Editing Quilting (section)

==History==
{{Main|History of quilting}}

===Early quilting===
The origin of the term 'quilt' is linked to the Latin word ''culcita'', meaning a bolster, cushion, or stuffed sack. The word came into the English language from the French word ''cuilte''.<ref name="auto2">{{cite web |last=Johnson |first=Julie |title=History of Quilting |url=http://www.emporia.edu/cgps/tales/quilte~1.html |access-date=31 January 2014 |work=Center for Great Plain Studies |publisher=Emporia State University}}</ref> The first use of the term seems to have been in England in the 13th century.<ref>{{Cite web|title=V&A · An introduction to quilting and patchwork|url=https://www.vam.ac.uk/articles/an-introduction-to-quilting-and-patchwork|access-date=2020-06-10|website=Victoria and Albert Museum|language=en}}</ref>

The sewing techniques of piecing, [[appliqué]], and quilting have been used to create clothing and furnishings in various parts of the world for several millennia, and a wide range of unique quilting styles and techniques have evolved around the globe.

The earliest known quilted garment is depicted on the [[Ivory carving|carved ivory]] figure of a [[Pharaoh]] dating from the [[ancient Egypt]]ian [[First Dynasty of Egypt|First Dynasty]]. In 1924 archaeologists discovered a quilted floor covering in [[Mongolia]], estimated to date between 100&nbsp;BC and 200&nbsp;AD.

In Europe, quilting has been part of the [[needlework]] tradition since about the fifth century. Early objects contained Egyptian cotton, which may indicate that Egyptian and Mediterranean trade provided a conduit for the technique. However, quilted objects were relatively rare in Europe until approximately the twelfth century, when quilted bedding and other items appeared after the return of the Crusaders from the Middle East. The medieval quilted gambeson, [[aketon]] and [[arming doublet]]<ref>[http://www.chronique.com/Library/Armour/armyd1.htm] {{webarchive|url=https://web.archive.org/web/20111228020504/http://www.chronique.com/Library/Armour/armyd1.htm|date=December 28, 2011}}</ref> were garments worn under or instead of [[chain mail]] or [[plate armor]]. These later developed into the quilted [[Doublet (clothing)|doublet]] worn as part of European male clothing from the fourteenth to seventeenth century. The earliest known surviving European bed quilt is the [[Tristan Quilt|Tristan quilt]], which was made in late-fourteenth century Italy from linen padded with wool. The blocks across its center are scenes from the legend of [[Tristan]]. The quilt is {{cvt|320|xx|287|cm|in}}<ref name="tristan">[https://collections.vam.ac.uk/item/O98183/bed-cover-the-tristan-quilt/ The Tristan Quilt] in the collections of the Victoria and Albert Museum, London. Accessed 5-2-2010</ref> and is in the [[Victoria and Albert Museum]] in [[London]].<ref name="auto">{{cite web |last=Johnson |first=Julie |title=History of Quilting |url=http://www.emporia.edu/cgps/tales/quilte~1.html |work=Center for Great Plain Studies |publisher=Emporia State University |access-date=31 January 2014}}</ref>

===American quilts===
[[File:Wholecloth Blue Resist Quilt, c. 1760-1800.jpg|thumb|This early American wholecloth quilt was made in the Colonial period, c. 1760–1800. The blue resist fabric includes bold, fanciful botanical motifs. Collection of Bill Volckening.]]
In American [[Colonial history of the United States|Colonial times]], quilts were predominantly whole-cloth quilts—a single piece of fabric layered with batting and backing held together with fine [[needlework]] quilting. [[Broderie perse]] quilts were popular during this time and the majority of pierced or appliqued quilts made during the 1770–1800 period were medallion-style quilts (quilts with a central ornamental panel and one or more borders).<ref>{{Cite book|title = Quilter's Academy Vol. 5 – Masters Year|last = Hargrave|first = Harriet and Carrie|publisher = C&T Publishing|year = 2015|isbn = 978-1-57120-792-0|location = Concord|pages = 6}}</ref> [[Patchwork]] quilting in America dates to the 1770s, the decade the United States gained its independence from England. These late-eighteenth- and nineteenth-century patchwork quilts often mixed wool, silk, linen, and cotton in the same piece, as well as mixing large-scale (often [[chintz]]) and small-scale (often [[calico]]) patterns.<ref>{{Cite book|title = America's Printed Fabrics: 1770–1890|last = Brackman|first = Barbara|publisher = C&T Publishing|year = 2004|isbn = 1-57120-255-2|location = Concord|pages = 6–7}}</ref> In North America, some worn-out blankets were utilized to create a new quilt from worn-out clothes, and in these quilts the internal batting layer was made up of old blankets or older quilts. 
[[File:Star of Bethlehem Quilt.jpg|thumb|left|Star of Bethlehem Quilt, 1940 from the [[Brooklyn Museum]]]]
During American pioneer days, [[foundation piecing]] became popular. Paper was cut into shapes and used as a pattern; each individual piece of cut fabric was basted around the paper pattern.  Paper was a scarce commodity in the early American west so women would save letters from home, postcards, newspaper clippings, and catalogs to use as patterns. The paper not only served as a pattern but as an insulator. Paper found between these old quilts has become a primary source of information about pioneer life.

