Australian Homespun June 2017

a u s t r a l i a n

JUNE 2017

your heart in your hands

YOUR

NO. 1

COLOUR MAGIC!

SOFTIES SPECIAL Sweet and cuddly dolls and toys + Sew-a-Softie annual event 4 FABULOUS QUILTS RIC R CHLY EMBROIDERED BAG É CUSHIONS PATCHWORK & APPLIQUÉ PINAFORE, POCKETS, PLAYTHINGS MAD HATTER TEA-COSY KNIT

No. 169 (Vol. 18.06) AU $9.95* NZ $12.20* (Both incl. GST)

CRAFT STOP

Go from Good to Great Sewing The OpalTM range with it’s latest technology & built-in assistance makes sewing a pleasure!

www.husqvarnaviking.com/au

LOOKING FOR THE PATTERN SHEETS TO START YOUR HOMESPUN PROJECT?

Registration is easy! 1

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1 Simply go to www.homespun. net.au/wp-login/ and click the “register” link to create your account, or you can log in with Facebook. Note: this is a different account to your Zinio/Apple/ Google account.

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Once you’ve logged in, just go to the “Patterns” section of the Homespun site, or direct link www.homespun.net.au/ homespun-patterns/ and click on the project you’re after to download the PDF.

YOU’RE INVITED Become part of the Homespun family by: * SUBSCRIBING to our monthly magazine (see page 127) * CHECKING OUT OUR WEBSITE at www.homespun.net.au * FOLLOWING US ON FACEBOOK www.facebook.com/homespunmag * BROWSING ON PINTEREST www.pinterest.com/homespunmag * TAPPING INTO INSTAGRAM @homespunmagazine

Don’t forget when printing PDFs, print on plain A4 paper, with page scaling turned off (or at 100%).

It’s sew easy! Any questions? Contact us at [email protected]

OUR PROJECTS THIS ISSUE

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30 Granny Smith’s orchard

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54 Interrobang

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Pansies & peonies pouch

Olga and Crumpet

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68 Spotted spring

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Game keeper

96 Pebbles the cat

Life is colourful

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106 Brew ha-ha!

BOM Part 5: Going to the zoo, zoo, zoo Homespun

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omespun your heart in your hands

Editor Susan Hurley Deputy Editor Elizabeth Newton Technical Editor Megan Fisher Writer/Researcher Janai Velez Online Editor Emma Bradstock Retail Features Caroline Adams Art Director Martha Rubazewicz Pattern Artist Susan Cadzow Photographer Ken Brass Stylist Sandra Hinton

Advertising Rob Jordan (NSW and Qld) ph: (02) 9887 0359, fax: (02) 9805 0714, mob: 0411 424 196 Angelos Tzovlas (Vic, WA, SA, Tas and NT) ph: (03) 9694 6404, fax: (03) 9699 7890, mob: 0433 567 071 Advertising Production Anna Cindric Advertising Art Director Martha Rubazewicz Associate Publisher Emma Perera Subscriptions & mail orders 1300 303 414 or +61 2 9887 0317 Editorial enquiries [email protected] Advertising enquiries [email protected] [email protected] Subscription enquiries www.universalshop.com.au or 1300 303 414 Printed by KHL Printing Co Pte Ltd, Singapore Distributed by Gordon and Gotch, Australia NZ Distributors Netlink – ph: (09) 366 9966 Needlecraft Distributors Ltd – ph: 0800 909 600, www.needlecraft.co.nz UK Distributor Manor House Magazines – ph: +44 167 251 4288 USA Distributor Brewer Quilting & Sewing Supplies – ph: toll free 1 800 676 6543 Singapore Distributor Car Kit Pte – ph: +65 6 282 1960, fax: +65 6 382 3021 Circulation enquiries to our Sydney head office (02) 9805 0399. While every effort has been made to ensure that the projects featured in Homespun are the original work/s of the respective artist/s, no responsibility is taken by the publisher in the event that originality is disputed, and all proof of original design, or otherwise, lies with the artisan/s. Inspiration from other sources and the reworking of traditional patterns and designs in new and unique ways is, however, regarded as constituting ‘originality’ as acknowledged by the artisan/s and the publisher. No patterns may be reproduced (except for personal use). If a project is taught in a class or workshop, each attendee is required to have their own copy of the appropriate Homespun issue/s. Projects may not be produced for commercial gain without the written permission of the designer.

Chairman/CEO Publisher Chief Financial Officer Associate Publisher Finance & Administration Manager Circulation Director Creative Director Editorial & Production Manager Marketing & Acquisitions Manager

Prema Perera Janice Williams Vicky Mahadeva Emma Perera James Perera Mark Darton Kate Podger Anastasia Casey Chelsea Peters

Homespun is published by Universal Magazines, Unit 5, 6-8 Byfield Street, North Ryde NSW 2113. Phone: (02) 9805 0399, Fax: (02) 9805 0714. Melbourne office, Level 1, 150 Albert Street, South Melbourne Vic 3205. Phone: (03) 9694 6444, Fax: (03) 9699 7890. This book is copyright. Apart from any fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, no part may be reproduced by any process without written permission. Enquiries should be addressed to the publishers. The publishers believe all the information supplied in this book to be correct at the time of printing. They are not, however, in a position to make a guarantee to this effect and accept no liability in the event of any information proving inaccurate. Prices, addresses and phone numbers were, after investigation, and to the best of our knowledge and belief, up to date at the time of printing, but circumstances may have since changed. It is not possible for the publishers to ensure that advertisements appearing in this publication comply with the Trade Practices Act, 1974. The responsibility must, therefore, be on the person, company or advertising agency submitting the advertisements for publication. While every endeavour has been made to ensure complete accuracy, the publishers cannot be held responsible for any errors or omissions. This magazine may have some content that is advertorial or promotional in nature. Please pass on or recycle this magazine. *Recommended retail price ISSN 1443-4792 Copyright © Universal Magazines

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MMXVII ACN 003 026 944 www.universalmagazines.com.au

CONTENTS June 2017

Stitching

Showing & telling 8 READERS’ SHOWCASE Readers share stitching successes 16 SEW A SOFTIE You and your children can join in this fun softie-sewing event 22 SELVEDGE Designer Edge: Joy Pitts takes designer labels to a new level of creativity

Shopping 18 PATTERN & PALETTE PLAY Ocean fabrics: Dipping into underwater wonders 120 ON THE ROAD Craft shopping in Melbourne and Western Victoria 126 MARKET PLACE Product browsing for your stitching needs

JUNE 2017

a u s t r a l i a n

24 QUILT Granny Smith’s Orchard Emma Bradstock 30 KNITTING NEEDLE AND CROCHET HOOK BAG Pansies & Peonies Pouch Shannan Grierson 46 QUILT Interrobang Michelle Marvig 54 DOLL AND SOFTIE Olga and Crumpet Simone Gooding 68 CUSHIONS Spotted Spring Helen Stubbings 78 CHILD’S DRESS WITH TOY POCKETS Game Keeper Caroline Adams 88 QUILT Life is Colourful Michelle Bardwell 96 SOFTIE Pebbles the Cat Jennifer Goldsmith 106 KNITTED TEA COSY Brew Ha-Ha! Louise Willie 112 BLOCK OF THE MONTH PART 5 Going to the Zoo, Zoo, Zoo (Hippo & Panda) Claire Turpin and Jemima Flendt


YOUR

NO. 1

COLOUR MAGIC!

CRAFT STOP

SOFTIES SPECIAL Sweet and cuddly dolls and toys + Sew-a-Softie annual event 4 FABULOUS QUILTS RICHLY EMBROIDERED BAG É CUSHIONS PATCHWORK & APPLIQUÉ PINAFORE, POCKETS, PLAYTHINGS MAD HATTER TEA-COSY KNIT

No. 169 (Vol. 18.06) AU $9.95* NZ $12.20* (Both incl. GST)

Sourcing 12 PIN INTEREST A feast of creative and crafty ideas 14 DIARY DATES Mark these great craft events on your calendar 45 WHAT A CUTE IDEA! Giving your child wings – literally 129 NEXT MONTH July Homespun projects 130 STOCKISTS & CONTACTS

SUBSCRIBING DON’T MISS THIS MONTH’S SPECIAL OFFER

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READERS’ SHOWCASE Have you made a Homespun project? We’d love to see it and share it with our readers. SEND YOUR LETTERS TO: Email [email protected] Mail Homespun Readers’ Showcase, Locked Bag 154, North Ryde NSW 1670.

THIS MONTH’S WINNER

Julie Burmeister, from Cooranbong, NSW, for her Foxley Village project: “I just love your wonderful magazine and look forward to it arriving every month. I made a commitment last year to sew your BOM, Foxley Village (by Natalie Bird from February to November 2016/Vol 17 Nos 2-11), and it was a joy to make. This is my version hanging on the bedroom wall facing the bed, so we wake up to this wonderful quilt every morning. Thanks to all for a lovely project.”

SEW MUCH FUN Beverley Vass, from Ormiston, Qld: “My “M friend and I share a love of our gardens and sewing, so this was the ga perfect project to make for her: Joy of pe a Garden by Anni Downs (from Vol 11 No 5). It was a challenge in some areas, but so much fun and so rewarding, especially when I saw my re friend’s face when she opened her gift. frie The stand advertised with the project was no longer available so I sourced a large timber spool, which worked out to be a perfect alternative.” wor

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Congratulations to Julie for her great effort. As the winner this month, she will be receiving the following prizes: Q From Ashford, four 100g balls of 100% New Zealand wool – two of 8 ply and two of 3 ply – that have ‘winter accessory’ written all over them.

Q A boxed set of handy knitting accessories from Clover. Included are quick-locking stitch markers, soft stitch ring markers in two sizes and a handy pair of point protectors, all packed in a transparent divided box. For contact details for Ashford and Clover, turn to Stockists at the back of the magazine.

OFF TO ENGLAND Ann Marie Jefferies, from Yarloop, WA: “This is a doll I have just finished as a gift for my baby granddaughter in England. This adorable doll with her bonnet, And Baby Makes Three, was created by Simone Gooding for the September 2014 issue (Vol 15 No 9). I painted the eyes instead of using glass eyes as stated in the pattern as the doll was for a baby. Thanks for giving your readers access to patterns from such talented artisans. We are blessed!”

w e N

TICKS EVERY BOX

EMBROIDERY

PIVOT FUNCTION

VARIABLE ZIGZAG

QUILTING

BUILT-IN EMBROIDERY COUCHING

STITCH TAPERING ON 40 OVER DECORATIVE STITCHES

WI-FI TO IPAD & COMPUTER JANOME APPS FOR IPAD

ACUFEED™ LAYERED FABRIC FEEDING SYSTEM

With a huge range of features, the Skyline S9 lets you explore the full scope of sewing, embroidery and crafting projects with ease and enjoyment.

For your local Jamone Specialist call 1300 JANOME

www.janome.com.au

www.janome.co.nz

Ingenuity. Imagination.

Winter is here

OFFER E IV S U L C X E R U O AND SO IS U UP! TO HELP WARM YO

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ISSUES of HOMESPUN RRP $59.70

ONLY $39.95 TOTAL SAVING S

$ 1 9.7 5

SUBSCRIBE NOW! Visit universalshop.com.au/craft-magazines

a u s t r a l i a n


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6 issues of Homespun magazine ONLY $39.95 12 issues of Homespun magazine ONLY $79.95 24 issues of Homespun magazine ONLY $119.40

Order online: BONUS digital access will be given to every order made via universalshop.com.au

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[email protected] T&Cs: Subscriptions will commence with the first available issue. Existing subscriptions will simply be extended. Free gifts arrive separately to the magazine subscription and are sent as soon as possible. Free gift offers do not apply to subscribers currently on the Easy Payment Plan. Offer open to Australian residents only. By subscribing you acknowledge that you understand that ‘tip-ons’ and gifts or bonus issues that may be available with non-subscriber copies of this magazine may not be provided to subscribers and is at the discretion of Universal Magazines Pty Ltd. The Promoter shall not be liable for any loss or damage which is suffered or sustained (including but not limited to, indirect or consequential loss) or for personal injury which is suffered or sustained as a result of taking part in this or any other gift offer. By subscribing, you consent to receive any direct marketing material including emails which inform the recipient of the Promoter’s other publications, products, services or events and to receive promotional material from third parties. Please tick the box if you do NOT wish us to use this information for the purposes stated above . This offer is only available while stocks last, or until expiration date.

and use code HS18.6 or call us on 1300 303 414. Hurry, offer ends 6th July, 2017

Best of the best from

order housin the e

Here are our favourite crafty alarm clocks on Pinterest this month.

Best bag

Designer: KrukruStudio Contact: krukrustudio.com, www.etsy.com/shop/krukrustudio

TO THE WALL It’s a neat and tidy design and it will keep studio accessories neat and tidy. Neat, huh? It’s from the imagination and workroom of Teri, from The Lovely Drawer, and she can lead you through the making process if you go to thelovelydrawer.com/a-pocket-full.

Best cosy

Designer: Cat Thomas, Baban Cat Contact: www.etsy.com/shop/babancat

UNLOCKING STYLE SECRETS

Best softie

Designer: Jodie Carleton, Ric raC Contact: www.etsy.com/shop/ricracsews, vintagericrac.blogspot.com.au

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Keys might be handy but they’re pretty much same ol’, same ol’, aren’t they? In a lineup, it’d be hard to pick yours from your neighbours’. Mollie Johanson wasn’t just motivated by aesthetics, though – she is a notorious key-loser. So, to help pull hers out from the crowd, she made felt covers for them in rainbow colours. Go to her Wild Olive site if you want to see more: wildolive. blogspot.com/2015/08/project-tumbler-shaped-rainbow-felt-key.html.

PIN INTEREST

Bright ideas, fabulous products, clever tips & quick reads

RING THE CHANGES

OVA EASY! This is the epitome of crafty cleverness. Lots of hens make lots of eggs, but you’ve only got two hands to gather them – and baskets are soooooo yesterday!! Solution? A hand-crocheted multipocketed egg-gathering apron, of course. It’s the creation of Ashlea Konecny, from Heart Hook Home (hearthookhome.com) but you can link straight through to the tutorial at hearthookhome. com/an-egg-cellent-apron-free-crochet-pattern.

Who needs gold and diamonds when you could have a hand-crocheted ornament for your finger? This sweet bow design comes courtesy of María Isabel, from Chabepatterns (Facebook/ Instagram/ Pinterest: chabepatterns). She shares her pattern at chabepatterns.com.

NEW!

COLOURING WITH FABRIC Crayola Fat Quarter Box, from Riley Blake Designs, launches in Australia this month. The quirky little packs come with 10 fat quarters. For more information, contact the distributor, Millhouse Collections on (07) 5449 1936, email sales@ millhousecollections.com or visit www.millhousecollections.com.

Homespun

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PIN INTEREST

diary dates Let us know about your upcoming event – email details to [email protected] or send them to Homespun Diary Dates, Locked Bag 154, North Ryde, NSW 1670. Please notify us at least four months before the event.

NSW – Sydney June 22-25

WHY ONLY WOOL? You don’t have to make pompoms just from yarn, you know. You can try your hand at this fabulous fabric alternative from Alicia, from Sew What Alicia – she shows you how at www.sewwhatalicia. com/how-to-use-your-fabric-scraps-to-create-a-pom-pom. Contacts: www.sewwhatalicia.com; or search SewWhatAlicia on Instagram, Facebook, Twitter and Pinterest.

QUOTE

Asking a seamstress to mend is like as king Michelangelo to paint your garage.

Darling Harbour Expertise Events Craft & Quilt Fair, Sydney; International Convention Centre Sydney. A complete craft experience; teaching visitors to create projects in workshops hosted by featured guests, showcasing craft talent through displays (including the Sydney Quilt Show) and providing a platform for craft enthusiasts to see the latest products for their next project, all uunder one roof. Open 9am-4.30pm. Entry $19-$22, book online to save. More information: Visit craftevents.com.au.

– Author Unknown

NSW – Country June 11-12 Upper Orara Upper Orara Patchwork and Craft Group biennial Quilt Show; Upper Orara Hall, 610 Upper Orara Rd. Display of work created by members, raffles and craft goods for sale. Devonshire morning and afternoon tea and light lunch available. Open 9.30am-4pm. Entry $2, children free. More information: Phone Ann on 0429 553 532.

Vic – Melbourne June 17

BECAUSE YOU CAN! Just because you love stitching doesn’t mean your home has to be a shrine to craft. But, let’s face it, sometimes there is one fabulous furnishing that you just can’t go past. And we reckon this crocheted cotton ottoman might be the candidate. It’s cosy and comfortable but hip at the same time – and you can’t do better than that, stitcher or no stitcher. Measures 50cm high and 50cm wide (20in) and available from Schots Home Emporium Ph: 1300 774 774, website: www.schots.com.au.

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Bulla Sunbury Stitchers & Quilters’ High Tea Theme Quilt-In; Jack McKenzie Community Centre, Greens Rd. Supporting local, notfor-profit accommodation for women and children. Guest speakers are Emma Jean Jansen and Janette McInnes. Bring your favourite tea cosy (any form) for a viewers’-choice competition. Open 10am-4pm. Entry $10.

More information: (And to reserve a table), contact Debbie on 0408 502 468.

Vic – Country June 16-18 Bendigo CraftAlive Bendigo; Prince of Wales Showgrounds, Holmes Rd. Bringing together both talented interstate and local exhibitors, focusing on creative handfinished products, DIY products, craft supplies, homewares and creative workshops. Open 10am-5pm. More information: Visit www.craftalive.com.au.

July 7-9 Wodonga CraftAlive Wodonga; Wodonga Sports & Leisure Centre, Hedgerow Court. Bringing together both talented interstate and local exhibitors, focusing on creative handfinished products, DIY products, craft supplies, homewares and creative workshops. Open 10am-5pm. More information: Visit www.craftalive.com.au.

July 7-16 Wangaratta ‘Strictly Quilts’ Exhibition; St Bernard’s School Hall, Williams Rd. A combined display of quilts from the quilters of the rural city of Wangaratta. Raffles. Open 10am-5pm. Entry $5. More information: Phone Kerrith Bell on (03) 5721 3510.

Qld – Country June 24-26 Mossman Leukaemia Foundation, Mossman District Branch, Quilt and Craft Expo/Airing of the Quilts; Mossman Indoor Sports Centre, Front St. Quilts and crafts on display, craft stalls and refreshments available all day. All profits go to the Leukaemia Foundation. Open Sat & Sun 9am-4pm, Mon 9am-3pm. More information: Contact Lorraine Carrington on 0458 111 142 or email [email protected].

www.vlieseline.com NEW!! Our product videos are waiting for you Would you like to gain an insight into the various applications of the Vlieseline products? In our product videos you can learn from practical examples how to use our products correctly.

Visit our stand at this year’s Craft and Quilt Fair Melbourne Convention & Exhibition Centre, South Wharf July 27 – 30 2017. Stand No: C17 Freudenbery Pty. Ltd. A.B.N 64 000 063 178 3 Brand Drive, (P.O. Box 259) Thomastown, Vic. 3074, Aust. Telephone: (03) 9464 1022 Fax: (03) 9464 0394 Email: [email protected]

PIN INTEREST

‘SEW A SOFTIE’ MONTH It’s been an almost-instant international success! Trixi Symonds, of Coloured Buttons (www.colouredbuttons.com), only started her ‘Sew a Softie’ event last year, but it is already a real winner. And it’s just about due again now. So get needle and thread ready for softie stitching throughout July. We’ll let Trixi tell you more: “I’ve been teaching hand sewing to children for more than 20 years and, during this time, two things always stood out to me: (1) how much children enjoyed the experience of hand

for hand-sewing projects specifically designed for parents to make with their children. “Creating a project together is a great excuse to turn off theTV, shut down the computer and put away the smart phone, allowing a real-life connection of a deeper kind and a shared experience of creation. ‘Sew a Softie’ was really an extension of the book idea – an attempt to encourage more parents to sew with their children. Softies are fun, simple to make and give lots of scope for creativity, so they were a good fit.

“This year, I’m planning to have ‘Sew a Softie’ tutorials, workshops and teach-yourfriend-to-sew activities scheduled throughout the entire month of July.” Getting involved: There are heaps of options, from creating a simple-to-sew softie tutorial to post online, organising a community workshop, or teaching a friend or neighbour to sew using one of the great softie tutorials featured on the ‘Sew a Softie’ tutorial blog hop. This year, Trixi’s also having ‘Kid Ambassadors’ who will be joining in and making a softie with a friend.

