Friday, June 12, 2026

Strategies for replacing yardage with scraps

Have you ever used a pattern that was written for yardage but used scraps instead?  While not all patterns lend themselves to this, you can substitute scraps for yardage in many patterns to make beautiful scrap quilts.

The key to converting a pattern to use up scraps is figuring out piece counts in each size and color when you're not using a single fabric.  Read on to find out how I tackle this challenge.


Read the Pattern 

Quilt pattern cover laid over 5 pages of pattern fanned out on a tabletop.  Cover features a quilt with 12 maple leaf blocks alternating with striped blocks, all blocks set on point.

Read it all the way through, beginning to end.  I know this one seems obvious, but it's easy to skip this part when you're impatient to start cutting and sewing.

You need to know how the blocks and setting are made. The units and blocks might not be constructed the way you assumed. There may be a clever (or less clever!) construction method that uses scraps of different sizes than you expected.  There may be strip piecing that changes the kind of scraps you need.  Read the pattern!


Choose your scrappiness level

Corner of a quilt laid on green grass.  Bright blue, green and yellow squares surround white stars, all floating on a darker blue background.  Quilt is bound in bright green.
Individual scrap squares replace squares cut from
yardage in this version of Starlit Picnic

I shared ideas in an earlier blog post to help you decide how scrappy you want your quilt to be.  All scraps? ALL the colors or a more controlled palette?  Scrappy blocks and controlled sashing?  Check out the blog post for ideas.  You'll need to make some decisions to know which of the strategies below to use to figure out what you need to cut from your chosen scraps.


Figure out piece counts

Once you know what kind of scrappiness you're planning, you can start counting.

Assorted size red fabric squares in various shades and prints, with a paper and pencil tallying piece counts.
Scraps cut and counted to make a scrappy version of Half and Half.

Scenario 1. You choose to replace all prints with assorted scraps in no particular order

This is the simplest scenario.  You can simply use the cutting instructions to determine how many pieces of each size to cut from assorted scraps.  Where the pattern says to cut a certain number of pieces A from a particular fabric, just cut those pieces from assorted scraps instead.  Done!

This applies if you use multicolor scraps with random placement, or if you choose to use scraps from a single color family as in the quilt below.

closeup of a red and white quilt top.  The repeated block is split diagonally. The design is the same in each half of the block but the placement of light and darl values is reversed in each half.
Half and Half, scrappy version

Keep in mind that any contrasting background or sashing can be cut from yardage as listed in the pattern or from scraps of contrasting fabrics.


Scenario 2. You choose a different color for each block

Nine scrappy butterfly quilt blocks laid out overlapping each other in a small arc.  Each block is a different color.  From left to right:  aqua, bright blue, light blue, purple, green, red, orange, yellow, pink.
Find a tutorial for these blocks here

Look at the block assembly instructions to determine how many of each cut part you need for a single block.  Multiply those numbers by the number of blocks you plan to make in a particular color to calculate how many of each piece to cut from scraps of that colour.

How to determine how many of each part you need for a block depends on how the instructions are written.  Some patterns tell you what to do for a single block, then say to repeat all the steps for each block. Others will direct you to make all similar parts for the whole quilt all at once, then show you how to use the parts to make blocks.  Both approaches are valid.  Why pattern writers choose one aproach over the other varies from pattern to pattern and designer to designer, and that's a whole other conversation.  That said, you'll need different strategies for the two scenarios.

  • If the instructions march through what needs to be done for a single block, you can start at the beginning of the block instructions and count parts as you read through them.

  • If the instructions make all similar parts for all the blocks at once, I prefer to start at the end of the instructions and move backwards.  One unit may be used more than once in a block, or in more than one type of block, so it might not be possible to take the total number required and divide by the number of blocks.  Maybe yes, maybe no, depending on the pattern.  Either way, working backwards through the block instructions will work. Let's walk through an example of this from my Field of Leaves pattern.

 

1. Count the pieced units that come together to finish one block.  In the graphic below, you see the leaf block is made with one unit each of Units 1 to 7.

 

Diagram of a leaf quilt block on the left, broken down into its component units on the right.

