Top Ten Tuesday {Pincushions}

Top Ten-2

Pincushions are simply fabulous! They are tiny artistic expressions that give us all a fun way to try out a new technique, a new pattern, or simply scale down a favorite quilt block. They add personality and pizzazz to any sewing room and serve as the perfect gift for sewing & quilting friends. There are so many unique patterns out there and we’ve rounded up ten of our favorites.

1. Trellis Flowers Pincushion – Jessie Fincham

2. Everglade Pincushion — Carolyn Friedlander


3. Mason Jar Pincushion — Seasoned Homemaker


4. Felt Tree Stump Pincushion — Bugs and Fishes


5. Cozy Cottage Pincushion — The Crafty Mummy


6. Cathedral Window Pincushion — My Go-Go Life


7. Hexie Pincushion — Modern Handcraft


8. Doughnut Pincushion — Wrapped up in Rainbows


9. Flying Geese Pincushion — Jeliquilts


10. Tomato Pincushion — Blah to Tada!


Story by Carrie Bloomston

Carrie Bloomston‘s Story Collection for Windham Fabrics hit shops in September of last year and we were proud to offer a coordinating thread box. Carrie’s collections are always rich and vibrant. They carry an innate beauty and do always seem to tell a story of their own, making this collection’s title particularly poignant. We loved talking with Carrie, to hear more the thought process behind her creations and to gain some insight into how a collection comes together. Read on for some creative inspiration and a fabulous giveaway!

Story-Lookbook-Cover2[Click on the image above to view the Story lookbook]

Carrie Bloomston, Story
100% Aurifil Cotton, 50wt
Large – 1422yds each, 12 Colors, Large Spools

For purchasing, please contact your local Aurifil Dealer.


You introduced the collection in an incredibly collaborative way, bringing together friends and loved ones within the sewing community and challenging them to use your designs to create their own story. How did this process come about and what did you love most about pulling it all together?
I loved the effortlessness of designing Story. I filled the collection with archetypes such as home, family, garden, nature, stars, moon, sun, etc. in hopes that people would use the prints to tell their own story.


I have a sewing tribe. There are about 15 people around the world who sew my samples for the launch of each collection for me. I can’t tell you how grateful I am to this community of willing, passionate sewists who sew for me simply out of love. I am honored to feel their support around me. The thing is, I’m the least controlling designer you might meet. I don’t tell them what to do, I just send them images of the fabric and ask them to mull it over and be inspired by it, then to tell me what they want to do. For some it is garments, others quilts and others home dec. It always works our beautifully. I send them their yardage and they play.

Story by Carrie Bloomston

L – Night Flight Quilt by Tia Curtis, R – Cartwheels Quilt by Jules Golden

For this collection, I asked them, “What is your story? What is essential to you? What is your native tongue? Your family–your community–your country–your tribe–your village? What is your color story? Your personal mythology? The legacy of generations? Use this collection to tell it. Make it your own.” They created stunning pieces about their family, passions, desires, etc.


I’ve noticed that many of the projects made with your fabrics are incredibly creative, each one a small piece of art. What do you think it is about your designs that inspires people to explore their creativity and challenge themselves?
I design fabric that is meant to be cut up! As a creativity enabler, I intend to help people tap into their innate spark of creativity. I teach about this topic in workshops and in my book, The Little Spark–30 Ways to Ignite Your Creativity. I encourage people to explore, fail, make a mess, try again, and play. Craft and technique are extremely important for sewinistas–but not at the expense of the desire to play and explore. Curiosity can take us to some amazing places if we are willing to make a mess and enjoy the journey. In our normal lives, whether we are parenting or working at our job, the stakes are fairly high and we really can’t afford to fail or make a mess too often in those areas. But, if we let our creative life be a laboratory for self-discovery, play, curiosity, and wonder, then we uncover the sleeping part of the self that is about…maybe six years old. Or nine. Twelve. And we become free again to play–to feel our way through things as opposed to thinking our way through everything–to listen to the whispers of the heart and to our intuition and passion. In so doing, we make meaning and we make magic. And we get to tell our story.