This really is something that even young children can do... sewing; and (2) how beneficial hand sewing is for them – in all sorts of ways. “In addition, I was often approached by parents asking about the possibility of teaching an adults’ class, so that they could learn to sew, as well. This got me thinking about how I could get mums and kids sewing together. My solution was to write Sew Together Grow Together, a collection of simple, step-by-step instructions

“The essence of Sew a Softie is to show people that hand sewing is not only fun, practical and highly creative but really really simple to learn to do, and that people without any previous sewing experience can make fantastic softies with their children. This really is something that even young children can do, and when they see what they can create, they fully understand what they can achieve.

Everything that’s scheduled is listed on www.sewasoftie.com, and readers can register their interest there, too. Trixi loves seeing photos from different events, so don’t forget to snap and upload all your toys and dolls. Email [email protected] or join the ‘Sew a Softie’ Facebook group to share photos of your creations, ask questions and stay up to date with what’s happening.

SALAMANCA STITCHES Tasmanian textile-art group Stitching and Beyond really means it when they say ‘beyond’ – they experiment with all kinds of textiles, from 3D pieces to embroidery, painting, eco dyeing, mixed media, wearable art, felting, traditional quilting and more. You can see the members’ creations at the biennial exhibition, ‘Out of Hand’, at the Long Gallery and Sidespace Gallery on Salamanca Place, in Hobart. It’s on from July 28 until August 8 (the official opening is at 5.30pm on July 27). If you want to know more, details can be found at www.stitchingandbeyond.com. Roll bag by Roza Brinkworth

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Faeries in My Garden “Beautiful Designs - Exquisite Fabrics”

We have much pleasure in presenting ...

Mentio “Homes n when yo pun” uo to receiv rder, special g e a ift your ord with er.

“Miss Becky’s Vintage Drapery” A quilt that takes you inside a draperyy sstore tore from times gone byy ...

Brand New Mystery Quilt Designed by Kate Morris for Faeries in My Garden “Miss Becky’s Vintage Drapery” Are you ready to embark on an exciting mystery journey into a delightful world of embroidery, appliqué and piecing? Here are some sneak peeks – it’s a mystery Block of the Month Quilt You can sign up now – visit the website for full details, phone, or email the shop

Faeries in My Garden 70 Park Parade Shorncliffe Qld 4017 Australia p. (07) 3869 0808 e. [email protected] www.faeriesinmygarden.com.au

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Pattern & Palette Play

We’re taking inspiration from the ocean floor – a flourishing aquatic flower garden alive with colourful coral, shells and starfish and flamboyant fish. Compiled by Janai Velez 18

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01 Windham Fabrics ‘Coral Reef’ 42666-1, designed by Whistler Studios. Distributed by Leutenegger. 02 Liberty Art Fabrics ‘Castaway’ Coral Camo B (137cm wide). Distributed and sold by The Strawberry Thief. 03 FreeSpirit ‘Neptune and the Mermaid’ PWTM001.8IVOR, designed by Tokyo Milk. Distributed by XLN Fabrics. 04 Windham Fabrics ‘Coral Reef’ 42667-3, designed by Whistler Studios. Distributed by Leutenegger. 05 FreeSpirit ‘Neptune and the Mermaid’ PWTM005.8YELL, designed by Tokyo Milk. Distributed by XLN Fabrics. 06 Windham Fabrics ‘Coral Reef’ 42669-3, designed by Whistler Studios. Distributed by Leutenegger. 07 Liberty Art Fabrics ‘Castaway’ Reef C (137cm wide). Distributed and sold by The Strawberry Thief. 08 Liberty Art Fabrics ‘Castaway’ Shoals B (137cm wide). Distributed and sold by The Strawberry Thief. 09 FreeSpirit ‘Neptune and the Mermaid’ PWTM003.8PINK, designed by Tokyo Milk. Distributed by XLN Fabrics. 10 Liberty Art Fabrics ‘Castaway’ Coral Camo C (137cm wide). Distributed and sold by The Strawberry Thief. 1 1 FreeSpirit ‘Neptune and the Mermaid’ PWTM008.8NAVY, designed by Tokyo Milk. Distributed by XLN Fabrics. 1 2 Windham Fabrics ‘Coral Reef’ 42670-1, designed by Whistler Studios. Distributed by Leutenegger. 13 Northcott ‘Artisan Spirit Ocean Tides’ 21514-63, designed by Deborah Edwards Northcott Studio. Distributed by Lloyd Curzon Textiles. 14 Windham Fabrics ‘Coral Reef’ 42668-4, designed by Whistler Studios. Distributed by Leutenegger. 15 Liberty Art Fabrics ‘Castaway’ Reef B (137cm wide). Distributed and sold by The Strawberry Thief. 1 6 Liberty Art Fabrics ‘Castaway’ Turtle Thief B (137cm wide). Distributed and sold by The Strawberry Thief. 17 Northcott ‘Artisan Spirit Ocean Tides’ 21520-10, designed by Deborah Edwards Northcott Studio. Distributed by Lloyd Curzon Textiles. 18 FreeSpirit ‘Neptune and the Mermaid’ PWTM002.8AQUA, designed by Tokyo Milk. Distributed by XLN Fabrics. 19 Northcott ‘Artisan Spirit Ocean Tides’ 21513-56, designed by Deborah Edwards Northcott Studio. Distributed by Lloyd Curzon Textiles.

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Suppliers: Q Craft Project – Charles Parsons:

1300 364 422, [email protected], www.craftproject.com.au. Q Leutenegger: (02) 8046 4100, [email protected], www.leutenegger.com.au. Q Lloyd Curzon Textiles: (08) 8362 2451, [email protected], www.lcurzon.com.au. Q Millhouse Collections: (07) 5449 1936, [email protected], www.millhousecollections.com. Q Nutex Wholesalers: (New Zealand) +64 9 846 6366, [email protected], www.nutex.co.nz. Q The Strawberry Thief: [email protected], www.thestrawberrythief.com.au. Q Two Green Zebras: (02) 9553 7201, [email protected], www.twogreenzebras.com. Q XLN Fabrics: (02) 9621 3066, [email protected], www.xln.com.au.

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20 Liberty Art Fabrics ‘Castaway’ Reef A (137cm wide). Distributed and sold by The Strawberry Thief. 21 Windham Fabrics ‘Coral Reef’ 42668-5, designed by Whistler Studios. Distributed by Leutenegger. 22 Windham Fabrics ‘Coral Reef’ 42669-6, designed by Whistler Studios. Distributed by Leutenegger. 23 FreeSpirit ‘Neptune and the Mermaid’ PWTM005.8BLUE, designed by Tokyo Milk. Distributed by XLN Fabrics. 24 FreeSpirit ‘Neptune and the Mermaid’ PWTM008.8AQUA, designed by Tokyo Milk. Distributed by XLN Fabrics. 25 Riley Blake Designs ‘Under the Sea’ Dolphins C5962-AQUA, designed by Doodlebug Design. Distributed by Millhouse Collections. 26 Art Gallery Fabrics ‘Coastline’ Conchology Sand CTL-49909, designed by Sharon Holland. Distributed by Craft Project – Charles Parsons. 27 Windham Fabrics ‘Coral Reef’ 42667-5, designed by Whistler Studios. Distributed by Leutenegger. 28 Nutex Wholesalers ‘Paua’ Crazy Paua 7353, Col 102. Distributed by Nutex Wholesalers. 29 Windham Fabrics ‘Coral Reef’ 42670-2, designed by Whistler Studios. Distributed by Leutenegger. 30 Makower UK ‘Marina’ Fishes M1772B (Blue colourway). Distributed by Two Green Zebras.

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Fabrics shown were available at the time of going to print, unless stated otherwise. Check with the suppliers for current availability and your nearest stockist.

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DMC Natura Just Cotton is a beautiful matte knitting and crochet yarn made with 100% combed cotton. Natura Just Cotton produces a VRIWêWRêWRXFKGUDSHêDEOHIDEULFZLWKJRRGVWLWFKGHoQLWLRQ7KH extensive range of colors is designed to blend together. Natura Just Cotton is appropriate for infant, children, adult, and home decor projects.

Visit our website to download your free projects or create your own and share with us.

Distributed in Australia by J.Leutenegger Pty. Ltd. For more information & stockists, please contact: ph: +61 2 8046 4100 fx: +61 2 8046 4199 email: [email protected] web: www.leutenegger.com.au

Selvedge

DESIGNER EDGE

JOY PITTS Showy types like to flaunt their designer labels all over town, but for most of us lesser mortals, clothing tags stay hidden from view. Now, one very fine artist is getting in on the act and making masterpieces from these rag-trade IDs. UK-based artist Joy Pitts uses labels by the thousand. She collects them, unpicks them from garments and pins them onto canvas. She often gets asked if she has any labels left on her own clothes or if she buys garments just for these tiny tabs. She answers, “I only remove labels from garments that are being thrown away to be recycled and I actually don’t have a huge wardrobe of clothes.” Label gathering takes up a huge chunk of her art-making time. “The collection of used labels is ongoing, and I usually make visits to charity shops once a week. I unpick labels from rag discards, so I don’t actually buy the garments. I also approach specific brands, if I want to use their labels. For example, for a portrait I did of Winston Churchill, I chose Henry Poole & Co, Turnbull & Asser and Lock & Co Hatters [clothing and accessories manufacturers], because they all created bespoke items for Churchill. All three outfitters were extremely happy to supply their bespoke labels for this project,” she says. “It’s the context of the label that I’m looking for and the message it will put across once assembled 22

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in the image. I try to make work that is relevant to what is going on in the world and I always use subjects that interest me.” A sketch based on a photograph is Joy’s starting point for each design. She then covers the background in labels and overlays the image on top, attaching the labels to the canvas with dressmaker pins. “Planning out the canvas is the most challenging part – constantly measuring to the millimetre to make sure that the chosen background labels will fit exactly in horizontal and vertical rows. It is more like a technical drawing challenge,” she says.

Joy estimates that she’s used 75,000 labels in her artworks so far and has devised a low-cost system for organising the ones waiting to be used. “The new labels that have been donated to me are all stored in clear boxes with an index, so they are easy to locate. Old labels that I have gathered from used clothing are in old cardboard shoe boxes in various colourways. I have a pile of labels still attached to part of the garment just waiting to be unpicked. I also have a shoe box of vintage labels, some from brands that no longer exist. I hope to make a piece of work with these in the future.” Find out more about Joy Pitts by visiting; www.joypitts.co.uk. Or you can email her directly; [email protected]. Original artworks and limited-edition prints are available for sale.

– Janai Velez

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your way

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To find your local Brother dealer visit www.brother.com.au/f420

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GRANNY ‚ SMITH S ORCHARD

As if plucked plump and ripe straight from the tree! Emma Bradstock’s crispy fresh quilt calls on the colours of green and red apples and embellishes them with fruit-salad accents. Emma Bradstock, Honey & Blueberries – Instagram: @honeyandblueberries; Email: [email protected]

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Materials Q 26 or more assorted print fabrics to total at least 2m (21⁄4yd) – see Note (blocks) Q 3.5m (33⁄4yd) white tone-on-tone print fabric (block background, sashing and border) Q 3.7m (4yd) backing fabric 26

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Q 55cm (5⁄8yd) stripe print fabric (binding) Q Batting at least 205 x 180cm (81 x 71in) Q Rotary cutter, ruler and mat Q Sewing machine with 1 ⁄4in and walking feet Q General sewing supplies

Finished quilt size: 187 x 159.5cm (731⁄2 x 623⁄4in) Finished block size: 83⁄4in square Note: Read all the instructions before starting the project. This quilt is pre-cut-friendly: Emma recommends using leftover 21⁄2in jelly roll strips,

charm squares and layer cakes for example. See her Fabric Tips for more details. It is recommended that fabrics be 100% cotton, pre-washed (apart from pre-cuts) and well ironed. Requirements are based on fabric 107cm (42in) wide. Seam allowances of 1⁄4in are used throughout.

www.homespun.net.au/homespun-patterns

Diagram 1

Diagram 2

Cutting

• Six strips, 21⁄2in across the width of the fabric and crosscut four strips, 21⁄2 x 91⁄4in from each one (24 vertical sashing strips) • Seven strips, 21⁄2in across the width of the fabric (horizontal sashing strips) • Seven strips, 53⁄4in across the width of the fabric (border). From the stripe print fabric, cut: • Seven strips, 21⁄2in across the width of the fabric (binding).

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From the assorted print fabrics, cut: • 390 squares, 21⁄2in. If you’re using 10in pre-cut squares, you’ll easily be able to cut nine squares from each one, which is enough for the eight outer squares on a block plus one centre one OR two inner rounds of four squares plus a centre one. Unless you’re aiming for a completely scrappy look, you need to cut squares in sets of eight (outer round), four (inner round) and a single one for each block, so keep this in mind as you cut the squares. Alternatively, Emma suggests cutting more than 390 squares so you can achieve the right balance of fabrics in each block, keeping the leftover squares for other projects. From the white tone-on-tone print fabric, cut: • 23 strips, 21⁄2in across the width of the fabric and crosscut each one into 16 squares, 21⁄2in to make a total of 368 squares – only 360 are needed for this quilt (blocks)

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Diagram 3

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Granny Square blocks

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This step is optional. Emma recommends spending some time laying out the coloured squares for all 30 blocks, as shown in Diagram 1, so you get combinations of prints that you like in all the blocks. This avoids ending up with too many fabrics repeated in the final blocks or having several blocks with the same fabrics. When you’re happy with all the combos, clip (or pin) the bundles of squares together for each block so they don’t get mixed up again. For the first block, lay out the coloured squares with white squares around them, as shown in Diagram 2. Make sure that any directional prints are all facing the same way. Join the squares in rows, as they were laid out. Press the seams in each row as shown by the arrows in Diagram 3. Sew the rows together to form a block with jagged edges and press the seams as shown by the arrows in Diagram 4. The seams should nest and match at all the intersections.

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Diagram 4

EMMA’S FABRIC TIPS When picking fabrics for this project, I had 17 leftover squares from a Moda layer cake in reds, greens, yellow and a touch of taupe. To select additional fabrics, I pulled out nine colours from the fabrics that I already had and matched them to other prints from my stash so they all worked together, despite being from different fabric ranges. If you want a scrappier look to your quilt, widen your choice of fabrics, which would also make it a great stashbuster.

EMMA’S SIZING TIP This is a really easy quilt to make larger or smaller by simply making more or fewer blocks. For example, you could try a layout with six rows of six or four rows of three blocks.

Granny Square block Homespun

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Trim the block so you have 1⁄4in seam allowances outside the points of all the coloured squares. To do this, place the quilter’s ruler over the block with the 1⁄4in line on the ruler level with the coloured points of the block along one edge and cut the rest of the white squares away outside it, as shown in Diagram 5. Rotate the block and repeat this step for each side. The trimmed block should measure 91⁄4in square, raw edge to raw edge. Handle it with care, as its outer edges are now on the bias grain. Repeat Steps 5-8 to make a total of 30 blocks.

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Assembly

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Lay out the blocks in six rows of five, moving them around until you have a pleasing arrangement of colours. If you do this on a white surface and leave a little space between each block, you’ll have a clearer idea of how the finished quilt will look. Emma suggests taking a photo of the final layout as a reminder for when you’re assembling it.

Diagram 5

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Insert a white 21⁄2 x 91⁄4in sashing strip between the blocks in each row. Join the blocks and sashing strips in each row together. Press the seams towards the sashing. Measure each of your rows. They should measure 521⁄4in wide. Some variation from this is fine, provided all the rows are the same width. If they aren’t, unpick some of the seams and re-sew them as needed. Join the seven horizontal sashing strips together, end

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to end, to make one long length and press the seams open. From the joined strip, cut: • Five strips, 21⁄2in x the width of your rows. Add a horizontal sashing strip between the rows of blocks. Sew the rows and sashing strips together. Press the seams towards the sashing. Join the seven 53⁄4in strips of white fabric together, end to end, to make one length and press the seams open. From the joined strip, cut: • Two strips, 53⁄4in x width of your rows (top and bottom borders). With right sides together, sew these strips to the top and bottom edges of the quilt and press the seams towards the borders. Measure your quilt vertically through the centre. Cut two strips this length from the remainder of the long strip. Sew them to the left and right edges and press as before.

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Finishing

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Cut the backing fabric into two equal lengths, remove the selvedges and sew the two pieces together side by side with a 1⁄2in seam. Press the seam open. If the backing fabric has an obvious print, Emma recommends matching the design at the join for a seamless look. The quilt top, batting and backing fabric are ready to take to a long-arm quilter as they are. If you’re doing the quilting yourself, lay out the backing fabric on the floor, right side down, and secure it with masking tape. Smooth the batting on top, ensuring

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Getting to know …

EMMA BRADSTOCK Why this particular craft? When I was in high school, my mum started watching the TV show Simply Quilts, and her interest in quilting proved contagious – I soon caught the bug. But it wasn’t until I started working for Homespun and Quilters Companion that I became obsessed with wanting to make my own quilts. When you spend every day surrounded by so many beautiful quilts, how could you not be inspired to make your own? Have you tried plenty of other stitch crafts? I like to call myself a multi-crafter; I have a love of quiltmaking, embroidery and crochet. I also studied textiles in high school, so I’ve made a few different things, from bags to formal dresses. I also have knitting and weaving on my ‘to try’ list.

it’s free of wrinkles. Then lay the quilt top over the batting, right side facing up, and baste the three layers together with pins (for machine quilting) or thread (for hand quilting). Quilt as desired. Emma used a walking foot and machine quilted in the ditch of the blocks, sashing and borders with a domestic machine. She used a multi-coloured

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Who taught you your crafting skills? My mother and both of my nanas did various crafts as I was growing up, so I’ve been brought up surrounded by lots of different crafts. And then, to top that up, my couple of years doing textiles in high school laid the groundwork for some of my skills and understanding. Plus, I could always rely on my mum’s help if I was struggling to work something out. Any good stories from those lessons? My mum’s mum did a lot of babysitting of my sister and me. She always had fabric scraps and bits and pieces for us to fiddle around with. I did have an urge once to make a gingerbread-man toy, but I didn’t feel like asking for help – let’s just say I decided sticky tape was the best way to seal up my seams, so there was lots of stuffing sticking out! What does this craft mean to you? I’ve always needed a creative outlet of some sort, and I’ve discovered that craft gives me not only something to do with my hands but it’s the perfect balance between art and design – creating something functional but also unique and beautiful. There is no greater feeling than draping that one-of-a-kind quilt or crocheted blanket over your bed, knowing that you did all of that work with your own hands. Is it hard to find time to do your stitching or is it a profession? My weekends are very precious to me. They’re the only times I really have to work on my various projects, especially when they involve a sewing machine. I will pick up some embroidery or crochet on weekdays after work, but the last thing I feel like after a long day at the office is sitting at a sewing machine or cutting fabrics. It can be hard to find the time and motivation sometimes, but I take what time I can.

quilting thread for the coloured blocks and white Aurifil 40/2 for all the white areas. Trim the surplus batting and backing fabric 1⁄4in outside the edge of the quilt top. Join the seven binding strips end to end with diagonal seams to make one length. Trim the seams to 1⁄4in and press them open. Fold the

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From where do you draw inspiration? Anywhere, really! I’m often mostly inspired by fabrics I see or colour combinations. I’m always thinking about new designs and ways I can put my ideas together. Why this skill – and this style? There are so many beautiful colourful prints around, and I love to keep it fresh with lots of white or neutrals. I love mixing traditional blocks with bright and bold prints, but I am partial to delicate and pretty fabrics, too, like Tilda. What are your favourite materials to work with? Cute and pretty fabrics are my favourite – anything from a traditional soft floral to 1930s reproduction prints. I also love working with linen and cotton-blend fabrics for smaller projects and my embroidery. Where do you live and work? At home we don’t have a proper sewing-room setup, so it’s wherever I can find the space, but I do have my favourite spot on the sofa, where I like to snuggle up with some crochet or embroidery and be bathed in sunlight. What’s your family structure? I live on Sydney’s Northern Beaches with my mum, sister and my partner, who moved here from Sweden a couple of years ago. We also have a black miniature poodle, Marley, who loves nothing more than curling up on my lap to ‘help’ me work on my crochet or embroidery. How would you describe your style? What makes it unique? I would probably describe it as pretty-modern. I am always partial to anything sweet and cute, especially floral fabrics and embroidery, and lots of white space to let the colours pop. What’s your advice for beginners? Learn the basics from a reliable source. Try out some smaller projects to learn new techniques. And don’t doubt yourself on colour or fabric choices.

strip in half, wrong sides together and long edges matching, and press. With right sides together, sew the binding to the edge of the quilt, mitring the corners as you go and referring to the Binding Diagrams below for details. Fold the binding over and stitch it by hand to the back of the quilt. Label and date your quilt.

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Binding diagram 40cm (16in)

Rule a line along the 45-degree fold

Mitring corners

Join the ends by matching the fold line and the drawn line and sewing them together. Trim the seam, press it open and refold the binding, then finish sewing it to the quilt.

