The Game of Telephone

Telephone is a game where one person whispers a phrase to the next, passing it down the line. The last person announces the final phrase—it’s rarely the original thought, and it’s often hilarious. For this challenge, the information is passed visually rather than orally, with each participant passing photos of their quilts to the next person.

How It Works

We were divided into groups of five. For the first round, we each selected a photograph to send to the next person on the list. For this project, we all used nature photographs we took ourselves to ensure we wouldn’t run into any copyright issues when the quilts are exhibited.

We each spent one month creating a mini quilt based on the initial photograph and sent the quilt image to the next person on the list. We never saw any inspiration except for the mini quilt directly before us in the design order. Our designs could be as realistic or as abstract as we liked, so there was quite an evolution in most of them.

Timeline

This challenge ran from January through April, and we had one month to create each quilt.

The Quilts

Each group created five collections, each consisting of one photograph and four mini quilts. We never made a quilt inspired by our own image. The quilts were all initially inspired by a nature photograph and finished at 12” square. Beyond those requirements, we could use any quilting techniques or materials.

My First Telephone Tag Quilt

The inspiration photograph I received showed a body of water, with a log diagonally across the bottom of the image and a turtle resting near the center of the log. (As of publication, I have not received permission from the photographer to share the original image, so I’m only showing the images that I have adapted significantly in the design process.)

The Design Process

The water was highly reflective with a sharp contrast between highlights and shadows, and I wanted that broken feel in the final quilt. I started the design by placing the image in ProCreate and coloring each section of the photo with blocks of color.

My goal was to simplify the image into organically shaped chunks of color, while still keeping the turtle recognizable. For the color palette, I selected the most saturated colors from the original image.

Once I had a large portion of the image colored, I cropped the image to the final square format.

To finalize the design, I printed the image at (almost) full scale on 11” x 17” paper. At this point, I cut out each section of color, adjusting the exact lines and shapes as I cut. 

Laying Out the Quilt

I wanted to make sure the quilt would easily finish at 12” square, so I used a 13-1/2” square piece of background fabric as the base for my appliqué design. I added extra fabric to the edges of the paper templates along the outer edges of the square to accommodate the larger square. The fabrics in the center of the design were cut to the exact template size. 

I like to design small quilts on pieces of fleece-covered foam core so I can pin directly to the surface when needed.

Appliqué

To appliqué, I baste 1/4” from the edges of each piece of fabric. When I turn under the edges as I do the final stitching, the raw edge meets the basting line, leaving a 1/4” gap that reveals the background between the appliqué fabrics. The lines of blue remind me of the shimmering highlights from the original photos.

Quilting

Simple quilting keeps the appliqué more graphic, so I decided to use diagonal lines that emphasize the angle of the log placement.

Finishing

I wanted to maintain the illusion that this design could continue far beyond the quilt’s edges, so I chose a faced edge to finish the quilt.

Quilt Stats

• Title: Reflections
• Size: 12” x 12”
• Techniques: Hand Needle Turn Appliqué
• Quilting: Walking Foot Quilting on a BERNINA 770 QE PLUS
• Fabric: Assorted print and woven fabrics from my stash
• Batting: A scrap of Hobbs 80/20 Cotton/Wool blend
• Thread: 50 Aurifil in a variety of colors
• Edge Finish: Facing

It’s easy to get excited and dive right into quilting a big project, but quilting tests can help us take our quilts from good to great.

Why Should You Do a Quilting Test?

Quilting tests can range from basic to complex and provide valuable insights into what we can expect in the quilting process. A quilting test can tell us:

• If our tension and machine settings are correct for the materials we are using
• What length of stitches works best for the quilting style
• Which motifs will work with the design?
• The color and weight of the thread that will look the best in the quilt

Many of my quilts rely on thread color and weight as key aspects of the overall quilt design, so testing the thread options helps ensure the final quilt will be a success. Today, I’m sharing an initial test I did for an upcoming quilt.