You have a strong and deep artistic background — how did you make the shift to fabric design?
I’ve been an artist my whole life and studied painting at Rhode Island School of Design (BFA, Painting,1994). Art is my love language. It is my reference point, my temple, my lens, my scaffolding. I didn’t start sewing and join this vibrant modern sewing movement until seven years ago when I was pregnant with my baby girl. She urged me to sew from the womb! I’m so glad I listened to her. Then I started designing sewing patterns and I was asked to design fabric for Windham Fabrics. I’m on my fourth collection with them now and it will release in October, 2016. (I’m in LOVE with it! Cant wait to share.) To be honest, I have no skills or training in the area of textile design. I can’t put a pattern into repeat and I don’t really need to. Windham does all that and I get to be me. The artist. Making stuff in my studio with glue sticks and paint and paper. It really is dreamy. Windham is a lovely company filled with fine people. Just splendid. I am grateful for the world they have opened to me.


How did you decide upon the colors for your coordinating Aurifil Thread collection and how do they add to the story?
I just pulled out my palette and started playing. I tend to keep a neutral putty colored thread in my machine at all times. So I was keen on getting several great neutrals in the collection. And as a painter, I just kind of feel into colors and come up with balance. It is very unscientific. I don’t think, “I need to balance this warm coral red with a cool aqua.” My mind is way behind my body and my senses. My body already knows so I just sit back and let it do its work and try to keep my mind out of it. I chose my favorite colors and shades of indigo.


What is your favorite Aurifil thread weight and color and why?
My Bernina always has an orange Aurifil spool in it!!! It is light but strong–delicate but durable.

What advice would you share with those just getting started on how to tap into their own creativity to make something special, something that will be a defining part of their own story?
Stop worrying. Stop perfecting. Stop trying. Stop editing. Stop judging. Stop doubting. Stop trying to prove to the world how awesome you are and just allow yourself instead to express, to feel, to play, to be. Just be.


Do a meditation before you create. As you sit down to sew or make something, close your eyes. Breathe in. Breathe out. For some that might be prayer, for others yoga or a visualization. But ask something bigger than you or your highest self to help guide you in your creative process. Ask what work you were put here to do in this moment. Ask for guidance–whether in subject matter, color choices, whatever! Try to side step your ego and your routine. Be OK with exploration and making a mess. Eat some dark chocolate. Dance. Let your creativity pour through you like water from a pitcher. And let the spirit of your work be filled with love. That’s all we have to do.

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To enter-to-win, simply click here to head to the Rafflecopter entry page, or simply click on the image above. You do not have to complete all the options to be entered but the more options you choose, the more entries you have!  Entries will be accepted from now through 11:59pm Eastern Time on April 7th! Winner will be randomly selected and announced on Friday, April 8th. Good luck!

carrie-bloomstrom-201x300WebsiteBlogFacebookPinterestInstagramTwitter — BookShop

Carrie Bloomston is an artist, author, textile designer and creativity enabler. She aims to inspire creativity in all forms.Through fun, interactive and inspiring words and images, we help you get inspired and step into the creative life you want.

Story Collection — Story Lookbook

[Photography by Jill McNamara]


Sophie Standing

We’ve been following the work of Sophie Standing, an incredibly talented textile & fiber artist, for quite some time and will admit to being in complete awe of her art. She brings her subjects to life with a stunning combination of fabric and thread, pulling from countless hues, layering various patterns and thread weights, and expertly piecing them all together to become one amazing image. Sophie references both her extensive artistic background and her physical surroundings to create these artworks. We had a chance to learn a bit more about her background and her process via a short interview a few weeks ago and are thrilled to share it with you here today. Sophie proudly uses Aurifil threads.


You have a rich artistic background, what first drew you to textile embroidery art?
Sewing was always a big part of my life. From the age of 11 or 12 (I can’t quite remember), I was working in a craft shop run by an Italian woman. It was a tiny little space, filled with skeins of cotton and silk and wool. It was like an Acadians cave. I didn’t earn much money but always managed to spend it all in the shop on threads, cross stitch samplers, or ‘make your own teddy’ kits.