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PANSIES & PEONIES POUCH Yes, you can shoebox your knitting needles and crochet hooks if you must, but there’s no great aesthetic pleasure in that, is there? Shannan Grierson makes a floral festival substitute with a richly embroidered needle bag that celebrates the glories of the garden. Shannan Grierson, Bobbin and Fred – Instagram: www.instagram.com/bobbinandfred; Website: www.sewingwithbobbinandfred.blogspot.co.uk

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To add visual impact to small accessories, it’s a good idea to be bold with your design concept and generous with embroidery texture.

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Materials Q Fat quarter multicoloured floral print fabric (‘Ciara’) (lining and front top and bottom borders) Q Fat eighth turquoise print fabric (‘Tom Daley’) (pouch back and front sashing) Q Fat eighth cream cotton (Kona Cotton in ‘Bone’) (embroidery background) Q Scraps at least 8cm (3in) square of turquoise and floral print fabrics (‘Glenjade’ and ‘Poppy and Daisy’) (appliqué) Q 20cm (1⁄4yd) cotton batting Q Fusible web Q DMC Stranded Embroidery Cotton in Very Dark Lavender (208), Lemon (307), Light Coral (352), Dark Wedgwood (517), 32

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Very Dark Violet (550), Plum (718), Medium Tangerine (741), Very Dark Raspberry (777), Light Peacock Blue (3766), Ultra Very Dark Turquoise (3808) and Light Apricot (3824) (embroidery) Q 35cm (14in) lilac zipper – see Note Q Transfer pencil and lightweight paper Q Embroidery hoop or frame Q Rotary cutter, ruler and mat Q Sewing machine with 1 ⁄4in and zipper feet Q General sewing supplies Tassel Q DMC Stranded Embroidery cotton in Very Dark Lavender (208), Dark Wedgwood (517) and Ultra Very Dark Turquoise (3808) – one skein of each

Q Cardboard rectangle, 5 x 8cm (2 x 3in) Q 6mm (1⁄4in) plastic bead Q 10mm (3⁄8in) jump ring Q 1cm (3⁄8in) lobster clasp Q Pliers Stitches used: Backstitch, bullion stitch, chain stitch, long and short stitch, running stitch, satin stitch, stem stitch, straight stitch Finished size: 15 x 30cm (6 x 12in) – see Note Note: Read all the instructions before starting the project. Note the finished size of the pouch and if you want to store longer knitting needles, adjust the cutting accordingly at the start. It is recommended that fabrics be 100% cotton, pre-washed and well ironed. Requirements are based on fabric 107cm (42in) wide and batting at least 135cm (53in) wide. The Kona Solid and

Liberty Tana Lawns that Shannan used are shown in brackets. Shannan used a continuous zipper and zipper pull for her pouch and you could use one of these if you prefer. A seam allowance of 1 ⁄4in is used throughout, unless otherwise stated. Work all the embroidery with three strands of thread unless otherwise stated. The embroidery designs are printed in reverse on the Pattern Sheet for use with a transfer pencil. If you want to trace them directly with another marker, you’ll need to flip the Pattern Sheet over and put a strong light source behind the paper. The appliqué method is fusible web with hand embroidery. Instructions are given for using the printed Pattern Sheet in the magazine, but you can also download the digital patterns from www.homespun.net.au and print them out.


Preparation and cutting

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Using a sharp transfer pencil, trace the embroidery designs from the Pattern Sheet onto lightweight paper. Go over the lines neatly a couple of times and have a hard, smooth surface under the paper for best results. Centre the embroidery designs, traced side down, on the Bone solid fabric and press with a hot dry iron to transfer the designs from the paper to the fabric. Take care not to move the paper with the iron or you could get a double image or smudged design. Cut two squares of fusible web, 3in. On the paper side of the first square, trace and label the Group 1 appliqué shapes (shapes 1, 4, 6, 7, 8, 10 and 12), leaving small spaces between them. Use a hot iron to fuse the square of fusible web to the wrong side of the turquoise print piece of fabric. Then trace and label the Group 2 appliqué shapes (shapes 2, 3, 5, 9, 11, 13, 14 and 15) onto the paper side of the other square. Fuse them to the wrong side of the floral print piece of fabric.

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Cut all the shapes out carefully with small, sharp scissors. Referring to the design on the Pattern Sheet for placement, peel off the paper and fuse the shapes to the corresponding areas of the traced design, making sure they cover the lines as well as possible. From the multi-coloured floral print fabric (‘Ciara’), cut: • Two rectangles, 61⁄2 x 121⁄2in (lining) • Two strips, 11⁄2 x 121⁄2in (front top and bottom borders). From the turquoise print fabric (‘Tom Daley’), cut: • One rectangle, 61⁄2 x 121⁄2in (pouch back) • Two strips, 11⁄4 x 41⁄2in (front vertical sashing). From the cotton batting, cut: • Four rectangles, 6 x 12in.

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Embroidery

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Put the bone fabric in an embroidery hoop or frame, centring one of the designs in the stitching area, and ensure that it’s taut to minimise it puckering as you stitch.

Begin by sewing around the appliqué shapes in running stitch or stem stitch, using threads to coordinate or contrast with the appliqué fabrics. For example, in the left panel, Shannan used Light Coral (352) and Plum (718). Shapes outlined in running stitch tend to recede visually, while those outlined in stem stitch command more attention. Refer to the Stitchery Guide below for the threads and stitches to use for the embroidery of the three designs. Most of the flowers are treated similarly across the three panels. Refer to the main photograph as an additional guide. When the embroidery is complete, remove the fabric from the hoop or frame and place it face down on a clean, thick towel. Press it gently from the back to avoid flattening the stitches. Using a rotary cutter and quilter’s ruler, trim each of the embroidered panels accurately to measure 41⁄2in high x 4in wide with the designs centred and corners square.

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STITCHERY GUIDE Design area

Thread

Stitch

Main peony petals

Light Coral (352) and Light Apricot (3824)

Bullion stitch and straight stitch

Minor peony petals

Ultra Very Dark Turquoise (3808)

Satin stitch

Peony centres

Lemon (307) and Medium Tangerine (741)


Partial peony petals

Light Coral (352), Light Apricot (3824) and Ultra Very Dark Turquoise (3808)

Chain stitch

Dots on ovals

Old Wheat Perlé 5 (2120)

One-wrap French knot

Pansy back petals

Very Dark Violet (550) and Very Dark Lavender (208)

Long and short stitch

Pansy main petals

Very Dark Lavender (208), Very Dark Raspberry (777) and Very Dark Violet (550)


Pansy centre

Lemon (307)

Satin stitch

Partial pansies

Very Dark Raspberry (777) and Very Dark Violet (550)


Left panel

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STITCHERY GUIDE cont ... Design area

Thread

Stitch

Morning glory filled trumpet (all)

Dark Wedgwood (517) and Light Peacock Blue (3766)


Morning glory filled centre

Medium Tangerine (741)

Satin stitch

Morning glory outlines

Dark Wedgwood (517)

Stem stitch

Open morning glory centre

Light Peacock Blue (3766) and Medium Tangerine (741)

Backstitch

Open hydrangea outline

Light Peacock Blue (3766)

Stem stitch

Open hydrangea second outlines

Very Dark Lavender (208)

Backstitch

Hydrangea centres

Dark Wedgwood (517)

Satin stitch

Filled hydrangea petals

Plum (718), Very Dark Lavender (208) and Light Peacock Blue (3766)


Forget-me-not outlines

Plum (718) or Very Dark Violet (550)

Stem stitch

Forget-me-not centres

Lemon (307)

Satin stitch

Peony petal filling

Ultra Very Dark Turquoise (3808) or Light Apricot (3824)

Chain stitch

Peony petal outlines

Ultra Very Dark Turquoise (3808) or Light Apricot (3824)

Backstitch

Pansy petals

Very Dark Raspberry (777) and Very Dark Violet (550)


Middle panel

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STITCHERY GUIDE cont ... Right panel

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Design area

Thread

Stitch

Peony left petals


Chain stitch

Peony right and bottom petals



Peony centre

as for Left panel

Stem stitch

Filled hydrangea petals

Plum (718) and Very Dark Lavender (208)


Hydrangea centres

Dark Wedgwood (517)

Satin stitch

Partial hydrangea petal

Light Peacock Blue (3766) and Very Dark Lavender (208)


Pansy main petals, back petal and centre

as for Left panel


Forget-me-not outline

Very Dark Violet (550)

Stem stitch

Forget-me-not centre

Lemon (307)

Satin stitch

Morning glory

Dark Wedgwood (517), Light Peacock Blue (3766) and Medium Tangerine (741)


Z E L LY ’ S C R A F T S & G I F T S

ANTELOPE CANYON QUILT KIT

Finished size: 74½” x 74½”. Quilt designed by: Laurie Shifrin Designs. The kit contains pattern and all the fabric to make the quilt top and binding. Fabrics featured: Blacks and Greys from Texture-Graphix Range designed by Jason Yentor. Price includes postage (in Australia only) $249.95.

We’re now on Facebook!

5938 Newell Highway, Gilgandra NSW 2827

M 0427 479 131 E [email protected] W www.zellyscraftsandgifts.com.au

STITCHERY GUIDE cont ... Design area

Thread

Stitch

Dark peony petals


Chain stitch

Light peony petals



Peony centre

Lemon (307) and Medium Tangerine (741)


Back of pouch

Assembly SHANNAN’S CONSTRUCTION TIPS Tack, don’t slack. Liberty fabric is a bit slippery, so tacking really pays off and ensures a high-quality finish. I use running stitches about 3mm (1⁄8in) apart and 3mm (1⁄8in) long for best results. And zigzag the edges of the seams after the straight stitching to prevent them from fraying to ensure your pouch is durable and long-lasting.

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Place the two lining rectangles and the pouch back rectangle on the table, right side down. Centre a rectangle of batting on each one and baste the batting and fabric together with safety pins or thread. Quilt as desired. Shannan hand quilted sets of three vertical parallel lines 1⁄4in apart spaced at 11⁄4in intervals using two strands of coordinating embroidery cotton. Front panel Arrange the three embroidered panels, right side up, in the correct order, then put the vertical sashing strips between them. Sew

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the panels and sashing strips together in a row. Press the seams towards the sashing strips. Topstitch close to both long edges of each sashing strip. Your panel should measure 41⁄2 x 121⁄2in, from raw edge to raw edge. With right sides together, pin the top and bottom border strips to the panel and stitch them in place. Press the seams towards the borders. The front panel should now measure 61⁄2 x 121⁄2in from raw edge to raw edge. Centre a rectangle of cotton batting on the wrong side of the front panel and pin the layers

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ADT 21 Day European Gardens, Castles and Quilts Tour with Rhine River Cruise 2017 This tour led by Tita Leach

THIS 21 day tour will take you to the Festival of The Quilts in Birmingham, England. We will also visit London, Windsor, Bath, Sissinghurst Garden, Kent, Leeds Castle, Dover, Bruges, Amsterdam and Paris. Enhanced by a European Rhine River cruise, you will explore and enjoy the historical highlights, cultural heritage and the charming scenery of Europe with a life time experience.

06 August 2017 Tour Price: $8,780 per person

Based on twin share, Melbourne/Sydney departure

USA Paducah & New England Quilt Tour This tour led by Julie Clarke Experienced quilter. An amazing 23 day tour to the outstanding American Quilt Show in Paducah. Our tour will also visit Chicago, Amish Country, St. Louis, Washington DC, Bird-in-hand, Intercourse, New York, Hampton, North Conway, Mount Washington, Montprlier, Bennington, Tilton, Lowell and Boston. And of course you will visit shops along the way dedicated to the interests and needs of quilters.

09 September 2017 Tour Price: $11,980 per person Based on twin share, Sydney departure

Call 1300 789 252 for itinerary and information QUILTS USA is only available from Asia Discovery Tours

370 Pitt Street, Sydney NSW Website: www.asiadiscoverytours.com.au

Getting to know …

SHANNAN GRIERSON

Why this particular craft? Sewing’s always been a part of my life. My earliest memory of school is making a sampler in an embroidery hoop, so I can’t imagine not stitching. When I was little, I wanted to sew clothes for my dolls; in my teens, it was flared jeans and short skirts; and nowadays, it’s accessories and clothing for me, my mum and my friends. I love dreaming up something I’d like to make. And there are so many techniques to learn and styles to try, it never gets boring. Have you tried plenty of others? Oh yes, I’m a proper craft tart. I’ve had a go at card making, weaving, ceramics, silversmithing, beading, knitting, painting, printing, candle making, baking, um … and probably a few others I’ve forgotten about along the way. Who are Bobbin and Fred? Bobbin and Fred are my sewing pals. Bobbin’s a vintage French knitting bobbin I found years ago at a secondhand sale, and Fred is her lovable goat sidekick. Together, we design and make needlework projects, celebrating texture, pattern and vibrant colours. They have a bit of a romance going on – Fred’s got me working on a surprise for Bobbin at the moment. I can’t tell you what, as he’s sworn me to secrecy, but I think she’s gonna love it.

together. It’s best if you insert the pins from the right side so you can remove them easily as you stitch. Topstitch close to the seams of the top and bottom borders through both layers. Zipper Place the pouch front, right side up, on the table. Lay the closed zipper, right side down, along the top edge with an equal amount overhanging at each end. Pin it in place with the pins placed at 90 degrees to the zipper.

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If you weren’t doing this, what would occupy your time? I’d love to learn to paraglide and then fly all over the world. I’ve seen stunning footage from Oregon and Canada. I’d still take my hand sewing with me, though. Who taught you your crafting skills? Did you learn ‘at your mother’s knee’ or did you master techniques with personal and formal training? A mixture of all three. I’ve always loved making stuff. As a child, I spent hours making paper flowers for my teachers. My mum is very creative. When I was growing up, she sewed and embroidered, and I loved seeing and touching all the patterns and textures. Her studio was a yummy emporium of gorgeousness, and I loved going in and running my hands over all the fabric and looking at the things she made. Mum showed me the basics, and I taught myself from books and magazines. I studied art and textile design. Since then, I’ve gone back to teaching myself; the internet’s a great resource. Any good stories from those lessons? At school, before we were allowed to machine stitch our fabric, we had to prove we could master the beast by sewing on paper. We were given these sheets with various-shaped lines made up of dots and we had to get the needle in the centre of each dot by setting the correct stitch, length and width. I’m a perfectionist, and it was so satisfying when I got the needle in the centre of each one! Whenever I’m asked about how to learn to use a sewing machine, I always suggest starting on paper. Most students look at me as if I’m crazy, because they want to get to the good stuff (fabric), but I fell in love with sewing over that dotty piece of paper, so I can’t help but recommend it. What does this craft mean to you? It means everything to me, really. Sewing’s therapy, stress relief and one way I make happiness. If I’m ever feeling down or anxious, I just pick up my sewing, and my troubles melt away. From where do you draw inspiration? I’m really inspired by European folk art, Indian embroidery techniques and Moroccan tiles at the moment. The bright, organic yet geometric patterns these three styles celebrate are right up my street. I love anything that’s richly embroidered

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With right sides together, lay a quilted lining rectangle on top of the front panel, raw edges level; the zipper will be sandwiched between the layers at the top. Pin all the layers together once more. Fit a zipper foot to the machine. Stitch close to the zipper teeth through all layers – you should be able to feel them through the lining fabric. Fold the front and lining fabrics down over the zipper tape so the teeth are exposed and

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or patterned, so I hunt for imagery like that on Pinterest and Instagram. I also enjoy looking at clasps, buttons, ribbons and trims online and filing them away for future use. The other place I look for inspiration is in my sewing stash; I often allow what’s in there to dictate my next project. How would you describe your style? What makes it unique? Over-the-top, playful yet sophisticated … at least, that’s what I aim for. I try to use unusual colour combinations and embroidery in ways I haven’t seen them used. I like incorporating traditional methods in modern design. Each of my designs has come about because I wanted to experiment with a new technique, construct a new shape or practise a skill, like putting in zips or quilting. Any embarrassing botch-ups along the way? A friend once asked me to help her refashion a dress into a Tinkerbell costume for her 18th birthday party, so I started cutting into the skirt to make the zigzag edge of Tinkerbell’s dress. By the time I was done, my poor friend had to wear hot pants underneath because I’d snipped it so high up on the back, Tinkerbell would’ve appeared far more cheeky than even Tink ought to be. Where do you live and work? I live in the southwest of England. I recently moved to a village in Devon that’s near the coast and surrounded by fields. It’s pretty quiet; the postman arriving is a bit of an event round here! My workspace is my bed. I do all of my designing, prep and hand sewing tucked up under my duvet. I have a small table in the corner with my sewing machine on it, but that’s it. I stash my fabrics and thread in my wardrobe, under my bed or anywhere I can cram some more into. What’s your family structure? I live with my mum, which I think fills some with dread … until they meet her! She’s great fun to be around and loves to have a laugh with my friends, and we have so much in common we call ourselves The Craft Sisters (fist bump required). Mum’s a real foodie (like me) who loves to knit and sew, and so it’s probably unsurprising to discover that we spend our time together talking about knitting, sewing and eating.

the batting on the wrong sides of the fabrics is matching. Pin the layers together. Using the zipper foot, topstitch beside the zipper through all layers – this flattens the bulk and keeps the lining out of the way of the zipper teeth inside the pouch. Repeat Steps 19-22 with the pouch back and other lining rectangle on the other side of the zipper. You should now have the zipper sewn between the front and back panels.

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NEW ELECTRIC LIFTER IS AVAILABLE AT HORN AUSTRALIA IN 2 DIFFERENT SIZES P. 08 8209 2800 E. [email protected] W. horn.com.au PRICES VARY IN COUNTRY AREAS DUE TO FREIGHT. SAVINGS ARE FROM RRP. WHILE STOCKS LAST. ACCESSORIES NOT INCLUDED, IMAGES ARE FOR FULLY ASSEMBLED. RTA MAY VARY SLIGHTLY FOR EVERY ASSEMBLY. NOT TO BE USED IN CONJUNCTION WITH OTHER OFFERS.

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slowly to avoid breaking the needle on the zipper teeth. Trim the surplus zipper at each end and clip across all the corners just outside the stitching. Turn the pouch right side out by pushing the fabric through the opening in the lining. Fold in the raw edges across the opening and press. Hand stitch it closed with ladder stitch. Push the lining into the outer pouch and close the zipper.

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Slide the zipper pull about halfway along the zipper. Fold the fabrics so the outer pouch front and back are right sides together and the lining rectangles are right sides together. Pin around the edges, leaving about 4in unpinned along the bottom edge of the lining. At both sides, turn the zipper teeth to face into the lining side of the pouch. Shannan recommends tacking around the pouch and removing the pins. Starting at one side of the opening on the lining, machine stitch around the pouch. When stitching the lining section, make the seam allowance slightly wider than 1⁄4in (for Shannan, the edge of her standard presser foot is a good guide) so the lining ends up being slightly smaller than the outer pouch and fits nicely inside the pouch. Revert to a standard 1⁄4in seam for the outer pouch section. Shannan recommends sewing over the zipper teeth from the pouch side towards the lining side and sewing very

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Tassel

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Using all six strands of cotton without separating them, wrap the Very Dark Lavender (208), Dark Wedgwood (517) and Ultra Very Dark Turquoise (3808) threads together around the cardboard rectangle (3in direction) 26 times. Start and finish with the ends at the bottom of the card and keep the wraps in one bundle towards the middle of the card. Cut all the threads along the bottom of the card, but keep them in a group. Open the jump ring with pliers and thread it onto the lobster clasp. Close the jump ring and slide one end of all the cut threads through the jump ring so it’s centred on them. Cut a 40cm (16in) length of Ultra Very Dark Turquoise (3808), thread the plastic bead onto it and tie a knot so the bead’s fastened in the middle of it. Place the tied bead below the jump ring and under the threads, fold the lengths of thread around the bead

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so it’s completely hidden and the ends of the cut threads are reasonably level. The ends of the Ultra Very Dark Turquoise (3808) thread should come out each side of the bundle. The bead gives a rounded shape to the tassel top. Wrap the ends of the Ultra Very Dark Turquoise (3808) thread around the bundle a couple of times and tie a single knot to secure them. Wrap the remaining thread around the neck of the tassel to hide the knot and sew the ends to the inside. To finish, trim the bottom of the tassel level and fasten it to the zipper pull with the lobster clasp.

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SHANNAN’S CREATIVITY TIP Don’t let my colour and stitch choices stifle your creativity. Think of it like colouring in: choose your favourite fabrics and coloured threads and use the stitches you love to fill in the design.

SHANNAN’S SANITY TIP Stay organised. Put all the embroidery threads you’re using, needle and scissors on a small tray and keep it nearby. When you use something, put it back on the tray. If I do this, it stops me madly searching for things that have disappeared because I’ve put them down absentmindedly.

