Heartscapes & Poured Color 2 Lookbook by Paula Nadelstern

HEARTSCAPES & POURED COLOR 2 

BY PAULA NADELSTERN

STARSCAPES BY PAULA NADELSTERN | PAGE 12 PRIMARILY PAISLEY BY CLAUDIA CLARK MYERS | PAGE 16 

THE PIVOT BY KAREN BENSON | PAGE 26 

HEARTSTRINGS BY PEGGY TRUE 

PAGE 28

LET THE GOOD TIMES ROLL 

BY PEGGY TRUE 

PAGE 32 

ROSE WINDOW BY RANDA MULFORD | PAGE 36 

NIGHT & DAY 

BY PEGGY TRUE 

PAGE 34 

EXOGENESIS BY RICKI SELVA | PAGE 42 

FOLLOW YOUR HEART BY STEPHANIE SHERIDAN | PAGE 44 

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LOOKBOOK SPRING 2022 

Designing these fabric collections turned out to be my 

personal great escape during the isolating quarantine. Relying on the 

design strategies that are the heartbeats of my quilts—symmetry and 

serendipity laced with abundant color—triggered lots of “what if” 

questions leading to imaginative patterns. It is my heartfelt wish that 

this smaller-than-usual collection of versatile fabrics entices quilters of 

every level to create beautiful patchwork. 

The title was conceived when I thought I heard Twyla Tharp 

say -- in the American Masters documentary “Twyla Moves” -- that she 

starts every new choreography by finding the heartscape of the dance. 

Wow, I thought, what an imaginative phrase. Is it a technical term? 

After rewinding I realized Ms. Tharp actually used the word heartbeat. 

So here we are. With the help of lots of clever people at 

Benartex and the mill, I found the heartbeat of a new fabric collection 

in the midst of a worldwide pandemic. Extreme kudos go to my creative 

friends who share my love of pattern and made these extraordinary 

quilts: Karen Benson, Randa Mulford, Claudia Clark Myers, Ricki 

Selva, Stephanie Sheridan and Peggy True. Randa and Karen also lent 

me their illustration and editing skills. All of these quilt mavens worked 

extremely hard to make me look good.

MY DESIGN PROCESS 

BY PAULA NADELSTERN 

Every now and then, a design idea 

will simply present itself to me out of the blue, 

so to speak. But most of the time, I don’t wait 

for inspiration. I flirt with it, wheedle it, stalk it. 

I want my quilt to look seamless, but putting it 

together is not a seamless process. Designing 

moves forward (and back) in fits and starts. 

Sometimes I worry this will be the time I don’t 

get the magic to work. Usually, I obsessively 

stay in that place and try to force it. I whine, 

I moan, I kvetch, I curse. At times like this, if 

I can stop feeling stressed because I haven’t 

figured out the big picture and just get myself 

to focus on one small task like cutting or 

sewing, the act of doing something calms me 

down and the respite often triggers a 

possible resolution. 

Making a quilt involves so many 

different types of tasks, it makes sense to pick 

one that fits your prevailing mood. Design 

when your powers of observation are at their 

most acute, not when something else in your 

life is vying for immediate attention. Try not to 

be too product-oriented or to judge how you 

are doing by how long it takes. I know this is 

hard because in our complicated lives, time 

is a premium commodity. Even our free time 

gets rigidly scheduled, making us feel cheated 

if we can’t zoom full speed ahead into the 

creative zone. The time spent developing an 

idea differs from problem to problem, and 

person to person. Keep in mind that when 

I start a quilt, I don’t have to relearn the 

techniques I’ve written five books explaining. 

And even though I know what I’m doing, I still 

don’t complete an intricate block in a day. It’s 

more like four or five long days. 

Why are quilters always asked, 

“How long did it take?” Is there a right 

answer? Is shorter better? Does it make 

you more clever that you figured out how 

to race through the process in record time 

and now you can get on with life’s so-called 

important stuff? Or is longer better because 

it shows you are industrious and persevering. 

After examining my labor-intensive quilts, 

people often say, “My, you have so much 

patience.” Are they suggesting that anyone 

with stamina and an unusual capacity to cope 

with boredom could create something like 

it if they were so inclined? What about skill, 

artistry, passion? Without comparing myself to 

Michelangelo, I wonder if that’s the first thing 

they would have said watching him flat on his 

back for four years. 

I’m often asked, what do I do when 

I don’t like the finished version, since I don’t 

do a mock-up that would in theory show the 

finished product before I begin sewing. Here’s 

the answer: I critique, audition, whack off, 

and add more. I put a scrap of fabric on top 

of the component that looks out of sync or 

overwhelms the design. I use mirrors to reflect 

the impact of the revised version. Typically, 

this ritual gets repeated with a wide range of 

fabric snippets before I commit to rehabilitative 

surgery. Sometimes I decide to leave well 

enough alone. 

Eventually you have to trust the 

process. At some point I realize an ending is 

forming, flickering straight ahead like the light 

at the end of a tunnel, and I make my way 

toward it with confidence. Sometimes, I even 

slow the process down and savor the moment. 