2.  Go backwards through the instructions to identify and count the parts that go into each pieced unit.  Units 1 to 3 and Unit 7 are easy as they don't include any smaller pieced units.  Finding the instructions for these units in the pattern, we can identify that they are made with cut parts C, D, K, H, N and E  Between those three units, there are 4 K, 2 D, 1 C, 1 H, 1N and 1 E (only one H cut into 2 triangles).

Four of seven component units of a leaf quilt block

3.  Pieced Units 4, 5 and 6 each include cut parts and smaller pieced units.  For example, in the instructions we see that Unit 4 is made up of I plus Unit 1, and Unit 1 is made up of cut parts K and D, so Unit 4 needs 1 I, 1 K and one D.  Continue counting parts for Units 5 and 6.

 




 4.  Adding up the counts of individual cut parts from each step above gives the total number of each part needed for a single block.  For the leaf block, that breaks down to

      • 1 square B (red)
      • 1 rectangle C (red)
      • 5 rectangles D (red)
      • 1 strip E (red)
      • 1 square H (background)
      • 2 rectangles I (background)
      • 1 square J (background)
      • 8 squares K (background)
      • 1 square N (background)

 You can choose to cut all these parts for one block from a single fabric plus background, or from assorted scraps.

Mocked up with single red on the left and assorted red scraps on the right

Scenario 3. You choose to use a constant fabric for specific elements in the quilt

Consider my blue scrappy version of Shining Lace.  I've circled some of the constant fabric in the picture below.

Closeup of a blue and white scrappy quilt. Blue straburst blocks are separated by diagonal lines of small squares in assorted blues.  Red circles highlight a few parts in a single medium blue fabric
Red circles highlight examples of the constant fabric

For the totally scrappy parts, just use the cutting chart for sizes and numbers but cut from assorted scraps, as in Scenario 1.  

For the constant fabric, look through the pattern identify what cut part(s) correspond to the element(s) for which you plan to use that fabric.  You can then find those parts in the cutting chart and follow those instructions for that fabric.  Working backwards through the Shining Lace pattern, in the same way we worked backwards through the leaf block instructions, let me identify there were parts in both block designs in the quilt that came together to make the squares on point, so I could count all the required parts.


Special Cases

If the pattern uses strip sets

Blue on cream quilt on a sandy beach.  Pairs of aqua and blue squares 6 rows are offset to form a pixellated waves patter,.  Each row is broken up with one 8-pointed bright blue floating star block.
Strip pieced waves in Bright Seas

You can use scrap strips in a strip set.  If you have scrap strips long enough to use for the original instructions, great!  You're good to go.

Otherwise, look at the size of the segments to cut from the strip set.  As long as your scrap strips are longer than the cut width of the segment, you can use them to make strip sets from which to cut segments.  You'll just cut fewer segments from shorter sets and will need additional strip sets to reach the total number of segments the pattern calls for. 


Top: Diagram of a red strip between two narrower white strips to foem a strip set.  A vertical line bisects the strip set near the right end, showing where to cut to make segment.  A cut segment is shown beside the strip set.  Bottom: a shorter strip set, biseted by three vertical lines to show 3 segments could be cut from this strip set.

Keep in mind that it's a scrappy alternative so unless you're choosing this as a constant element you don't need to use the same fabrics for all your strip sets.

You also have the option of piecing the strip-pieced segment from individual pieces instead of cutting it from a strip set but that requires extra math. 

Assembly diagram showing a red rectangle between 2 narrow white rectangles, fisrt with a space between them, then butted together to form a single unit.

Figure out what the finished size of each element of the strip pieced segment is in the finished quilt, then add 1/2" to each dimension to allow for a 1/4" seam allowance.  That's the size you would cut each individual piece to make the segment.

Personally, I'll stick to strip piecing if the pattern calls for it.  It's in the pattern to help make assembly faster and easier, so why mess with that?  


If a unit construction method makes multiple units at once

If you are making more than one block in a specific color or value, keep in mind that methods that make multiple units at once might make enough for more than one block.

For example, consider using one red square and one white square to make HST, as shown below.  If you only need one HST in the block, those two squares will yield enough HST for two blocks.  Take care not to count 2 red squares and 2 white squares for 2 blocks.  You only need one of each for every two blocks.  


