow the instructions for the 7mm rose.

**Japanese RibbonStitch**

This ribbon stitch was originally used, along with the straight stitch, to decorate the royal garments of the French court. This leaf stitch is best used for saber-shaped leaves, such as daffodil, tulip, and iris leaves.

1. Come up at A, making sure the ribbon lies flat on the fabric. Run the needle down under the ribbon to flatten it out.

2. Pierce the center of the ribbon at B, which should be the desired stitch length.

3. Gently pull the ribbon through to the back until its edges curl up to a point at the tip. ( **Note:** The effect of the stitch will be lost if the ribbon is left with a loop on the tip or if it is pulled too tightly.)

4. Vary the petals and leaves by adjusting the length and tension of the ribbon before piercing it with the needle.

**Joyce's Fargo Flower**

Joyce Valley from Fargo, North Dakota, made a mistake while trying to make Ruth's Rosettes and came up with this wonderful little flower. It can be used as a single flower or clustered to form flowers such as hydrangeas. Make a cascade by going from five gathers to four gathers to three to two and then a couple of single gathers, as shown in last illustration.

1. Bring the needle up at A and hold the ribbon in your free hand.

2. With the needle held very close to A, take 4 long running stitches.

3. Pull the needle through the running stitches. Go down as close to A as possible and gently pull the ribbon into place.

**Judith's Curled Leaf**

1. Start at A and slide the needle under the ribbon to smooth it out.

2. Decide the desired stitch length and, with the tip of the chenille needle at B, push the ribbon (in the center) into a curl or curve.

3. Pierce through the ribbon and fabric, and gently pull the ribbon through until a small curl forms on the tip.

4. Pull gently, or this stitch will pull out and become a simple straight stitch.

**Loop Flower**

1. Mark a small circle as a guide for the stitches and draw the points for 3, 4, or 5 petals.

2. Come up at A in the center of the circle.

3. Go down ⅛˝ away at B. Adjust the loop by using a round toothpick under it; make sure the loop is long enough to reach the outside of the drawn circle. Keep the toothpick in place until you complete the next loop.

4. Repeat this process until all the petals are formed. Thread a needle with embroidery thread and add French knots to the center. This will decorate the flower and hold the loops in place.

**Montano Knot**

Use 16˝ of 4mm ribbon on a chenille needle.

1. Draw a slight curve on the fabric to follow with the knots.

2. Hold the ribbon loosely in your free hand. Come in close to the base, wrapping the ribbon around the needle 7 times, and insert the tip of the needle into A (see illustration).

3. Let go of the wraps and pull the ribbon gently through to the back.

4. Go below and slightly off-center to create the next Montano knot. This time use 6 wraps.

5. Continue the process, decreasing 1 wrap each time until you reach 3 wraps. Work a couple of 3-wrap knots, a couple of 2-wrap knots, and finally several 1-wrap knots.

6. Fill in with loops of green and Judith's Curled Leaf (above).

**CASCADE**

Choose three different variegated 4mm ribbons or three shades of a color for the Montano knot. Use 16˝ ribbons and a chenille needle.

1. Choose a ribbon and begin making a row of Montano knots, decreasing from 7 wraps to 1 wrap, and form a slight curve with them.

2. Come back with the second ribbon and fill in around the previous stitches, again going from 7 wraps to 1.

3. Repeat the process with the third ribbon.

4. Fill in with green loops and Judith's Curled Leaf.

**Plume Stitch**

1. Work the stitch from top to bottom. Thread a chenille needle with about 12˝ of 4mm silk ribbon.

2. Come up at A and go down ⅛˝ to ¼˝ away at B to make a loop. Control the loop with a round toothpick.

3. Hold the loop in place and come up at C, piercing the fabric and the base of the first ribbon loop. Form another loop and continue down to the desired length. You can diminish the size of the loops as you progress to the bottom for a different effect.

**Rosette Bud**

Thread a chenille needle with about 12˝ of a floral-colored 4mm ribbon.

1. Keeping the ribbon flat, come up at A and go down at B. Come up at C and go down at D, keeping the ribbon flat to create a padded straight stitch. Keep the stitches loose.

2. To create the 2 bud leaves, thread up with a short length of 4mm green ribbon. Angle a straight stitch from the bottom of the padded bud to the right. Make sure the stitch covers the bottom of the padded bud and the ribbon is flat.

3. Angle the second straight stitch to the left, covering the base of the straight stitch leaf.

**Note:** Be sure to use the same green for leaves on the large roses and rosette buds.

**Ruth's Rosettes**

Choose a long length of 4mm silk ribbon.