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LOOKBOOK • 7


STARSCAPES 

DESIGNED BY: PAULA NADELSTERN, BRONX, NY 

FINISHED SIZE: 36” X 40” 

FABRIC: HEARTSCAPES & POURED COLOR 2 


I pride myself on being a Patternista hardwired to see pattern 

everywhere but I am not, alas, a Pattern Maker. Each new quilt is a bit 

improvisational; I figure it out as I go. I rely on my fabrics and design 

strategies to lead me, however long it takes, to a happy ending. As 

much as I tried to keep this quilt simple, hiccups arose in the middle of 

the piecing process when most of the units were already cut and sewn 

together. I needed to fit in additional puzzle pieces in order to sew the 

major design components together in straight lines (meaning, no insets). 

You might find a better way to resolve this. 

It is hard, after the fact, to ascertain how much fabric I used. 

Tethered initially by how many repeats I had in my possession, I have to 

admit that limited yardage sparked brainstorms that led to unexpected, 

beautiful resolutions. With all of this said, please know I’ve tried my 

best and apologize for any snafus in the following instructions. 

FABRIC LIST: 

6 repeats Heartscape Panel Red Multi (13142-10) 

1 yard Stripe Aholic Red Multi (13145-10) 

1 yard Secret Garden Red (13144-10) 

1 yard Secret Garden Blue (13144-55) 

1 yard Whirlwind Black (13147-12) 

BACKING: 

1½ yards Whirlwind (13147-55) 

CUTTING THE PATCHES 

Draft one half of Starscape full size on graph paper. I wanted 

the quilt to be 36” wide. This determined the length, inevitably a few 

inches longer than the width. I taped together two pieces of 17” x 22” 

graph paper with bold inch demarcation lines. The grid makes it easier 

to measure and draft accurately. 

Drafting the pattern full size allows you to create actual size 

templates, adding ¼” seam allowance to each template. 

Refer to the colored diagram in the piecing section to see 

where each numbered patch is used. 

PATCH 1 

Start in the center. This star is a 6-sided hexagon; therefore, 

each of the center triangles is 60º. From the top of the 60º triangle to 

the base is 8”. A line drawn from the apex (or tip of the triangle) to the 

middle of the baseline is called the “axis of symmetry”. This line passing 

down the center divides the triangle into two mirror-image halves. 

Although I initially filled the triangle with one fabric, after lots 

of auditioning, I eventually divided the triangle into three fabrics. You 

can use only one fabric or combine as many as you like. The key is 

to use an on-grain, bilaterally symmetrical pattern like 13144: Secret 

Garden, 3146: Curlicue, or (my choice) 13142: Heartscape panels. 

Place the center of the fabric design exactly on the midline of the 

triangle so that the pattern is divided into identical halves on either side 

of the center line. 

This diagram shows the full Starscape quilt, with the Line A-B 

dividing it into two identical halves. The cutting instructions are for all the 

patches (pieces) required for the full quilt. The piecing instructions are 

for sewing one half of the quilt; you need to make two identical halves 

following these instructions. 

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LOOKBOOK • 13

Make a 60 o , 8” long template using see-through gridded 

template plastic. Once you’ve decided where to position the template 

on the fabric, use a fine pointed black permanent pen to trace a lot of 

the details of the selected motif directly onto the template. These marks 

will ensure perfect alignment and help you find the identical patch six 

times. Mark on the front of your fabric. 

Make six identical Patch 1s. 

PATCH 2 

Patch 2 = 60 o , 6” long. Mark and cut six. Note the point nearest Patch 

14 is the top of the triangle’s design. Choose something that pops for 

that location. 

PATCH 3 

Patch 3 is a 4” square. Mark and cut 24. These can be made using one 

piece of fabric or pieced. I pieced mine using two fabrics (Panel Red 

and Secret Garden Red) in a quilt pattern I call Sixty-Thirty. Because 

I did not have enough fabric to make all 4” squares the same, the four 

squares marked 3C are the same 60-30 construction but cut from 

different fabrics, Panel Red and Blue Secret Garden. 

The four Patch 3Cs are Patch 3s trimmed according to the full-size 

diagram. 

Patches 3L & 3R are four more Patch 3s trimmed according to the fullsize 

diagram. Cut two Patches 3Ls and two Patches 3R. 

PATCH 4: 

Make a template for Patch 4L/4R from the full-size drawing, Mark one 

side 4L. Flip over and mark the other side 4R. Cut two Patch 4Ls and 

two Patch 4Rs. Patch 4’s design should appear to continue seamlessly 

from Patch 3. 

PATCH 5: 

Patch 5 is a Patch 3C trimmed. Cut two 5Ls and two 5Rs. To trim: make 

one see-through template with ¼ seam allowance on all four sides 

from full size diagram. I made four additional Patch 3s, placed the 

template facing one direction on two patches, mark and cut. Then flip 

the template over facing the other direction, mark and cut. 

PATCH 6: 

Refer to full size drawing to determine correct shape and size. Continue 

the Patch 3 motif. Cut four. An alternate method would be to create a 

Patch 3 + Patch 6 unit. 

PATCH 7: 

Refer to full size drawing for shape and size. Visually continue the Patch 

6 motif. Cut four. Consider cutting a Patch 3 + Patch 6 + Patch 7 unit. 

PATCH 8: 

Refer to full size drawing for shape and size. Visually continue the Patch 

5 motif. Cut four: two 8Ls and two 8Rs. Consider cutting a Patch 5 + 

Patch 8 unit. 

PATCH 9: 

Refer to full size drawing to determine correct shape and size. Cut 

Patches 9 and 10 from the same designated background fabric. Cut 

two Patch 9Ls and two Patch 9Rs. 