Quilts made without any insulation or batting were referred to as summer quilts. They were not made for warmth, but to keep the chill off during cooler summer evenings.

====African-American quilts====
[[File:Harriet Powers - Pictorial quilt - Google Art Project.jpg|thumb|Pictorial Quilt by Harriet Powers c. 1895-98. The quilt is divided into 15 different pictorial images made with pieces of cotton.]]
There is a long tradition of African-American quilting beginning with quilts made by enslaved Africans, both for themselves and for the people who enslaved them. The style of these quilts was determined largely by time period and region, rather than race, and the documented slave-made quilts generally resemble those made by white women in their region.<ref>{{cite book |title=Facts & Fabrications: Unraveling the History of Quilts & Slavery |last=Brackman |first=Barbara |publisher=C&T Publishing |year=2006 |isbn=978-1-57120-364-9 |location=Concord |pages=15}}</ref> After 1865 and the end of slavery in the United States, African-Americans began to develop their own distinctive style of quilting.
[[Harriet Powers]], an African American woman born into slavery, made two famous "story quilts" and was one of the many African-American [[quilter]]s who contributed to the development of quilting in the United States. This style of African-American quilts was categorized by its bright colors, organization in a strip arrangement, and asymmetrical patterns. 
[[File:Pieced Quilt, c. 1979 by Lucy Mingo, Gee's Bend, Alabama.JPG|thumb|Quilt by Lucy Mingo c. 1979]]
The first nationwide recognition of African-American quilt-making came when the [[Gee's Bend Quilters Collective|Gee's Bend]] quilting community of Alabama was celebrated in an exhibition that opened in 2002 and traveled to many museums, including the [[Smithsonian]].<ref>{{cite web |url=http://www.smithsonianmag.com/arts-culture/geesbend.html|title=History, Travel, Arts, Science, People, Places – Smithsonian |work=smithsonianmag.com}}</ref> Gee's Bend is a small, isolated community of African-Americans in southern Alabama with a quilt-making tradition that goes back several generations<ref>{{cite news |title=Opinion: The Master Quilters of Gee's Bend, AL |url=https://www.nytimes.com/2018/11/13/opinion/quilts-while-i-yet-live.html?em_pos=small&emc=edit_od_20181120&nl=op-docs&nl_art=2&nlid=72995439emc%3Dedit_od_20181120&ref=headline&te=1 |newspaper=New York Times |date = 13 November 2018|access-date=24 November 2018 |language=en|last1 = Curran|first1 = Maris}}</ref><ref name=":1">{{Cite book|title = World of Quilts|last = Ellis|first = Cassandra|publisher = C&T Publishing|year = 2014|isbn = 978-1-60705-953-0|location = Concord, CA|pages = 10–150}}</ref> and is characterized by pattern improvisation, multiple patterning, bright and contrasting colors, visual motion, and a lack of rules.<ref>{{cite book |title=Bold Improvisation |last=Heffley |first=Scott |publisher=Kansas City Star Books |year=2007 |isbn=978-1-933466-25-5 |location=Kansas City, MO |pages=4–10}}</ref> The contributions made by Harriet Powers and other [[The Quilts of Gees Bend|quilters of Gee's Bend, Alabama]] have been recognized by the US Postal Service with a series of stamps.<ref>{{Cite web|url=http://www.usps.com/communications/news/stamps/2006/sr06_042.htm|archive-url=https://web.archive.org/web/20110606033552/http://www.usps.com/communications/news/stamps/2006/sr06_042.htm|url-status=dead|title=Quilts of Gee's Bend commemorative postage stamps|archive-date=June 6, 2011}}</ref> Many of the quilters of Gee’s Bend also participated in the [[Freedom Quilting Bee]]. A quilting co-op created by some of the African American women of [[Wilcox County, Alabama]].Some of the founding and influential members include [[Estelle Witherspoon]], [[Willie Abrams]], [[Lucy Mingo]], [[Minder Coleman|Minder Pettway Coleman]], and [[Aolar Mosely]].<ref>{{Cite book |last=Callahan |first=Nancy |title=The Freedom Quilting Bee |date=1987 |publisher=The University of Alabama Press |isbn=0-8173-0310-3 |location=Tuscaloosa, Alabama 35487 |publication-date=1987}}</ref> The ''communal'' nature of the quilting process (and how it can bring together women of varied races and backgrounds) was honored in the series of stamps. Themes of community and storytelling are common themes in African-American quilts.