As I got older my sewing and creative flair turned more towards clothes and fashion. I loved fabrics and would buy them without even knowing what they were going to be used for. I was a total fabric hoarder… and not just quilting and haberdashery fabrics. Also woven textiles from Guatamala, Indian silks, Indonesian embroideries. Two of my most treasured possessions are the large hand woven and embroidered bed throw/wall hangings that my husband, Andre, bought me in Bhutan when he was on business there. They are both more than 70 years old. The hand embroidery is exquisite and the amount of hours it must have taken to create is mind blowing.

I started doing a bit of machine embroidery on skirts and dresses, just the odd heart and group of bubbles or balloons, and gradually started experimenting more. Whilst living in Cape Town my friend Saskia asked if could create some fabric art pieces for the walls of her shop on Long Street, Misfit. These were the first pieces of textile embroidered art that I made. It was three pieces in total: a rabbit, three swallows and a meadow of flowers.

I had never worked like that before, creating animals with coloured fabric appliqué and then sewing the details with threads, but I loved it. I guess it just combined my love of of so many things… flora and fauna, fabrics, threads, sewing, & art.

SophieStanding, Sunrise Aardvark

SophieStanding, Sunrise Aardvark

Sophie Standing, Black Rhino

Sophie Standing, Black Rhino

How has the medium evolved for you over the years?
Although I studied art and design at University in Liverpool for wood, metal, ceramics and textiles, my textile embroidered art is all self taught. It’s been a process of trial and error and experimenting. I have become far more expressive with my use of fabrics, using very bold flowers next to stripes and clashing abstract patterns. My sewing has become so much more fine tuned. It’s like anything I suppose, just practice and experimentation. I get lost in it sometimes, locked into the mammals eyes and ears, fur and hair.

Sophie Standing, The Secretary Bird

Sophie Standing, The Secretary Bird

How do you choose your subjects?
Mostly this is influenced by my clients. These days I work solely with private commission and try to have one exhibition a year. The client and I start by looking at photos of the mammal to see what the client loves about it and what they wish me to portray in the animal. Between us we find one that has the right composition and look for a textile art piece.

I only do the large mammals on a large scale these days. Over time I’ve realised that the amount of detail needed to create a face with machine embroidery just isn’t achievable on a small scale. For smaller pieces, I concentrate on portraits of mammals like lions, wild dogs, or antelopes. I also do insects and birds on a small scale.

Sophie Standing, Dung Beetle

Sophie Standing, Dung Beetle

Sophie Standing, Starfish

Sophie Standing, Starfish

What is your greatest artistic inspiration?
The world around me…

Although I concentrate on African mammals, now that I’ve lived on the continent for 15 years, I do also enjoy creating the odd beast from elsewhere! I very much enjoyed creating a Siberian tiger last year and would one day love to do an English countryside themed exhibition — fox, badger, stag. Memories from growing up in England.


Sophie Standing, Siberian Tiger

Do you have a favorite piece that you’ve worked on?
Yes, but a few!

I still love the wild dog portrait I create some years ago now. The latest Impala, which was also concentrating mainly on the face, is another favorite. I really enjoy honing in on just the face of the mammal. It’s where I can really bring the creature alive.

Satao, the tusker I created about a year and half ago, was a very special piece to make for a client. He was Kenya’s largest ever tusker and was killed by poachers in Tasvo National Park in June 2014. Desperately sad.


Satao, Sophie Standing


Sophie Standing, Impala

Describe your process from start to finish.
First of all I trawl through images of the mammal subject matter, — sometimes photographs that my husband and I have taken, other times images from friends or other photographers. If they are copywrited, I will approach the photographer for permission to use the image as the basis of my art.

Then, I set to work drawing, using the photograph of the mammal as inspiration. I could simply print out the photo and then enlarge for the artwork, but I like to go back to basics — to study the mammal and draw all the intricate areas before I attempt to draw it with threads!

Once the drawing is finished I then enlarge it to the appropriate scale on a photocopier, sellotape the A3 sheets together (we don’t a photocopier in my town that can print large than A3!), cut it out, and lay it down on a pre-painted canvas cotton background. I pin it in place and trace around it, making sure the nostrils and eyes etc are in the right place.