PATCH 10: 

Refer to full size drawing to determine correct shape and size. Cut two 

Patch 10Ls and two 10Rs from the Patch 9 fabric. 

STRIP 11: 

Cut Strips 11, 12, and 13 2” wide from the same fabric. I used an 

identical portion of 13145-10: Stripe-a-holic Red Multi with a strong 

contrast to the rest of the fabrics. Choosing a stripe automatically 

slides the eyes from here to there, forming visual pathways that instill a 

welcoming element of motion. 

Refer to full-size drawing to determine correct shape and size. Cut four 

Strip 11s. 

STRIP 12: 

Cut six Strip 12s. 

STRIP 13: 

Cut four Strip 13s. 

PATCH 14: 

Cut four diamonds, 4” long x 2.5” wide. Patch 14 is an important 

design element. Although my Patch 14 does not, consider choosing 

a symmetrical motif that POPS! And one that perhaps relates to the 

design at the top of Patch 2. 

PATCH 15: 

Refer to full size drawing for shape and size. Visually continue Patches 

3L+4L so the connection between 3+4+15 is camouflaged and 

appears seamless. Cut four: two 15Ls and two 15Rs. 

PIECING SEQUENCE 

This section describes the piercing sequence for one half of the 

Starscape quilt. To make the complete quilt, you must create two 

identical halves, and then sew the halves together. I pin a lot where 

joins motifs must meet accurately. 


UNIT COLOR KEY: 

Unit 1 -- Pink 

Unit 2 -- Green 

Unit 3 -- Yellow Orange 

Unit 4 -- Aqua 

Unit 5 -- Orange 

Unit 6 -- Blue 

Unit 7 -- Purple 

Unit 8 -- Yellow Green 

Unit 9 – Olive 

1. Make Unit 1 (Pink). 

• Sew three Patch 1s together. 

• Sew Patch 11 to the left side of (1+1+1) 

2. Make Unit 2 (Green). 

• Sew Patch 5L to Patch 3C 

• Sew Patch 10L to (3C+5L) 

• Sew Patch 2 to the short side of Strip 12 

• Sew (2+12) to (5+3C+10L) 

3. Sew Unit 1 to Unit 2. 

4. Make Unit 3 (Yellow Orange). 

• Sew Strip 13 to Patch 14 

• Sew Patch 8L to (13+14) 

5. Sew Unit 3 to Unit (1+2). 

6. Make Unit 4 (Blue). 

• Sew Patch 3L to Patch 4L 

• Sew Patch 9L to (3L+4L) 

• Sew 15L to (9L+3L+4L) 

• Sew four Patch 3s together 

• Sew Patch 6 to (3+3+3+3) 

• Sew (9L+3L+4L+15L) to (3+3+3+3+6) 

7. Make Unit 5 (Orange). 

• Sew short side of Patch 12 to Patch 2 


9. Sew Unit 3 to Unit (4+5). 

10. Sew Unit (1+2) to Unit (3+4+5). 

11. Make Unit 6 (Blue). 

• Sew Strip 13 to Patch 14 

• Sew Patch 7 to (13+14) 

12. Make Unit 7 (Purple). 

• Sew short side of Strip 12 to Patch 2 

13. Make Unit 8 (Yellow Green). 

• Sew Patch 3R to Patch 4R 

• Sew Patch 9R to (3R+4R) 

• Sew four Patch 3s together 

• Sew Patch 6 to (3+3+3+3) 

• Sew Patch 7 to (6+3+3+3+3) 

• Sew (9R+3R+4R) to (3+3+3+3+6+7) 

14. Make Unit 9 (Olive). 

• Sew Patch 3C to Patch 5R 

• Sew Patch 10R to (3C+5R) 

• Sew Patch 11 to (3C+5R+10R) 

• Sew Patch 14 to 8R 

• Sew Patch 15R to (14+8R) 

• Sew (11+10R+3C+5R) to (15R+14+8R) 


16. Sew Units (7+8) to Unit 9. 

17. Sew Unit 6 to Units (7+8+9). 

18. Sew Units (1+2+3+4+5) to Units (6+7+8+9) to complete each 

half. 

Finally, sew the two halves together as shown in the full diagram, 

pinning the motifs and seams where they meet. 

For more information on how to make templates see pages 84-93 in 

my book FABRICADABRA: Simple Quilts, Complex Fabric. 

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LOOKBOOK • 15


PRIMARILY PAISLEY 

DESIGNED BY: CLAUDIA CLARK MYERS, DULUTH, MN 

FINISHED SIZE: 36” H X 70” W 

FABRIC: HEARTSCAPES & POURED COLOR 2 BY PAULA NADELSTERN 

FABRIC LIST: 

4* panels Heartscapes Panel Red/Multi (13142-10) 

1 panel Heartscapes Panel Blue/Multi (13142-55) 

½ yard Secret Garden Red/Multi (13144-10) 

1 yard Stripe Aholic Black/White (13145-12) 

½ yard Whirlwind Raspberry (13147-24) 

½ yard Whirlwind Citrine (13147-40) 

½ yard Whirlwind Lime/Turq (13147-41) 

1 yard Whirlwind Royal (13147-55) 

½ yard Whirlwind Violet (13147-66) 

BACKING: 

2¼ yards Whirlwind Royal (13147-55) 

TIPS 

1*. In order to have the same small kaleidoscope in the center of 

each paisley, Claudia needed 8 identical repeats. Because the 

kaleidoscope she chose has only 2 repeats per panel, she needed 

4 panels. The effect is fantastic, creating a graceful visual path for 

the eye to follow around the wreath of paisleys. You can choose 

your own selection of kaleidoscopes. 