Beginning with the children's story ''Sweet Clara and the Freedom Quilt'' (1989), a legend has developed that enslaved people used quilts as a means to share and transmit secret messages to escape slavery and travel the [[Underground Railroad]]. Consensus among historians is that there is no sound basis for this belief, and no documented mention among the thousands of [[slave narratives]] or other contemporary records.<ref>{{cite web|url=http://www.historyofquilts.com/underground-railroad.html|title=Underground Railroad Quilts: Documentary Evidence is Missing|website=www.historyofquilts.com}}</ref><ref>{{cite web|url=http://www.quilthistory.com/ugrrquilts.htm |title=Underground Railroad Quilt Code - Putting it in Perspective |access-date=January 23, 2013 |url-status=dead |archive-url=https://web.archive.org/web/20130204013739/http://www.quilthistory.com/ugrrquilts.htm |archive-date=February 4, 2013 }}</ref><ref>{{cite web|url=http://www.womenfolk.com/quilt_pattern_history/underground_railroad.htm|title=The Jacob's Ladder Pattern Became the Underground Railroad Quilt|website=www.womenfolk.com}}</ref>

Contemporary quilters such as [[Faith Ringgold]] utilize quilt making to tell stories and make political statements about the African-American experience. Ringgold, originally a painter, began quilting in order to stray away from Western art practices. Her famous "story quilts" utilize mixed media, painting, and quilting. One of her most famous quilts, ''Tar Beach 2'' (1990), depicts the story of a young African-American girl flying around Harlem in New York City.<ref>{{Cite web |title="Tar Beach 2" Quilt |url=https://philamuseum.org/collection/object/86892 |access-date=2022-12-09 |website=philamuseum.org |language=en}}</ref>

[[Bisa Butler]], another modern African-American quilter, celebrates Black life with her vibrant, quilted portraits of both everyday people and notable historical figures. Her quilts are now preserved in the permanent collections at the [[National Museum of African American History and Culture]], the [[Art Institute of Chicago]], and about a dozen other art museums.

==== Amish quilts ====
[[File:Quilts, Amish Country, Lancaster, Pennsylvania LCCN2011630140.tif | thumb | 220x124px | right | alt= Three examples of Lancaster Amish Quilts shown outside hanging on a line in Lancaster, Pennsylvania. The patterns on these quilts are as follows: A heart made of a wreath of flowers on a white background with a blue block border (Left); Blue, Red, Purple, and green chevrons on a burgundy background (Middle); Depictions of Amish outfits including work shirts and suspenders, hats, pants, and hair coverings on a white background with a teal block border. |
Three examples of Lancaster Amish Quilts]]
Another American group to develop a distinct style of quilting were the [[Amish]]. Typically, these quilts use only solid fabrics, are pieced from geometric shapes, do not contain appliqué, and construction is simple (corners are butted, rather than mitered, for instance) and done entirely by hand. Amish quilters also tend to use simple patterns: [[Lancaster County, Pennsylvania|Lancaster County]] Amish are known for their Diamond-in-a-Square and Bars patterns, while other communities use patterns such as Brick, Streak of Lightning, Chinese Coins, and Log Cabins, and midwestern communities are known for their repeating block patterns. Borders and color choice also vary by community. For example, Lancaster quilts feature wide borders with lavish quilting. Midwestern quilts feature narrower borders to balance the fancier piecing.<ref>{{Cite book|title = Amish Quilts–The Adventure Continues|last = Koolish|first = Lynn|publisher = C&T Publishing|year = 2013|isbn = 978-1-60705-791-8|location = Concord|pages = 9–10}}</ref>

