Judy Martin’s Ultimate Book of Quilt Block Patterns by Judy Martin
My rating: 5 of 5 stars
I am weeding and cataloging all of my quilt books. It is a fun exercise and I am finding a lot of interesting sections, blocks and quilts. This one came up in the queue so I decided to share it.
This book is in a style that publishers don’t use any more. I call it a block dictionary because it shows a lot of blocks and no quilt patterns as we know them today. This book is intended to be the basis of your next sampler quilt. Using it, the reader would design and make their own pattern.
Even if you have no interest in making a sampler quilt or any kind of block quilt, this book has useful information. You can see the value in the table of contents (pg. 5). There is information such as setting up your seam allowance, perfecting points and joins as well as how to accomplish partial seams successfully. There is also a page of helpful formulas listed.
Like some of the other block dictionaries, such as Encyclopedia of Pieced Quilt Patterns by Barbara Brackman and The Quilter’s Album of Patchwork Patterns by Jinny Beyer, this book includes an index of blocks (pg.6). Some are classic blocks, but most are designed by the author. I’m not sure why Judy has included a few classic blocks? Perhaps they are personal favorites or especially cool. You won’t find a Nine Patch on this list.
The Introduction is a dense block of text, but it is so interesting! Ms. Martin clarifies that “I knew I couldn’t include every pattern available… I decided to limit this book to 174 patterns: only the prettiest, most practical ones… I opted to include only a dozen or so classic favorites and another dozen obscure-but- beautiful designs from antique quilts.” (pg.7).
At the time this book was written, it had some novel features such as coloring pages, full-sized templates for sashings and alternate blocks as well as quilting designs and a few other useful highlights. You might laugh at the templates for 1.5″ strips as you use your Accuquilt Go, but remember that this book, from 1988, was written before rotary cutters were in regular use. There are valuable designs and information if you accept the age of the book and adjust your thinking.
The Introduction also includes a little paragraph on historic block collecting and a larger block of text about block collecting ‘today’. This paragraph is followed by a longer essay on the benefits of modern block collecting. I can see the appeal.
Following is a list of other ways to use blocks. We have different names for some of the activities such as ‘swaps’ instead of block exchanges.
The material in the section called Quick Quiltmaking Methods (pg.9) has changed in the intervening years, but you can still gather some interesting and helpful information. Judy Martin has a lot of good fabrics. She gives some ideas for figuring out what you like and talks about her method.
On page 10, Judy has some ideas for selecting fabrics. She doesn’t talk about the color wheel, but more about what appeals to your sense of color and fabric combinations and how to combine different motifs found on fabrics.
Since this is not a project book, Martin talks about choosing different blocks to make a quilt (pg.10).
The instructions for cutting (pg.11-12) are quite amusing, and out of date. Judy started out with ‘quick piecing’ using paper patterns. The methods described can still be used for tricky or asymmetrical patches. She evolved quickly to rotary cutting after this book with Judy Martin’s Ultimate Rotary Cutting Reference: The Most Useful Book on Rotary Cutting Ever Written.
As with most quilt books, this one has a section on “Getting Ready for Piecing” (pg.12). The section talks about setting up your perfect quarter inch seam allowance, but also about chain piecing (pg.13). She includes ‘assembly line’ methods, which she described as “go hand in hand with chain piecing” (pg.13). She tells us about facing problems with chain piecing head-on, which are often not addressed in modern books. Martin discusses modification to the traditional assembly line method to help prevent perpetuating a mistake across an entire quilt (pg.13).
Modern quiltmakers (the movement not the era) feel they have to press seams open. Judy explains why ‘traditional quiltmakers’ never did that. I don’t want to give away all of her content, but it is so that the batting doesn’t seep out of the seams. I don’t know if this is still an issue as a lot of batting has scrim.
Pressing is also discussed in detail (pg.15).
There is a good text tutorial on partial seams (pg.16). Partial seams are a great way to make complicated looking blocks fairly easily. A number of the blocks have partial seams, which are not difficult, though maybe not intuitive. Don’t let anyone tell you they are too difficult. See a tutorial.
Joining blocks (pg.16-17), quilting (pg.17-18) and binding (pg.18) are all briefly discussed.
The next section (pg.19-34) is a color catalog of all the 174 blocks (the number is noted on pg.35). While the fabrics and colors of the blocks are of the era, this section provides a good opportunity to see how the blocks will look in fabric.