Example of joining parts resulting in multiple units instead of one

 

  • Figure out how many units you need for the number of blocks you're making, 

  • Divide that number by the number of units the method makes.  That will tell you how many times you need to repeat the instructions to make the number you need. 

  • To figure out the total number of pieces to cut, multiply the number of each piece required by the method by the number of times you'll repeat the method.

Was that clear as mud?

Here's an example to make 6 of the leaf blocks from earlier.

  • The block uses one HST, so I would need 6 HST to make 6 blocks

  • The two-at-a-time HST method in the pattern makes 2 HST.  6 blocks divided by 2 HST per method repeat equals 3 repeats (6/2=3).  

  • The method uses 1 red square and 1 background square, so doing this three times to make 6 HST will require 3 of each square.

 **********************

I hope you have found this helpful.  Go forth to explore your pattern collection and raid your scrap bins with confidence!  I need to plan a raid soon.  The bins are getting a wee bit full...

Also, please share photos of your scrappy quilts!  You can email me or share in my Facebook Group.  I'd love some scrappy inspiration.

Happy quilting,

Joanne







Monday, May 11, 2026

City Line quilt

My designs often develop in clusters, where I start with one idea that develops in multiple different directions.  City Line is part of one of those clusters, coming along for the ride with the Love Large strip-friendly heart quilt.

Quilt featuring 12 staggered vertical columns pointed at each end floating on a light background.  Each column consists of two vertical strips in contrasting color values.  The panel of columns is bisected horizontally by a pieced band of squares (3 squares high by 24 squares wide).  Fabric prints resemble stone textures.  Colors rangle from dark to light blue, and a bit of green.
City Line by Canuck Quilter Designs
This version made with Northcott Stonehenge Gradations fabrics

In both designs I was experimenting with ways of using panels made of precut strips (spoiler in case you stop reading too soon:  City Line ended up not using precut strips!).

Here's the first draft of what became City Line.

Quilt featuring staggered vertical columns, pointed at each end, floating on a light background.  Each column consists of two vertical strips in contrasting colors.  The panel of columns is bisected horizontally by 3 pieced bands of squares separated by thin sashing matching the background.  Colours include pink, green, purple and blue.
First Draft of City Line

As you can see, it wasn't quite there yet. I played with the center band little more, testing out different spacings, more sashing, less sashing, no sashing.  Eventually I landed on the checkerboard look I chose for the final version.

About this time digital fabric swatches for Northcott's Bordeaux line arrived in my inbox and I recolored with those because they were just so pretty.

Quilt featuring staggered vertical columns, pointed at each end, floating on a light background.  Each column consists of two vertical strips, one a darker and one lighter.   The panel of columns is bisected horizontally by a pieced band of squares (3 squares high by 24 squares wide).  Fabric prints are red and white florals, with half being more dominantly red, and the rest being more dominantly white.

Here's where I shifted away from precuts.  First, I don't think this collection will have precuts (it will ship to stores this fall). Second, this would only use 26 of the 40 to 42 strips in a strip pack.  that's not ideal.  Finally, when I used these red and white prints, I had to carefully choose placement to keep the red-on-white prints separate from each other because they blended together otherwise and the design was lost.  Keeping the darker fabric on the left of each column and the lighter on the right created a slight dimensional effect that I rather liked.  So, what happens if the fabrics in a strip set don't have as much value variation?  It might be harder to create that effect.

Maybe yardage, where you have more control over the fabric choices, would be a better bet.  Also, as much as I love these red and white florals, I wondered if more subtle prints or tone-on-tones would do a better job emphasizing the dimensional element.  I reached for Nortcott Stonehenge Gradations for subtle texture.  (All that said, if you don't mind having leftover strips, and your strip pack includes a good range of values, you can choose to use precuts if that's your preference.)