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Melbourne Convention & Exhibition Centre South Wharf Thursday to Sunday 9am to 4.30pm daily

Exhibition Park In Canberra Mitchell Thursday to Sunday 10am to 4.30pm daily

Includes: Sydney Quilt Show with

Includes: Quilt Showcase

Canberra Quilters Annual Members’ Exhibition and the Collage to Stitch display!

more than 400 quilts on display by QuiltNSW members!

annual state exhibition by Victorian Quilters!

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Kangaroo and Wattle by Linden Lancaster

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The Aussie Bush Project, dyed, printed, embroidered art. Made in Australia: Flora & Fauna quilts.

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Dr Suess - One Fish Two Fish Quilt.

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What a cute idea! FIELD OF DREAMINESS This is the stuff of fairytales. Dear little child; flowers in hair; mellow light; broderie anglaise dress; clover for daisy chains – and magical butterfly wings. Things don’t come much sweeter than this. The Lacewing Butterfly Wings were designed and made by Wife-made, using Tilda’s ‘Cabbage Rose’ and ‘Memory Lane’ ranges. We can pretty much guarantee that any little girl would beg to own a set.

Photograph: Elle Rampling Photography - @elleramplingphotography

Contact: Website: wife-made.com; Instagram: @wifemade; Facebook: @thewifemadeit.

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INTERROBANG Michelle Marvig created a new fabric range called ‘Punctuated’ then used it as design inspiration for this quilt, featuring interrobangs (melded exclamation marks and question marks) as the main focal points. The write stuff, you might say! Michelle Marvig, Pieceville – Website: www.pieceville.com.au; Email: [email protected]

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Materials Q 80cm ( ⁄8yd) each of two different lime print fabrics (background) Q 15cm (1⁄4yd) each of four watermelon print fabrics (appliqué blocks) Q 10cm (1⁄8yd) red print fabric (centre block appliqué) Q 10cm (1⁄8yd) dark lime print fabric (cornerstones) Q 50cm (5⁄8yd) blue and green daisy print fabric (pieced sashing, Border 1 and corner appliqué) 7

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Q 2.3m (21⁄2yd) green and taupe daisy print fabric (block corners, pieced sashing, Border 2 and binding) Q 3.2m (31⁄2yd) backing fabric Q Batting at least 160cm (63in) square Q Fusible web Q Threads to match the appliqué fabrics (freemotion appliqué) Q Neutral thread (piecing) Q Rotary cutter, ruler and mat

Q Sewing machine with 1 ⁄4in, free-motion and walking feet Q General sewing supplies Finished size: 147cm (58in) square Finished block size: 131⁄2in square Note: Read all the instructions before starting the project. Michelle used her first fabric range for Leutenegger, ‘Punctuated’, for this quilt. It is recommended that fabrics be

100% cotton, pre-washed and well ironed. Requirements are based on fabric 107cm (42in) wide. The appliqué method is raw-edge fusible-web with free-motion quilting, but you can adapt the instructions to your preferred appliqué technique. Seam allowances of 1⁄4in are used throughout. Instructions are provided for using the printed Pattern Sheet in the magazine, but you can also download the digital patterns from www.homespun. net.au and print them out.



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From the first lime print fabric, cut: • Two strips, 14in across the width of the fabric and crosscut five squares, 14in (block background). From the second lime print fabric, cut: • Two strips, 14in across the width of the fabric and crosscut four squares, 14in (block background). From the dark lime print fabric, cut: • Two strips, 11⁄2in across the width of the fabric (cornerstones). From the blue and green daisy print fabric, cut: • 10 strips, 1in across the width of the fabric (pieced sashing and Border 1). From one of these strips, crosscut four rectangles, 1 x 3in and retain the remainder to use in Step 16 (cornerstones). From the green and grey daisy print fabric, cut: • Five strips, 5in across the width of the fabric and crosscut 36 squares, 5in (block corners) • Eight strips, 11⁄2in across the width of the fabric (pieced sashing) • Five strips, 6in across the width of the fabric (Border 2) • Six strips, 21⁄2in across the width of the fabric (binding). From the Pattern Sheet, trace 45 large interrobangs, 16 small interrobangs and nine circles onto the paper side of the fusible web, leaving space between them. Cut them out roughly 1⁄4in outside the lines. Fuse 10 large shapes and two circles on the wrong side of each of the four watermelon print fabrics and cut them out neatly on the lines. Fuse five large shapes and one circle on the wrong side of the red print fabric and cut them out neatly on the lines. Fuse the 16 small interrobangs to the wrong side of the blue and green daisy print fabric and cut them out on the lines.

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Fold the 14in lime print squares in quarters and press the folds lightly to form

guidelines for the appliqué placement. Before you start to place the appliqué shapes on the background, lay out the nine lime squares in a nine-patch arrangement, with five matching squares in the four corners and centre and four matching squares between them. Each background print has shapes in only one watermelon print on it and the centre block has red appliqué. Decide on the combinations of watermelon print shapes and lime squares. To prepare each block, peel off the backing papers and position the circle in the centre first. Then arrange five large interrobang shapes evenly around the circle. When you’re happy with their placement, fuse all the shapes in place with a hot iron. Repeat this step to prepare all nine blocks. (The smaller blue interrobang shapes are added after the quilt centre has been assembled.) The stitching is done after the quilt is sandwiched with the batting and backing, as part of the quilting.

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Appliqué block

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Assembly

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Rule a diagonal pencil line from corner to corner on the wrong side of each 5in green and grey print square. Using four squares per block, position a marked square, right sides together, on each corner of the block in turn with the outer raw edges even and the line going across the corner. Stitch on the lines, trim the seams and press the triangles out to make contrasting corners on each block, as shown in Diagram 1. To assemble the strip sets for the pieced sashing, stitch a 1in blue and green daisy print strip between two 11⁄2in grey and green daisy print strips on their long edges. Press the seams towards the centre strip. Repeat this step to make four strip sets. From the strip-sets you just made, cut: • 12 lengths, 14in (pieced sashing).

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Diagram 1 Homespun

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Cut the 11⁄2in dark lime print strip in half to yield two strips, 11⁄2in x about 21in. Sew the leftover 1in blue and green print strip from Step 4 between these two dark lime half strips, right sides together and long edges matching, and press the seams towards the centre. From this dark lime/blue strip-set, cut: • Eight units, 11⁄2in. Stitch two 11⁄2in units to each long edge of a 1 x 3in bluegreen strip you cut in Step 4 to make a cornerstone. Make a total of four. To assemble the centre panel of the quilt, lay out the nine appliqué blocks in the nine-patch arrangement from Step 10. Add pieced sashing strips between all the blocks and add the four cornerstones at the sashing intersections. Refer to the Centre Panel Layout Diagram. Join the centre panel in rows. The first, third and fifth rows are blocks and sashing strips, and the second and fourth rows are sashing strips and cornerstones. Press the seams towards the sashing rows. Replace the rows in the layout as you complete each of them. Join the rows in order, matching the seams carefully at the intersections.

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Centre Panel Layout Diagram

Appliqué and assembly

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Peel the backing paper off the small blue/green interrobang shapes. Position groups of four around each of the cornerstones, as shown in Diagram 2: the narrow ends should be about 1⁄4in from the blue/green strip in the adjacent sashing strips. When you are happy with their placement, fuse the shapes in place with a hot iron. For Border 1, join the remaining 1in blue and green print strips end to end to make one length and press the seams open.

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Step 18

Diagram 2

Getting to know …

MICHELLE MARVIG How would you describe your particular craft style? Traditional patchwork with a twist. I love starting with a traditional design, but updating the technique or layout to create something new. I generally piece and appliqué by machine, however I also enjoy hand piecing. Did your distinctive style happen over time or was it immediate when you started stitching? When I first started making quilts, I simply made quilts from other people’s patterns. But

then I started to work as a sample quiltmaker for a fabric importer and needed to be able to publish my own original patterns. I have been designing my originals for 25 years now. As I develop my skills, my patterns change to reflect the new skills. Also, a change in house has altered my quiltmaking style, as my new home has a more modern feel. Are you good at all the crafts you’ve tried? I used to knit and make clothes and dolls, but since patchwork, I’ve not really had the time or inclination to go back to these crafts. But I now have a granddaughter, so making dresses for her may be in my future. I love the look of crochet but have never mastered the art. Can’t keep the loops even! What sorts of crafts do you avoid like the plague? Paper crafts. I have so much sewing paraphernalia that I could not fit the tools required for papercraft in the house. Or another stash. Other than crafting, how do you like to spend your time? Working as the creative director for Quilters Companion magazine, taking various Quilters Companion tour groups overseas for patchwork adventures, designing fabric ranges for Leutenegger and spending time with family. Is your stitching a great diversion from tasks you’d prefer to avoid (eg: housework)? My husband would say yes, however, I need to

have the house fairly clean before I can work. Otherwise, I can’t settle at my sewing. Now, gardening is another issue! If the good fairy granted you three wishes, what would you like them to be? More hours in every day! A housekeeper and someone to run my computer, so I can get back to my sewing machine. Do you listen to music/radio or watch TV while you sew – what do you like to listen to/watch? I listen to the radio or will have the TV on while I sew. I enjoy home shows, travel shows, cooking shows and documentaries. Something that I can learn from. Do you like craft shopping alone or with friends? I love shopping with other people. I’m lucky that I get to take people shopping overseas while on tour for Quilters Companion. It is fabulous to help others select fabrics, throw in a few pieces they may not have considered, and open up the possibilities of fabric combinations. Actually, it is the same when I teach. Helping select fabrics for a new project for a student and seeing it through to the end result is very rewarding. What are your top five favourite craft blogs? Due to my busy schedule, I don’t have time to read blogs. The only one that I’ve followed is Barbara Brackman (barbarabrackman.blogspot. com.au), who writes about antique quilts. We can learn a lot from those who came before us.

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Measure the length of the centre panel down the middle and cut two 1in blue and green strips to this measurement. Sew them to the left and right edges of the quilt and press the seams outwards. Measure the width of the quilt across the middle and cut two blue and green strips to this measurement. Sew them to the top and bottom edges of the quilt and press the seams outwards.

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MICHELLE’S FREE-MOTION QUILTING TIP Before you start free-motion work on your quilt top, make a separate, small quilt sandwich with the same batting as your quilt. Do a test run using the threads and style of quilting you plan to use on your quilt to check and adjust tensions on the sample. It saves unpicking on the quilt.

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Finishing

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For Border 2, join the five 6in grey-green strips end to end to make one length and press the seams open. Repeat Steps 24-25 using this long strip to sew Border 2 to the quilt.

27 28 Appliqué quilting detail (back of the quilt)

MICHELLE’S PRESSING TIP Pressing adjacent seam allowances in opposite directions makes it easier to get perfectly matching intersections in any quilt when you ‘nest’ or abut them before sewing the next seam.

Repeat Steps 19-20 from page 28 to prepare the quilt sandwich. Quilt as desired. Michelle started with a walking foot on the machine and stitched in the ditches of the pieced sashing and blocks to stabilise the layers. She stopped the stitching as she came to each blue/green interrobang shape – she didn’t stitch over the top of them. Fit the free-motion foot on the machine and thread the top with thread to match one of the appliqué fabrics. Free-motion quilt just inside the edge of the interrobang and circle shapes in a loose manner to appliqué and quilt at the same time. Michelle went around each shape five or six times – it’s not critical to keep on the same line each time.

To complete the quilting, Michelle used a walking foot and quilted parallel lines in the block corners and wavy parallel lines in the border. Repeat Steps 22-25 on page 29 using the six binding strips you cut in Step 5 to complete the quilt.

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OLGA AND CRUMPET

Once upon a time, there was some wool felt going begging in Simone Gooding’s studio. It cried out to be made into a sweet doll. But, when made, she was lonely and needed a trusted companion. So along came Crumpet, the beanie-d piglet. And they lived happily ever after. Simone Gooding, May Blossom – Website: www.mayblossom.com.au; Etsy: www.etsy.com/au/shop/MayBlossomStore; Instagram: www.instagram.com/simone_gooding; Facebook: www.facebook.com/ May.Blossom1; Twitter: www.twitter.com/simonegdesign

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Materials Olga Q 30 x 45cm (12 x 18in) blush pink wool felt (body, head and arms) Q 15 x 25cm (6 x 10in) rusty red wool felt (hair) Q 18 x 30cm (7 x 12in) sky blue wool felt (headscarf) Q 17 x 22cm (61⁄2 x 83⁄4in) black wool felt (boots) Q 8cm (3in) square charcoal grey wool felt (boot heel patches) Q 27 x 40cm (101⁄2 x 16in) sky blue floral print fabric (blouse and headscarf trim) Q 30 x 42cm (12 x 161⁄2in) pale grey pinstripe linen (skirt) Q 8 x 26cm (3 x 10in) olive linen (skirt pockets) Q 4 ply yarn in dark mustard – see Note (knitted shawl) Q One pair of 3.25mm (UK 10/US 3) knitting needles Q Pair of 6mm (1⁄4in) black English glass doll eyes (eyes) Q 6mm (1⁄4in) bias tape maker Q Black embroidery thread Q Cosmetic blush Crumpet Q 15 x 18cm (6 x 7in) caramel wool felt (body, snout and outer ears) Q 18 x 28cm (7 x 11in) cream wool felt (head, arms, legs, inner ears and tail) Q 4 ply yarn in dark mustard, light blue and mid grey (knitted hat and scarf) Q One pair of 2.75mm (UK 12/US 2) knitting needles 56

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Olga

Q Pair of 4mm (1⁄8in) black English glass doll eyes Q Perlé 5 cotton in dark brown (nostrils) Both Q Upholstery thread in light pink Q Threads to match the felt and fabric colours Q Fibre fill

Q Stuffing and turning tool/s Q Craft glue Q Long doll needle Q Bodkin needle Q Sewing machine Q General sewing supplies Stitches used: French knot, straight stitch

Finished sizes: doll 29cm (111⁄2in) tall; piglet 15cm (6in) high (sitting) Note: Read all the instructions before starting the project. A very narrow seam allowance of 3mm (1⁄8in) is used for constructing the softies and is included in the patterns.


Use a very short stitch length on the machine when constructing the softies for stronger, smoother seams. A seam allowance of 1⁄4in is used for the clothing.

Although felt has no true right and wrong side, sometimes one side looks smoother than the other, and you may wish to favour it. The term ‘right’ side means the one that faces

OLGA Preparation and cutting

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Trace the shapes for the doll and clothing from the Pattern Sheet onto paper, label them and transfer all the markings. Cut them out carefully on the lines. To use the patterns (except the skirt pocket), pin them to the relevant fabrics and cut around the edges of the shapes accurately. From the blush pink wool felt, cut: • Two body shapes • Two head shapes • Two arm shapes and two in reverse. From the rusty red wool felt, cut: • One hair front shape • One hair back shape. From the sky blue wool felt, cut: • One headscarf shape. From the black wool felt, cut: • Two boot shapes and two in reverse • Two sole shapes. From the charcoal grey wool felt, cut: • Two heel patch shapes and two in reverse. From the sky blue floral print fabric, cut: • One strip, 3⁄4 x 11in (headscarf trim) • One strip, 3⁄4 x 14in (headscarf trim) • One blouse front shape • One blouse back shape and one in reverse

• One blouse neck facing shape. From the pale grey pinstripe linen, cut: • One rectangle, 8 x 16in (skirt) • One strip, 11⁄2 x 9in (waistband) • Two strips, 11⁄2 x 6in (straps).

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Doll construction

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out in the finished project. Simone used Jamieson’s Shetland Spindrift 4 ply yarns in Yellow Ochre (230), Sholmit (103) and Cloud (764). Instructions are given for

With right sides together, fold each head shape along the marked foldline and machine stitch along the edges of both darts, reversing at the edges. Open out the two head shapes and match them, right sides and darts matching. Stitch around the edge of the head, leaving it open at the bottom where marked (near the shorter dart). Turn the head right side out and stuff it very firmly with fibre fill. As a guide, the circumference of the head when stuffed should be about 24.5cm (91⁄2in). Mark the position of the eyes with pins where indicated on the pattern. Using light pink upholstery thread, attach the eyes according to the manufacturer’s instructions. Anchor the thread inside the head. Using two strands of black embroidery thread, straight

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using the printed Pattern Sheet in the magazine, but you can also download the digital patterns from www.homespun.net.au and print them out.

stitch an eyelash on the outer side of each eye and then blush the cheeks lightly with cosmetic blush to complete the face. Match the two body shapes, right sides together, and machine stitch all the way around, leaving openings at one side and the bottom of the legs where marked. Snip the seam allowance at the crotch and turn the body and legs right side out. Stuff the body and legs very firmly, pushing more filling up through the legs so they are very firm. The body circumference should be about 23.5cm (9in) in the hip area. Make a small indent in the stuffing by pushing a finger into the opening of the head. Push the neck of the body inside the head. Hold it in place with pins while you ladder stitch it securely in place with light pink upholstery thread, tucking under the raw edge of the felt as you go. With right sides together, sew the arms together in pairs, leaving openings where shown. Turn them right side out, stuff them firmly with fibre fill and stitch the openings closed neatly with matching thread. Using a long doll needle and doubled light pink upholstery thread, stitch the arms to the sides of the shoulders as shown in Diagram 1.

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SIMONE’S FABRIC TIP I used 100% wool felt for this design and I strongly recommend you use very high-quality wool felt as poor-quality or synthetic felt won’t withstand the strain caused by small seam allowances, tight turning of shapes and the firm stuffing required.

SIMONE’S VARIATION TIPS If you wish, you can make Olga’s body+legs in a different colour felt from flesh pink (used for the arms and head) so that it looks like she’s wearing tights. Crumpet’s legs can be stitched to the body in a sitting or standing position, as you prefer. Diagram 1 Homespun

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Start at one side of the body and anchor the thread, go across through the body and out the other side, go through the top of one arm, back in to it nearby, through the body to the other side and through the other arm. Go back and forth through the arms and body a few times, pulling the thread firmly each time to attach the arms securely but not distort the body shape. Fasten the thread under one arm and bury the end inside the body. For the hair, fold the shapes in half and sew the darts at the

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top and bottom of the back shape and just at the top of the front shape. Match the hair front and back, right sides together and top darts matching, and sew from G to H. Turn the hair right side out. Ease it gently onto the head, with the fringe at the front. Add a few small dabs of glue under the fringe to secure it.