2. Use some 3” to 4” wide fusible permanent stabilizer on the bias 

outside edges of the black and white stripe as soon as you cut 

them. Claudia says hers got wavy and distorted even with a basting 

thread. 

3. All of the paisley pieces are cut first from freezer or fusible paper, 

ironed onto each fabric, cut out with an eyeballed 1/4” seam 

which is turned to the back, ironed and glued. The edges are then 

top stitched with a small straight stitch close to the fold. 

4. As you are stacking the layers of the paisleys, stitch the edges and 

cut away the fabrics from the back, eyeballing a ¼” seam around 

the opening and leaving only the top layer. As you work, remove 

the paper also but only after the folded edge has been stitched. 

5. Note the strip of 13147-66 Whirlwind Violet inset along the 

diagonal seam lines. It is made like a long piece of straight binding, 

inserted into the seam as you are sewing them together and then 

pressed and top stitched close to the folded edge. 

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LOOKBOOK • 17

BACKGROUND FABRICS PIECED AND UNQUILTED BEFORE PAISLEY LAYER 


PAISLEYS ADDED 

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LOOKBOOK • 19

PRIMARILY PAISLEY TEMPLATE - LARGE SIZE 

COPY OR TRACE 4 SECTIONS AT 100% 

AND COMBINE TO MAKE ONE LARGE TEMPLATE 

(SEE DIAGRAM BELOW) 

TEMPLATE DIAGRAM: 

LARGE TEMPLATE SECTION 1 OF 4 



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LOOKBOOK • 21

PRIMARILY PAISLEY TEMPLATE - LARGE SIZE 








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LOOKBOOK • 23

PRIMARILY PAISLEY TEMPLATE - SMALL SIZE 





SMALL TEMPLATE SECTION 1 OF 2 


SMALL TEMPLATE SECTION 2 OF 2 

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LOOKBOOK • 25


THE PIVOT 

DESIGNED BY: KAREN BENSON, HOUSTON, TX 



FABRIC LIST: 

2½ yards Heartscapes Panel Blue/Multi (13142-55) 

½ yards Medley Red/Multi (13143-10) 

1 yard Medley Blue/Multi (13143-55) 

1¾ yard Secret Garden Red/Multi (13144-10) 

¾ yard Secret Garden Blue/Multi (13144- 55) 

1¾ yard Curlique Red (13146-10) 

¾ yard Curlique Blue (13146-55) 

½ yard Whirlwind Royal (13147-55) 

½ yard Whirlwind Violet (13147-66) 

1 yard Whirlwind Turquoise (13147-80) Includes binding 

BACKING: 

1½ yards Whirlwind Royal (13147-55) 

40” 

E 

40” 

E 

E 

E 

E 

E 

C 

C C 

E C C C C 

E C 

8a 

6b 6b 

D 

D 

D 

D 8a 

E 

E E 

6a 

E E 

E 

D 

D 

D 

D 

D 

D 

D 

D 

C 

2a 

C C 

C 

D 

D 

D 

3a 

D 

2b 2b 

3b 3b 

C E 

E C E 

C 

E 

E 2a 

2a E E 3a 

3a E 

E 

E 

E 

E 

C 

2b 2b 

C 

C 

3b 3b 

D 

2a 

D 

D 

3a 

D 

C 

D C C 

C 

D 

D 

D 

D 

D 

D 

D 

E E 

E E 

E D 

D 

1a D 

D E 

7b 

1b 1b 

7b 

C E C 

C E C 

7a C C 1a 

1a C C 7a 

C 

C 

C 

C 

7b 

E 

1b 

E 

1b 

7b 

E D 

D 

1a D 

D E 

E E 

E E 

D 

D 

D 

D 

D 

D 

C 

D 

D 

4a 

C C 

C 

D 

D 

D 

5a 

D 

C 

4b 4b 

5b 5b 

C 

E 

E C E 

E 

E 4a 

4a E E 5a 

5a E 

E 

E C E 

E 

C 

4b 4b 

5b 5b 

C 

D 4a 

D 

D 

D 

C 

C C 

5a 

C 

D 

D 

D 

D 

D 

D 

D D 

E 

E E 

6a 

E E 

D 

D 

D 

E 

8a 

D 

6b 

C 

E 

6b 8a 

C 

E 

E C C 

C 

E E C C C E 

E 

E 

1a = Secret Garden Blue Multi 13144-55 

1b = Curlique Blue Multi 13146-55 

2a = Secret Garden Red Multi 13144-10 

2b = Curlique Red Multi 13146-10 











8a = Curlique Blue Multi 13146-55 

C = Turquoise 

D = Violet 

E = Royal Blue 

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LOOKBOOK • 27


HEARTSTRINGS 

DESIGNED BY: PEGGY TRUE, SAN ANTONIO, TX 

FINISHED SIZE: 62¾” X 75¾” 


FABRIC LIST 

Red version: 

1 panel Heartscapes Panel Red/Multi (13142-10) 

4 smallest medallions cut 4.5” square for corners 

1 yard Medley Red/Multi (13143-10) - Border 

1½ yards Secret Garden Red/Multi (13144-10) 

1½ yards Stripe Aholic Red Multi (13145-10) 