I then remove the picture and am left with a pencil outline of my mammal. I begin to choose all the fabrics and pin them down on the pencil outlined image.

Then begins the hours of sewing! I always start with the eyes of the mammal and slowly stitch all the details, changing my thread colour continuously to achieve the layers and textures of the creature I’m trying to bring to life in blues and purples and pinks!

What do you love about Aurifil threads?
Everything! The amount of colours that are available is fabulous. I have the colour chart on the wall of my studio like a piece of art, it’s delicious! They are glossy but without giving too much shine to my work. They are very rich and almost glow!

The weights are brilliant. I mainly use 50 weight for all the very fine detailing, facial features and hair,  and whiskers. I switch to 40 for the areas of the body that still need hair or wrinkly skin texture — it covers a bit faster. The 28 and 12 weight are really great for extra definition in certain areas. They work  best in fish and birds in my work.

Oh, and the different spool sizes too. For my work, using all four thickness, its ranges from 1300mt to 750mt of cotton on a spool. For my last exhibition, I used approximately 22,000mt of thread. That was finished spools so it was a lot more than that as there were many half and quarter used spools.

Sophie Standing, Ostrich

Sophie Standing, Ostrich

What is your favorite weight and how do you use the different weights to create texture in your pieces?
50 and 12! The two extremes make the most contrast when used together….

What type of machine do you work on?
Always Bernina! I used to use my grandmothers Bernina 830 Record. I inherited it when she passed away. She was a wiz on it and created many of her own clothes with it, including evening dresses. I love that machine — it’s as heavy as an ox.

Sadly I have pretty much run her into retirement now. I really want to get a new motor fitted into her so I can have her as a back up when my new Bernina is being serviced. One day I’ll get her out of Kenya to send her somewhere for some Bernina TLC!

Right now I use the Bernina 1008. I don’t want a high tech machine and I don’t use computer programs for sewing. It’s the free motion and darning foot that I use everyday. The basic foot for straight stitch and zigzag gets used when I mend or alter my and the family’s clothes.


Sophie Standing, White Rhino

Any tips for artists just getting started with textile embroidery?
Just explore — don’t be afraid to just try out things. Sometimes it won’t work and will be a mess, but that’s how I learned.  Experiment with colours and designs, all ranges of fabrics, stripes, spots, florals, geometric, as many clashes as you can on one piece of fabric art. Be bold.

Sophie Standing, Bird

Sophie Standing, Bird

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We’d like to thank Sophie for taking the time to chat with us! We are inspired and awestruck and can’t wait to see what comes next. We’d encourage you to follow along with her to get a sneak peeks at in progress artworks and closer looks at newly finished pieces.

Find Sophie Online:

More About Sophie:
Sophie Standing was born in England and grew up in Hampshire. She studied wood, metal, ceramics and textiles at Liverpool Hope University. Since graduating, Sophie has worked as an artist in many different mediums, including works in ceramics, stained glass windows, weaving, dress making and more recently experimenting with textile art. She was fortunate for many years to be part of the team that designed, installed and displayed the award winning windows at Fortnum and Mason, Piccadilly, London. She is also an accomplished wedding florist and fine artist, life drawing being a speciality.

In 2003 Sophie moved to Cape Town, South Africa and is now living in Kenya. Sophie’s textile embroidered art is inspired by the flora and fauna around her in Africa and combines this with her passion for fabrics and textiles. Her one off pieces are created by appliqueing an intricate collage of fabric onto the canvas where her image is already sketched out. She then draws the details over the top of the fabric with her sewing machine using many different coloured threads.

Sophie has an extensive collection of fabrics from all over the world and in a vast array of designs and textures, ranging across haberdashery, dress making, quilting, new and vintage, floral, modern, wool, cotton, silk… Liberty and Kaffe Fasset being among her favourites.

Although Sophie enjoys working towards exhibitions she usually works to private commission and enjoys the process of working closely with clients on a project. She has sold works to clients in Kenya, South Africa, UK and Germany.