Preparing the Test Quilt Sandwich

The piecing of the new quilt will be simple with light, neutral colors. To test the quilting, I made a block about 9” square that incorporates both of the main colors in the quilt. The design of this block is not the same as the final quilt, but the rectangles give me a decent idea of how the quilting will interact with the fabrics.

Since this is such a small piece, I used 3/4” wide masking tape to mark the lines where I will add colorful quilting. For the finished quilt, I’m planning to use a backing fabric with some color, so I chose a medium-light pink to back this swatch, hoping it will give me an idea of whether it will work on the final project.

Quilting the Sample

I started by quilting white lines through the white-pieced rectangles and light grey lines in the mist-colored background. I used 40-weight thread in the white sections, but I think that I’ll ultimately need to go with a 28-weight or even a 12-weight thread to get the effect I want. The grey thread in the mist-colored fabric worked pretty well, but I’m going to look at other thread options to see if there is a slightly warmer grey that may match even better. The 50-weight thread worked great for the background.

Next, I added stripes of my dominant colors using 12-weight thread. I love how these look, but the neon yellow blended into the background just a bit too much for what I’m trying to accomplish.

To emphasize the yellow lines, I decided to wrap some of the stitches with lime green thread. In the two lines closest to the white rectangle, I used a 12-weight thread to wrap the machine quilting stitches. In the next two lines, I used 28-weight thread, then 50-weight thread in the following line. If you had asked me if I would ever wrap stitching with 50-weight thread before this quilting test, I would have laughed, but this is exactly what this quilting needs to create a subtle gradient.

I’m thinking about adding wrapped stitches to some of the pink lines as well, but I need to order some thread colors to experiment with. 

Finally, I added a couple of sections of perpendicular stitches to get a general idea of how these intersections will work in the final quilt.

With the quilting finished, I checked out the backing fabric and was pleased with the results. I used all matching 50-weight thread in the bobbin for each color, and the pink fabric showed the stitching without overwhelming it or showing through the front of the quilt sandwich.

Once I get more thread in, I will probably add to this test or make a new one to ensure I get a result that works well on the final quilt. 

I was pleasantly surprised by how straightforward the new machine was to learn, but I only recently decided to take a look at its machine embroidery capabilities. I am lucky to have a friend nearby who owns the embroidery module for the same machine, and was happy to loan it to me to try out before I commit to purchasing the embroidery components for my machine.

Experimenting with Machine Embroidery 

For my first few machine embroidery experiments, I knew there were certain skills I wanted to learn, and I wanted to figure out if I found the process useful and fun or annoying. 

My goals for the first few designs included:

• Set up the machine for embroidery
• Load fabric and stabilizer in a hoop
• Choose a design and make sure it fits into the hoop
• Navigate the menus of built-in embroidery designs
• Stitch a single color motif
• Stitch a multi-color motif
• Download a purchased design and open it on the machine.
• Try a densely stitched motif
• Stitch more than one motif in a hoop
• Move and rotate motifs to interact with each other
• Use an embroidery design to quilt

Design 1

The first design was mostly about making sure I could set the machine up on my own, load the hoop with fabric and stabilizer, and get everything positioned and sized properly for stitching. 

I wanted to keep the actual design relatively simple while still filling most of the hoop. I ended up choosing a mostly linear motif that was built into the machine. 

For the thread, I decided on 40-weight Aurifil. Most machine embroidery threads are shiny, but I tend to prefer the more matte look of cotton. Since Aurifil was originally designed as an embroidery thread, I decided this was a good place to start.

The first round worked perfectly! I really thought it would take a couple of tries to get a workable design, but the first one turned out great.

Design 2

Now that I had one design stitched, I was ready to add one more skill. For the second motif, I selected a flower with four colors to practice changing thread.

Design 3

Everything has gone well so far, so I decided to purchase and download a design. I like many Tula Pink designs, so I headed to OESD and selected Butterfly Kisses 4. Since I was still in the experimental phase of machine embroidery, I purchased a single motif rather than a multi-design package. I selected this particular design because:

• I could fit at least two butterflies into a single hoop
• The thread colors worked with what I had on hand
• The motif was denser than what I had tried before

The design included thread information for each design in the collection, and I printed off the page with the motif I purchased. Having this list made thread selection super easy.