1½ yards Curlicue Red Multi (13146-10) 

65” LOF Whirlwind Black (13147-12) 

For sashings for both Red and Blue versions. I cut with length 

of fabric for non stretchy sashings and inner border 

1½ yards Whirlwind Raspberry (13147-24) 


1½ yards Whirlwind Turquoise (13147-80) 

Blue version: 

1 panel Heartscapes Panel Blue/Multi (13142-55) 

4 smallest medallions cut 4.5” square for corners 

1 yard Medley Blue/Multi (13143-55) - Border 

1½ yards Secret Garden Blue/Multi (13144-55) 

1½ yards Stripe Aholic Turquoise/Multi (13145-82) 

1½ yards Curlicue Blue Multi (13146-55) 

65” LOF Whirlwind Black(13147-12) 

For sashings for both Red and Blue versions. I cut with length 

of fabric for non stretchy sashings and inner border 


1½ yards Whirlwind Violet (13147-66) 

1½ yards Whirlwind Turquoise (13147-80) 

TIPS/PEGGY’s COMMENTS: 

1. Press all fabrics with heavy steam or mist with water while ironing 

to preshrink. I noticed that it shrinks more in width than in length. For 

successful blocks it is important that the Strata is even, not warped, 

and is the correct length (54”) and width (13.25”). 

2. If necessary, adjust seams to get to the perfect width. Open the 

Strata’s seams first by finger pressing. Use light spray starch to give 

a good pressing before cutting the squares. 

3. For BLOCKS, cut the squares diagonally using the 45-degree line 

on your mat. DO NOT stack. Cut each square individually into 4 

triangles. Match the like triangles together to become blocks. Pin 

for success. Sew together, pressing seams to one side and ‘spin’ the 

centers for flattest centers. 

4. Pin each block to 12 1/2” square marking on your ironing surface. 

Use spray starch again to give blocks a good press. 

5. For SASHING, cut the solid black with length of unit on length of 

fabric. This prevents stretching. Sashing units are 12.5” x 1.25”. 

6. CORNERSTONES are 1.25” square. 

7. INNER BORDERS: Cut the Whirlwind INNER BORDERS 1.5” wide, 

piecing the 54” lengths to get the correct measurements. 

8. FINAL BORDER: Cut Medley at 4.5” across the width of the fabric, 

piecing as needed for correct lengths. 

9. Border CORNERS are smallest medallions from Heartscapes 

Panels. Cut four 4.5” squares. 

10. BINDING can be Black or repeat the Whirlwind color used as 

inner border and cornerstones. 

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LOOKBOOK • 29

Each Strata unit is 54” x 13.25” for 12” finished blocks. I made five 

Strata units to get 20 blocks. Make each Strata a different arrangement 

of fabric strips for a variety of blocks. 

Sew 4 matching triangles together to create 4 different 12” blocks. 

Cut 13.25” squares into triangles. The individual strata are 54” x 

13.25”. Each Strata unit yields four 13.25”squares. 


BLUE VERSION 

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LOOKBOOK • 31


LET THE GOOD TIMES ROLL 


FINISHED SIZE: 55½” X 66½” 


FABRIC LIST 

2 panels Heartscapes Panel Red/Multi (13142-10) 

For 12 large medallions 

3 panels Heartscapes Panel Blue/Multi (13142-55) 

For 18 large medallions 

½ yard Whirlwind Black (13147-12) 

For binding 

1 yard Whirlwind Citrine (13147-40) 

1 yard Whirlwind Royal (13147-55) 

1 yard Whirlwind Violet (13147-66) 

1 yard ( Whirlwind Turquoise13147-80) 

Individual block. Make 12 with Red medallions, 18 with Blue. 

Orientation of rings and background is the same in all blocks. 

Turquoise rings align when alternate blocks are rotated. 


I made see-thru templates by adding 1/4” seam allowances to all 

shapes. Marking the centers of the arcs helps with seam alignment. If 

medallions are a little “off” symmetrically, I pin to a pin-able surface, 

pulling into alignment to match the template. I mark with a heat 

erasable pen and cut with scissors. 

Finger press during the sewing, then block to square up before pressing 

with an iron. I used light spray starch for this step. 

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LOOKBOOK • 33


NIGHT & DAY 


FINISHED SIZE: 56½” X 68½” 


FABRIC LIST 

Includes enough for binding (but not backing) to match the borders 

2½ yards Whirlwind Grey (13147-08) 

2½ yards Whirlwind Black (13147-12) 

2. Make 20 individual blocks. Seam allowances have been cropped. 


1. This pattern is a Split Ohio Star block design- 12” finished size. 

3. Blocks finish at 12” square. Use your favorite method to create Half 

Square Triangles (HST) and Quarter Square Triangle units that finish 

at 4” square (4.5” unfinished). My favorite method for accuracy is 

templates. 

4. Cut borders 4.5” wide, pieced as necessary for length. I used HST 

units in opposite corners rather than miters. Plan for binding to 

match the border, black on black, gray on gray. 

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LOOKBOOK • 35


ROSE WINDOW 

DESIGNED BY: RANDA MULFORD, MOUNTAIN VIEW, CA 



FABRIC LIST: 

2 panels Heartscapes Panel Red/Multi (13142-10) 

1 yard Medley Red/Multi (13143-10) 

¾ yard Curlique Red/Multi (13146-10) 

1½ yard Whirlwind Black (13147-12) 

1-1/8 yard of any fabric for the backing 

TIP: Randa said she made heavy use of fused appliqué with satin 

stitching to finish the raw edges (rather than trying to piece all the 

curved seams), which made the process much faster. 