==== Native American quilts ====
[[File:Native Baby and Star Quilt.jpg|thumbnail|right|Native American baby in cradle board with baby star quilt]]
Some [[Native Americans in the United States|Native Americans]] are thought to have learned quilting through observation of white settlers; others learned it from [[Missionary|missionaries]] who taught quilting to Native American women along with other homemaking skills. Native American women quickly developed their own unique style, the Lone Star design (also called the Star of Bethlehem), a variation on Morning Star designs that had been featured on Native American clothing and other items for centuries. These quilts often featured floral appliqué framing the star design. Star quilts have become an important part of many [[Plains Indians|Plains Indian]] ceremonies, replacing buffalo robes traditionally given away at births, marriages, tribal elections, and other ceremonies.<ref>{{cite journal |last1=Murphy |first1=Mary |title=Montana Quilts and Quiltmakers: A History of Work and Beauty |journal=Montana The Magazine of Western History |date=Autumn 2008 |volume=58 |issue=3 |pages=39–40 |jstor=25485734 }}</ref> Pictorial quilts, created with appliqué, were also common.<ref name=":0">{{cite book |title = Blooming Patchwork|last = Eisenmann|first = Deanne|publisher = Kansas City Star Books|year = 2014|isbn = 978-1-61169-144-3|location = Kansas City, MO|pages = 12}}</ref>

Another distinctive style of Native American quilting is [[Seminole]] piecing, created by Seminoles living in the [[Everglades|Florida Everglades]]. The style evolved out of a need for cloth (the closest town was often a week's journey away). Women would make strips of sewing the remnants of fabric rolls together, then sew these into larger pieces to make clothing. Eventually the style began to be used not just for clothing but for quilts as well. In 1900, with the introduction of sewing machines and readily available fabric in Seminole communities, the patterns became much more elaborate and the style continues to be in use today, both by Seminole women and by others who have copied and adapted their designs and techniques.<ref name=":1" />

====Hawaiian quilting====
"[[Hawaiian quilt]]ing was well established by the beginning of the twentieth century. Hawaiian women learned to quilt from the wives of missionaries from New England in the 1820s. Though they learned both pieced work and applique, by the 1870s they had adapted applique techniques to create a uniquely Hawaiian mode of expression. The classic Hawaiian quilt design is a large, bold, curvilinear appliqué pattern that covers much of the surface of the quilt, with the symmetrical design cut from only one piece of fabric."<ref>{{cite book|chapter=Quilts|year=2003|title=The Encyclopedia of American Folk Art|url=http://www.credoreference.com/entry/routfolkart/quilts|isbn=978-0203644485|publisher=Florence Taylor and Francis |location=Ann Arbor, Michigan }}</ref>

=== South Asian quilting ===
[[File:Kantha (Quilt) LACMA AC1994.131.1.jpg|thumb|East Bengal (Modern Bangladesh), 19th century]]
There are two primary forms of quilting that originate in [[South Asia]]: [[Nakshi kantha|Nakshi Kantha]] and [[Ralli quilt|Ralli]]. Nakshi Kantha quilts originated in India and are typically made of scraps and worn-out fabric stitched together with old sari threads using [[kantha]] embroidery stitches. "The layers of cloth were spread on the ground, held in place with weights at the edges, and sewn together with rows of large basting stitches. The cloth was then folded and worked on whenever there was time."<ref name=":1" /> The first recorded kantha are more than 500 years old.

Ralli quilts are traditionally made in [[Pakistan]], western [[India]], and the surrounding area. They are made by every sector of society including [[Hindu]] and [[Muslim]] women, women of different castes, and women from different towns or villages or tribes with the colors and designs varying among these groups. The name comes from ''ralanna'', a word meaning to mix or connect. Quilts tops were designed and pieced by one woman using scraps of hand-dyed cotton. This cotton often comes from old dresses or shawls. Once pieced, the quilt top is placed on a reed mat with the other layers and sewn together using thick, colored thread in straight parallel lines by members of the designer's family and community.<ref name=":1" />

=== East Asian quilting ===
[[File:Child's Sleeping Mat (boro Shikimono), late 19th century (CH 1108827543).jpg|thumb|upright=2|Child's [[futon]] sleeping mat ({{Transliteration|ja|[[boroboro|boro]] shikimono}}), late 1800s Japan. The stitches are decorative, but also functional; they hold the pieced cotton rags together]]

Quilting in Japan, until the 20th century, generally covered local [[bast fiber]]s with more valuable cotton cloth. The [[tanmono|rectangular nature of Japanese cloth articles]] encouraged rectangle-based patterns.<ref name=boronobi>{{cite conference |last1=Wada |first1=Yoshiko |title=Boro no Bi : Beauty in Humility—Repaired Cotton Rags of Old Japan |journal=Textile Society of America Symposium Proceedings |date=2004-01-01 |url=https://digitalcommons.unl.edu/tsaconf/458/}}</ref> [[Sashiko]] stitching has now also developed purely decorative forms.