Top Ten Tuesday {Sewing Humor}

Today’s Top Ten Tuesday has a great sense of humor!

Top Ten-2

1.  Fabric Limits — National Sewing Circle


2. Lucy Loves Sewing — Sew Sleepless


3. Expert Advice – The McCall Pattern Company


4. Fabricaholic — As seen on The Daily Sew


5. Thread in the Bobbin — Flamingo Toes


6. Try Sewing – U Create


7. Make it Yourself — Anne Taintor


8. Sewing & Crafting — The Polkadot Chair


9. More Fabric — Craft Schmaft


10. No Fabric Regrets — Crafterhours


Find more free patterns, tips, tutorials and inspiration by following the Aurifil Pinterest boards, the Aurifil Facebook page and Aurifilthread Instagram. All are updated daily and throughout the day to provide you with the best the sewing world has to offer!

For more information about Aurifil products, including thread weights, Designer Collections, and where to purchase from your local quilt shop or select online shops, please visit

Aurifil 2016 March Designer of the Month Christa Watson

Aurifil 2016 Design Team March Christa Watson collage

I’m Designer, Author, Radio show host Pat Sloan. We are jumping out of winter in my part of the world and I couldn’t be happier!  Our March Designer is Christa Watson of Christa Quilts!

Christa is an Author, Teacher, Shop owner, Designer, and Aurifil thread lover for many years. She has a passion for quilting, which she shares at her website and Facebook group via sew alongs and tutorials. She is always sharing something great! 


We have become good friends over the years and I’m really happy she is on our design team for 2016!  You can listen to Christa and I chat on my talk show.. —>  Christa was on 6/3/14 and 9/8/15, take a listen

Pat Sloan enter your aurifil  block.jpg

PLEASE READ — We are CHANGING something!!

Our Monthly quilt block share will now be at my website with a Photo sharing party! This will be much easier for everyone.  If you want to look first, It’s HERE

We LOVE our MONTHLY thread BOX giveaway (seriously folks… you could win a box of my thread which is over $120.00 value.. JUST for making a quilt block… you have to join in!). Each month we pick one random winner that has made a  block from our featured designer of the prior month. That person receives a FULL BOX of my Aurifil thread as the prize!

Let’s get to know Christa!

Continue reading

Thread Matters: Aurifil Spools

Welcome back to Thread Matters with Aggy Burczyk!


In this issue of Thread Matters I would like to give you my preferred tips and tricks to using Aurifil spools.

Don’t you sometimes really (!) feel frustrated when unwrapping a wonderful new large spool of Aurifil thread and you turn the spool in your hand to enjoy the color and to get to the beginning of the thread … and turn and turn … and you cannot find it?


What now?

Be honest: Have you ever tried to ‘wring’ the spool to find the loose end? Are you ever so desperate that you actually take your embroidery scissors out and try to cut into some thread?

No, no, no – it’s so much easier than that!
Simply wiggle the base of the spool a bit (whether 50wt, 40wt, 28wt or 12wt) and it will actually come off.

BlogPost Img2


BlogPost Img3
Et voilà, here is the beginning of the thread. Easy as that!

First tip: I even use the reverse to secure the loose end of the thread when storing the spool. I just wiggle the base off, wrap the loose thread end once around the spool core and snap the base on again. Et voilà again, no more loose thread ends getting all tangled up.

Second tip: Since we survived the challenge of actually having a thread end that we can use to thread the machine, now we have to decide where to put it on our machine.
Horizontal or vertical spool pin…  that is the question as most machines will offer both!

Let’s have a look at the Aurifil spools.


You can see from the picture, that the thread crosses itself in a regular pattern around the spool. Aurifil’s Mako, Lana Wool and Poly spools, whether cone size, large or small spool, are cross wound. For best sewing and embroidery results the thread should come off the top of the spool.


The best way to use a cross wound thread is actually in a horizontal spool holder, but it is absolutely crucial to sorrow free sewing to hold the spool in place between a spool cap and a sponge base. Usually they come in two or three different sizes with the sewing machine.