Fused and finished appliqué 

This pattern uses fused appliqué pieces for some of the shapes. For this 

technique you need to: 

1. Apply fusible material (such as WonderUnder, Misty Fuse, or Soft 

Fuse) to the wrong side of the fabric. 

2. Cut out the shape to be appliquéd. 

3. Fuse to shape to the right side of the base fabric, following the 

manufacturer’s directions. 

4. Finish the indicated edges of the appliquéd shape (that is, any 

edge that will not be included in a seam) with a satin stitch or other 

decorative stitch to prevent fraying. It’s advisable to use some kind 

of stabilizer under the satin stitching to prevent puckering. 

Cutting and assembly (refer to the diagram and photo for 

additional placement information) 

All seams are ¼“, pressed open. 

1. Piece A: cut one 9½” square centered on a large mandala from 

the panel. 

2. Piece B: cut 4 identical rectangles 5” x 9½” from the panel with a 

half mandala in each. 

3. Piece C: cut 4 identical rectangles 5” x 9½” from the Medley 

yardage with a half mandala in each 

Fuse black curved shapes to the two outer corners of each rectangle, 

overlapping the shapes where they meet in the middle of the long side 

of piece C. 

Finish the curved edges of the corner shapes with satin stitching (or 

some other decorative stitch). 

4. Join each piece B to a piece C along the longer edges, with the 

black curved corners of piece C away from piece B. 

5. Piece D: cut 4 identical squares 5” x 5” from a single mandala from 

the panel. 

Fuse a black curved shape to the outer corner of each square and 

finish the curved edge. 

6. Trim ¼” off of the two black sides of each piece D to make a 

4¾” square. 

7. Piece E: cut 4 identical 9½” squares (somewhat offset from center) 

from mandalas in the panel fabric. 

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LOOKBOOK • 37

Fuse black curved shapes to the three outer corners of each square, 

overlapping the shapes where they meet in the middle of the side of 

piece E; finish the curved edges. 

8. Align a piece D on top of each piece E in the corner that doesn’t 

have a black overlay. 

Baste the black edges of piece D to the piece E underneath, then finish 

the raw edges of the black corner of piece D. 

To reduce bulk, trim away the excess fabric of piece E that’s been 

covered by piece D. 

9. Sew a B+C piece to two opposite sides of piece A (with B joining to 

A). 

10. Sew a D+E piece to two opposite sides of the two remaining 

B+C pieces. 

11. Sew the B+C+D+E pieces to the long sides of the C+B+A+B+C 

piece. 

You should now have a 27½” square. 

12. From the Curlique fabric and the remaining Medley fabric, cut out 

20 curved pieces (“windows”) according to the full-sized template 

attached. All of these pieces should be prepared before cutting 

with fusible material on the back of the fabric. 

13. Piece F: cut two pieces of black Whirlwind fabric, each 6” x 27½”. 

On each piece F, arrange 5 “window” pieces in the center of a long 

side as shown in the diagram/photo. 

Fuse each window shape on to piece F, then finish the curved edges. 

14. Sew one piece F (with appliqués) to opposite sides of the center 

27½” square. 

15. Piece G: cut two pieces black Whirlwind fabric, each 6” x 38”. 

On each piece G, arrange 5 “window” pieces in the center of a long 

side as shown in the diagram/photo. 

Fuse each window shape onto piece G, then finish the curved edges. 

16. Sew a piece G to each long side of the center rectangle. 

You should now have a 38” square. 

17. Make a quilt sandwich and quilt “as desired”. 

18. Trim the finished, blocked quilt to 36” square; bind with black 

Whirlwind fabric. 

ROSE WINDOW CURVED CORNER TEMPLATE 

COPY OR TRACE AT 100% 

MORE TEMPLATES ON PAGES 40 & 41 


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LOOKBOOK • 39

ROSE WINDOW TEMPLATE 



(SEE DIAGRAM ON RIGHT) 

TEMPLATE DIAGRAM 


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LOOKBOOK • 41


EXOGENESIS 

DESIGNED BY: RICKI SELVA, GIG HARBOR, WA 


FABRIC: HEARTSCAPES & POURED COLOR 2 


Each has patterning that connects it to the whole. Ricki’s best 

discovery was finding this patch that connected the center and edge. 

Ricki needed four of them and this was a very rare motif! 

FABRIC LIST: 

2½ yards Heartscapes Panel Blue/Multi (13142-55) 

½ yard Medley Red/Multi (13143-10) 

1 yard Medley Blue/Multi (13143-55) 

1 yard Secret Garden Red/Multi (13144-10) 

1 yard Curlique Red/Multi (13146-10) 

BACKING: 


TIPS/RICKI COMMENTS: 

I used a window template and pinned a patch to the edge of 

the window so I could audition for the next patch. When two edges 

came together in beautiful harmony, I marked the window’s edges with 

a chalk marker. Then I proceeded to map out a sufficient number of 

identical patches before I cut into the fabric. 

The title is a contemplation of life-force expanding across 

the universe. (Curiously, this piece took on a life of its own as I began 

designing it.) 

The circle on the illustration is only a reference to help Ricki 

choose edges that had the right arc, so that when placed together they 

made a big circle. There is ONLY straight-line piecing of squares and 

triangles in this quilt. 