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Olga’s clothes Blouse With right sides together, place a blouse back on the

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blouse front with the shoulder edges matching. Stitch the shoulder seam. Repeat to sew the other blouse back to the other shoulder. Open the blouse out flat, right side facing up. Match the blouse neck facing, right sides together, with the neck edge of the blouse and stitch around the neck edge from A to B. Clip the seam allowance around the curve and press the facing to the inside of the blouse. Fold under a 1⁄4in hem on both centre back edges of the blouse and stitch them in place. Press under a 1⁄4in double fold hem on both sleeve ends and stitch them in place. With right sides together, match the blouse front and backs at the side and sleeve edges. Stitch from the end of the sleeve up to the underarm and down the side seam. Clip the seam allowance at the underarm and turn the blouse right side out. Press under a 1⁄4in double-fold hem on the bottom of the blouse and stitch it in place. Fit the blouse on Olga. Overlap the hemmed centre back edges and hand stitch them together down the back. Skirt Fold the skirt in half, right sides together and long edges matching. Sew across both short ends. Turn the skirt right side out. Press. You now have a doubled rectangle with raw edges at the top, a fold at the bottom and neat seams at each end. Fold the olive linen in half, right sides together. Trace the pocket shape twice on the folded linen and pin the layers together. Stitch on the traced lines, leaving openings where marked. Cut around the pockets 1⁄8in outside the stitching and clip the curves. Turn the pockets right side out through the opening and press them flat, turning in the edges of the opening as you go. Fold the skirt in half, short edges matching, and finger press it to mark the centre. Position the pockets on the skirt panel about 2in either side of the centre crease with their bottom

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28 29 30 Back view of Olga

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edge about 3⁄4in up from the folded bottom edge of the skirt. Topstitch around the side and bottom edges, leaving the top edges open. Change to the longest stitch length on your machine and sew a line of machine gathering near the top raw edges of the skirt through both layers, leaving long thread tails at both ends. Pull up the threads to gather the top of the skirt evenly to measure 8in. With right sides together, pin one long edge of the waistband to the gathered edge of the skirt, leaving 1⁄2in of band overhanging at each end. Stitch it in place, adjusting the gathers evenly as you go. Press the band and seam away from the skirt. Press under a narrow seam allowance on the other long edge of the waistband, fold it down to the inside and hand stitch it to the previous line of machine stitching, tucking in the raw short ends as you go. Press the straps in half, wrong sides together and long edges matching. Open them out, fold the long raw edges in to the centre crease and press. Then fold the strap in half again and press again. Topstitch down the open long edges of both straps. See Diagram 2. Fold the skirt in half, short edges matching, and finger press a crease in the waistband to mark the centre. Measure 3⁄4in to the left and right of the centre crease. Pin one end of each strap behind the front waistband at these marks and hand stitch them in place. Press the skirt well and wrap it around Olga’s tummy. Cross the straps over at the back and sew

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each one behind the back waistband. Ladder stitch down the centre back of the skirt to close the back seam. Knitted shawl Using the 3.25mm needles and dark mustard yarn, cast on two stitches. Work in garter stitch, increasing one stitch at the beginning of the first and every following row until there are 12 stitches. Continue the body of the scarf in stocking stitch (starting with a purl row), working garter stitch for the first and last five stitches and continuing to increase one stitch at the start of every row, until there are 53 stitches. To shape the top, increase one stitch, knit 10, knit two together five times, knit 11, knit two together five times, knit 11. Cast off and weave in ends. Wrap the cast off edge of the shawl around the doll’s neck and anchor the points of the shawl just above the waistband of the skirt with a few stitches. Headscarf Run the two 3⁄4in-wide strips of fabric through the bias tape maker, as shown in Diagram 3, and press them well. Pin the longer folded strip along the pointed edges of the scarf, mitring it at the corner. Topstitch it in place. Pin the shorter folded strip to the straight edge of the scarf, covering the raw ends of the previous strip as you go. Topstitch it in place. Put the headscarf on Olga’s head and wrap the long ends around the back of the head, stitching them in place to the centre bottom of the head. Fold

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Diagram 2

the pointed end down over the back of her head and stitch it in place. Add a few dabs of glue under the headscarf around the hairline to hold it in place around the face. Boots Lay a boot and a boot reversed shape on the table, right sides facing up and toes facing each other. Pin a heel and a heel reversed patch on them and machine stitch around the curved edges only. With right sides together, machine stitch the two boot shapes together down the centre back straight edges and along the front curved toe edge, leaving the sole and top edges open. Turn the boot right side out. Use two strands of black thread to blanket stitch the sole to the bottom opening of the boot. Stuff a good amount of fibre fill into just the toe of the boot. Put the boot on the bottom of a leg, making sure that the leg goes right to the bottom of the boot. Make sure the toe is facing forwards – Simone splayed the feet very slightly outwards. Apply a little glue around the inside top edge of each boot to secure it to the leg. Repeat Steps 45-48 for the other boot to complete Olga. Now it’s time to make her playmate, Crumpet, the piglet.

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• Two piglet arm shapes and two in reverse • Two piglet leg shapes and two in reverse • One rectangle, 1⁄2 x 21⁄2in (piglet tail).

Piglet assembly Head

CRUMPET Preparation and cutting

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Repeat Step 1 to prepare the piglet shapes. From the caramel wool felt, cut: • One piglet body shape and one in reverse • Two piglet snout shapes • One piglet ear shape and one in reverse. From the cream wool felt, cut: • One piglet head shape and one in reverse • One piglet ear shape and one in reverse

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Crumpet, the piglet

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Match the two head shapes, right sides together, and machine stitch around them from A to B; from C to D; and from E to F. Fold the head to match the dart edges, right sides together, machine stitch the edges together. Turn the head right side out, gently easing out the curves and the snout opening. Stuff it firmly with fibre fill. Match the two snout shapes and stitch around the edge, leaving an opening. Turn it right side out and insert a small amount of filling, then hand stitch the opening closed. For the nostrils, stitch two French knots through all layers using dark brown Perlé thread.

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Back view of Crumpet

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Position the snout over the corresponding opening on the head and hand stitch it in place, tucking in the raw edge on the head opening as you go. Repeat Step 12 to attach Crumpet’s eyes. Match one cream and one caramel ear, right sides together. Machine stitch around the curved edge, leaving the straight bottom edge open. Turn it right side out. Turn in the open edges and sew the ear closed at the bottom. Make another ear the same way. Hat Using 2.75mm needles and mid grey yarn, cast on 50 stitches. Work in knit one-purl one rib for 10 rows. Knit through the back of the stitches in the next row, then knit one row and cut the yarn, leaving about a 6in tail.

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Getting to know …

SIMONE GOODING How often do you design a new doll or softie, do you think? I seem to be always working, planning new things. My creative mind just churns over all the time. I make lots of notes and sometimes preliminary sketches so I can remember ideas for later. I don’t seem to be able to sew as fast as the ideas come. Do you have the new design completely formulated in your head before committing it to paper and fabric? The initial idea always

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Join the mustard yarn and work in stocking stitch for six rows, starting with a purl row. Change to light blue yarn and work in stocking stitch for six rows, then work two rows in mustard. Begin decreasing for the top of the hat as follows, continuing in six-row colour stripes as set: (Knit five, knit two together) seven times, knit one – 43 stitches. Work three rows, then on the next row, (knit four, knit two together) seven times, knit one – 36 stitches. Work three rows of stocking stitch, then on the next row, (knit three, knit two together) seven times, knit one – 29 stitches. Work three rows of stocking stitch, then in the next row, (knit two, knit two together) seven times, knit one – 22 stitches. Work three rows of stocking stitch, then in the next row, (knit one, knit two together) seven times – 15 stitches. Work three rows, then in the next row, (knit two together) seven times – eight stitches.

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seems to change as the process goes along – new ideas come or something doesn’t happen as anticipated, and I like that challenge. Sometimes, the toy just seems to come to life right in front of me. I’m very fussy about ticking quite a few boxes for a toy. Do you avidly follow other designers online and in magazines? There are a couple of creative folk I follow and really admire. They are creative in many differing ways. There are a few knitters, vintage enthusiasts, illustrators and foragers, too. I’m inspired by all of them in different ways. What is your least favourite part of designing and making a project? I really find it hard to make multiples of the same design. It makes me feel a bit like a factory, churning out the same toy over and over again. I have made a few of my toys as ready mades, in small batches, but I try to keep this to exclusive limited releases. Have you been stitching since you were a child? Yes, I have always been very creative – stitching, sewing, knitting, drawing, making. Do you remember your very first craft ‘triumph’? If so, what was it and did you keep it? When I was about 11 or 12, I knitted a

purple jumper for my Belle Snoopy doll. I worked so hard to knit all the components. I just loved it and still have it to this day. (It’s so funny that I made it in purple, because I REALLY don’t like purple!) Do you do your creative crafting in solitude or do you prefer to be surrounded by others? I am a bit of a quiet type; I really like to be in quiet when I work. This can be a challenge with four children in a small house, but I seem to be able to find the balance. What products can’t you resist buying in patchwork and haberdashery stores? I love beautiful ribbon. I’m very fussy about what I buy and, if I can get it, I prefer vintage ribbon. I also love the basics when it comes to fabric – a gorgeous pinstripe in pastel tones is usually pretty hard to pass up. Have you got an unfulfilled stitching dream? I am really keen to move into book design. I have so many great ideas for felt animal books. I love to draw my toys, so the book would also have illustrations of each critter to help bring them to life. I see each animal incorporating a few different media – felt, yarn, linen. I love the idea of all those beautiful textures and muted heathered tones working together.

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Cut the yarn leaving a long tail. Thread the tail onto a large bodkin and thread it through the remaining stitches on the knitting needle. Remove the knitting needle, pull up the stitches tightly and fasten it off, but don’t cut the end yet. Stitch the row end edges of the hat together and weave in the ends. For the knitted bobble, cast on 10 stitches in mid grey. Purl the first row. Knit the second row, increasing in every stitch (20 stitches) and then work six rows of stocking stitch, starting with a purl row. Purl two together to the end of the following row. Cut the yarn, leaving a long tail. Thread the yarn through the remaining stitches with the bodkin, remove the knitting needle and pull up the stitches tightly. Fasten the thread and sew the bobble seam closed neatly. Gather around the cast-on opening, stuff the bobble lightly with fibre fill and pull up the gathers to close. Stitch the bobble to the pointy end of the hat.

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Put the hat on the piglet’s head. Simone says that you can fold back the cuff of the hat at the reverse stocking stitch row if you wish, but she preferred to leave hers flat. Pin the ears to each side of the head on top of the hat near the edge of the cuff, with the caramel sides at the back. Curve the bottom edges slightly towards the front and stitch them in place securely through the hat and head. Fold the bobble end of the hat towards the back and hold it in place with a few stitches. Body Match the body shapes, right sides together, and sew around them, leaving the opening and bottom dart unstitched. Fold the bottom of the body, right sides together, so the edges of the dart match and machine stitch them together. Turn the body right side out through the opening and ease out all the seams gently. Stuff the body firmly with fibre fill and close the opening neatly. Make a little indent in the head filling at the opening and push

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the top of the body inside the head firmly, making sure the centre front seam of the body is aligned with the middle of the face. Pin them together,

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then stitch them together securely with upholstery thread. Arms and legs Repeat Steps 16-17. The legs should have the trotters curving up as you sew them in place. Use matching machine-sewing thread to invisibly sew the legs to the body at the inside to keep them in a sitting (or standing) position. Tail Fold the tail strip in half along the length and machine stitch

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along it. Coil it around once and make a few tiny hand stitches to hold the coil in position. Sew one end of the tail to the pig’s bottom. Scarf Using 2.75mm knitting needles and mustard yarn, cast on 60 stitches. Work eight rows in knit onepurl one rib. Cast off in rib. Weave in the ends of the yarn and tie the scarf around the pig’s neck to finish.

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C R AF T PAT T E R N S A N D CL AS SES DELI VERED ST RA I GH T TO YOUR I NBOX It Takes Two To Tango Quilt

Applecore let Travelling Wallet

Colour And Movement Tote Bag

Feathered Heart Trapunto Cushion

Inspiration

for the creator in you cosyproject.com No Restraint Here Quilt

Moonlight Flowers Quilt

New York Beauty Block Quilt

World Peaks Cushion

Q UILTING | SE W ING EMBR OID E RY | KNITTING CROCHE TING | TUTOR IA L S

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Spotted Spring We may still be in the depths of winter, but Helen Stubbings’green-and-white cushions hold the promise of spring freshness ahead, with their pretty patchwork and delicate floral embroidery on a bed of dots. Helen Stubbings, Hugs ’n Kisses and Quarter Inch – Website: www.hugsnkisses.net; Email: [email protected]; Blog: www.hugsnkisses.typepad.com; Instagram: www.instagram.com/helen_stubbings; Facebook: www.facebook.com/helenshugsnkisses; Shop: Quarter Inch, 224 Campbell St, North Hobart, Tasmania. Ph: (03) 6200 1304

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Cushion 1

Materials Q 60cm (5⁄8yd) white spot print fabric (cushion fronts) Q 60cm (5⁄8yd) green toneon-tone print fabric (cushion backs) Q 60cm (5⁄8yd) lightweight fusible batting such as Parlan or H630 Pellon Q 25cm (10in) squares of at least seven assorted green print fabrics (pieced appliqué) Q Cottage Garden Threads stranded embroidery cotton: two skeins of Oregano (809) Q 96 iron-on 15-degree wedge pentagons (with long sides 11⁄8in) plus one sheet of Hugs ’n 70

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Cushion 2

Kisses appliqué paper OR four sheets of Hugs ’n Kisses appliqué paper OR template plastic and stiff paper to make your own (see Note) Q Fine machine-sewing thread such as Bottomline in silver or light grey Q Glue pen such as Sewline Q Appliqué glue such as Roxanne’s Glue Baste It Q Two 45cm (18in) zippers Q Two 45cm (18in) square cushion inserts Q 15-20cm (6-8in) embroidery hoop Q Ceramic pencil Q Rotary cutter, ruler and mat

Q Sewing machine with 1 ⁄4in and zipper feet Q General sewing supplies Stitches used: Backstitch, chain stitch, satin stitch Finished size: 45cm (18in) square Note: Read all the instructions before starting the project. Materials listed are for two cushions. It is recommended that fabrics be 100% cotton, pre-washed and well ironed. Requirements are based on fabric and batting 107cm (42in) wide. Helen recommends using either pre-cut fusible pentagon shapes or making your own from appliqué paper, which

softens when washed and doesn’t need to be removed. You could use standard stiff paper instead and remove the papers after the shapes are joined if you prefer – modify the instructions to suit this method. Single templates are included on the Pattern Sheet, but we’re also providing Helen’s printable template sheet for the pentagons on our website with the digital patterns. The appliqué method is English paper piecing with hand appliqué. Instructions are given for using the printed Pattern Sheet in the magazine, but you can also download the digital patterns from www.homespun.net.au and print them out.



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If you’re not using pre-cut shapes, accurately trace a total of 96 pentagons from the Pattern Sheet onto the dull side of the appliqué paper with a ceramic pencil OR download and print the template sheet from the website (with the digital patterns for this project) and print it out on appliqué paper three times with an inkjet printer (DO NOT use a laser printer as the heat will fuse the glue and ruin the printer) OR trace the pentagon printed on the Pattern Sheet onto template plastic and cut it out on the line. Trace around it 96 times on stiff paper. Cut the pentagons out carefully on the lines. Trace four of square B from the Pattern Sheet onto the dull side of the remaining sheet of appliqué paper and cut them out accurately. From both the white spot print fabric and the fusible batting, cut: • Two squares, 19in (cushion fronts). From the green tone-on-tone print fabric, cut: • Four rectangles, 10 x 181⁄2in (cushion backs).

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Appliqué

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Fuse the appliqué-paper pentagons to the wrong side of the assorted green print fabrics, leaving at least 1⁄2in between them. Fuse the four B squares to one green print fabric. As you place the shapes on the fabrics, consider whether you wish to fussy cut some or have directional prints facing a particular way, bearing in mind that this may use more fabric. Cut all the shapes

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out 1⁄4in by eye outside the edge of the paper shapes. Run a thin line of glue along the edges of the paper pentagon shapes no wider than the seam allowance. Fold the seam allowances over the paper in turn until you feel the edge of the paper with your thumb and press them onto the glue to give accurate shapes. Make sure you don’t fold the paper as well or the shapes will be distorted. To prepare the squares, apply glue to three edges and fold the seam allowances over – leave one side open to be included in the seam of the cushion. Match two prepared pentagons, right sides together, and whipstitch them together neatly on the side edges with fine machinesewing thread. (The step photo shows the process using contrasting thread for clarity, but light grey blends with most light-value fabrics so the stitches are virtually invisible when the shapes are opened out.) Join a total of six pentagons the same way to make an arc, as shown in Diagram 1. Make a total of 16 arcs with six shapes in each one. Join four of them to make a circle. Arrange eight of the remaining arcs with four squares to make the Cushion 1 design, as shown in Diagram 2. The unturned edges of the B squares should all be facing outwards. Whipstitch them together where the shapes meet. Press it flat. Fold a cushion front square in quarters and finger press the folds to act as guidelines. Centre the joined Cushion 1 shape on the square and use small dots of appliqué glue

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Diagram 1

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Diagram 2

under the edges to hold it in place. Press or leave it to dry. For Cushion 2, fold the other cushion front square in quarters and finger press the folds. Centre the circle first and glue baste it in place. Place one corner of the square over the guide on the Pattern Sheet with the broken lines matching the fold lines. Position the corner arc as shown on the guide – there should be about 1⁄2in of fabric beyond the

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Step 9 Homespun

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Embroidery detail – Cushion 2

¼in

edges of the arc – and glue baste it in place. Repeat this step for the other three corners. Appliqué the edges of all the shapes in place by hand with the fine thread. (Helen says that you can machine sew them if you prefer. She demonstrates her technique online at www.youtube.com/user/ helenshugsnkisses.)

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Embroidery

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HELEN’S NEEDLE TIPS Choose your needle size to suit the size and type of thread you’re using. You need a fine appliqué needle for English paper piecing and needleturn appliqué, but get one with a large eye, such as a Hugs ’n Kisses appliqué needle, so you don’t struggle to thread it. For embroidery, select a large crewel needle to suit your chosen thread.

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Place the cushion fronts over the designs on the Pattern Sheet with the broken lines matching the centre fold lines. Use the ceramic pencil to trace the embroidery designs onto the cushion fronts, one quarter at a time. Fuse a square of lightweight batting to the wrong side of each cushion front squares. Put the traced area of one cushion front in the embroidery hoop and ensure the fabric is taut. Using two strands of Oregano (809) thread, backstitch all of the Cushion 1 design. For Cushion 2, backstitch the stems and flower outlines, work the petals and leaves in satin stitch and chain stitch around the flower centres. Fill the nodding buds with a spiral of chain stitch.

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When the embroidery is complete, put the cushion fronts face down on a clean, thick towel and press them gently from the wrong side to avoid flattening the stitches. Trim the cushion fronts to measure about 181⁄2in square with the designs centred. It’s more important to trim the edges in relation to your appliqué than it is to end up with perfect 181⁄2in squares. For Cushion 1, the trimmed outer edges of the cushion front should be even with the outer edges of the B squares. For Cushion 2, you need to trim 1⁄4in outside the outer edge of the pentagons at each end of the arcs, as shown in Diagram 3 – the cushion fronts might end up a little less than 181⁄2in if the fabric has ‘shrunk’ slightly during stitching.

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Assembly

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Match two cushion back rectangles, right sides together, and pin on a long edge. Using a 1⁄2in seam allowance, sew for 1in, change to the longest stitch length on your machine and machine baste to 1in from the end, then switch back to normal stitch length and sew the last section.

DISTRIBUTOR OF THE ICONIC LIBERTY TANA LAWN

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wrong side of cushion back rectangles

Diagram 5

HELEN’S HOOP TIPS Use an embroidery hoop – not just to help with tension and precision, but particularly for your physical health. It prevents stress and tension in your hand, wrist, elbow, shoulder and neck. I want to be stitching to the end of my natural life and don’t want to be stopped by carpal tunnel problems, bad shoulder, tennis elbow and other ailments caused by poor posture, repetitive strain or other tension issues.

HELEN’S PERFECTION TIP Enjoy the process. If it’s not perfect, wait until you’ve finished the project and, if that one bad stitch still hits you in the eye, take it out and redo it, but don’t stress about perfection. It’s about the enjoyment of the process, and most times, once you’ve finished and have a sense of accomplishment, you won’t even be able to find that one dodgy stitch that bothered you.

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1in

1in ½in

Diagram 4

See Diagram 4. Press the seam open. Centre the zipper teeth under the basted section of the seam with the zipper pull at the start of the basting; the right side of the zipper should be facing the wrong side of the cushion back. Pin it in place. Fit the zipper foot to the machine and stitch 1 ⁄4in away from the zipper teeth in a rectangle the length of the basted

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section, being careful not to break the needle as you sew across the ends. Refer to Diagram 5. Unpick the basting to reveal the zipper – it should be centred under the opening and work normally. Trim the other end of the zipper 1⁄2in from the end of the stitched rectangle so it doesn’t interfere with the seam. Repeat Steps 21-23 for the other cushion back.