=== Swedish quilting ===
Quilting originated in [[Sweden]] in the fifteenth century with heavily stitched and appliquéd quilts made for the very wealthy. These quilts, created from silk, wool, and felt, were intended to be both decorative and functional and were found in churches and in the homes of nobility. Imported cotton first appeared in Sweden in 1870, and began to appear in Swedish quilts soon after along with scraps of wool, silk, and linen. As the availability of cotton increased and its price went down, quilting became widespread among all classes of Swedish society. Wealthier quilters used wool batting while others used linen scraps, rags, or paper mixed with animal hair. In general, these quilts were simple and narrow,  made by both men and women. The biggest influence on Swedish quilting in this time period is thought to have come from America as Swedish immigrants to the United States returned to their home country when conditions there improved.<ref name=":1" />

===Art quilting===
{{Main|Quilt art}}
During the late 20th century, [[art quilts]] became popular for their aesthetic and artistic qualities rather than for functionality; these quilts may be displayed on a wall or table instead of being used on a bed. "It is believed that decorative quilting came to Europe and Asia during the Crusades (A.D. 1100–1300), a likely idea because textile arts were more developed in China and India than in the West."<ref>{{cite book|last=Bial|first=Raymond|title=With Needle and Thread|url=https://archive.org/details/withneedlethread0000bial|url-access=registration|year=1996|publisher=Houghton Mifflin Company|location=Boston; New York|pages=[https://archive.org/details/withneedlethread0000bial/page/18 18]|isbn=9780395735688}}</ref>

American artist [[Judy Chicago]] stated in a 1981 interview that were it not for sexism in the [[visual arts]], the [[art world]], and broader society, quilting would be more widely regarded as a form of [[high art]]:<ref name="WBAI1981">{{cite interview|surname=Chicago|given=Judy|subject-link=Judy Chicago|interviewer-surname=Stubbs|interviewer-given=Ann|title=Interview with Judy Chicago|title-link=iarchive:pra-IZ1161|publisher=[[WBAI]]|location=New York|year=1981}}</ref>{{Blockquote|[[Geometric abstract art|Abstract patterns]] by men are "art"; abstract patterns by women in fabric are "[[Decorative arts|decorative]]"; they're called quilts. So there's all these kind of [[double standard]]s and all these kind of words that prevent women's experience from entering—even when they express it—from entering the mainstream of art.}}

=== Modern quilting ===
In the early 21st century, modern quilting became a more prominent area of quilting. Modern quilting follows a distinct aesthetic style which draws on inspiration from modern style in architecture, art, and design using traditional quilt making techniques.<ref>{{Cite journal|last=Grant|first=Heather|date=September–October 2012|title=The Birth of Modern Quilting|journal=McCall's Quilting Magazine|pages=56–58}}</ref> Modern quilts are different from art quilts in that they are made to be used.<ref>{{Cite web|url=https://themodernquiltguild.com/content/about-mqg|title=What is Modern Quilting?|website=The Modern Quilt Guild|access-date=2017-11-29}}</ref> Modern quilts are also influenced by the [[The Quilts of Gee's Bend|Quilters of Gee's Bend]], Amish quilts, [[Nancy Crow]], [[Denyse Schmidt]], [[Gwen Marston]], Yoshiko Jinzenji, Bill Kerr and Weeks Ringle.<ref>{{Cite book|title=Quilting with a Modern Slant|last=May|first=Rachel|publisher=Storey Publishing|year=2014|isbn=978-1-61212-063-8|location=North Adams, MA|pages=7, 14, 18, 27, 51, 59, 66}}</ref>