I spent a decent amount of time learning to position two motifs within the hoop and rotating them so they have some degree of visual interaction.

Watching the designs stitch out is mesmerizing.

The final color on this motif really makes the overall design come together.

As the motif stitches, the machine screen highlights the color being stitched, and the cursor moves as the needle position shifts.

I’m really pleased with the way this design stitched out, and at this point, I had pretty much decided that there are lots of possibilities for using machine embroidery in my work.

Design 4

To round out my first set of experiments, I decided to use an embroidery motif to quilt a section of fabric. I know you can use the embroidery function to stitch motifs specifically intended for quilting, but I’m unlikely to do that since I have a computerized longarm. However, I wanted to see a moderately dense embroidery design stitched onto a quilt sandwich.

I used some off-white fabric with a bit of shine, paired with white thread, and I was really pleased with the overall effect.

I still have a lot to learn about machine embroidery, but this series of experiments has helped me decide that I’m ready to invest in the equipment to get started!

Some of you have requested a place to share your progress, and I think that is a fabulous idea! Below, I have added a link-up where you can add photos of your work for everyone to see!

Going Full Circle Block of the Month

Would you like to learn more about the Going Full Circle Block of the Month?

This skill-building quilt is a great way to learn more about sewing quarter-circle and half-circle curves, piecing full circles, and incorporating 1/8” wide sliver inserts into a design.

BONUS: For a limited time, June 19 to July 5, 2026, sign-ups are open for mid-year entry into the block-of-the-month!

How do I add a photograph?

You can add a standalone photo or link to a photo from a blog or social media post.It’s actually pretty easy to add your photo, and this post gives you step-by-step instructions!

How many photographs can I add?

You can add as many photographs as you want. You can add one for each month, or each block, or none at all.

Do I have to share photos of my blocks?

No. Sharing your work is optional, and you can still look at others’ work without sharing your own.

Is there a deadline to share my photos?

This linkup is available from mid-June 2026 until mid-June 2027. You can share photos from any month at any time.

The Linkup!

To give a few more quilts some love, I like to highlight a few pieces that didn’t win any awards but caught my eye for their strong design, stellar construction, or unique point of view. 

5 Quilts that Stood Out to Me at AQS Paducah 2026

At this year’s American Quilter’s Society (AQS) show, the quilts that stood out to me used a wide range of construction techniques, but all showed internal consistency within the design that draws the viewer in from afar, then rewards you for coming closer.

Beyond the Seas

By Isabel Muñoz

What I love about this quilt:

• A wholecloth design uses only two colors of thread to tell the story.
• The white space from the background merges with the sea, which flows into the ship. The artist effectively pulled the dark areas from the design to sculpt the shapes, without feeling the need to add extra lines to define the full shape of the ship.
• The linear direction of the black lines draws your eye through the composition, while the white quilting in the negative space creates the feel of cloudy skies and foaming waves.

Stars in Harmony

By Yoko Nishioka

What I love about this quilt:

• Light, nearly tone-on-tone blocks in the lower right of the quilt create a gradient that moves from a pale, warm yellow to a vibrant blue along the quilt’s edges. 
• The star blocks throughout the background interlock with one another and ultimately break into the quilt’s visual border.
• Larger traditionally patterned star blocks both blend into the surrounding stars and set themselves apart in different areas of each block.

Little Girl Danji and Kitten Jenny

By Jinyoung Lee

• The storytelling in this quilt is phenomenal! You meet the young quilter, see her award-winning quilts, and see all of the activities her kitten partakes in while she works.
• The cat poses are specific.
• The quilt’s background uses a traditional log cabin block, pieced in all white, to set the stage for a story about a quilter.

Flowers Woven Through Time

By Masako Seki

What I love about this quilt:

• While most appliqué florals are forced into regimented designs, the all-over floral motifs feel like you are immersed in a delightfully wild garden.
• Mixing prints with solids and incorporating gradating fabrics creates depth within the design.
• Alternative substrates and carefully placed decorative stitches add texture to the design.