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Getting to know …

HELEN STUBBINGS Where do you live and work? I live in a 1901 weatherboard house in Hobart; a tad draughty and cold but just right for us. I built a home studio into the carport and connected it to the home and for 11 years this has been the home of Hugs ’n Kisses, shipping patterns and products all over the world. This year, I’ve given my house back to the family, purchased a building and moved into another 1900s weatherboard building in North Hobart. It is now the home of Hugs ’n Kisses – the backend operations, a little cafe and soon-to-be-finished learning centre. What’s your family structure? I have three beautiful girls – the oldest has just left us to begin a nursing career; the youngest, our little ‘oopsie’, is in Grade 6. They can all stitch; they may not – with many other distractions, such as Minecraft and YouTube – BUT, they all can, and that makes me very happy. We have a puppy, named Mr Bentley, and two guinea pigs, Pip and Squeak. My husband is still in the army and, although he doesn’t stitch, he does cook and clean, so I can keep working. Who taught you your crafting skills? I grew up with my grandmother showing me all of her skills. I inherited her fancywork box and also had my own, which she started for me when I was young. She taught me knitting, crocheting, embroidery and she was a dressmaker. She didn’t find patchwork, however, until her 70s, so it was nice that my sister and I had this to work on and learn together. Any good stories from those lessons? As my grandmother aged and was living in an aged-care community, I sent her lots of leftovers and my designs printed on fabric,

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Trim the cushion backs to match the cushion fronts. Open the zippers about halfway. Match a cushion front and back, right sides together, and sew all the way around the edge with

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ready for her to stitch to pass the time. I found out later she was making them up into quilts and selling them to her fellow residents until management found out and put an abrupt stop to it. I then got back many of the half-stitched or unfinished designs, which I still have now. Why this particular craft? I have tried so many other crafts and I didn’t actually choose to get into quilting – I was more of a fine embroiderer and was doing a two-year Certificate IV in needlework when the class had to vote on the final elective; I voted for Elizabethan blackwork, but the majority ruled and patchwork it was. Have you tried plenty of others? Oh, yes – tole painting, tissue boxes, folk-art terracotta pots, macramé, Hobbytex, doll making, Knitwit – stretch sewing my own knickers! – you name it. I’ve also tried any kind of embroidery I could get my hands on – silk ribbon, Brazilian, stumpwork, goldwork, wool, crewel, hardanger, tatting, blackwork, cross stitch and more. If you weren’t doing this, what else would occupy your time? Mmmm, maybe I’d still be in the Army. I was a full-time musician for 13 years and got a lot of stitching done on buses, much to the amusement of the mainly male unit members. They soon got used to me; they had to. I wasn’t wasting all that time on a bus travelling without something else to do. What does this craft mean to you? My daily therapy. Is it hard to find time to do your stitching or is it a profession? For me, it’s a full-time job. And that’s a risk, as once you make art your living, the passion can go. I do spend 80% of my day doing business bits and only a small portion actually doing what I love – stitching. To keep the passion and enjoyment, I love to share through teaching and meeting with others with the same addiction. Do you think of your craft as passion or a spare-time filler? It’s a passion, it’s my therapy, and I need to achieve something for myself each day to make me whole. But I also know how short life can be, and hate to waste a minute of it, so although I can sit and watch a TV show with the kids, I can also stitch at the same time, making the most of every chance – and they are well used to pins in the carpet and thread on all of their clothes. From where do you draw inspiration? My inspiration is everywhere. I always carry a camera (now a phone) whenever I travel. I take photographs of a lot of design elements, from architecture to nature. I research and take a lot from embroidery and design of other cultures – eg Hungarian embroidery, Scandinavian design and vintage designs.

a 1⁄4in seam allowance. The seams should catch the raw edges of the Cushion 1 squares and just sit immediately next to the outer edges of the end pentagons in the arcs on Cushion 2. Neaten the raw edges if

Why this skill – and this style? I like so many styles and so many techniques. I just can’t do one. I seem to have settled into four main techniques now – needleturn appliqué, embroidery, Colourqué (a technique of colouring pencil on fabric to look like appliqué) and English paper piecing. I have, over the years, perfected my methods to make them the easiest, most achievable and most enjoyable for myself and for all levels of my students. I’ve taken out the bits that aren’t fun (eg. removing English paper piecing papers) and adapt techniques so they work for machine or hand workers. What are your favourite materials to work with? I can’t live without: my appliqué paper; my English paper piecing iron-ons; my iron-on transfers; my special Hugs ’n Kisses needles; my glue pen; and my Karen K. Buckley scissors. Of course, it’s also very nice to have my very own fabrics to play with, too. Do you ever see yourself stopping or diversifying? I really can’t see an end to this – that’s something I do need to work on. But even if the business does end, I will never stop stitching while I still physically can. I’ve been lucky to be able to combine my passion with my work, but it’s not an easy road. I work harder and longer than I ever did in my ‘real’ jobs and for a lot less pay. I do dream of one day being a lady of leisure, just quietly stitching for myself each day, but I doubt my personality will ever allow me to stop. Do you teach your skills to others? I teach all over the world. I love teaching. Everyone is just like me – passionate and totally addicted, with a hunger to learn, to create, to make a difference through stitching. I have two special gathering days a year in Hobart – indulgence for a day – plus I run a five-star retreat each year with Gail Pan. I have taught to groups, shops, guilds, even individuals from the very top of Norway, to Switzerland, across the USA and Australia. And, of course, I’m also always teaching online with a Craftsy class, YouTube videos and lots of tutorials on my blog. Once our learning centre is opened, I’ll also be teaching in our store from time to time. There is nothing nicer than seeing that look of ‘You just changed my life’ when I teach a new skill or show a tip that they had never seen before. What is your advice for beginners? Everything can be achieved just one stitch at a time. Nothing is unachievable, when you break the task down into small chunks. Anyone can achieve a result – and that result gives us pleasure, satisfaction, pride and self-worth … it is daily therapy and will make a difference to your life and those around you. It’s scientifically proven.

desired, clip the corners and turn the covers right side out. Push the inserts inside the covers, making sure that the corners are well filled, and close the zippers to finish.

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Girls and boys , come out to play, The moon is shining as br ight as day. Leave your su pper, and leav And come w e your sleep, ith your play fe llo w s into the street Come with a . whoop, com e w ith a call, Come with a good will or no t at all. Up the ladder and down th e wall, A halfpenny roll will serve us all.

GAME KEEPER

with pockets filled Girls and toys come out to play – roline Adams with handmade animal softies. Ca ate go-anywhere mixed pinafore and toybox to cre wearable fun for your kids. site: www.usefulbox.com.au; ing Lessons and Events – Web Caroline Adams, UsefulBox Sew : @usefulbox; gram Insta g; xblo fulbo /use Facebook: www.facebook.com /usefulbox_blog t.com eres .pint www ; Pinterest: Twitter: twitter.com/Usefulbox

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Dress front

Materials Q 1.1m (11⁄4yd) fabric – see Note (dress) Q 2cm (3⁄4in) button Q 20cm (8in) square each of three assorted print fabrics (softies) Q Three pairs of assorted buttons (softies’ eyes) – see Note Q 40cm (1⁄2yd) of 20mm (3⁄4in) wide ribbon (bear’s bowtie) Q Sewing-machine thread to match the dress fabric 80

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Q Fibre fill Q Tracing paper – see Note (large sheet/s) Q Sewing machine Q Overlocker (optional) Q General sewing supplies Finished sizes: To fit child aged 18 months, 2 years or 3 years; softies 15 x 7cm (6 x 3in) (approx.) Note: Read all the instructions before starting the project. Suggested dress fabrics include cotton (including quiltmaking

fabrics), Tencel, chambray and linen. It is recommended that fabrics be pre-washed and well ironed. Requirements are based on fabric 107cm (42in) wide. Baking paper is a readily available substitute for tracing paper, especially for small garments such as this dress. Seam allowances of 15mm (5⁄8in) are used throughout the dress construction, except where otherwise stated. Caroline recommends using an overlocker to finish all the seams for a neat finish, but you

could use a zigzag or overlock stitch on your sewing machine instead. Seam allowances of 1⁄4in are used for the softies. As these softies are for a child under three years, you might prefer to replace the buttons with felt shapes or embroidered eyes, as the buttons could work lose and become a choking hazard. Instructions are given for using the printed Pattern Sheet in the magazine, but you can also download the digital patterns from www.homespun. net.au and print them out.


DRESS Preparation and cutting

1

First, decide what size dress you are making. The patterns include lines for three different sizes. The innermost lines are for a child aged 18 months, the middle lines are for a child aged 2 years and the outer lines are for a child aged 3 years. Trace all the dress shapes from the Pattern Sheet onto tracing paper, making sure that you trace the lines for the same size throughout. Include the notches, fold lines and labels. Fold the dress fabric in half, right sides together, with the selvedges matching. Lay out the dress shapes on the fabric: start by placing the centre front panel, front facing and centre pocket along the fold. Pin them in place. Then arrange the other shapes, making sure that the arrows on each one are parallel with the selvedges, and pin them in place. If your fabric has a one-way design or nap, ensure all the pieces are facing the correct way. After double checking that all the shapes are correctly positioned, cut around them accurately. When you come to a notch, cut a little protruding triangle at the exact spot outside the edge of the fabric. Leave the patterns pinned together with the fabric shapes until you need to sew them.

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Assembly

5

Overlock the edges of the pocket shapes. Fold over the top edges at the notches and press the hems. Sew across the hems with straight stitch using thread to match the fabric. Lay the side front, centre front and side front reversed shapes on the table in the correct order, right sides facing up. Position the prepared pockets on the panels, also right side facing up, matching the notches and side edges. Note that there is a little fullness in

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the top of the pockets to allow the softies to fit in easily and the centre pocket is a bit deeper than the side ones. Baste the side edges of the pockets to the dress panels from top to bottom using a 10mm (3⁄8in) allowance. With right sides together, match the side fronts to the centre front panel, matching the notches and with the edges level. Sew the seams from the hem to the shoulders, overlock the edges together and press the seams outwards from the centre. Overlock the shoulder edges of the front and back pieces. Match the front and back dress shapes at the shoulders, stitch the seams and press them open. Overlock the shoulder edges of the front and back facing shapes. Match the facings at the shoulders, stitch the seams and press them open. Overlock around the lower edges of the entire facing to neaten it. Pin the facing to the dress, right sides together, seams and edges matching. Stitch around the armhole edges and neckline. Clip the seam allowances at the curves and trim the bulk at the shoulder seams. Pull each dress back in through the narrow shoulder tubes to turn the facings and dress right side out. Press the neckline and armholes carefully so they lie nice and flat. With right sides together, open out the facings and match the front and back at the side seams. Make sure that the facing seams are aligned and pin the edges together all the way down the dress and facing. Stitch from the top to the hem on both sides, overlock the edges together and press the seams towards the back. Overlock the centre back edges separately, including the facing. With right sides together, match the centre back edges and sew from the notch down to the hem, reversing at the start. Press the seam open.

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Dress back

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Step 11 (shown in a different fabric)

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Inside dress front Homespun

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From the remaining dress fabric, cut: • One rectangle, 2 x 31⁄2in (button loop). Fold the rectangle in half, wrong sides together, to measure 1 x 31⁄2in. Open it up, fold the raw edges in to the centre and press. Then fold it in half again and press, as shown in Diagram 1. The folded strip should measure 1⁄2 x 31⁄2in. Stitch close to the open edges. Position the two ends of the strip side by side without twisting, as shown in Diagram 2. Baste the ends together side by side 6mm (1⁄4in) from the ends. Press. With the right side of the dress back facing you and the back facing opened out, lay the prepared loop close to the neckline-facing seam with the folded end facing towards the dress and the raw edges level, as shown in Diagram 3. Fold the facing over at the seam, right sides together, sandwiching the loop between the two layers. Stitch from the seam at the top to the notch at the bottom of the opening. Clip the corner, turn the facing right side out and push out the corner gently to form a point with the button loop emerging from the edge. On the other side of the back opening, fold the facing to the right side, stitch from the seam to the notch, clip the corner and turn it right side out. Press the back seam open and press the opening edges flat. Align the back neck edges so they just touch with the loop on top of the other side of the dress. Mark the button position through the loop. Stitch the button to the back neck opening where marked. Overlock or zigzag the hem edge of the dress, treating the bottom of the pockets as one with the dress. Turn up the edge 15mm (5⁄8in), press and stitch it in place. At each underarm, sew the bottom of the facing to the side seam allowance of the dress with a few hand stitches so it stays neatly in place.

Fold the squares of fabric in half, right sides together, and pin the softie shapes to the folded fabric. Cut around the shapes along the edge of the paper. If desired, sew pairs of buttons to the softies for eyes. Alternatively for a young child, you

16 Inside dress back

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Diagram 1

18 Button loop (undone)

Diagram 2

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back facing opened out

21 22

right side of dress back

SOFTIES

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Trace the softie shapes from the Pattern Sheet onto paper and cut the shapes out neatly on the lines.

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Diagram 3

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Getting to know …

CAROLINE ADAMS

Where do you live and work? My family and I live in the northern suburbs of Sydney, and our front room is my studio. I’ve always wanted a sewing room, so I am fully making the most of this space. I hold my workshops and lessons in this room, so it’s super fun in here once the machines get going and confidence rises. I’ve painted the walls white, made curtains out of vintage sheets (Ken Done, to be precise) and have lots of pictures on the wall that mean a lot to me. I’m in love with my cutting table that a friend helped me build. It’s nice and high and big enough for cutting all manner of garments. What’s your family structure? I have a beautiful little family who are most supportive of my sewing. My husband works in visual effects for film and TV. We have the most delightful little guy in the world, who is five and just started school this year. He is learning to sew with me, and we are enjoying making costumes together. We would really love to have a cat, but I don’t think I would stop sneezing. Why this particular craft? Sewing just makes sense to me. It quietens my mind and makes me

feel good. It also makes me feel connected to my late mother, as she was a fantastic seamstress and knitter. And sewing for kids is lots of fun. Have you tried plenty of others? I’ve always been crafty, my Dad having once described me as an “indoor girl”. I’ve made earrings and done lots of card-making, knitting, crochet, cross stitch, leatherwork, kids’ party theming and baking in the past, but sewing was always my main craft. Any funny stories along the way? There have been many garments that ended up ‘funny’ and thus not worn. I didn’t think that was funny at the time but I can recall a few garments that would’ve looked hilarious. If you weren’t doing this, what would occupy your time? If I weren’t teaching sewing and working on my blog, I’d be back doing event management. My main career has been organising sales conferences, product launches and parties. Weddings were my favourite event to plan, as there was always lots of love in the room! Oh, and seeing the dress is always exciting. Who taught you your crafting skills? My mother and grandmother were fantastic seamstresses and knitters. I grew up with the sound of the sewing machine buzzing, scissors cutting fabric and knitting needles click-clacking. I started sewing at 10 years of age, to join in with my mother. She very sadly passed away when I was 12, and one way I continue to feel connected to her is through sewing. I’m often found having a chat with her at my sewing machine! Any good stories from those lessons? All I can take away from that now is that I spent that precious time with my mother and grandmother, and they were able to hand that skill down to me. What does this craft mean to you? Sewing means the world to me. It has got me through some tough times in my life, and I’ve only just realised in the past few years that I can’t function without sewing.

Is it hard to find time to do it or is it a profession? While I do teach sewing and organise sewing events, I find it hard to find time to sew for myself. I have grand plans for a fabulous handmade wardrobe but time and life get in the way. From where do you draw inspiration? Instagram is a fairly new medium for me but one that is totally inspirational. I love to see what people are making and with what fabric. I’m more aware of new products and fabrics because of it, too. I love that you can search a pattern name in the hashtags to see it in many different variations before purchasing the pattern or choosing fabric; it’s very helpful. Why this skill – and this style? Garment sewing, in particular, is what I’m drawn to most. Kids’ clothes are fun and quick and easy to make. You can be creative with fabrics, trims and motifs and not have to worry too much about all the fitting issues. What are your favourite materials to work with? I love working with denim, cottons, lawns, voiles and linen. Silks drive me a bit crazy. I’m also learning to work with leather and am enjoying the raw nature of that. Still trying to be a better knit/stretch sewer, though! Do you teach your skills to others? My main business is teaching adults and kids to sew. I just love seeing people’s confidence grow with just one lesson. My favourite moment of all my lessons was when a delightful little nine-year-old student looked at me with a big smile on her face and said, “I am so proud of myself.” My heart exploded with love and pride. Any embarrassing botch-ups along the way? Oh, there have been many unfinished projects along the way. I don’t know what I was thinking when I made sack dress out of tartan. I looked like Wee Willie Winkie in a nightdress. And I do get a bit embarrassed when I think about that time I sewed through my finger – whoops!

CAROLINE’S POCKET TIP You can be as creative as you like with the pockets. Use a contrasting fabric, edge the tops with bias binding, or add ricrac or pompoms along the edges.

CAROLINE’S WEARABILITY TIP This is a year-round Fish

could machine stitch felt circles in place for the eyes. Pin the shapes, right sides together, and stitch around

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them with a 1⁄4in seam allowance, leaving an opening of 5cm (2in) along the base of each one. When you come to a corner for the neck or ears, stop

garment, not just a summer sundress. For winter, make it in a heavier cotton, corduroy or even denim and layer a long-sleeve top and leggings underneath.

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with the needle down in the fabric, pivot the fabric under the foot and continue sewing. Stitch over the seams a second time to reinforce them. Clip the seam allowances at the curves and inside corners without cutting the stitching. Turn the shapes right side out. Stuff the softies with fibre fill to the desired firmness through the openings in the bases. Caroline’s softies are well filled, but not firm, making them cuddly and friendly for little hands to hold. Turn the raw opening edges in and hand stitch them closed neatly. Tie the ribbon in a bow around the bear’s neck to finish. (Hand

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stitch through the bow into the softie to secure it if it’s for a young child.) Pop the softies in the pockets of the dress and they’re ready for playing on the go.

CAROLINE’S SOFTIE TIP Make those softies stay forever by adding some ribbon to them. Attach the softie to one end and sew the other end into a pocket so it can’t go missing during play.

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LIFE IS COLOURFUL

Singer-songwriter John Mayer says: “Life is like a box of crayons. Most people are the eight-colour boxes, but what you’re really looking for are the 64-colour boxes …” Michelle Bardwell aims for the bumper set with her truly brilliant scrappy triangles quilt. It is alive, radiant, joyous!

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Materials Q Scraps of a wide assortment of mediumdark print fabrics to total about 6m (61⁄2yd) Q Scraps of a wide assortment of light print fabrics to total about 6m (61⁄2yd) 90

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Q 70cm (3⁄4yd) blue spot print fabric (binding) Q 2.5m (23⁄4yd) extra-wide (275cm/108in-wide) backing fabric Q Batting at least 230cm (92in) square Q Rotary cutter, ruler and mat

Q Sewing machine with 1⁄4in foot and walking foot (optional) Q General sewing supplies Finished size: 220 x 216cm (861⁄2 x 85in)

Note: Read all the instructions before starting this project. It is recommended that fabrics be 100% cotton, pre-washed and well ironed. Requirements are based on fabric 107cm (42in) wide except for the backing fabric, which is 275cm (108in) wide.


Cut the fabric

1

From the assortment of light print fabrics, cut: • 30 squares, 33⁄8in. Cut each square once across the diagonal to yield a total of 60 half-square triangles (A). From the blue spot print fabric, cut: • Nine strips, 21⁄2in across the width of the fabric (binding)

A

2

A

Make the blocks

3

Read Michelle’s tips on the different methods that you could use for making pieced squares. The choice of method is determined by the size of the fabric scraps you’re using and how quickly you wish to work. Use your preferred method/s to make a total of 1830 pieced squares that measure 21⁄2in from raw edge to raw edge. (They will measure 2in square in the finished quilt.) The centre of the quilt is made from blocks that have four pieced squares, as shown in Diagram 1. Each medium-dark triangle in the block is made with a fabric from the same colour family, but not the same fabric.

Top Edge Unit Diagram – make 15

A

4 5

A

Bottom Edge Unit Diagram – make 15

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From your pile of 1830 pieced squares, select four to use in a block. Lay them out in two rows of two, with the medium-dark triangles all oriented the same way. Sew the squares together in pairs. Press seams in opposite directions. Then sew the pairs together, carefully matching the seams. Your block should measure 41⁄2in square from raw edge to raw edge. Repeat to make 450 of these blocks.

Single block

Top and bottom edge units

7

Use the remaining pieced squares and the A half-square triangles of light print fabrics to make 15 units for the top edge of the quilt and 15 units for the bottom edge, as shown in the Edge Unit Diagrams.

Appliqué

8 Diagram 1

The quilt is assembled in diagonal rows with the blocks ‘on point’. Use a design wall or the floor to lay out all the blocks, referring to the Quilt Layout Diagram. Check that all the blocks are oriented in the same way. Swap the blocks around until you have an array of colours and prints that you like. Homespun

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Quilt Layout Diagram

¼in

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Add the top edge and bottom edge units to the layout. Sew the blocks and units in each diagonal row together. Press seams in the first, third and every alternate row to the left and in the second, fourth and every alternate row to the right. Join the rows together, carefully matching seams. Press. Use a long quilter’s ruler and a rotary cutter to trim the left and right edges of the quilt 1⁄4in outside the corner of the inner dark triangle of the blocks, as shown in

11 12 Diagram 2

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Diagram 2. Trim the corners so they are 90 degrees. Stay stitch around all four edges of the quilt 1⁄8in inside the raw edges.

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Finishing

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The quilt top, backing and batting are ready for a longarm quilting machine as they are. If you’re doing the quilting yourself, refer to Steps 20-21 on page 28 to sandwich the quilt. Quilt as desired. Michelle machine quilted a straight line

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MICHELLE’S TIPS FOR MAKING PIECED SQUARES Pieced squares made from two triangles – often referred to as ‘HST (half-square triangle) units’ – can be made in a wide variety of ways. This project is a wonderful opportunity to try a range of different methods to find the one that suits you best and provides you with the most accurate outcomes. The squares you’re making for this quilt finish at 2in in the quilt, so they need to measure 21⁄2in from raw edge to raw edge before they’re joined together into blocks and then into rows. Method 1 Cut a square 27⁄8in. Cut the square in half across the diagonal to yield two half-square triangles. Join a triangle from a light fabric to one from a medium-dark fabric along their longest edges to complete the pieced square. Method 2 Cut a square, 27⁄8in from both a light and a medium-dark fabric. Use a pencil to draw a diagonal line on the wrong side of the light square. Match it, right sides together, with the medium-dark square. Sew a scant 1⁄4in on either side of the drawn line. Cut the fabrics apart on the drawn line to yield two matching pieced squares. Method 3 Cut a square, 3in or even 31⁄4in, from both a light and a medium-dark fabric. Repeat the process described in Method 2. This time, your pieced squares will be oversized and need to be trimmed on all four edges as shown in the diagram (right). To do this, place the pieced square on a cutting mat, right side up. Position a quilter’s ruler with its 45-degree line matching the seam. Trim the two exposed edges of the square on the top and right edge of the ruler with a rotary cutter. (If you’re lefthanded, trim the top and left edges.) Rotate the square. This time when the quilter’s ruler is put in position, the 45-degree line needs to match the seam and the line indicating 21⁄2in needs to lie on the just-cut edge of the pieced square. Trim the remaining two exposed edges of the square, as shown in the diagram.

