Behind the Scenes: Meet Sandy Muckenthaler

In my last post, I talked about the Spring Catalogs, featured on the Hoffman California Fabrics’ website. I’m expecting that by now you’ve had a minute to look them over, and if not, I highly recommend you do! My favorites are the Project Catalogs, and not just from this season. If you ever need an inspo nudge, they are a perfect place to start! They are packed full of projects that are sure to inspire a myriad of future quilts.

If you ever wondered who is the creative genius behind these catalogs, let me give you a little peek behind the curtain. Meet Sandy Muckenthaler, the Director of Creative Projects. She’s been with Hoffman California Fabrics for over 40 years, starting with them as an order puller, and moving through different roles including receptionist, working in the design department, customer service, and finally spending the last 15-plus years in her current and favorite role.

Sandy Muckenthaler, Director, Creative Projects. The background quilt is “Winter Birds” by the Gourmet Quilter.

I’ve had the pleasure to work with Sandy over the past several years, and let me tell you, she is the most generous, tactful and encouraging person that I have ever worked with. I just had to grill her a bit about the process of putting the catalogs together, which to me, seems like a massive task, since many of the catalogs are over 150 pages. That’s a lot of designers and projects!

Sandy told me the catalog process starts three to four months before the fabric release date, which is about the time she gets the fabric strike offs and Bali Batik blankets. What? Blankets? “Yep, that’s the term,” she said, “it’s funny, since some of the so-called blankets are about the size of a fat quarter!” 

From there she begins the task of pulling together coordinates for each line, which by my count was about 12-14 different lines for each catalog release. Coordinates are pulled from a combination of 24/7 Blenders, and Bali Basics, such as the 1895 Watercolors, 885 Dots, 1384 Smoothies and 839 Mottles. Full disclosure: If Smoothies and Mottles were not known terms to you, I didn’t know them either. Talk about learning something new every day! Anyway, Sandy pulls at least a dozen (usually more) coordinates per line, 12-14 lines…are you getting the math here? For me, the coordinates can really help “pop” the fabrics, so Sandy’s creative pairings are really helpful.

Choosing coordinate fabrics for the Secret Garden Tea Company collection (coming soon!)

Eventually, everything ends up as digital files, which are then made accessible to her roster of 20-25 designers. As she explained to me, “My intention is to make it as easy as possible for them to work their magic.” The designers have approximately six to eight weeks to submit their ideas, along with fabric requirements. The images and info all go into a spreadsheet, which is then passed on to the in-house graphic design team, who “Make everything pretty.”

The process is easy enough to understand, but yet I had questions. And here’s where you’re going to learn just how diplomatic and personable Sandy really is. When asked what is the biggest challenge is in putting the catalogs together, she was hard pressed for an answer. (Trust me, I’d be whining about oh, so many things.) “Actually,” she said, “The hardest thing is not publishing every single pattern that is submitted. We simply run out of room!”

I wondered what happens if they get submissions that are too similar? “Surprisingly it doesn’t really happen because our designers are so creative. I do look for new designs, and it’s a bonus when there’s a connection between the fabric and the quilt design. I also look for pattern designs that show off the fabric, versus patterns that cut the fabric into little tiny pieces that are beyond recognition.” She went on to add, “The designers have the option to work with fabric lines that speak to them, so luckily, it all evens out, and we get a lot of variety, across all the lines. I feel that our designers are the ones who bring our fabrics to life. I’m really so grateful to them for all they do.”

I had one last question I had to ask: Do you have any teacher’s pets? While she answered that “I love all the designers equally,” I can vouch that she makes each and every one of us (yes, I am a member of the pattern design posse if you didn’t get that yet) feel like we’re the favorite. If you’re interested in designing projects in the future for Hoffman California Fabrics, look for Sandy at the h +h show. Now that you know what she looks like, she should be easy to find.

Until next time, Karen

Beach Bliss on a Snow Day

Three Breeze features three panels in an easy to stitch pattern.

I had a lovely snow day yesterday. I ironically used it to stitch up “Three Breeze,” a new quilt pattern I recently designed. The pattern features the new Seas & Greetings collection, by Hoffman California Fabrics, of course. The collection features a panel with a delightful vista of a sandy beach, complete with surf boards and palm trees. Ahh! I can almost feel the warm breeze. The prints that accompany the panel, featuring snowmen on the beach, seashells and more palm trees are just plain fun, and of course, well done. While it was super easy to stitch up, I’m always thinking of a few tips that might make you or your customers more successful.

The first tip is included in the pattern, complete with a little picture of how to use a triangle square up ruler to make those dreaded quarter-square triangles easy and perfect! It all comes down to using a tiny speck of water-soluble glue at the seam corners of your untrimmed half-square triangles before you sew the next step. See the arrow?