Third tip: The spool cap should not be larger than the diameter of the spool itself, as otherwise it may lead to the thread getting entangled. Upper thread tension might change due to added friction. Or even worse, the thread could even break.

Since the small and large Aurifil spools have such a small diameter, I really prefer the little button spool cap on my Bernina, which actually fits just right into the tip of the large spool itself. No interference whatsoever with the thread coming off the spool.


Some of us love or would love to use the big cones. These are certainly worthwhile, especially in neutral colors which are used more often for piecing. Some of you might not buy cones as they cannot be placed on the horizontal nor on most of the vertical (upright) spool pins as they are just too big. Many sewing machines offer optional add-on or even built in spool holders with a vertical telescope thread guide. These are just perfect for these large spools.

Your machine does not have a telescope thread guide and you do not want to invest in one for your machine? Well, there is a way!

Last tip for today: Place the cone in a big glass or plastic container at the back of your machine and have the thread come up to the first guide, which ideally should be a hook as you can see in the picture. This method works well under two conditions: the cone should be steady and not fall over and the thread must not catch on any edges of the machine, otherwise it will break.


What if you have a parallel-wound (straight-wound or also called ‘stacked’) thread? This spool should definitely be placed on a vertical (upright) spool pin. The spool needs to turn to unwind the thread. Therefore the Aurifil invisible monofilament thread on the small spools for sewing machines are on a vertical spool pin.



I hope you enjoyed these little tips all around the Aurifil spools. Please don’t hesitate to be in touch if you have other problems or need to know anything else.

I’ll be with you again in around a month. And remember:  Thread Counts!

Con un caro “Ciao”


Sewing along with The Splendid Sampler

The Splendid Sampler Banner

If you’ve been following along with us, you are already familiar with The Splendid Sampler. For those just joining us, check out our introductory post here.

We are 7 blocks into this wonderful 100 Block Mystery Sampler and we are having a blast! All of the designers have put together spectacular block patterns, along with added tips and tutorials. We’ve seen your blocks pop up in the Facebook group (now over 17,000 strong!) and on Instagram (#thesplendidsampler) and feel a little giddy every time a new image appears!

On Monday, in honor of all of the amazing blocks thus far and for a bit of fun, Pat Sloan & Jane Davidson announced the first of four Sampler challenges that will run throughout the year. The challenge asks participants to showcase their first 7 blocks for a chance to win an awesome prize pack of Pat Sloan’s 2 newest patterns, a Jelly Roll of Hometown Girl Batik by Pat Sloan for Moda and, of course, some Aurifil thread! Head here for details, to enter your own photo, and to get a good look at all of the other gorgeous entries!

Here are a bunch of our favorites:

In addition to all of the incredibly talented participants, the Sampler designers are also sewing along. It’s lovely to see their interpretations of all of the blocks, get a peek at their color pairings and admire their personal styles. Here are some of our favorite designer blocks:

If you love what you see here and you haven’t started sewing along yet, have no fear… you can jump in at any time! This is meant to be a fun sewalong… one that will inspire, teach you new techniques and connect you with thousands of new quilty friends all over the world. Simply take a peek at our key links below and decide how you want to get started.

The Splendid Sampler Website
Schedule of Blocks
Blocks & Bonus Materials
Fabric & Tools
Meet the Splendid Designers — Part 1Part 2Part 3Part 4Part 5 (there are 83!!)

— Tag #TheSplendidSampler on photos that you share
— Join the Facebook Group to meet other participant, ask questions, get sewing support and make new friends
— Add the blog button to your site – grab it here

The Splendid Sampler Sew Along big button

Block 8 releases tomorrow, so stay tuned, enjoy and HAPPY SEWING!

Top Ten Tuesday {St. Patrick’s Day}

Top Ten Tuesday

With St. Patrick’s Day right around the corner, we’re thinking in green and rainbows. What if the pot at the end of the rainbow was actually full of Aurifil threads? That might just be better than gold!;)

This week, we’ve got a great lineup of projects that will get you ready for your well-crafted Irish celebrations.