1. Thread a fine needle with smooth, metallic thread and anchor the ribbon at an end into the edge of the fabric. Take the thread to the back of the fabric. Keep the spacing between the rosettes between ¼˝ and ⅛˝.

2. Come up at A, which is ¼˝ away from the anchor in the middle of the ribbon. Take 4 large running stitches so that 4 "bumps" appear on the needle. End with the needle under the ribbon and go back into the same hole at A.

3. Gently pull the gathers into place, forming a small flower. Anchor the flower with a slipknot on the back. Take a ¼˝ space and come up for the next 4 gathers.

**Spider WebRose**

1. Draw a small circle. Choose green perle cotton or 3 strands of embroidery floss to create the base stitches.

2. Form a fly stitch. Come up at the outside of the circle at A, go down at B, and come up again at C, in the center of the circle with the needle tip over the thread.

3. Go down at D to form the catch stitch. Add a stitch of equal length on each side, forming 5 spokes, coming up from the outside to the center.

4. Thread a tapestry needle with about 10˝ of 4mm ribbon. Come up in the center of the spokes with the ribbon.

5. Working in a counterclockwise direction, weave the ribbon over and under the spokes. Make sure to twist the ribbon and keep it loose as you work. The twists are important, as they form the petals of the rose.

6. Weave the ribbon until all the spokes are covered. Go down to the back.

**Whipstitch Curved**

Thread a tapestry needle with 10˝ of 4mm ribbon.

1. Come up at A and go down at B, making a straight stitch the same length as the width of the ribbon. Come up again at A.

2. Decide which side will be concave and slide the needle to the back, convex side. Keeping the ribbon flat, wrap the straight stitch 2 or 3 times. On the last wrap, push on the concave side with the needle to form a curve and pierce the fabric.

3. Pull the ribbon gently into place. This will hold the curve in the whipstitch.

Framing Ideas

Framing can become very expensive, yet it is such an important part of the finished piece. You should always try to present your artwork in the best possible way. I try to economize costs by working in traditional sizes of mats and frames. Because most of my work is heavily layered, I use a double mat with a floater between the two layers.

1. Purchase the double mat and some foam-core board from your local art store. Lay out your materials: tacky glue, masking tape, fleece, scissors, the finished piece, and the inside mat. Set the outer mat aside.

2. Cut two pieces of fleece: one exactly the size as the inside opening of the mat and another ¼˝ larger all around.

3. Turn the mat over and glue along the inside edge of the opening. Glue the finished art piece onto the mat. With tape, secure two sides, then pull the piece until taut, tape in place until all sides are secure. Set aside until completely dry.

4. Turn the mat over and lay the larger fleece piece directly behind the finished piece, Make sure the fleece edges overlap the edge of the mat.

5. Lay in the smaller fleece and make sure it lines up with the actual mat opening. Smear tacky glue onto the back of the mat and lay the cardboard backing in place.

6. Turn the piece over, pressing firmly until the padding in the back bulges. Lay a cloth over the mat (to protect it from smudges). Set heavy books atop the mat until is completely dry.

7. Cut strips of foam core and glue along the front edges of the inside mat. Glue the outer mat to the strips. Make sure the glass will not touch the artwork. You may have to add more strips to make it deeper. Finally, take the piece to your art store for framing.

**Resources**

**Products**

**Artimis**

artemisinc.com

888-233-5187

_Hand-dyed silk ribbons for embroidery, crafting, and fashion_

**Art Van Go, the Studios**

artvango.co.uk

+44 (0)-1438-814946

(United Kingdom)

_Source for all types of arts and crafts_

**C &T Publishing**

ctpub.com

800-284-1114

_Source for award-winning quilt and craft books, tools, and materials_

**Colour Streams**

colourstreams.com.au

+61 2-6684-2577

(Australia)

_Hand-dyed silk ribbons and threads; products for hand embroidery and textile art; felting, braid trims, and dyed fabrics_

**Dharma Trading Co.**

dharmatrading.com

800-542-5227

_Dyes, paints, silk fabrics, transfer products, books, tools, resists, markers, clothing blanks, and PFD (prepared for dyeing) fabrics_

**Double Trouble Enterprises**

doubletrouble-ent.com

_fax:_ +44 (0)-1628-675699

(United Kingdom)

_Home of internationally famous needlework team of Jan Beaney and Jean Littlejohn; books, DVDs, and a source of suppliers and links_

