Sgraffito fabric collection

Some collections begin with a sketch, others with a color palette or a particular idea. Sgraffito is an artistic technique used in etching, pottery, painting, and decorative arts. It involves scratching through a top layer to reveal the contrasting layer underneath, creating lines, patterns, and textures in the process.

I was drawn to the idea of revealing what lies beneath – the marks left by the hand, the irregularities, and the unexpected beauty of an imperfect surface.

To translate this technique into fabric, I experimented with thick layers of acrylic paint, scratching, carving, drawing and making impressions into the surface. I wanted the resulting designs to retain that tactile, handmade quality, almost as if the marks had been carved directly into clay. Some designs developed into bold, graphic patterns, while others became more delicate, with subtle marks and organic details. The palette brings together dusty pinks and blues, warm clay shades, soft neutrals, and deep graphite tones. There is a lovely balance between warm and cool colors, between quieter prints and those that make a stronger statement.

I wanted these fabrics to work beautifully together, but also to be versatile enough to mix with other collections and favorite basics.

One of my favorite things about Sgraffito is that many of the prints can act almost like textured blenders. They add depth and interest without necessarily competing with larger prints.

Sgraffito includes 16 premium cotton prints, a coordinating binding print, and two linen-cotton blend fabrics.

A few of my personal favorites deserve a special mention:

Gilded Ginko Pink – SGF-50300

A soft, dusky pink with an elegant feel. I love the balance between its delicate character and the slightly more graphic personality of the collection.

Floral Imprint Carbon – SGF-50309

This is the print that inspired the entire collection. It began with a thick layer of acrylic paint, which I scratched and marked to imitate the sgraffito technique used in pottery and the expressive quality of etching. It was one of those experiments that eventually grew into something much bigger.

Herringbone Etch Graphite – L-SGF-50305a

A simple arrangement of scratches on one of my favorite Art Gallery Fabrics substrates: their beautiful linen-cotton blend. And graphite? Probably my favorite non-color!

The collection also includes a coordinating binding print, Imprint Bound, and two beautiful linen-cotton designs that bring an extra dimension of texture to the range. Although Sgraffito has a strong artistic identity, I designed it with makers in mind. The prints can be combined for a more layered, eclectic look or used individually as subtle statement fabrics.

I can imagine them in quilts, patchwork projects, bags, pouches, cushions, and all sorts of little sewing adventures. The linen-cotton fabrics are especially lovely for projects where you want to bring in a different texture and a slightly more relaxed feel.

And if you prefer a quieter combination, try mixing the prints with coordinating Art Gallery Fabrics Pure Solids. Sometimes a little contrast is all a quilt needs.

Nomad Star – a quilt to go with the collection

To accompany Sgraffito, I also designed the Nomad Star quilt pattern. It measures 64.5" × 95.5" and brings together the collection's colors and contrasting prints in a bold star-inspired design.It is a lovely way to explore the different fabrics and see how their textures and colors work together. 

I hope these fabrics inspire you to experiment, combine unexpected prints, play with texture, and, most importantly, enjoy making something of your own.

Happy sewing!

Katarina

Enshadow Collection - fabrics and ribbons

My newest fabric collection for Art Gallery Fabrics, Enshadow arrived this May. And I can not believe it took me so long to make a blog post about it.

Enshadow is a collection filled with vintage charm, painterly florals, graceful Halloween creatures, pumpkins, and subtle celestial details—all brought together in a rich palette of black, charcoal, pink, purple and orange.

a mix of Boneyard ditsy prints from Eerie + Enshadow

Every print was created to mix effortlessly with the others, making it easy to create quilts that feel layered, timeless, and full of personality. Whether sewing for Halloween or simply loving the moody florals and dramatic color palettes, Enshadow is designed to be enjoyed well beyond the season. It also matches great with my first Halloween collection from 2 yrs ago-Eerie.

A Perfect Match: Renaissance Ribbons

One of my favorite parts of this release is seeing Enshadow transformed into woven ribbon through my collaboration with Renaissance Ribbons.

The coordinating ribbon collection features ten beautiful ribbon designs in a variety of widths, along with a carefully curated ribbon bundle that makes it easy to add decorative details to every project. From quilt bindings and bag straps to garment accents, zipper pulls, bookmarks, gift wrapping, and home décor, these ribbons bring another layer of texture and charm any handmade creations.

I always think of ribbon as the finishing touch—the little detail that turns a beautiful project into something truly unforgettable.