1. Rainbow Ric Rac Skirt Tutorial — Crafting Chicks


2. Irish Chain Quilt by Heather Jones for Missouri Quilt Co.


3. DIY Rainbow Banner — Liz Stanley for SayYes and Momtastic

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4. Leprechaun Pant Treat Bag — Positively Splendid


5. Rainbow Ruffle Dress — Housewives of Riverton


6. Clover Quilt Block Tutorial — Piece N Quilt

clover no lines by natalia bonner of piece n quilt

7. Rainbow Shamrock Brooch — Adventures in Making


8. Luck of the Irish Table Topper — Margie Ullery for Moda Bake Shop


9. Lucky Shamrock Pillow — Forth Worth Fabric Studio


10. Fair Isle Baby Quilt — Leah Douglas for Moda Bake Shop


Happy Sewing!

Top Ten Tuesday {Spring}

The sun is shining, the birds are chirping and all signs point to an early Spring. We’ve got bright florals on the brain and have added more than a few of the following tutorials to our ‘must-sew’ list. Whether it’s a quilt for a loved one, décor for your home, or easter baskets for your kids, we hope you’ll find something fabulous! Grab your favorite Aurifil threads and have fun!

Top Ten-2

1. Tulip Time Quilt — Samelia’s Mum

Tulip Time Quilt

2. Easter Basket Liner — Polkadot Chair


3. Felt Flower Collage — Crafts Unleashed


4. Penny Rose Strawberry Jam Quilt — Jedi Craft Girl


5. Color Play Holiday Mini Quilt — Sherri Noel for Moda Bakeshop


6. Fabric Butterfly Shadow Box Tutorial — My Go-Go Life


7. Garden Flag Tutorial — Handmade Boy for Peek-a-boo Pattern Shop


8. Meadow — Bonjour Quilts


9. Tulip Time — Inspired by Fabric


10. Raindrop Pillow — The Aqua House for


Happy Sewing!

Jinny Beyer – Hand & Machine Piecing Collections

Aurifil is pleased to introduce two brand new Designer Thread Collections from award-winning quilter, fabric designer, author, and educator, Jinny Beyer.


Jinny Beyer Hand Piecing Collection
100% Aurifil Cotton, 28wt
Large – 820yds each, 12 Colors, Large Spools
Small –  109 yds each, 10 Colors, Small Spools

Jinny Beyer Machine Piecing Collection
100% Aurifil Cotton, 50wt
Large – 1422yds each, 12 Colors, Large Spools

For purchasing, please contact your local Aurifil Dealer or visit Jinny’s online shop.

How Jinny first came to love Aurifil is an interesting story. When she first started quilting, it was standard to use cream or white threads. She was working on a navy quilt and didn’t want to use those colors, but rather something that would blend. In her search for a wider range of colors, she discovered a brand of thicker thread that she grew to love for quilting and used for years. Eventually, the company was bought out and the quality went down, so Jinny went in search of something new with the same high quality she desired. Her search led her to Aurifil. The 28wt was exactly what she was looking for and as the threads are available in such a wide color range, she was always able to find the perfect hue.


Jinny exclusively hand quilts and prefers the 28wt. Her staff uses 50wt for machine piecing, but still favor the 28wt for machine quilting. The colors featured in the Hand Piecing collection are the ones that she uses most in hand quilting. She tends to work more with darker colors… blacks, navys, burgundys and browns. She’ll work with a natural color for the lighter fabrics. To select colors for the Machine Piecing Collection, Jinny looked to her staff for the most go-to colors. The goal was to offer a range of what she felt were the most standard colors, colors that would be universal for people to use for any project. She loves that this would work well both for beginners and for experienced quilters.

JB-MachinePiecingJinny’s Tip for new Quilters:
Some people may think that the thicker thread is much harder to thread through the needle. Hold the thread tight between your hand and the spool. Cut the thread at an angle, moisten it and flatten it out… It should go right through the eye of the needle.