Mandalas Gone Wild

By Judy Ballance

I typically avoid quilts made from a pattern for this type of post, but this particular quilt handles the fabric selection and quilting exceptionally well, and I kept coming back to look at it during the show.

What I love about this quilt:

• Fussy cut fabric placement enhances the appliqué motifs.
• Using a light turquoise print for the background fabric is unexpected and gives the quilt an airy feel.
• The dots incorporated into the checkerboard background quilting create an additional textural element that makes the overall design shine.

More Quilts to See

You may have noticed that most of these quilts weren’t particularly “Modern,” but there is a good reason for that- I recently shared the complete Modern category from the show! I hope you enjoy seeing this section of the show in its entirety.

Yo-yos are easy, fun projects, perfect to carry along with you on your Summer travels or when waiting for an appointment. I made my first extensive batch of yo-yos during a power outage. They work beautifully with scraps and don’t require any special equipment, so let’s dive into the process!

Making Fabric Yo-Yos

Supplies:

The supply list is short, and if you quilt or sew, you most likely already have everything on hand!

• Scraps of fabric 2” x 2” or larger
• Hand sewing needle
• Thread that coordinates or blends with the yo-yo fabric color
• Circle templates approximately twice the diameter of the desired finished yo-yo size (See template section below)
• Fabric pen or pencil to trace the templates
• Scissors

You can buy specific yo-yo templates, guages, and guides to help refine your stitch placement, but today we are going to use what we have on hand to start our yo-yo-making journey.

Templates

Any circle will work for a yo-yo template, so raid your sewing space and kitchen to find almost any size you want to work with. Cups, saucers, and any round containers are just waiting to become a yo-yo template! Remember that the edges of the circle are cinched into the center, making the size of the finished yo-yo approximately half the diameter of the cut circle.

You can also use circle template sets, circle cutters, or a cutting system like Accuquilt to cut your circles. You can also download this circle template file I made for you. Print the templates onto cardstock and cut them out to try several different yo-yo sizes.

Fabric Selection

Raid your scrap bin to start making yo-yos! Since each one only takes a bit of fabric, they are a great way to use all of your fun leftovers. Any fabric can be used, but quilting cotton and similar-weight fabrics work well, especially if you are making your first yo-yos. Once you get the hang of it, try silk, linen, and other substrates.

The sample fabrics are standard quilting cottons, but their weights vary somewhat from piece to piece. The 2” circle is Grunge, the 3” circle is batik, and the 4” circle is a Spoonflower print.

Stitching a Yo-Yo

Trace your circle template onto a fabric scrap and cut out the circle.

Cut a length of thread more than double the circumference of the cut circle, fold it in half, and feed the cut ends through the eye of the needle to create a doubled thread. I suggest running your thread through thread gloss or wax at this point to reduce the likelihood of tangling during stitching. Knot the folded end of the thread.

Approximately 1/8” away from the cut edge of the circle, insert your needle through the fabric from the wrong side to the right side and pull the thread through to the knot.

Start stitching around the circle at the point of the knot, using an even straight stitch around the edge of the circle and folding the cut edge in approximately 1/8” as you sew. I suggest starting with stitches a bit longer than 1/8”, but you may need to adjust the length depending on the size of your yo-yo and the thickness of your fabric.

You can begin pulling the thread tighter as you sew to gather the yo-yo edges toward the center of the circle. Even stitches will result in even fabric gathers.

As you approach the end of the stitching, adjust your stitch length slightly in the last few stitches so the final stitch will end with the thread coming out of the right side of the fabric. To help secure the stitching, stitch back through the first 3-4 folds in the fabric.

Knot the thread between two folds in the fabric.

Stitch through another 3-4 folds in the fabric to bury the thread tail and clip the thread.

Your finished yo-yo will be approximately half the size of the original cut circle. The exact size will depend on exactly how much fabric you turned under at the cut edge of the circle and the length of your stitches. 