The Modern Quilt Guild has attempted to define modern quilting. The characteristics of a modern quilt may include: the use of bold colors and prints, high contrast and graphic areas of solid color, improvisational piecing, minimalism, expansive negative space, and alternate grid work.<ref>{{cite web |last1=Plunkett |first1=Jessica |title=What Is Modern Quilting? |url=https://www.themodernquiltguild.com/2023/04/24/what-is-modern-quilting-2/ |website=Modern Quilt Guild |date=24 April 2023}}</ref>

The Modern Quilt Guild, a non-profit corporation, with 14,000 members in more than 200 members guilds in 39 countries, fosters modern quilting via local guilds, workshops, webinars, and Quiltcon—an annual modern quilting conference and convention. The founding Modern Quilt Guild formed in October 2009 in Los Angeles.<ref>{{cite web |title=About |url=https://www.themodernquiltguild.com/about/ |website=Modern Quilt Guild}}</ref>

QuiltCon features a quilt show with 400+ quilts, quilt vendors, lectures, and quilting workshops and classes. The first QuiltCon was February 21–24, 2013 in Austin, TX.<ref>{{Cite web|url=https://themodernquiltguild.wordpress.com/2012/02/20/quiltcon/|title=QuiltCon|date=February 20, 2012}}</ref> QuiltCon 2020 was held in Austin, Texas, February 20–23, 2020 and featured 400 juried modern quilts from quilters around the world.<ref>{{Cite web|url=https://www.quiltcon.com/about-quiltcon|title=About QuiltCon|website=QuiltCon}}</ref>

===Quilting in fashion and design===
[[File:Decorative quilted upholstery.jpeg|thumb|A decorative use of quilting: a stool upholstered with quilted and embroidered fabric from India.]]

Unusual quilting designs have increasingly become popular as decorative textiles.  As industrial sewing technology has become more precise and flexible, quilting using exotic fabrics and embroidery began to appear in home furnishings in the early 21st century.

===Quilt blocks===
The quilt block is traditionally a sub-unit composed of several pieces of fabric sewn together. The quilt blocks are repeated, or sometimes alternated with plain blocks, to form the overall design of a quilt. Barbara Brackman has documented over 4000 different quilt block patterns from the early 1830s to the 1970s in the ''Encyclopedia Of Pieced Quilt Patterns''.<ref>{{Cite book|title=Encyclopedia of Pieced Quilt Patterns|last=Brackman|first=Barbara|publisher=American Quilter's Society|year=1993|isbn=978-0891458159|location=Paducah, KY|pages=552}}</ref> Some of the simpler designs for quilt blocks include the Nine-Patch, Shoo Fly, Churn Dash, and the Prairie Queen.

Most geometric quilt block designs fit into a "grid", which is the number of squares a pattern block is divided into. The five categories into which most square patterns fall are Four Patch, Nine Patch, Five-Patch, Seven-Patch, and Eight-Pointed Star. Each block can be subdivided into multiples: a Four-Patch can be constructed of 16 or 64 squares, for example.<ref>{{Cite book|title=Patchwork Patterns|last=Beyer|first=Jinny|publisher=EPM Publications Inc.|year=1979|isbn=0-914440-27-6|location=McLean, VA|pages=8–9}}</ref>

A simple Nine Patch is made by sewing five patterned or dark pieces (patches) to four light square pieces in alternating order. These nine sewn squares make one block.<ref>{{Cite book|title=The New Quick & Easy Block Tool!|publisher=C&T Publishing|year=2016|isbn=978-1-61745-231-4|location=Concord, CA|pages=83}}</ref>

The Shoo Fly varies from this Nine Patch by dividing each of the four corner pieces into a light and dark triangle.<ref>{{Cite book|title=The New Quick & Easy Block Tool!|publisher=C&T Publishing|year=2016|isbn=978-1-61745-231-4|location=Concord, CA|pages=95}}</ref>

Another variation develops when one square piece is divided into two equal rectangles in the basic Nine Patch design. The Churn Dash block combines the triangles and rectangle to expand the Nine Patch.<ref>{{Cite book|title=The New Quick & Easy Block Tool!|publisher=C&T Publishing|year=2016|isbn=978-1-61745-231-4|location=Concord, CA|pages=34}}</ref>

The Prairie Queen block combines two large scale triangles in the corner section with the middle section using four squares. The center piece is one full size square. Each of the nine sections does have the same overall measurement and fits together.<ref name="auto"/>

The number of patterns possible by subdividing Four-, Five-, Seven-, Nine-Patches and Eight-Pointed Stars and using triangles instead of squares in the small subdivisions is almost endless.