Jinny's Caliope Teal Quilt

Jinny’s Caliope Teal Quilt

Jinny’s Favorite Teaching Destination:
Recently I have been working with Sew Many Places, a travel company that brings me along as a teacher. Since the classes are travel based and we don’t have the use of sewing machine, I work with precut 6″ diamonds. I bring along handouts for the students in addition to a little bag with my favorite needle and a small spool of Aurifil thread. We focus on hand-piecing, which gives participants something to work on while on the tour bus or throughout other travel where we’d otherwise just be sitting. It’s a great lesson in what can be accomplished on the go!

2016 BOM - Jinny Beyer

2016 BOM – Jinny Beyer

The best part about releasing a new collection is offering you the opportunity to use the threads in your own projects! We are excited to offer One Large Jinny Beyer Hand Piecing Collection and One Large Jinny Beyer Machine Piecing Collection to one lucky winner!


To enter-to-win, simply click here to head to the Rafflecopter entry page, or simply click on the image above. You do not have to complete all the options to be entered but the more options you choose, the more entries you have!  Entries will be accepted from now through 11:59pm Eastern Time on February 25th! Winner will be randomly selected and announced on Friday, February 26th. Good luck!

One of the pioneering women of quilting, Jinny Beyer was the first designer to create a line of fabric exclusively for quilters. She alone is responsible for setting the industry standard for quality and design for quilters all over the world. Jinny’s strength as a designer lies in her contemporary, sophisticated styling and in her remarkable sense of color and shading, a skill which she honed while living in India and making her first quilt. Jinny pieces and quilts by hand. An award-wining quilter, Jinny is best known for her color shading technique used to create dimensional designs that stretch the imaginations of quilters, challenging them to go one step beyond and expand their skill levels.

Jinny designs three major collections a year for RJR and several groupings of basics to support her collections. She is best known for her signature fabric, the border stripe, which she showcases in every major collection. Her most successful basics line, The Jinny Beyer Palette, features 150 tonal and multiscreen tonal designs set in a complete spectrum of color. The Palette fabrics are gradually shaded to educate quilters on how to blend colors and create effective color combinations in quilts.

In addition to the Palette, Jinny has created an amazing line of batik fabrics called Malam Batiks. In Indonesian and Malay, Malam means “night” or “evening”. However in Javanese malam means “wax”. Batiks were originally printed on the Island of Java, which is why Jinny selected  “Malam” for the name of her line of batiks. The Malam Batik collections, 142 styles in total, offer a more sophisticated spin on traditional Indonesian batik cap designs. Jinny wanted to be able to create shaded effects as she does in her traditionally printed fabrics, so she challenged herself to find the types of designs that could produce a more subtle blending of color. The Batiks are printed on the finest quality base cloth with a construction of 50 x 50 yarns and 110 x 90 thread count. Shares Jinny, “In creating this line of batiks, I drew from my past experience, following the same approach I take with all my collections, to create a mix of designs, values and colors so that the prints can work and shade together in a project.

Jinny Beyer began her first quilt while living in India, using Indian fabrics in colors of deep red and dark blue. The darker hues became a hallmark of her future quilts. In 1978, Ray of Light won first place among 10,000 entries in Good Housekeeping’s Great American Quilt Contest. Jinny’s Bicentennial Quilt was awarded first place in the 1979 Quilter’s Newsletter Magazine contest. In 1984, Jinny was inducted into The Quilters Hall of Fame, a non-profit organization dedicated to honoring those who have made outstanding contributions to the world of quilting. Jinny received the Silver Star Award at the International Quilt Festival in 1995, given annually to living persons who have made a lasting and positive impact on the field of quilting and textile art over their careers. She received the Michael Kile Award of Achievement in 1996. Created in honor of the late Michael Kile, publisher of The Quilt Digest Press, the Michael Kile Award is given to people in the industry who share Michael’s commitment to excellence and have made contributions that will have a long-lasting effect on the quilting industry. Jinny’s quilt Ray of Light was chosen as one of the 100 Best American Quilts of the 20th Century in 1999, published by Quilter’s Newsletter Magazine.

Jinny Beyer lectures all over the world. For 29 years, until 2009, Quilters learned about her techniques at her annual Jinny Beyer Seminar at Hilton Head. She has published more than a dozen books and hundreds of quilt patterns.