Quilt design featuring 13 staggered vertical columns pointed at each end floating on a light background.  Each column consists of two vertical strips in contrasting color values.  The panel of columns is bisected horizontally by a pieced band of squares (3 squares high by 24 squares wide).  Fabric prints resemble stone textures.  Colors rangle from dark to light blue, and a bit of green.
Second to last draft of City Line design


Almost there! The last little tweak came whan I worked out yardage requiremenmts.  I thought eight fabrics was a good number, with enough variety but not too many choices to make.  Starting with that number, and the number of strips needed in each fabric, I found two fabrics would need more yardage than the rest.  Wouldn't it be easier to use the same amount of each?  That way I wouldn't have to decide which two fabrics would have more before I was able to shuffle the fabric on my design wall.  Removing one pair of strips made the math math beautifully.

A nice side effect?  I like the aspect ratio of the final design more than the original.  Yay!

Here's a quick look at the making of the quilt.

8 different colored fabric strips laid side by side, in varying shades of blue, teal and green.
Auditioning fabric order

Two-colour columns laid side by side at varying heights over a light background. float
Piecing the panel



Quilt featuring staggered vertical columns pointed at each end floating on a light background.  Each column consists of two vertical strips in contrasting color values.  The panel of columns is bisected horizontally by a pieced band of squares (3 squares high by 24 squares wide).  Fabric prints resemble stone textures.  Colors rangle from dark to light blue, and a bit of green.
Sliced and reconstructed to finish the top

I was thrilled with how quickly this all came together. I think talking myself into basting the quilt so I could quilt it took longer than the piecing.

City LIne quilt top draped over table, with safety pins in a grid design from basting the quilt sandwich.
Basting the quilt


I kept the quilting very simple, stitching in the ditch in the columns and checkerboard, then emphasizing all the vertical elements with evenly spaced vertical lines  in the background.

Quilt under a walking foot presser foot on a domestic sewing machine.  Quilt is partialy quiltied with straight parellel, evenly spaced lines in the background.
Quilting the quilt

Rosie seems a little unsure of the quilting choice but I like it. With the simple quilting and Hobbs 80/20 batting, the quilt is super soft, drapey and cuddly.

Dog sitting on upper right corner of the City Line quilt after quilting buit before binding.   Photo shows the straight line quilting of evenly spaced parallel lines in the quilt background.
Quilt inspector at work

I'm planning a quilt-along for this pattern.  It will be a very slow, easy pace, and hopefully a chance to get to know and encourage other quilters online.    No prizes, no hoops to jump through.  Just quilty fun.  When I asked for preferences in my Facebook group, there seemed to be a strong preference for September dates so that's what I'm looking at right now.  Check back for more details, or sign up to receive my newsletter to get the announcement in your inbox.  

I'm considering these fabrics from assorted White Owl Textiles Fundamentals collections for my quilt-along quilt.

Digital mockup of City Line quilt featuring staggered vertical columns, pointed at each end,  floating on a light background.  Each column consists of two vertical strips in contrasting color values.  The panel of columns is bisected horizontally by a pieced band of squares (3 squares high by 24 squares wide).  Fabric are in a range of blues on a medium gray background.
City Line by Canuck Quilter Designs
mocked up in assorted blue White Owl Textiles Fundamentals.

Now I'm off to work on a new idea that cropped up while I was scouring my EQ files to share the City Line design process with you.  There was another discarded idea in there that is now tickling my creativity with scrap quilt possibilities...

What is your creativity up to today?

Happy quilting,
Joanne

Cover of City LIne quilt pattern, featuring the quilt sample in the center, the Canuck quilter designs logo on the lower right and the pattern name and pattern number in a colored band at the top.
Find the PDF download version of the pattern in my Etsy shop
 or ask for a print version at your favourite quilt shop.





Sunday, May 3, 2026

Love and Cuddles

I haven't made a baby quilt in ages, but when I pieced a backing for Love Large,  my brain latched onto that backing design as the perfect start to a baby quilt.  I'm thrilled with how Love and Cuddles turned out.

Baby quilt featuring a column of three yellow and green woven patchwork hearts on grey background.  The blocks are framed in light yellow.  The column of hearts floats off center over a background made of two horizontal panels , each a different novelty print, separated by a narrower strip of a plaid print.  The quilt is displayed on a wall, with  rocking chair and a plant stand on either side.
Love and Cuddles baby quilt

Here's the inspiration quilt backing for reference.