Stitch Length

The perfect stitch length for fabric yo-yos is a balancing act. If your stitches are too long, the overall yo-yo will appear less circular. If the stitches are too short, you will have more gathers in the center of your circle. Since each gather includes four layers of fabric, this creates bulk, resulting in a bigger gap in the center of your circle.

Larger circles almost always end up with a gap in the center of the circle, so you can use this to your advantage by fusing a small circle of contrasting fabric to the center of the wrong side of the larger circle.

When you gather the edges in, the contrasting fabric will peek through the center of the yo-yo.

What Do You Do With Your Yo-Yos?

If you want the full effect, you can sew yo-yos directly to one another to create a coverlet or a garment like this stunning dress by Bianca Springer. 

Rachael of @bluemountaindaisy is bound to inspire you with her quilts using large-scale yo-yos. She even pieces the yo-yo fabrics to achieve specific effects!

I used a single yo-yo to finish off my Sand Dollar Star quilt block pattern.

I also sprinkled folded hexagons with yo-yo centers across this potholder quilt to create a sense of petals blowing in the wind.

What will you use yo-yos to create?

The Exquisite Quilt

Recently, I contributed a block to the Exquisite Quilt Project run by Abby Vargas. For each quilt, Abby challenges collaborators to work with a specific color palette and create blocks that will connect together to form the overall composition. She collects 1-2 blocks from each participant and works some magic to create some stunning quilts. 

This year’s theme is Orange Tree Espalier, which is the practice of training a fruit tree to grow flat against a wall. The theme primarily informs the project’s color palette, but I also used it to loosely inspire my block design.

What Were the Project Parameters?

• Contribute one or two blocks measuring at 9″ x 9″ finished (9-1/2″ x 9-1/2″ unfinished)
• Use green and orange-yellow solid fabrics to create a block, along with the Kona Azure connector fabric. All blocks must contain at least some of each color.
• Place one-inch square “connector” pieces at the center of all four sides of the block. Using the connector fabric, join the connector points in some way in the block.
• Any techniques can be used to create the block.

Designing the Block

Drawing on the theme of Orange Tree Espalier, I decided to incorporate curves into the design while maintaining a graphic quality in the overall composition. 

When I design quilts or blocks with specific size parameters, I draft the initial design in AutoCAD Light, which lets me easily experiment with different design configurations. 

I started with a line drawing focused entirely on curves, allowing the curves to intersect in a way that evokes tree branches. In experimenting with color, I started by connecting the azure arcs with a solid central section of the same color.

The central section of azure felt like it needed to be broken up, so I experimented with adding triangular sections, which gave the design a graphic, leaf-like effect. I liked this design, but I also know that the blocks I tend to like the most in these group quilts are often the simplest (or simple-looking) designs, and this block has a lot going on in a 9” square. I also wanted to try using more of the orange-yellow fabric in the design.

In the next iteration, I cut the curves down to two azure arcs and added orange-yellow sections to create a visual border.

The border effect felt like it would truncate the flow between blocks, so I added orange curves back in, arcing towards the center of the block design. 

In the spirit of simplification, I also experimented with swapping the orange curves with straight lines.

For the final iteration of the block, I decided to look at what happens when the azure arcs connect with a simple, straight line across the center. Suddenly, this simple line assumes the role of an abstracted tree trunk, and the azure arcs evoke carefully trained tree branches. With this design, I finally created a simple (only seven pieces) design that told a story related to the quilt’s original theme.

Constructing the Block

Even though the design only includes seven pieces, the scale of the curves and the arcs melting into the central azure line made for a fussy construction process.

I created templates in AutoCAD to accurately cut each fabric section.

A lot of pins and slow machine stitching helped the curves go together.

I put tic marks along each seam to mark several points where the curves would intersect. I used a two-part removable fabric marker that came out easily with the eraser pen.

Then it was just a matter of very careful pressing to complete the block.