I like to use Quilt in a Day’s Triangle Square Up ruler (my favorite tool next to Elmer’s Clear School Glue–more on that later) to square up to the size you need. Place the base line of the ruler on the horizontal seam, and center the vertical line where the seams nest. Trim. TaDa! That tiny dot of glue will have kept the seams together and you’ll have perfect quarter-square triangles.

While I’m at it, allow me to share one more tip. If you know me, you know that I’m always harping about sewing an ⅛” around the outside of the quilt top with a longer stay stitch. But did you know it is also really helpful to do the same around the interior blocks of the quilt before you add the borders? Turn the quilt top over and stitch with the seam side up. Your quick little trip around the edge will keep all the seams in place, and also stabilize the outer edge, eliminating any stretching as you add the borders. And speaking of borders, you of course measured through the center of the quilt top to get the correct length, right?

I now have to fall on my sword and admit my shortcomings. In the pattern, I mistakenly said to make five “B” four-patch blocks. You only need to make three. I understand this error will put some into a tizzy, and I apologize. There is enough fabric to cut a few more squares for blocks you won’t need, but it does create a moment of panic. Or a sinking feeling in the pit of your stomach, which frankly put a damper on my beach bliss. Again, I’m sorry! The error is noted on the pattern corrections page of my Quilt Boss Design website.



If you need a little more inspiration, check out the Boardwalk pattern by Tourmaline & Thyme Quilts. What a great use of the border print to make a quick and fitting frame for the panel.

Seas & Greetings will begin shipping in June 2026.

Please leave a comment to let me know you’re here! I’d love to hear your thoughts.
Karen

How Are You Coping?

I’m not asking you about your reaction to the State of the Union address, or the things that may be stressing you out in life. Nope, I’m talking about using those magnificent little borders or “placeholder” strips in your quilts that make everything fit together, perfectly.

Now while my basic motto has always been “If it’s too big, cut some off; If it’s too small, sew some on,” it is nice to have everything fit together perfectly. Plus, coping strips can make almost any panel pattern work with a panel that is close (0″ to 4″ in either direction) in size. Since we all love the stunning panels produced by Hoffman California Fabrics, it’s a good idea to know a bit about coping strips.

Grizzly Trail Quilt
Grizzly Trail pattern. Look closely, and you’ll see there are not one, but two! coping borders around the Eagle panel.

As a pattern designer, I’m often working with digital panel images—not the fabric panel. It’s not until I get the actual panel in my hands to make a sample that I may have an “Oh No!” moment. Hence coping strips and borders. You or your customers may have had a similar experience. Maybe the panel is just a tiny bit smaller than the pattern calls for, or it got pre-washed and shrunk a bit too much. As a shop owner, you’re supposed to know how to fix all the problems!

The basic premise is simple, but you do have to work backwards a bit. For example, if the panel is surrounded by 6″ finished blocks, you know (ok, use a calculator) that seven 6″ finished blocks can frame a 42″ finished size panel. That’s easy. But if you really want to use all 43″ of the finished panel height, you’re going to need to add some coping strips either between the blocks, or at the top and bottom to make up 1″ in height. That’s awkward. Go the other way and make eight blocks. Eight 6″ blocks mean you need the panel “hole” to be 48″ tall. Adding a 2 ½” finished size strip at the top and bottom of the panel (43″ + 2 ½” + 2 ½”) makes it the perfect size. Notice that I’m always working in finished sizes. It’s easier to calculate everything that way, but don’t forget to add ½” to the finished size for cutting. In this case, you’d cut 3″ strips.

White Pine Lane Quilt
White Pine Lane Quilt with Medallion Center. Note the coping border around the center stars. There’s a second coping border (the purple one) before the block borders were added. Fabrics are from the Whispering Ferns collection.

If you’re not so hot on the math, there’s an easier way. White Pine Lane, is a new pattern featuring Hoffman California Fabrics՚ Whispering Ferns collection.  It has a pieced medallion center, and on point, no less. The center is framed by a coping border, and while I wish everyone, including me, sewed perfectly, the best instructions I could give were to measure the pieced center medallion and then cut the coping border strips wider (or narrower) than the specified width if necessary. The unit can be trimmed to the correct size after the borders are added. Problem solved, and on to the next step!

BTW, coping borders do not have to be from just one fabric, and they do not need to be the same width on all four sides. And last but not least, you don’t have to have a coping border, even if it is of different widths, on all four sides. Yes, I know, that last one is a bit paralyzing for those that like to play by the rules.

So go ahead, and cope with whatever comes your way! Until next time, Karen