45° 2½in

2½in

Method 3

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You can buy printed foundation papers to make pieced squares in a variety of sizes. They allow you to produce squares very accurately, but you do have the extra task of tearing the papers away from the fabric before you can use them. Brand names include Thangles and Triangles on a Roll, and they can be purchased from your local patchwork shop.

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⁄4in on either side of the blocks in a cross-hatch pattern across the quilt using a light gold-coloured thread. Refer to Steps 24-25 on page 29 to bind the quilt using the nine strips of fabric cut in Step 9.

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PEBBLES THE CAT

Jennifer Goldsmith’s tiny tom has a new angle on dinnertime fancies. He’s learnt to cut out the monger middleman and go straight to the source – at water’s edge, with line and tackle in tow. Seems to be working for him, with today’s catch of the day numbering four felt morsels. Jennifer Goldsmith, Frazzy Dazzles – the gentle art of making – Website: www.frazzydazzles.com; Email: [email protected]

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What does any selfrespecting cat do on a weekend? Goes fishing, of course!

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Materials Q 30 x 60cm (12 x 24in) light grey wool felt (body) Q 6 x 8cm (21⁄2 x 31⁄2in) white wool felt (chest) Q 7 x 13cm (21⁄2 x 5in) dusty rose pink wool felt (inner ears) Q 3 x 4cm (11⁄4 x 11⁄2in) scrap of pale pink wool felt (nose) Q 12 x 25cm (5 x 10in) tan wool felt (satchel) Q 6cm (21⁄2in) square each of aqua, lime green, orange and hot pink wool felt (fish) Q Scrap of pale yellow wool felt (eye spot on aqua fish) Q Two 6mm (1⁄4in) black glass teddy-bear eyes with wire loops Q One 8mm (5⁄16in) mother of pearl sequin and a metal seed bead or one 8mm (5⁄16in) button (satchel) Q Eight small black seed beads (fish eyes) Q 30cm (12in) fine chain lace or cotton twine (fishing line) Q Stranded embroidery thread in shades to match the felts and one slightly darker than the tan felt Q Machine sewing thread in white and tan Q Extra strong sewing thread such as Gütermann upholstery thread in light grey – see Note Q Fibre fill and stuffing tool Q Long doll needle Q Air-erasable marking pen 98

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Q Cardboard or template plastic (patterns) Q Sewing machine Q General sewing supplies Stitches used: Backstitch, ladder stitch, running stitch Finished size: 27cm (101⁄2in)

Note: Read all the instructions before starting the project. Set your sewing machine to a shorter than usual stitch length to give smoother seams. Remember that you are making a left and right side of the cat, so you will need to reverse (turn over) some of the templates – this is noted on the patterns. A seam

allowance of 3mm (1⁄8in) is used throughout and is included in the patterns, except for the ears. Backstitch at the beginning and end of each seam to secure the stitches. You can also use dental floss for the extra strong sewing thread. Although felt doesn’t have a true right and wrong side,

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From the light grey felt, cut: • Two rectangles, 4 x 8in (limbs and tail) • One rectangle, 21⁄2 x 5in (outer ears) • One face and one in reverse • One body front • One body back • One back of head. From the white felt, cut: • One chest. From the dusty rose pink felt, cut: • One rectangle, 21⁄2 x 5in (inner ears). From the pale pink felt, cut: • One nose. From the tan felt, cut: • Two rectangles, 3⁄8 x 7in (satchel straps) • One satchel front • One satchel back. From each of the aqua, lime green, orange and hot pink felts, cut: • Two fish. From the scrap of pale yellow felt, cut: • A circle about 3⁄8in in diameter – cut it without a pattern so it’s not perfect.

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Back view

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Trace all the shapes from the Pattern Sheet onto paper or template plastic, transferring all the markings and labels. If you’ve used paper, Jennifer recommends gluing the patterns to cardboard for extra accuracy and durability. Cut them out carefully on the lines. To use the templates, lay them right side up on the right side of the appropriate wool felts (except where otherwise noted) and trace around them with an air-erasable fabric-marking pen. Transfer any markings. To trace a pattern in reverse, flip the template over, so that it is right side down on the felt, before tracing around it. Cut the shapes out on the traced lines.

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their appearance sometimes differs; study each of the felts you are using and decide which side you’ll treat as the ‘right’ side. Instructions are given for using the printed patterns in the magazine, but you can also download the digital patterns from www.homespun.com.au and print them out.

the bottom edge. Turn them right side out. Fold the raw edges along the bottom edge in by a scant 1⁄4in, angling the corners towards the centre of the ear to create a slight curve. Pin the folds to hold them in place and compare the ears to ensure that they’re a similar size and shape. Adjust if necessary. Close the opening on one ear using ladder stitch. Put sufficient tension on the thread to gather the edge a little and work several tiny backstitches to hold the gather in place. Then pass the needle up through the ear between the two layers of felt, exiting through the seam near the top edge. Hold the thread under tension while you cut it close to the felt – this will cause it to be drawn back into the felt. Repeat to close and shape the second ear, aiming to make it very similar to the first one. Arms, legs and tail On the wrong side of one of the 4 x 8in rectangles of light grey felt, trace two legs, two arms and one tail, leaving at least 1⁄4in between shapes. Match this rectangle to the

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Trace around the ear template twice on the wrong side of the 21⁄2 x 5in rectangle of light grey felt. Rotate the template before tracing the second shape to use the felt most efficiently and leave a generous 1⁄4in between the shapes. Pin the light grey rectangle to the dusty rose pink one, right sides together. Insert a pin inside the traced outline of each ear so you won’t have to move them as you sew. Sew on the curved lines, leaving the straight edge open. Cut the shapes out about 1⁄8in by eye outside the stitched lines and on the straight line along

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JENNY’S QUALITY TIP Always use felt with a high wool content to make softies. Felt with acrylic in it will stretch more readily – especially as you turn shapes right side out and stuff them – and won’t stand up to playtime nearly as well as wool felt. Think about it this way: if you use wool felt, you’ll invest the same amount of time and effort making your softie, but the outcome will be far superior.

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Diagram 1

other light grey one, right sides together and pin them together, with the pins in the centre of the shapes. Sew around each shape on the traced lines, leaving the openings where marked. Cut the shapes out 1⁄8in by eye outside the lines. Clip into the seam allowance around the curves. Turn each shape right side out. Stuff the tail – stuff it very firmly at the tip and reduce the density of the stuffing as you move closer to the base; leave the last 5⁄8in unstuffed. Body Pin the white chest shape to the body front, with both shapes right side facing up. Use a close zigzag stitch on your machine to appliqué it in place using white thread or, alternatively, blanket stitch it by hand using three strands of embroidery floss. Fold the body back shape in half, right sides together and with the edges of the dart aligned. Slip the base of the tail between the layers of the dart – the open end of the tail should extend about 1⁄8in past the body and be pointing up. See Diagram 1. Pin the layers together, then sew the dart 1⁄8in from the raw edges, capturing the tail in the stitching. Lay the arms and legs on the right side of the body front

15 16 Openings in legs

Diagram 2

JENNY’S GLASSEYE TIP Always check that the glass eyes you’ve purchased are the same size. Glass teddy-bear eyes are often handmade. This means that there can be sufficient variation between them to be noticeable when used on a softie – making for a very peculiar look. It certainly pays to check.

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shape where marked on the pattern. Note that the openings for the stuffing in the legs should be on the inner leg, as shown in Diagram 2. Baste the shapes in place using a narrow seam allowance. Match the body front with the body back, right sides together. Ensure that the arms, legs and tail are sandwiched between them. Sew the body shapes together, starting from the point marked C, stitching around the bottom curve and up to D; leave the neck end open. Carefully turn the body right side out. Stuff the arms and legs firmly. Use doubled thread and a small, neat ladder stitch to close the openings in each limb. Then stuff the body firmly through the neck opening and leave it open. Head Match the two face shapes, right sides together. Pin, then sew the centre seam from A to B. Sew the darts in the face. To do this, fold the shape right sides together so that the straight edges of the first dart are aligned. Pin them together, then sew from the outer edge to the point. Repeat to sew the second dart. In a similar manner, sew the darts in the back of head shape. Match the face and the back of head, right sides together. Pin,

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then baste the layers together where the seams and darts are to ensure that they remain perfectly aligned. Sew the shapes together, leaving the straight neck edge open. Turn the head right side out. Stuff it firmly. Fold the raw edge around the neck on the head by a scant 1 ⁄4in and pin it in place. Fold the unstitched top edge of the body down into the body – you will be folding down about 11⁄2in of this raw edge. Add a little more stuffing to the head so it’s quite firm in this neck area. Fit the head over the upper part of the body: the bottom edge of the head should cover the top straight edge of the white chest shape. Pin to hold it in place. If you wish, you can adjust the angle of the head so that your cat has a whimsical tilt or is looking off to one side. If the head feels wobbly, unpin it and add more stuffing, before pinning it back in place. Once you’re satisfied with its firmness and angle, use extra strong sewing thread to work a neat, small ladder stitch to secure the head to the body.

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Finishing the face

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Audition the placement of the ears by pinning them to the cat’s head. Jenny positioned the ears on Pebbles so that they sat on the seam line between the face and the back of the head, about 3⁄4in from the centre seam. Using doubled thread and small, neat ladder stitch, sew the base of one ear to the head. Secure the thread, then pass the needle through the head exiting at the centre back. Put some tension on the thread and snip it close to the felt so that the cut end will be drawn back into the head. Repeat to stitch the second ear in place. Using thread to match the felt, work a line of running stitch just inside the edge of the nose; start and end at the centre bottom edge. Draw up the thread a little so that the edge of the nose gathers and turns under. Secure the thread to maintain the gather – but don’t cut it. Pin the nose to the cat’s face, rolled edge against the face, centred over the seam and with its

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top edge about 25⁄8in down from the seam between the face and the back of the head. Use the tail of the thread on the nose to ladder stitch it in place. Finish off the thread as you did with the ears. Use three strands of embroidery floss to match the nose felt to work a line 3⁄8in long from the bottom edge of the nose down the centre seam and then add a smile. Use glass-head pins to audition the placement of the eyes. Pebbles’ eyes are in line with the top edge of the nose and 11⁄2in on either side of the centre seam. Thread a doll needle with a long length of doubled extra strong sewing thread. Insert the needle at the base of the cat’s head, just above the neck seam and about 1 ⁄8in off centre. With the cat facing you, push the needle so that it comes out at one of the eye positions. Pull the thread through, but leave a tail about 4in long hanging at the back of the head. Thread the wire loop on the back of one eye onto the thread. Use the point of the needle like an awl to create a tiny hole in the felt in the eye position large enough for the wire loop to fit into. Pass the needle through the hole and exit at the base of the head, very close to your entry – but not through your entry point. Repeat Steps 35-36 to attach the second eye using the same thread. You should now have two eyes sitting on the surface of the face and two thread tails at the base of the back of the head. Remove the needle. Tie the two tail threads together in a loose knot. Put the threads under tension to pull the wire loops into the face and sculpt the eye sockets a little. When you’re satisfied with the look, tighten the knot, then tie another one to maintain the tension securely. Rethread the needle with the two thread tails, pass it through the head, exiting on one side, put it under tension, snip it and allow the cut ends to be drawn back into the head.

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sides together. Machine stitch 1⁄8in from each long edge using thread to match the felt. Using the same thread in the machine, topstitch 1⁄8in from the top curved edge of the satchel front shape and around the top curved edge and clasp tab of the satchel back shape; this stitching minimises stretching. Hand stitch a row of running just inside each of these lines of machine stitching in three strands of embroidery floss a little darker than the felt. Backstitch the decorative lines where marked on the patterns using the same thread. Pin the ends of the shoulder strap on the right side of the

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JENNY’S FELT STITCHING TIPS Because the seam allowances on this project are quite narrow, always check that you’ve caught both layers of felt in the stitching when sewing two shapes together. Felt has more body than, say, quilting fabrics, so the seams can need a bit of ‘persuading’ if they are to lie flat. I run the thick end of a chopstick along the seam on the inside and push it gently to flatten it before I stuff the shape.

Match the two strips of tan felt for the satchel straps, wrong Homespun

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Getting to know …

JENNIFER GOLDSMITH How often do you start a new project do you think? In my mind and on paper, probably every other day. Of those, a design emerges every month or so. I usually have a few projects bubbling away in the back of my mind, on bits of paper or as notes in my phone. When I’m playing with a new idea, I write down everything that comes to mind about it – fabrics, shapes or even an inspiring turn of phrase that I’d like to incorporate as part of the critter’s character. After that, it’s a gradual stripping away of ideas until I have something workable, desirable and not too over-engineered. Do you have the new design completely formulated in your head before committing it to paper and fabric? My designs always start to ‘breathe’ for me on paper. They’re rough sketches, lines and shapes. I draw a character from different angles to help me decide where seams should fall and the way limbs should attach. From there, they become a material prototype ... or a ‘sketch in cotton’, as I think of them. It’s here that I find which of those lines work and which don’t. Nine times out of 10, it’s where I shave a considerable amount from overly round belly shapes ... I never seem to learn that my generous waistlines in drawings don’t

satchel back shape where marked on the pattern. Machine stitch across the end of each strap several times to ensure a secure join. Pin the darts in the satchel front shape as you did with the darts for the cat, and sew them. With right sides together, match the satchel front shape with the bottom and side edges of the satchel back shape. Machine sew around the matching edges. Turn the satchel right side out. Sew a sequin and seed bead or a decorative button on the tab on the satchel to suggest a ‘latch’ – although it won’t actually serve as one.

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translate as well when stuffed. A few times, I’ve struggled over head shapes and, in frustration, started my prototype before settling on the a firm shape. I’ve always regretted this later. Instead of the right head shape magically appearing, these designs wander around, rather than forge ahead. They get there in the end, though, even if they do spend a little while off to the side while I ponder them a bit longer. Do you avidly follow other designers online and in magazines? I love to see what designers make and share with the world. The internet is a wonderful tool to meet and connect with creative people the world over. It’s always inspiring to follow makers who use different media and methods to me. The wonderful thing about crafting is the endless possibilities. On the other hand, I wonder sometimes if following others too closely isn’t a double-edged sword. It can make you feel as if you’re achieving less than you actually are ... a ‘compare and despair’ kind of thing. What is your least-favourite part of designing and making a project? Everything after the final sample is made, really. When it comes to pattern writing, I tend to write as I speak (too much), so I have to do a LOT of re-writing to get a more concise pattern. This can sometimes be a challenge for me, especially when there just don’t seem to be the right words or phrases to tell others what my hands are ‘just doing’. Have you been stitching since you were a child? I don’t remember the first stitch I made. I just always remember sewing being something that happened around me. All of the women in my family are able to sew ... and they do it really well. It just seemed like something everyone does. Do you remember your very first craft ‘triumph’? If so, what was it and did you keep it? When I made my daughter’s bed yesterday, I slipped a simple pink floral slip over her

Fish

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Cut the length of chain lace or twine into two 3in lengths and one 6in length. Tie a small knot very close to each end of the two shorter lengths. Match two fish shapes cut from the same felt. Slip the knotted end of one of the shorter lengths between the layers where the fish’s mouth would be. Use two strands of embroidery floss in a colour to match the fish, blanket stitch around the edge of the fish, starting near the mouth and capturing the lace/twine ‘fishing line’ in this seam. Just before you return to your starting point,

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pillow. I know that it was the first project I ever made at high school, and it’s still in use today. Is that a triumph? I think it’s at least a little one. I do remember the first toy I made. It was a traditionally jointed teddy bear. I still have it at home. Did you have professional training in stitching crafts? Not really. Beyond everything Miss Ewins taught me during Year 7 Home Science, the only other instruction I’ve had was when I made that first teddy bear. Mostly, I’ve embraced sewing by watching others, reading and cobbling things together myself, which is my favourite way to learn. A mistake is only a mistake if you fail to learn from it. Do you do your creative crafting in solitude or do you prefer to be surrounded by others? My workspace is right in the heart of our home. There are no doors to close or curtains to pull across it – it’s just there for all to see. Family life goes on all around me all the time, and I apologise to everyone who comes into our home about the mess and the threads. I do find that pattern writing is much harder if there’s noise, though. That’s a job best left for when everyone else is at work and school. What products can’t you resist buying in patchwork and haberdashery stores? I love good cotton fabric, the quirkier the better, but I’m most prone to going overboard when I find a good selection of wool felt. Felt is incredibly versatile, and being in simple solid colours, it never fades from fashion as some fabric prints can, so it’s very easy to justify adding to my felt stash. Have you got an unfulfilled stitching dream? I’m quite happy with going where the mood takes me at the time. It’s one of the best things about what I do. Although ... as I write this, there are school holidays on the horizon. I’m looking forward to spending time with our daughter and exploring the possibilities of popping a few of our drawings into Spoonflower and seeing what it has to offer.

carefully stuff the fish; then complete the stitching to close the opening. Secure the thread, but don’t cut it. Insert the needle into the fish’s mouth, exiting at one eye. Thread it through one black seed bead, then back into the entry point, exiting at the second eye position. Repeat to add the second black seed bead. Then pass the needle backwards and forwards through the head several times from one eye position to the other to secure the eyes and slightly indent the fish’s cheeks. Bring the needle out through the mouth area, secure it, then finish it off as you did with the ears.

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JENNY’S UNIQUENESS TIP If you’d like to add more character to your cat, you can texture the felt before beginning the project. Submerge it in very hot water for a few minutes. Sandwich it between two layers of towel and press it gently with your hands to remove some of the water. Put it in a clothes dryer on a hot setting for a while. This will create bumps and lumps in the felt – and make your critter look very interesting. Because wool felt will shrink during this process, you’ll need to start with larger pieces.

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Repeat Steps 46-48 to join another fish to the other end of the fishing line. Then repeat the process to join a fish at each end of the second 3in length of line. If you’d like to decorate one or more of your fish, you could copy Jenny’s idea: she worked a row of tiny running stitches just inside the edge of a small circle of contrasting felt to attach it to the face of one fish before adding the eye on top of it.

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Loop the fishing lines around the satchel strap, and stagger their lengths so the fish hang at different heights. Work a few tiny stitches through the fishing line to hold them in place. Use the 6in length of lace/twine to tie a bow around the satchel strap over the shorter lengths. Slip the satchel on to Pebbles’ shoulder by pulling it up over her legs and body.

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Perfect for

Small Spaces & Going Places

- Compact/Portable Sewingg Machine - The Original IDTTM System - Thread Snips - PFAFF® Original Presser Foot System - 100 Stitches

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BREW HA-HA!

High tea has its place, with bone china and dainty finger food, but it’s fun to go a bit ‘Mad Hatter’ once in a while. Louise Willie takes you on a whimsical knitting adventure with her doubly potty tea cosy. Curiouser and curiouser – cuter and cuter! Australian Organic Wools – Website: www.australianorganicwool.net.au

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Materials Q Australian Organic 8 ply wool 50g: one ball each of Chilli Pepper — Main Colour (MC) and Grapefruit Moon — Contrast Colour (CC) – only a quarter of the second ball will be needed 108

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Q Small amount of 8 ply wool in black — Accent Colour (AC) Q One pair of 5.00mm (UK 6/US 8) knitting needles Q Fibre fill Q 12cm (5in) black plasticcoated wire tie — available from garden centres or in garbage

bag packs (teapot spout and handle) Q Tapestry needle Q Stitch holder (optional) Finished size: 18 x 24cm (7 x 91⁄2in) Stitches used: French knot, running stitch

Note: This is an easy skilllevel knitting project. Use only the yarn specified for this item. Other yarns may give unsatisfactory results. Quantities are approximate as they can vary between knitters. The tea cosy is made in two parts and is designed to fit a four- to six-cup teapot.


Abbreviations K = knit; P = purl; rep = repeat; st/s = stitch/es; tog = together

Tension 18sts and 26 rows to 10cm (4in) over stocking stitch using 5.00mm needles. If fewer stitches, use smaller needles; if more stitches, use bigger needles.