This section provides inspiration for your own blocks because many of them start out with something simple, like a Sawtooth Star, then are made more exciting by adding some interesting elements. Many of the corner designs mean that a one-block quilt would have an interesting secondary design. Some blocks have fabric placed in such a way that a second design within the block is revealed, like Dutchman’s Puzzle (pg.22).
On every other page or so, Judy shows a few blocks together in a small quilt, such a Philadelphia Pavement (pg.23). Most of these quilt examples have sashing or plain alternate blocks, again of the era. However, Dear Old Dad (pg.32) shows blocks without sashing revealing a very cool secondary design.
I have a lot of favorites in this section including Song & Dance (pg.26), Sparks Flying’ (pg.27) which looks like some parts are disappearing. June Bride (pg.26), January Thaw (pg.29) even though it has a Square-in-a-Square center. There are a lot of 14″ blocks that I like. Many of them have cool centers that include octagons, a shape I am a little scared to work with despite the Russian Rubix. August Block and Building Block (pg.31) are particular favorites.
Some of the centers look like they have used the Paula Nadelstern Kaleidoscope technique to make the center.
Gram’s Block with its flippy corners (pg.33) would make a fantastic quilt. I also like the way the strips that crisscross the quilt are not prominent because of the fabric used.
Viennese Waltz (pg. 32) has some interesting shapes and is a good use of a border print.
After the gallery is a section called ‘The Block Collection’ (pg.35-55). This is the second of the three block sections. Martin describes it as including “a block diagram with description” (pg.35). The description of the section also includes an explanation of the pattern ratings, which are about ease of construction, and based on “patches per square foot” (pg.35).
Once in the ‘Block Diagrams and Description’ section, the part “contains piecing diagrams, block sizes, setting suggestions…” (pg.36). There is a reference to partial seams which are not called out as advanced, but just treated as a normal skill anyone can sew (pg.56). I love that! The best part of this section is that the diagrams show how to put the block together. The block diagrams make the blocks seem doable.
The descriptions are lovely. All of them provide some tip about the block, but the style and tone feels like you are talking with a friend.
“Blocks Diagrams and Descriptions” are followed by “The Quilt Block coloring Book” section (pg.56-64). I have a fantasy of copying these, cutting them out and making quilt collages. Of course, I could do this easily in EQ8, just without the tactile element.
The line drawings give equal weight to all of the pieces and sections. It allows you to emphasize the sections you want to highlight. There are a lot of lines in this section, so it might be useful to create a window in a piece of cardstock so you can isolate your block of choice.
In this format, Yankee Ingenuity (pg.64), Mother’s Day (pg.62), Building Block (pg.63), and Viennese Walz (pg.63) all stand out to me. Time saving charts pg.65-67) help makers figure out the yardage you need when you are creating your own designs. There are instructions for how to use the charts. Yes, you’ll have to think, but the more you do it, the more easily you will figure out the math next time. Start with a block and then move up to a quilt.
‘Helpful Formulas’ (pg.68) provides information on determining the numbers of blocks, sashes etc to make your quilt.
Full-sized patterns are included (pg.69-94). This means that each patch in each block has a corresponding full-sized pattern piece in this section. Look at the Block Diagram and Description (pg.36-55) for the block(s) in which you are interested in making. Note the number and letter combination of each patch you need, then find them in this section. With modern standard tool, like rotary rulers, you can just measure the patch size and cut it with your rotary cutter. For pieces with 45 degree angles like G14, H3, H5, you may want to use a ruler like Simply Folded ruler after cutting the basic shape. Use your Accuquilt Go dies and the specialty rulers you have or look at Judy Martin’s Ultimate Rotary Cutting Reference: The Most Useful Book on Rotary Cutting Ever Written.
The end of this section (pg.92-97) has a few interesting quilting patterns. I really like the knot shown on patch K7 (pg.94).
You may think that the techniques and tips are too old-fashioned to be of use today. I think it is good to review all types of quiltmaking information, tips and techniques, then see what can be used or updated with our modern tools. Dismissing a technique from 1988 because it isn’t ‘modern’ or found on a website is foolish and may prevent you from solving a persistent challenge you are experiencing. Keep an open mind!
I love Judy Martin’s creativity and focus on interesting blocks. I love how blocks can look different with different fabrics. I feel like my own creativity can build off of the starts that Judy Martin shares.
Check out Judy’s website.