Quilt with a column of three large hearts pieced from purple strips on a light background.  The column floats off center on a background composed of two horizontal panels , each a different light purple, joined by horizontal band of  slilghtly darker purple.
Backing of Love Large was the inspiration for Love and Cuddles.

Step one towards turning this into a baby sized quilt was to scale down the size of the hearts.  I knew I'd need skinnier strips for a smaller heart but I still planned plain vertical strips.  The visual interest would come from the different fabrics.

When I started thinking about fabric amounts for a pattern I realized that at a smaller scale, a single strip of any one fabric wouldn't use a significant portion of even the smallest cut you can usually buy.  Some shops will cut as small as 1/8 yard, but many will round to 1/4 yards.  Either way, there would be a lot of leftover.

With that in mind, I looked for ways to make the heart visually interesting with only two colors.  Here's my little test block.  I was happy to be able to spin the seams in that middle section to minimize the bulk.  Pressing instructions in the pattern reflect that, or you can press to one side as you prefer.

Small patchwork heart block in pink plaid and a print with red hearts and Xs in a grid.  The fabrics are laid out to look like strips of the fabrics are woven together.
Test block for Love and Cuddles


It was quick and easy.  I built the base, sliced it and rebuilt it. No individual squares to cut and sew together.  This definitely had potential.   They seemed  a little too small to take the stage all alone against the background panels, so I framed them for a more emphasis.

When I was ready to make the sample quilt, I knew I didn't want to use traditional pink or blue.  I thought some of the currently trendy less traditional neutral tones could look cute, but would look drab out of context on a patter cover.  With that in mind I headed to the quilt shop and browsed for an hour until prints from a 2023 collection from Riley Blake caught my eye.  With those in hand I picked out coordinating tone-on-tones to round out my fabric selection.

Bundle of seven coordinating fabrics: (1) a print of clouds, stars and crescent moon on  a dark green background; (2) a medium muted green linen-textured tone-on-tone print; (3) dark green and yellow stars on a light green background; (4) a silvery grey starry tone-on-tone; (5) a yellow and white textured print; (6) a pastel yellow, green and aqua plaid print; (7) a pale yellow linen-textured tone-on-tone print.

The stars and clouds prints and the plaid are from a collection called "It's a Boy", but I think the theme and the green and yellow prints are gender neutral.

It took me about 5 hours to make the top, from pressing the fabric to sewing the last stitch.  That included time to rip stitches and resew when I sewed a whole side panel on upside down. Oops! 

I moved on to the quilting before I took a photo of the top.  I kept the quilting vey simple to match the simple piecing.  The walking foot, as is often the case, was my tool of choice.  

Close up of yellow and gree woven heart block and yellow frame of Love and Cuddles baby quilt.  Outline quilting around the hearts and in the frame is visible, as is beadborad quilting in the background panel.

First I stitched in the ditch along every seam in the heart and in the yellow frame, then filled in with a little bit of outline quilting.  Usually, I outline quilt 1/4" from the seams, but this time I chose to use 1/2" spacing.  This echoes the 1/2" between the sides of the hearts and the yellow frame.  I repeated the 1/2" spacing in the beadboard quilting in the background panels, just a small way to tie the quilting in the hearts with the quilting in the rest of the quilt.



Five generous quilters offfered to test the pattern for me.  I greatly appreciate their help.  Despite my careful proofreading and tech editing, there were still a couple of mistakes to catch, so I owe a huge thanks to Pat Minnick, Vicki O., Tammy Howell, Elizabeth, and Susan Brown.

City Line, the other quilt I designed while working on Love large, is up next.  There will be a quilt-along for that one!  I'm still working out the details, including the dates, but I'm committed to it :)

Time to go make dinner again.  I'm not inspired tonight.  I wrote a menu for the week, but none of what seemed appealing before I did the groceries is whetting my appetite today.  What do you do when that happens?

I'll figure something out.  In the meantime, happy quilting and I'll see you next time.

Joanne


Find the PDF version of the Love and Cuddles pattern in my Etsy shop or ask for the print version at your favourite quilt shop.