Meet the Trick or Sweet Quilt

To celebrate the collection, I designed a brand-new quilt pattern: Trick or Sweet.

This playful quilt captures everything I love about Halloween with three charming quilt blocks—a smiling pumpkin, a friendly ghost, and sweet wrapped candies—all arranged into a cheerful sampler that is as fun to sew as it is to display.

The pattern is fat quarter friendly, making it an excellent choice for showcasing the full Enshadow collection, and includes both Lap and Throw size options. Whether you're making it for cozy autumn decorating, gifting to a Halloween-loving friend, or starting a new family tradition, Trick or Sweet is designed to bring smiles year after year.

Even if Halloween isn't your favorite holiday, the blocks are wonderfully versatile and can be mixed into pillows, table runners, wall hangings, or smaller seasonal projects.

I cannot wait to see what you create with Enshadow. Whether you choose to make the Trick or Sweet quilt, sew a bag adorned with coordinating ribbons, or simply add these fabrics to your growing fabric collection, I hope they inspire you to embrace the beauty found in the shadows.

Happy sewing!

Katarina

Patchwork, But Make It Fashion: A Quilted Zipper Hoodie

It’s hard to believe it’s been four years since I made that Botanist patchwork hoodie for my son — and, well, it’s definitely running a bit small now! I couldn’t wait to make a new one with fabrics that felt more him — and with the Soar fabric collection, here it is!

He even helped me while I was sewing, which made the process magical… until the moment of truth: assembling everything and realizing it’s a bit tight in the upper arms. Argghhh — I should have measured him before cutting!

The good news? The pattern is the same Burda/Simplicity Man Hoodie 6718, but I added a zipper. That meant I made the front as one piece, then split it in two to insert the zipper — as shown in this convenient video. Honestly, without that zipper, getting it on him would’ve required both strategy and negotiation. 

But on the positive side — I will wear it with pleasure, so I officially have a new statement piece in my wardrobe!! Cozy, colorful, quilted, and with a zipper — what’s not to love?

So, lets start with the process!

I started with cutting the fleece as a base, but using batting or flannel is perfect too (you could even recycle an old thinner blanket for this — it adds beautiful loft and sustainability to the project). This base acts as both your stabilizer and your quilting layer, so there’s no separate quilting step at the end.

image courtesy of Art Gallery Fabrics

It’s always so satisfying turning simple strips into dynamic patchwork panels. Of course, there's a handy strip roll with already pre-cut 2.5" strips, so it's perfect for this project!

I started by cutting all my Soar fabrics (all 16 prints) and some new and old Seedling prints into 2.5" x 21" strips. 

From older Seedling colors, I used Licorice, Sage, Shitake, Copper, Clay and Pewter. So 16 Soar prints and 10 total of Seedling colors (4 new + 6 old colors). 

I have cut 2 (two)- WOF (2.5" x 42") strips from each of these these 26 fabrics and then subcut all the strips in half for easier strip-sets making. 

It's like 130" x 42" total of fabrics used for the patchwork. I had some leftovers, though...

From there, I created strip sets of varying widths, from 3 to 8 strips per set. The process is straightforward, but a few little tips make all the difference: change your sewing direction as you stitch the strips together. This helps prevent bowing or curving of the strip sets, keeping everything nice and straight. After stitching each set, I pressed the seams — careful open seams pressing is key for smooth, flat sets.

Once pressed, it was time for my secret weapon: the Stripology squared ruler. Using this handy tool, I cut the strip sets into new, perfectly even patchwork strips — ready to assemble into the larger design.

This technique is perfect for creating structured, versatile patchwork, and it’s especially fun when mixing fabrics of different colors, textures, or patterns. Every set feels like a mini quilt in itself, and the possibilities are endless!

Instead of sewing patchwork blocks first and quilting later, each fabric strip is added directly onto the batting base. I began from the bottom — placing the first strip right side up and stitching it down with a simple straight stitch at the bottom.

From there, I added the next strip right sides together, just like traditional patchwork. After stitching the seam, I flip the new piece open and press it flat. Because it’s attached to the batting underneath, it’s already quilted in place.

Piece by piece, adding strips in rows, going up, trying to maintain good alignment, until you reach the upper edge of the base.

 

Beside fabrics for the patchwork strips and flannel or fleece for the base or lining, (calculate at least 2-3 yds  for the patchwork and the same for the base) you will need around 1.5-2 yds of the trimming for wrist cuffs and waistline or some kind of jersey fabric that can be cut in strip, folded and used as ribbing. And a zipper. I used the 60 cm one.