The Finished Block

This block created an unexpected optical illusion that made it look like the ends of the arc didn’t line up. Even knowing all the measurements, it was enough to trick my eye, so I had to double-check the layout.

I shipped the finished block off last month, and this iteration of The Exquisite Quilt is coming together!

This year, I shipped my 100 Days of Apple Cores Quilt to Road to California in December, and they shipped the quilt on to join the AQS shows in Daytona, New England, and Paducah. Paducah was this quilt’s final AQS show, so I was able to pick it up in person and bring it home. I’m hopeful that I can find another couple of shows to enter before this piece ages out of the show circuit.

Whether you pick up a quilt in person or have it shipped back to your home, one of the most anticipated items in the box (apart from the quilt) is a sheet containing the judges’ comments.

If you are new to entering quilt shows or if you have never entered a particular show, I think it’s helpful to see how judges respond in each show. Some shows have a checklist of possible quilt features, some just list comments, and many do a mix of the two. 

One of my big goals in the quilting world is to demystify the process that goes into entering a quilt show, and to that end, today, I’m sharing the exact judging comments I received on the quilt I had in the recent American Quilters Society (AQS) Show in Paducah, Kentucky.

The Quilt Entry

This year, I was lucky to sell a few quilts, but it also meant I could enter only one quilt in the Paducah show. Since this is the most competitive of the AQS events, I wasn’t even entirely sure it would be accepted into the show, and was thrilled when it was.

Submission Information

100 Days of Apple Cores

• Size: 52” x 61’’
• Category: Modern Quilts
• Techniques: machine piecing, improvisational piecing, machine walking foot quilting
• Description: This 100-day quilt features the 2024 Pantone Color of the Year, Peach Fuzz. I cut pieced improv rectangles into apple core shapes using an Accuquilt. The piecing within each block enhances the unexpected diagonal gradient that moves across the quilt.
• Completion Time: 105 Days
• Fun fact: I had to buy lots of “ugly” fabrics to create the gradient featured in this design!
• Inspired by: Original interpretation of a traditional apple core quilt block

For the jurying process, you submit two images of your quilt, one with the full quilt and a detail image for the second.

What’s in the Box?

When the quilt gets returned to you from an AQS show or shows, you will have a show book and printed quilt label for each show it was in since you shipped it to them. 

If one of these shows took place in Paducah, you would also receive written judging comments. (The other AQS shows do not provide written comments.)

If you are really lucky, a ribbon is in the box too! I was so excited for 100 Days of Apple Cores to win Honorable Mention in the Modern category at QuiltWeek this year! The ribbons in Paducah are particularly special, crowned with a Dogwood Blossom.

More Judging Comments

100 Days of Apple Cores has also received judging comments at QuiltCon 2025 , so if you would like to see how the comments for the same quilt compare from show to show, check out this QuiltCon Judging Post.

The museum always goes all out for QuiltWeek each April, but this year was particularly outstanding. The three major exhibits featured works by Latifah Saafir, Tula Pink, and Janet Stone. Focusing on these three drastically different design styles means that there is something on display that every quilter will love.

This post is packed with images from the current exhibits, but if you want even more, make sure you check out my 2025 post on The National Quilt Museum.

Visiting The National Quilt Museum

Even though QuiltWeek is the busiest time of year at The National Quilt Museum, you can see amazing quilts year-round, and even take classes with amazing makers. Make sure you visit their website before you visit to get all of the latest information.

Have you ever discovered a sewing kit inside a cookie tin? This year, Royal Dansk is a sponsor, and if you keep reading, you’ll see why! This spool sculpture made of cookie tins was a fun addition to the lobby this year.

The main gallery includes selections from the permanent collection as well as the Tula Pink exhibit, but more on that in a minute.

I made sure to visit the Oh, Wow! gallery of small and miniature quilts, and was thrilled to see my quilt, Converging Curves, on display.

Latifah Saafir: It Was All A Dream

I went right to the exhibit of the most Modern quilts and was thrilled to see such a large group of Latifah Saafir’s work in one place.