**Fabric Painting by Ginny Eckley**

fabricpainting.com

281-358-2951

_Colorhue dyes, books, DVDs, stencils, and scarf blanks_

**Flights of Fancy Inc.**

flightsoffancyboutique.com

800-530-8745

_Trims, embellishments, books, patterns, and kits for stamping and crafting—a treasure trove_

**Joggles.com**

joggles.com

401-615-7696

_Everything you will ever need for textile art, cloth dolls, and mixed-media art projects_

**Judith Designs**

judithbakermontano.com

719-742-3388

_Books, artwork, and site for Judith's Studio Seminars_

**Kreinik**

www.kreinik.com

800-537-2166

_Beautiful metallic threads for machine and hand embroidery_

**M'ARt Designs and Artspoken Yardage**

m-artistic.com

**Mokuba Ribbons**

www.mokubany.com

212-869-8900

**Nordic Needle Inc.**

nordicneedle.com

800-433-4321

_Store and catalog for all types of needlework_

**Painter's Threads Collection**

paintersthreads.eu

tentakulum.de

+49 (0)-69-60607033

(Germany)

_Source for hand-dyed threads, textile papers, silk rovings, and cocoons_

**Robert Talbott Carmel**

roberttalbott.com

888-557-0575

_Great outlet for Italian silk, used in the famous ties_

**Sara's Bloom**

sarabloom.com

949-651-8484

_Lace, metallic trims, ribbons, trims and fringes, rayon lace dyes, and brushes_

**Skydyes**

skydyes.com

860-232-1429

_Books, paints, and hand-painted cottons (and sometimes silks)_

**Stef Francis**

stef-francis.co.uk

+44 (0)-1803-323004

(United Kingdom)

_Unusual products: space-dyed silk threads, yarns, ribbons, fabrics, and silk findings_

**St. Theresa Textile Trove**

sttheresatextile.com

859-380-2833

_African artifacts, beads, fabrics, trims, and jewelry findings_

**Superior Threads**

superiorthreads.com

800-499-1777

_Supplier of fine threads in cotton and silk, in variegated colors, and silk ribbons_

**Susan Clarke Originals**

susanclarkeoriginals.com

530-246-8880

_Buttons, charms, glass, and enamel_

**Thai Silks**

thaisilks.com

800-722-7455

_More than 1,400 silk fabrics of every kind; blank scarves and artist items_

**The Thread Studio**

thethreadstudio.com

+61 8-9227-1561

(Australia)

_Unusual threads; everything for textile art, online workshops, and books (orders by phone or email only)_

**Treenway Silks**

treenwaysilks.com

888-383-7455

_Silk ribbon, threads, many unusual silk products; Montano Series of variegated silk threads and ribbons_

**YLI Corporation**

ylicorp.com

803-985-3100

_Variety of threads in silk, rayon, nylon, metallic, and cotton for embroidery, quilting, sewing, serging, and embellishing_

**books**

Aikman, Z. Susanne. _A Primer: The Art of Native American Beadwork_. Denver, CO: Morning Flower Press, 1980.

Bond, Dorothy. _Crazy Quilt Stitches_. Cottage Grove, OR: Self-published, 1981.

Haywood, Dixie. _Crazy Quilting with a Difference_. New York, NY: Dover Publications, 1981.

Howard, Constance. _The Constance Howard Book of Stitches_. London: Batsford, 2005.

McMorris, Penny. _Crazy Quilts_. New York, NY: E.P. Dutton, 1984.

Montano, Judith Baker.

_Art & Inspirations_ (out of print). C&T Publishing, Inc.: Lafayette, CA, 1997.

_The Art of Silk Ribbon Embroidery_ (Print-on-Demand Edition). C&T Publishing, Inc.: Lafayette, CA, 1993.

_The Crazy Quilt Handbook_. C&T Publishing, Inc.: Lafayette, CA, 1986.

_Crazy Quilt Odyssey_ (Print-on-Demand Edition). C&T Publishing, Inc.: Lafayette, CA, 1991.

_Elegant Stitches_. C&T Publishing, Inc.: Lafayette, CA, 1995.

_Floral Stitches_ (Print-on-Demand Edition). C&T Publishing, Inc.: Lafayette, CA, 2000.

_Free-Form Embroidery with Judith Baker Montano_. C&T Publishing, Inc.: Lafayette, CA, 2012.

_Judith Baker Montano's Embroidery & Crazy Quilt Stitch Tool_. C&T Publishing, Inc.: Lafayette, CA, 2008.