You can also add the eyelets and a cord within the hoodie part- as the pattern provides. I didn't, as I lined the hoodie part with the Seedling Forest print. 

The first thing I did was the smallest - the front pocket. 

Here are all the hoodie pieces before adding the zipper and final assembling.

Again, you can watch this convenient video for adding the zipper.

I made a following video while sewing my first hoodie, it could be helpful to watch. 

The patchwork method is the same, only that this time I used only 2.5" strips while in the first video/hoodie, I used different strip widths. 

I really hope that you may find this inspiring and I really think that this is amazing way to use some loved fabric scraps and quilt blocks and leftovers! And I think that it's easier than making a jacket or coat, so maybe worth trying before sewing something a bit more delicate.

Happy sewing, Katarina

Soar Has Landed: A Fresh Fabric Collection + Quilt Pattern Inspiration

Hi! Happy 2026! As we step into this fresh chapter, I want to take a moment to THANK you for being part of this creative journey with me. And huge THANKS to all of you sewing along with me my Cabin Spark quilt! It was such a special way to celebrate my 50th birthday!

There’s something magical about the first days of a new year (especially when being covered in snow) —the way everything feels open, full of possibility, like a blank sketchbook waiting for its first brushstroke. And this Cabin Spark quilt pattern in my Seedling fabric collection (20 FQs + 1 yard for the sawtooth star corners) looks amazing by my opinion!

As we step into 2026, I’m carrying that feeling of fresh momentum straight into the studio.
I’m starting this year with something a little different, a little nostalgic, and incredibly fun: my brand-new Soar Collection.
Soar collection feels peaceful, poetic, and full of quiet strength.
Inspired by the calm elegance of cranes, the softness of Japandi aesthetics, and the harmony found in nature’s simplest forms, Soar is a collection created to bring serenity and balance into your making. Its motifs echo gentle movement—wings in flight, drifting feathers, soft shadows—and its palette feels soothing yet intentional, like a deep breath you can hold in your hands.
Each print is designed with flow, grace, and subtle storytelling. You’ll find delicate linework, airy compositions, and patterns that evoke openness and upward motion. From striking feature designs to versatile supporting prints, Soar is crafted to mix seamlessly while offering depth and dimension to any project.
I can’t think of a better way to begin the year than with a collection that feels centered and meaningful. If 2025 taught me anything, it’s that creating from a place of clarity and calm leads to more intentional work. Soar embodies exactly that—a gentle reminder to pause, breathe, and let your creativity rise.
Here’s to 2026—a year of lightness, uplifted spirits, and beautiful new beginnings.

My first quilt mock-ups were designed with the Shadow Maze quilt in mind, and I tested both the 9-fabric and 18-fabric versions—each included in the pattern. I’d love to know: which one speaks to you more?

I have also played with one of most popular patterns of mine: Sawtooth Sky quilt pattern in Soar fabrics and also Seedling collection.

I hope you'll enjoy creating with these new fabrics!

Katarina

Cabin Spark QUILT sew-ALONG: week 5 - Finishing and continuous multicolor stripped binding tutorial

WELCOME to the fifth and final week of the Cabin Spark QUILT sew-ALONG!

If you have been following along through my Instagram account, then you know that there's still time to join the fun and catch up with the previous posts/weeks.

Cabin Spark quilt-along schedule:

 

• Week 1, October 24 - Kickoff + Fabric Pull 
• Week 2, October 31 - Cutting Party
• Week 3, November 7 - Block Construction
• Week 4, November 14 - Layout + Assembly
• Week 5, November 21 - Quilting + Finish

Here's the quilt pattern, that can be purchased in my Etsy shop.

And here's the video where you can watch me transforming my quilt top into a finished quilt!

Finishing a quilt top is an exciting step in the quilting process and for some quilters it's the moment of true artistry, when selecting and making the quilting style and design. It is where the quilt truly becomes a work of art. It is a testament to the quilter's creativity, skill and passion and it's a stage where the quilt's narrative takes central stage, ready to captivate and comfort for generations to come.

Here's some guidance and steps to follow to ensure a successful finish:

1. Inspect your quilt top. 

Before proceeding, carefully inspect your quilt top. Check for any loose threads, stray pins or uneven seams. Make any necessary corrections or repairs to ensure a polished look. 