The hardest part of this post was determining which quilts to share with you because I really wanted to share the entire museum! Ultimately, I decided on no more than three quilts from a single maker, so here are the ones that really stood out to me.

Crush Groove

Convergence

Bias Plaid

Twenty Years of Tula Pink

I’m crazy about Tula Pink’s bold use of color, and it’s delightful to discover all of the details in her fabric designs.

Seeing a quilter’s work is always fun, but it’s exponentially more fun when the quilter is there in person. The line for Tula Pink’s book signing and meet and greet extended a full block outside the museum! (I had seen and met her at a Fall Paducah Show several years ago, and while her events were well attended, it certainly wasn’t this big!)

As much as I love seeing quilts, my favorite part of this exhibition was that each quilt is accompanied by working sketches of the design, so I made sure to include at least one drawing for each quilt.

Color Study #13

The City Sampler

I’ve actually made all of these blocks during a sew-along many years ago, but I have yet to complete the quilt top!

Little Bits

Janet Stone: And Now I Know My ABCs!

Janet Stone spent much of the week meeting people at her exhibit featuring all 26 of her alphabet-themed quilts. 

I asked her which quilts were her personal favorites, and those are the quilts I’m sharing here. She also included process sketches of her work, which I enjoyed seeing. (I am totally that person in an art museum obsessing over the artist’s studies and sketches when the finished painting is right there!)

Ewe Are My Sunshine

Garden Variety Sampler

New Quilts From an Old Favorite: Food

Every other year, the National Quilt Museum issues a challenge to make quilts incorporating traditional blocks within an overall theme, which in 2026 was food.

Grandma’s Sewing Kit 

First Place

Made by Jessica Drennan

The first-place quilt will tell you why Royal Dansk was a sponsor this year!

Lobster with a Side of Shrimp

Second Place

Made by Kathleen Plumley

The second-place quilt transformed Snail’s Trail blocks into shrimp!

General Sew’s Chicken

Third Place

Made by Susie Cobbs

The pineapple quilt block is featured in the third-place quilt.

In addition to the award-winning quilts, here are a couple of pieces that stood out to me.

Veggie Salad

Made by Rachel Siegel

I thought this quilt did the best job of directly incorporating the block design into the theme.

Lunch at Luigi’s

Made by Zeeda Magnuson

I adore the plaid tablecloth! I also love how each plate conveys the tastes of each family member.

Enjoying the National Quilt Museum 

It’s hard to beat a visit to the National Quilt Museum, but if you want a deeper dive into their collection, make sure you check out the entire permanent collection that is available to view online.

To give you a better idea of how the category comes together as a whole, I’m sharing the entirety of the Modern Quilt Category for AQS Paducah QuiltWeek 2026.  

The American Quilter’s Society (AQS) was among the first major mainstream quilt shows to add a Modern category in the Paducah show, and now all of their shows include a Modern category. Here is the category description for the show:

Wall Quilts – Modern: Width 40″ to 96″; Length 40″ or more. Quilts, made for display on a wall, using any technique, that are inspired by modern design, often using improvisational piecing or appliqué and including bold colors, high contrast, and simple shapes on neutral backgrounds. Expansive negative space may allow the quilting to take the forefront.

AQS Contest Rules for 2026

Photography

The AQS shows arrange the quilts in curtained bays, with a chain across the front to protect them. This means that the quilts on the right and left are photographed at a significant angle. I have done little to no editing of these photos, so you are seeing the quilts as you would have if you were at the show. Fortunately, this convention center has decent lighting (by convention center standards), so the color of the quilts is reasonably close to the actual items.

If you are interested in seeing all the quilts in the show straight on, a good catalog of the show quilts is available for purchase.

Modern Quilts From Paducah 2026

Below is the entire Modern category. The award-winning quilts, first, second, third, and honorable mention, are at the top, and the remaining quilts are shown in the order they were displayed in the show. This show organizes all quilts within each category alphabetically by the maker’s last name.

Enter Your Quilts

If you would like to see your Modern (or non-modern) quilt in an upcoming show, you can find entry information here.