_Recollections_. C&T Publishing, Inc.: Lafayette, CA, 1993.

Nichols, Marion. _Encyclopedia of Embroidery Stitches, Including Crewel_. New York, NY: Dover Publications, 1974.
**Index**

Antique method of piecing,

Appliqué, use of in crazy quilting, , ,

Australian photo transfer,

Baker, Bessie Burns, ,

Balance in design, creating,

Base for crazy quilting, see Foundation for crazy quilting

Beads, –

Bond, Dorothy,

Buttons,

Calligraphy,

Centennial Exposition of 1876,

Centerpiece construction method, –

Chinese button balls,

Cigar/cigarette silks, –

Clothing, decorating with crazy quilting, –,

Color schemes for crazy quilting, –

Color wheel,

Cords, –

Country casual look,

Cross-stitch,

Decorating with crazy quilts, contemporary,

Definitions of crazy quilting,

Design elements,

Doilies,

Dyes, dyeing, –, –

Embellishments, –,

Embroidery, –, –, –

Extenders, –

Fabric painting, –

Fabrics, selecting, –

Family memories,

Fan construction method,

Flowers, gathered,

Foundation for crazy quilting, , ,

Friendship quilts,

Garment patterns, adapting crazy quilting to,

Greenaway, Kate, –

Hankies,

Haywood, Dixie,

Highlights, –

Inkjet printing on fabric,

Japanese silk ribbon stitch,

Knots,

Laces, , –

Loops, knotted,

McMorris, Penny,

Meandering ribbons,

Oriental designs, influence of on crazy quilting, –

Outline embroidery,

Overlapping,

Patterned fabrics, balancing, , –

Photos, transferring to fabric, –

Points, ribbon,

Punchneedle embroidery,

Ribbon leaves,

Ribbon ruffle flowers,

Ribbons, , –

Roses, folded ribbon,

Ruched ribbon,

Seamlines, hiding,

Silk ribbon embroidery, , –

Tassels, –

Tea dyeing,

Texture, balancing, , ,

Textures,

Twisted ribbons,

Value, creating with color, ,

Victorian crazy quilts, –

Watercolors, ,

Window templates, plastic,
**About the Author**

**Judith Baker Montano** is a world-renowned Canadian fiber artist, designer, teacher, and author.

Although her work keeps evolving, crazy quilting remains a constant and she has turned it into a contemporary art form.

She is well known for her free-form fiber landscapes and seascapes, which incorporate all aspects of art and needlework techniques. As the best-selling author of ten books, Judith incorporates into her works a unique combination of her photography, watercolors, pen and ink illustrations, and friendly prose along with her needlework designs and love of color.

Judith earned degrees in art and journalism from California State University, Chico. Upon graduation, she painted with the Artists Guild of San Francisco.

She began quilting in 1976 in Houston, Texas, as a founding member of the Kingwood Quilt Guild. _Pekisko Memories_ (1982), an appliqué quilt depicting her childhood home, won Best of Show at the Texas State Fair, the Pacific National Exhibition, and the Calgary Exhibition and Stampede. (Her great-grandmother won at the Calgary show in 1934.)

Judith's interests soon turned to clothing and crazy quilting. Experimenting with materials and her sewing machine, Judith created the Montano Centerpiece Method, her signature machine method of crazy quilting. Crazy quilting became a constant form of expression for Judith, and this led to teaching and her first book.

Judith's garments, quilts, and art pieces have won design awards in Canada and the United States and have been featured in many international museums and galleries. Judith's designs and articles have been featured in countless magazines, including _Quilters Newsletter_ , _Down Under Quilts_ , _Needle & Thread_, _Lady's Circle Patchwork Quilts_ , _Better Homes and Gardens_ , _McCall's Needlework & Crafts_, _PieceWork_ , _Quilts Japan_ , and _The Quilt Life_. For several years she was an associate editor of _Belle Armoire_ magazine.

Judith has appeared on many TV shows, including _The Carol Duvall Show_ , _Simply Quilts_ , and _The Quilt Show_. She has produced several tutorial videos and DVDs, cards, and wrapping paper lines. Judith has also worked as a designer for Robert Kaufman Fabrics, Bucilla Corporation, Butterick Patterns, and Kanagawa Silk Company.

She was presented with the prestigious Governor General's Centennial Award of Canada in recognition of her work in the arts and representation of Canadians living abroad.

Judith and her husband, Ernest Shealy, reside in La Veta, Colorado, in a Victorian cottage, along with an ever-growing menagerie of animal friends.

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