2. Prepare the binding.

Preparing the binding is an important step in the quilting process, as it not only adds a decorative edge, but also secures the quilts layers together. Properly preparing and attaching the binding will give your quilt a profession finish and make it ready for use or display.

How to Make Double-Fold Bias Binding With Multicolored Stripes (and Keep the Color Order Flowing!)- you can watch it in the above placed video!!!!

Working with a striped print for your binding is always fun—especially when it’s multicolored and full of personality. But if you want the colors to flow in a continuous order all around the quilt, you’ll need to pay special attention when joining your bias strips. Here’s a step-by-step tutorial to help you create double-fold bias binding while keeping those stripes beautifully aligned.

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Cut Your Bias Strips

• Cut strips at your preferred width (usually 2¼" or 2½" for double-fold binding).
  Bias-cut stripes are perfect for creating a candy-cane or ribbon effect along the quilt edge.

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Lay Out the Strips in Color Order

Before sewing anything:

• Spread the strips out on a flat surface.
• Look at the stripe sequence on each strip—identify the repeating pattern (for example: yellow → blue → red → green).
• Arrange the strips so the color sequence continues naturally from one strip to the next.

This step saves time later and avoids mismatched color jumps.

3. Join the Strips With a Diagonal Seam

To maintain the stripe flow, you’ll join the strips on the bias.

1. Place the end of Strip A right side up.
2. Place Strip B right side down, perpendicular to Strip A, forming an L-shape.
3. Shift Strip B slightly left or right until the stripe colors line up.
• You’ll need to overlap the next-in-order stripe on Strip B directly over the previous stripe on Strip A, so that the sequence continues without interruption.
• Think of it as matching the “next color in line” on B to the “last color stitched” on A to keep the flow perfectly continuous.
4. Draw a diagonal stitching line from the top left corner to the bottom right corner.
5. Pin carefully, checking alignment one more time.
6. Sew on the drawn line that will be on the white space between the colored lines so that it will become invisible once sewn.

Tip: Before trimming the seam allowance, open the seam to check whether the stripes transition smoothly from Strip A to Strip B. Adjust if needed.

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Fold the Strips Into Double-Fold Binding

Once your binding is one long continuous strip:

1. Press it wrong sides together lengthwise.
2. Keep the edges perfectly aligned so the stripes stay straight.
3. Roll it up neatly to avoid twisting once you start attaching it.

3. Prepare the quilt backing. 

Cut a backing fabric to the size of your quilt top, leaving a few extra inches on each side for manoeuvring during the quilting process. I like to sandwich my quilts on the floor- so I clear&clean the floor area and lay my backing fabric wrong side up on the floor. I smooth it out and iron it to remove wrinkles or folds. I use painters tape to secure the edges of the backing fabric to the floor making sure it's taut but not overly stretched. 

4. Prepare the quilt sandwich.

I place the batting on top of the backing fabric and I carefully position my quilt top right side up on top of the batting, starting from the center and working my way out toward the edges. I press it with iron to eliminate any wrinkles. 

5. Basting

I like using safety pins to secure the layers and the basting spray to bond better the batting with the backing.

6. Quilt 

With your quilt sandwich prepared, you can proceed to quilt it using your preferred quilting technique. If you're not quilting it immediately, you can roll up the sandwich for storage until you're ready to quilt.

No matter your quilting style, the Cabin Spark blocks are ready for it. Straight-line quilting reinforces the clean, graphic structure of the logs, while all-over free-motion quilting brings extra texture and depth, making scrappy or vibrant prints come alive.  

7. Trim the quilt edges. 

Trim the excess fabric from the edges of your quilt sandwich using a ruler and rotary cutter to achieve clean, straight edges. Ensure that all sides are even and that the corners are squared. 

8. Prepare and attach the binding to the quilt's raw edges. 

Double fold binding is a common choice and my favorite one. Machine sew the binding to the front of the quilt and hand or machine stitch it at the back for a neat finish. I chose the Jolly Ribbons festive print, which adds a lovely bias-stripe frame to the quilt.

9. Final press. 

After the binding is attached and stitched, give the entire quilt a final press to set the binding and ensure a polished appearance.

Completing a quilt is such a rewarding and significant part in quilting so admire your work and the progress you made throughout the Cabin Spark Quilt sew along.

10. Take a lot of pictures!!!!

I am really loving mine, but I just can’t wait to see your versions!

Please feel free to contact me with any questions, suggestions or comments either here or on Instagram.

Katarina