There are four solid black diamonds cut from the spaces 

between kaleidoscopes on the Heartscapes Panel. 

RICKI SAYS: This quilt was so fun to make. It was a constant treasurehunt-puzzle! 

BENARTEX.COM • 212-840-3250 

LOOKBOOK • 43


FOLLOW YOUR HEART 

DESIGNED BY: STEPHANIE SHERIDAN 



FABRIC LIST: 

RED VERSION: 

A: 1 Panel Heartscapes Panel Red/Multi (13142-10) 

Fussy Cut: (6) 10-1/2” squares A1 

B: 1¼ yard Medley Red/Multi (13143-10) 

Fussy Cut: (12) 10-1/2” squares B1 

C: 1½ yard Secret Garden Red/Multi (13144-10) 

Fussy Cut: (9) 12-1/2” squares C1 

D: 1½ yard Curlique Red/Multi (13146-10) 

Fussy Cut: (8) 12-1/2” squares D1 

E: 1-3/8 yard Whirlwind Black (13147-12) - Includes Binding 

(1) 10-1/2” X WOF strip, 

subcut (26) 1-1/2” X 10-1/2” strips E1 

(2) 12-1/2” X WOF strips, 

subcut (10) 1-1/2” X 10-1/2” strips E1 and 

(36) 1-1/2” X 12-1/2” strips E2 

(9) 2-1/4” X WOF strips *, BINDING 

F: 1¼ yard Whirlwind Citrine (13147-40) 

1-1/4 YD (6) 6-1/2” X WOF strips, 

subcut (36) 6-1/2” squares F1 

G: 1½ yard Whirlwind Violet (13147-66) 

(6) 6-1/2” X WOF strips, 

subcut (32) 6-1/2” squares G1 

(8) 1-1/2” X WOF strips *, BORDER 

E: 1-3/8 yard Whirlwind Black (13147-12) - Includes Binding 

(1) 10-1/2” X WOF strip, 

subcut (26) 1-1/2” X 10-1/2” strips E1 

(2) 12-1/2” X WOF strips, 

subcut (10) 1-1/2” X 10-1/2” strips E1 and 

(36) 1-1/2” X 12-1/2” strips E2 

(9) 2-1/4” X WOF strips *, BINDING 

F: 1½ yard Whirlwind Royal (13147-55) 

(6) 6-1/2” X WOF strips, 

subcut (36) 6-1/2” squares F1 

(8) 1-1/2” X WOF strips *, BORDER 

G: 1¼ yard Whirlwind Turquoise (13147-80) 

1-1/4 YD (6) 6-1/2” X WOF strips, 

subcut (32) 6-1/2” squares G1 

BLOCK ASSEMBLY: 

Refer to BLOCK DIAGRAMS 

1. Sew (1) E1 strip to each side of (1) A1 square, then sew (1) E2 strip 

to top and bottom to create BLOCK 1A. Square to 12-1/2”, make 

(6). 

BLUE VERSION: 

A: 1 Panel Heartscapes Panel Blue/Multi (13142-55) 

Fussy Cut: (6) 10-1/2” squares A1 

B: 1¼ yard Medley Blue/Multi (13143-55) 

Fussy Cut: (12) 10-1/2” squares B1 

C: 1½ yard Secret Garden Blue/Multi (13144-55) 

Fussy Cut: (9) 12-1/2” squares C1 

D: 1½ yard Curlique Blue/Multi (13146-55) 

Fussy Cut: (8) 12-1/2” squares D1 

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LOOKBOOK • 45

2. Repeat Step 1 using B1 square with E1 and E2 strips to create 

BLOCK 1B. Square to 12-1/2”, make (12). 

5. Repeat Step 4 using squares shown in diagrams to create remaining 

blocks. Square all to 12-1/2’, make number indicated. 

3. Draw diagonal line on the wrong side of all F1 and G1 squares. 

4. Place (1) F1 square on the upper left and lower right corners of 

(1) C1 square. Sew on drawn lines, then trim excess to 1/4” and 

press open. Repeat on opposite corners with G1 squares to complete 

BLOCK 2A. Square to 12-1/2”. Make (4). 


QUILT ASSEMBLY: 

Refer to QUILT DIAGRAM for proper block placement and rotation. 

6. Sew blocks together into rows, then sew rows together. 

ROW 1: 1A - 2A - 1B - 2B - 1A 

ROW 2: 2A - 1B - 3A - 1B - 2B 

ROW 3: 1B - 3B - 1A - 3C - 1B 

ROW 4: 3D - 1B - 2C - 1B - 3D 

ROW 5: 1B - 3C - 1A - 3B - 1B 

ROW 6: 2B - 1B - 3A - 1B - 2A 

ROW 7: 1A - 2B - 1B - 2A - 1A 

BLUE VERSION 

BORDER ASSEMBLY: 

Measure width and length of quilt top to ensure border cutting sizes. 

Below are our measurements 

7. Sew (1) G (Red version) or F (Blue version) 1-1/2” X (84-1/2”) 

strip to each side of quilt, then sew (1) G (Red version) or F (Blue 

version) 1-1/2” X (62-1/2”) strip to top and bottom of quilt. 

FINISHING: 

Cut batting and backing 3” larger than top on all sides. Layer backing, 

batting and top together and baste or pin. When quilting is completed, 

trim excess batting and backing. Bind with E fabric. 

Quilt 

SAMPLE 

AVAILABLE! 

#FOLHRTMD 

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LOOKBOOK • 47

free pattern 

FOLLOW YOUR HEART 

BY STEPHANIE SHERIDAN (2 COLORWAYS | 62” X 86”) 


Designing this fabric collection turned out to be Paula’s personal great escape during the isolating quarantine. The design strategies that 

are the heartbeats of her quilts - symmetry and serendipity laced with abundant color - led her to imaginative patterns, both old and new. 

It is Paula’s heartfelt wish that this small collection of versatile fabrics will entice quilters of every level to create beautiful patchwork. 

HEARTSCAPES & POURED COLOR 2: HPC10PK • FQHPCPK (17PC) 

MARCH/APRIL 2022 DELIVERY • 11 SKUS • 100% COTTON 

FULL COLLECTION (15 YDS): HRTSCP15 • (10 YDS): HRTSCP10 • PAULANADELSTERN.COM 

HEARTSCAPES PANEL 13142-10 RED/MULTI 

HEARTSCAPES PANEL 13142-55 BLUE/MULTI 

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LOOKBOOK • 49

MEDLEY 13143-10 RED/MULTI 

MEDLEY 13143-55 BLUE/MULTI 

SECRET GARDEN 13144-10 RED/MULTI 

SECRET GARDEN 13144-55 BLUE/MULTI 

STRIPE AHOLIC 

13145-10 RED/MULTI 

STRIPE AHOLIC 

13145-12 BLACK/WHITE 

STRIPE AHOLIC 

13145-82 TURQUOISE/MULTI 

CURLIQUE 13146-10 RED/MULTI 

CURLIQUE 13146-55 BLUE/MULTI 


Paula’s artistic and opulent Poured Color collection 

expands with the addition of a new texture - Whirlwind! 

The whorls and stippling are a blend of well-known 

artistic techniques, and the bright hues and rich intensity 

make this fabric a perfect compliment for Heartscapes. 

MARCH/APRIL 2022 DELIVERY • 8 SKUS • 100% COTTON 

FULL COLLECTION (15 YDS): POURD215 • (10 YDS): POURD210 • PAULANADELSTERN.COM 

WHIRLWIND 13147-08 GREY 

WHIRLWIND 13147-12 BLACK 

WHIRLWIND 13147-24 RASPBERRY 

WHIRLWIND 13147-40 CITRINE 

WHIRLWIND 13147-41 LIME/TURQ 

WHIRLWIND 13147-55 ROYAL 

WHIRLWIND 13147-66 VIOLET 

WHIRLWIND 13147-80 TURQUOISE 

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LOOKBOOK • 51

SHOPPING KARMA 

I swear this is true. I think I heard on 

National Public Radio that they figured out where the 

material instinct is located in the brain. (My husband 

suggests they may have actually said “maternal 

instinct.”) If there is such a thing, it proves human 

beings have a natural predisposition to acquire 

material. And, obviously, some of us have better 

developed gray matter than others. I love printed 

textiles. Stick me in a shop brimming with bolts and 

my fingers instinctively reach out to fondle the goods, 

igniting a lovefest. 

If you’re going to develop a knack for 

material pursuits, you’ve got to have an attitude. Be 

your own advocate. Never make excuses for the 

size of your stash. Cloth is as valid a palette as any 

other medium. Personally, I feel sorry for the ones 

who don’t get it. 


precuts available: 

HPC10PK • FQHPCPK (17PC) 

BENARTEX.COM • 212-840-3250 

LOOKBOOK • 53


paula nadelstern 

I make my quilts on the same block in the Bronx where I’ve lived my whole life. Until my mother-in-law passed 

away in May 2021, we were three generations living within a block of each other on this most northern NYC street: 

my daughter, my mother-in-law, my husband and me. For over twenty-five years, my workspace in our ninth floor, 

two-bedroom, cram-packed-with-fabric-and-sewing-stuff apartment was the forty-two-inch round kitchen table. Our 

perpetual dining companion was a Singer Featherweight, purchased for $25 at a yard sale. I used to call it an old 

machine until I learned it was a year younger than I am. Together we made my first quilt (a comforter cover, really) in 

1968 in my college dorm. We continued as a team through the first twenty-seven quilts in my kaleidoscopic series. 

Today I work in a 15- by 10-foot studio revamped from my daughter’s former bedroom. Picture ceiling-high 

cupboards stuffed with fabric, drawers overflowing with the paraphernalia quilters collect, six feet of 

design wall, and a Bernina poised on a 4 by 6-foot counter, waiting to continue the forty-five quilt in 

my series. 

My interest in things kaleidoscopic began in 1987 when I was struck by a bolt of 

fabric—a sumptuous, sinfully expensive, bilaterally symmetrical Liberty of London 

tana lawn. Little did I know that purchasing a quarter yard would change my 

life forever, leading me, three years and four quilts later, to the state-ofthe-art 

kaleidoscope and a new career. The lesson from this anecdote 

is obvious: buy that piece of fabric no matter how expensive it 

is. As I peer through the incredible kaleidoscopes I have 

garnered over the years, like a sleuth searching for 

clues, I discover my design inspiration all over 

again. Who knows what the next turn of the 

scope will reveal, to me or to you? 

PAULANADELSTERN.COM 

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LOOKBOOK • 55

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Heartscapes & Poured Color 2 Lookbook by Paula Nadelstern

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