Cosy side Make two. Using 5.00mm needles and MC, cast on 40 sts. Row 1: *(K4, P4), rep from * to end of row. Repeat Row 1, forming a wide rib look, until the work measures 16cm (61⁄4in). Shape top Row 2: *(K4, P2, P2tog), rep from * to end of row. Row 3: *(K3, P2, P2tog), rep from * to end of row. Row 4: *(K3, P1, P2tog), rep from * to end of row.

Row 5: *(K2, P1, P2tog), rep from * to end of row. Row 6: *(K2, P2tog), rep from * to end of row. Row 7: *(K1, P2tog), rep from * to end of row. You will have 10 sts remaining on the needle. Leave a long enough tail of wool to weave through the remaining stitches and for sewing up one cosy seam. You can leave the first side at the end of the needle while you make the next one, or transfer the remaining 10 sts onto a stitch holder.

Assembly Thread the tapestry needle with the tail of wool and weave it through the stitches on the knitting needle. Once you have woven the needle through, pull it gently closed to gather. Secure with a couple of stitches. Do

the same for the other side, but don’t cut the tails of yarn. Line up both sides from the top of the tea cosy, right sides together, and sew the edges together. Remember to leave a shorter opening in one seam for the spout and a longer opening in the other seam for the handle. Louise left a 5cm (2in) hole for the spout and a 6.5cm (25⁄8in) hole for the handle.

Teapot topper Using 5.00mm needles and CC, cast on 22 sts. Row 1: K. Row 2: P. Rep Rows 1 and 2 four times to make a total of 10 rows. Lid Rows 11 and 12: P. Row 13: K. Row 14: P. Row 15: K2tog, rep to end of row so you are left

with 11 sts on the needle. Leave a long enough tail of wool for weaving through the stitches and sewing up. Thread the wool onto a tapestry needle and weave through the remaining stitches. Pull tight to gather, turn the work inside out and sew up the seam to form the teapot. Thread the needle with AC and bring the needle up on the inside of the teapot, through the centre of the lid. Sew a couple of stitches to secure and then work an eight-wrap French knot to form the knob on the lid. Secure with a couple of stitches. Thread the needle with AC and, starting on the seam edge, work small running stitches through the teapot to form the spots. Make sure you stagger the spots on each row to give a random Homespun

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effect. Work two rows of spots on the lid and three rows of spots on the teapot. Cut a 6cm (23⁄8in) length of plastic-coated wire. Thread the needle with AC and lay a tail of wool along the length of the wire. Secure it with a couple of stitches. Wind the wool back around the wire and the tail of the wool until it is evenly covered. Secure with a couple of stitches

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at the end. Secure the handle to the seam of the teapot — stitch it in place at the top and the bottom and shape it to form the handle. Cut another 6cm (23⁄8in) length of plastic-coated wire and fold it in half. Form the spout mouth at the cut ends. Thread the tapestry needle with AC and pull the yarn through to the folded end, leaving a little tail to hang on to. Secure with a couple of stitches. Then, tucking the tail in, start winding the wool around the wire tie, covering it evenly. When you reach the mouth of the spout, wind the yarn around one

section first, secure with a stitch, and then wind it around the other section to form the spout opening. Secure with a stitch. Wind the wool back down to the bottom of the spout — this makes it slightly thicker than the handle so it looks more realistic. Secure with a couple of stitches. Shape it into a spout and sew the bottom onto the teapot on the opposite seam from the handle. This can be quite fiddly but once secured with a stitch it will become more stable. If you need more stability, secure the spout with a pin until you sew it in place. Sew the top in place in the same manner.

Finishing Insert some fibre fill to slightly fill the teapot, taking care not to stuff it too much. Thread the tapestry needle with CC and work running stitch around the open edge. Gently pull in the yarn to gather in the bottom, taking care not to gather it too tightly. Pin the teapot to the centre top of the tea cosy and stitch it into place. Once secure, wind the wool around the bottom of the teapot three times to make a small edge. Insert the needle through to the inside of the work and secure it with a couple of stitches.

47 Farrall Road, Midvale T: (08) 9250 2722 E: [email protected] Girls’ Shed provides workshops for Patchwork and Quilting for beginners and beyond. Machine Embroidery and Soware Workshops for beginners to advanced also available.

Girls’ Shed is available for Cra Retreats, which can be booked for 2 or 3 day weekends. Retreats for days other than the weekend, are possible by negotiation. All retreats are fully catered.

‘Vantastic’ Quilt Kit. Cost with postage $172.00 Size 155cm x 155cm

Girls’ Shed is located just outside Maryborough, Queensland. We are less than 3 hours from Brisbane, 2 hours from Sunshine Coast, 45 minutes from Hervey Bay and a lile over an hour from Bundaberg.

‘Big Cat Truck’ Quilt Kit. Cost with postage $121.00

For enquiries contact Neola at [email protected] mobile 0409 748 600 website www.girlsshed.com.au

Size 160cm x 195cm Find us on Facebook! Girls Shed Retreats

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PART 5

GOING TO THE

ZOO, ZOO, ZOO There’s a time for rest and a time for play – even for wild things. Claire Turpin and Jemima Flendt’s chubby panda is plum tuckered out after a binge on bamboo, so while he’s taking a nap, his best mate and cage companion, the gorgeously gormless Hercules hippo, enjoys a splash about in his own private pool. Next month – a herd of red and pink fabric elephants. Claire Turpin, Claire Turpin Design – Web: www.claireturpindesign.com; Email: [email protected] Jemima Flendt, Tied with a Ribbon – Website: www.tiedwitharibbon.com; Blog: www.blog.tiedwitharibbon.com; Instagram :@tiedwitharibbon

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PART 5: Hippo pond & panda retreat

Q Panda Q Hippo Q Stand of bambo o Q Pool Q Directions sig n

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Materials used in this block Q Fabric A appliqué panel – cut in Part 1 Q Fabric C (panda enclosure) Q One white (Fabric X) café umbrella shape – cut in Part 1

Q Two cherry (Fabric J) café umbrella shapes – cut in Part 1 Q One 2in white (Fabric X) Border 1 strip – cut in Part 1 Q One set of pre-cut halfsquare triangles (Border 2) – made in Part 1 Q Two 3in squares in random colours (Border 2) – cut in Part 1 Q Fabric D (hippo pool) Q Fabrics E, F, G, H, J, K, M, P, S, U and X (appliqué) Q White felt Q Cotton batting Q Stranded embroidery cotton in black

Q Template plastic and permanent-marking pen Q Fusible web Q Machine-embroidery threads to match the appliqué fabrics Q Sewing machine with 1 ⁄4in, embroidery, freemotion/darning and walking feet Q General sewing supplies Stitch used: Backstitch Note: Materials for the entire project were listed in the February issue (Vol 18 No 2). Refer to the Fabric Key for the Lecien ‘L’s Modern’ and ‘Minny Muu’ fabrics used

in this project. The quilt is made using a quilt-as-you-go construction. The appliqué method used is raw-edge, fusible-web with machined blanket stitch, but you can adapt the instructions to your preferred method. Seam allowances of 1⁄4in are used throughout for the piecing. Two strands of embroidery thread are used throughout, unless otherwise stated. Instructions are given for working from the printed Pattern Sheet in the magazines, but you can download the digital patterns from www.homespun.net.au and print them out instead.

Fabric Key: Lecien fabrics from the ‘L’s Modern’ and ‘Minny Muu’ ranges used in this project

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A

B

C

D

E

F

Tan Hello Squares (31191-10)

Grey Bears (40672-90)

Starfruit Hello Squares (31191-66)

Sky Happy Shower (31194-70)

Banana Kisses (31196-50)

Mint Green Pop Spirals (31192-60)

G

H

I

J

K

L

Grass Lovebirds (40558L-60)

Cucumber Meadows (31195-60)

Tomato Hello Squares (31191-30)

Cherry Lovebirds (40558L-30)

Magenta Kisses (31196-20)

Satsuma Hello Squares (31191-40)

M

N

O

P

Q

R

Sunshine Snails (40559L-50)

Lemon Pop Spirals (31192-50)

Coral Pop Spirals (31192-20)

Seashell Pop Spirals (31192-40)

Teal Snails (40559L-72)

Navy Lovebirds (40558L-71)

S

T

U

V

W

X

Midnight Hello Squares (31191-100)

Midnight Meadows (31195-100)

Steel Kisses (31196-99)

Sidewalk Barbells (31190-90)

Fuchsia Pop Spirals (31192-110)

White (31191-30)

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From each of the mint green fabric (F) and cucumber green fabric (H), cut: • Two rectangles, 3 x 4in (3D leaves). Cut holes in the fabric for the panda’s and hippo’s eyes and the hippos’ nostrils on the traced lines, as they are reversed appliquéd. Fold the Fabric A appliqué background fabric in half vertically and lightly press the crease to mark the centre. Peel the backing paper from the enclosure and pool shapes, fold them in half vertically, right sides together, and finger press the creases. Lay the pool shape on the background 2in up from the bottom edge, right sides facing up and centres matching. Fuse it in place with a hot iron. Fuse the enclosure to the background above the pool so their side edges are roughly in line. Trace the 3D leaf template from the Pattern Sheet onto template plastic and cut it out on the line. Match the two mint green (F) rectangles, right sides together. On the wrong side of one of the rectangles, trace around the leaf template three times, leaving at least 3 ⁄8in between them for seam allowances. Using a shorter than usual stitch length, sew around the curved edges, reversing at the start and end of the stitching and leaving the straight ends open. Repeat this

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Panda and hippo block

OUR FABRICS

Appliqué and embroidery

1

Trace the panda enclosure and hippo pool shapes from the Pattern Sheet onto the paper side of the fusible web and cut them out roughly. Cut the centre out of the shapes, leaving about 1⁄4in of fusible web inside the traced outlines. (Reducing the amount of fusible web behind large shapes makes the finished quilt less stiff; use this fusible web for smaller shapes.) Iron the shapes to the wrong side of the starfruit fabric (C) and sky blue fabric (D) and cut them out on the lines. Trace all the other appliqué shapes from the Pattern Sheet onto the paper side of the fusible

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web, leaving about 1⁄2in between them. Cut them out roughly, fuse them to the wrong side of the following appliqué fabrics and cut them out on the lines: • Magenta (K) – hippo • Steel grey (U) – hippo nostril • Peach (P) – hippo ears and signpost • Black (S) – panda eyes, ears and limbs • White felt – panda body • White (X) – signs, eyes and hippo teeth • Cherry (J) and bright yellow (M) – arrowheads • Banana (E) – bamboo • Mint green (F) – leaves • Grass green (G) – leaf • Cucumber green (H) – leaves

This quilt uses a large variety of print and solid fabrics selected by Claire and Jemima from the Lecien ‘L’s Modern’ and ‘Minny Muu’ ranges, distributed in Australia by Craft Project – Charles Parsons.

This Block of the Month project is being published over 10 issues of Homespun, from February to November 2017. The materials required to make the complete quilt appeared in the February issue. Contact our subscriptions department to order back issues or a subscription, or log onto Zinio or the Apple/Google Play newsstands to get the issues digitally.

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step with the two cucumber green (H) rectangles. Cut the leaf shapes out by eye 1 ⁄8in outside the stitching. Turn them right side out and push the seams out gently. Press them flat. Peel the backing paper from the appliqué shapes and layer them on the background as shown in the photograph. Tuck the open ends of the 3D leaves under the bamboo in random positions; just check that they won’t interfere with your stitching when you appliqué the two-dimensional leaves. Keep the shapes at least 1in inside the raw edges of the background so they will be clear of the seams after the background has been trimmed back and joined to other panels. Slide small pieces of white (X) fabric behind the panda’s and hippo’s heads so that they lie behind the holes you’ve cut for the eyes. Slide small pieces of grey (U) fabric behind the holes cut for the hippo’s nostrils. The hippo’s pupils are tiny circles of black fabric appliquéd in

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10 Step 10

Step 12

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place, but you could satin stitch them with black thread if you prefer. When you’re happy with the layout, fuse the shapes in place. Sew around the shapes (except the 3D leaves) with machined blanket stitch using machineembroidery threads to match the appliqué fabrics. Claire and Jemima recommend spraying the appliqué lightly with starch to help keep the fabric stable while stitching it. Blanket stitch around the raw edges of the eyes and the hippo’s nostrils, working the vertical ‘leg’ of the stitch on the heads. Draw the panda’s eyelids with an erasable fabric marker and backstitch them with black thread. Write the ‘bears’ and ‘snakes’ lettering on the signs and backstitch it with black thread.

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12

Assembly

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Press the completed appliqué block. Centre the template you made in Part 1 over it – check that there is an equal amount of fabric overhanging the left and right edges.

• It’s a mistake to buy cheap pins, as they are either too blunt, too fat, too bendy or you melt the plastic pinhead with the iron! • It’s a mistake to leave a rotary cutter on the floor with the guard off – when you accidentally kick it, it hurts and there’s blood on the carpet!

JEMIMA FLENDT (right) – MY MISTAKES AND HOW I LEARNT TO AVOID THEM

CLAIRE TURPIN (left) – MY MISTAKES AND HOW I LEARNT TO AVOID THEM Everyone makes mistakes. That’s how we all learn. Here’s what I’ve learnt relating to my craft: • It’s a mistake to buy cheap quilting fabric, as the weave is so loose nothing stays square. • It’s a mistake to buy a cheap sewing machine, as it will bounce all over the table, and you’ll never get a nice straight line.

Trace around all four edges and trim the block back to the line. Sew a white café-umbrella shape to the top of the appliqué block. Press the seam towards the smaller shape. Match two cherry (J) caféumbrella shapes, right sides together, and join them along the widest (bottom) edge. Turn the top layer of fabric over so that the wrong sides of the fabrics match and press the seam. Topstitch 1⁄8in from the seam with matching thread. Pin the cherry café-umbrella pocket on top of the white shape, matching the edges. Check that the cherry pocket completely covers the white fabric. Baste around the edges to keep the pocket in place. Border 1 Fold the 2in white Border 1 strip in half, short edges matching, and finger press a crease to mark its centre. Unfold. Make a light pencil mark in the seam allowance of the bottom edge in the centre crease. Pin the top edge of the strip to the bottom

14 15

16 17

Over the years, I’ve learnt that taking the wrong shortcuts only leads to tears and frustration. Quilting and sewing is a fairly precise game, and you need to be careful which shortcuts to take, as sometimes ones you think will be quick lead to a lot of unpicking and an item you are not really happy with. I have also learnt to trust my own style. I was told by someone early on in my quilting career that I had terrible colour combinations, and that largely put a big dent in my ability. I lost confidence with what I wanted to put together and now see that you don’t necessarily have to follow a colour chart or some ‘rule’ – it takes a bit of time to develop colour confidence.

of the block with an equal amount overhanging at each end. Sew this seam and press it outwards. Border 2 Arrange the trimmed halfsquare triangle units in pairs with one grey and one black triangle in each. Match the pairs, right sides together, and join them along the grey/ black edges. Press the seams open. Sew the pairs of units together side by side with the triangles facing the same way and press the seams open. Sew a coloured 3in square to each end of the pieced border. Pin the pieced border strip to the bottom edge of Border 1: the base of the grey and black triangles should be next to the white strip and the centre seam in the pieced border should match the pencil mark you made on the white strip in Step 17. Sew the seam and press it towards Border 1. Press the block, then use a quilter’s ruler and rotary cutter to trim the ends of the border strip at an angle in line with the block edges.

18 19

20

21

Quilting

22

Lay the finished block on the cotton batting and cut the batting out about 11⁄2in by eye outside the edges of the block. Pin the block to the batting, making sure the edges, appliqué and seam areas are especially secure. Fit a walking foot and set the stitch length to 3 (about eight stitches per inch). Begin by stay stitching right around the block 1⁄8in from the edges. Using white thread, stitch in the ditch of the seams of Border 1 and the café umbrella. Claire and Jemima then switched to clear monofilament thread and a free-motion foot to outline quilt all the appliqué shapes on the panel. Rule random parallel lines over the background fabric and quilt along them using a walking foot. Don’t quilt Border 2 at this stage – it will be done in November, in Part 10.

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Step photos courtesy of Jemima. Homespun

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PROUDLY PRESENTS

GOING TO THE

O O, ZNTO ZOO, BLZOCO K OF THE MO H 2017 NEW

FLENDT CREATED BY CLAIRE TURPIN & JEMIMA

AVAILABLE IN COMPLETE KITS CONTACT A STOCKIST CLOSEST TO YOU. LIMITED SUPPLIES. BOOK NOW!

Stockists NEW SOUTH WALES Fabric Pixie Goonellabah Ph: 0415 826 994 [email protected] www.fabricpixie.com.au Rainbow Patchwork Lismore Ph: (02) 6622 3003 [email protected] www.rainbowpatchwork.com.au Sew Many Stitches Campbelltown Ph: (02) 4628 4437 [email protected] www.sewmanystitches.com.au Zig Zag Sewing Georgetown Ph: (02) 4960 2426 East Maitland Ph: (02) 4933 6800 [email protected] www.zigzagsewing.com.au VICTORIA Catharina’s Vintage Stitches Kyabram Ph: (03) 5852 3356 [email protected] www.catharinasvintagestitches.com.au Lesley Mays Patchwork & Craft Mildura Ph: (03) 5022 2330 [email protected] www.lesleymays.com.au Lily Lane Quilting Rosedale Ph: (03) 5199 2777 [email protected] www.lilylane.com.au My Little Pips Fabric Store Beaconsfield Ph: 0416 713 089 [email protected] www.mylittlepipsfabricstore.com.au Palm Beach Quilting Carrum Downs Ph: (03) 9775 1601 [email protected] www.palmbeachquilting.com.au Sew Woodend Woodend Ph: (03) 5427 2770 seww sew [email protected] www. ww sewwoodend.com The Th Quilt Shop Eltham Elt Ph: Ph (03) 8418 6770 thequiltshop.com.au sales@ sal www. ww thequiltshop.com.au QUEE QU NSLAND Patch Fabric Fa ah Coorib Co Ph: Ph (07) 5442 4613

[email protected] www.fabricpatch.com.au Janome Townsville Olive Branch Quilt Townsville Ph: (07) 4755 2336 [email protected] Patchwork Paradise Rockhampton Ph: (07) 4927 6628 [email protected] www.patchworkparadise.com.au Precious Time Fabric and Quilts Toowoomba Ph: (07) 4633 4748 [email protected] precioustimefabricandquilts.com.au Sew Patch N Quilt Clinton Ph: (07) 4978 7772 [email protected] www.sewpatchnquilt.com.au Stitches From The Bush Goondiwindi Ph: 0427 764 147 [email protected] www.stitchesfromthebush.com.au The Patchwork Angel Forest Glen Ph: (07) 5477 0700 [email protected] www.patchworkangel.com.au Van Cooten’s Howard Drapery Howard Ph: (07) 4129 4785 [email protected] www.vancootensdrapery.com WESTERN AUSTRALIA Care 2 Create Woodvale Ph: 0412 534 379 [email protected] www.care2create.com Carol’s Of Midland Midland Ph: (08) 9250 2722 [email protected] www.carolsofmidland.com.au Chez’s Crafty Affair Boulder Ph: (08) 9093 2305 [email protected] Cotton Rose Vasse Ph: (08) 9755 8828 [email protected] Just One More Stitch Esperance Ph: (08) 9071 3355 [email protected] Patchwork On Avon York Ph: (08) 9641 1077 [email protected] www.patchworkonavon.com.au

Southlands Fabric & Sewing Centre Willetton Ph: (08) 9259 4844 [email protected] www.sewingperth.com.au The Teddy Tree Mt Hawthorn Ph: (08) 9201 1011 [email protected] www.teddytree.com.au TASMANIA Frangipani Fabrics Sandy Bay Ph: (03) 6224 0244 [email protected] www.franfab.com.au SOUTH AUSTRALIA Arts On Ormerod Naracoorte Ph: (08) 8762 2804 [email protected] Kornacraft Sewing Centre Gawler Ph: (08) 8522 3246 [email protected] www.kornacraft.com.au Ruby & Kate Port Lincoln Ph: (08) 8682 3636 [email protected] www.rubyandkate.com.au NORTHERN TERRITORY Country Bliss Alice Springs Ph: (08) 8953 6866 [email protected] www.countrybliss.com.au Dragonfly Fabrics Shop Alawa Ph: (08) 8948 0691 [email protected] www.dragonfabric.com.au NEW ZEALAND Cushla’s Village Fabrics Auckland & Nelson Ph: +64 03 540 2011 (Nelson) Ph: +64 09 445 9995 (Auckland) [email protected] www.cushlasvillagefabrics.co.nz JJ’s Crafts Taradale Napier Ph: +64 6844 0680 [email protected] www.jjscrafts.co.nz Kitz N Thingz Invercargill & Dunedin rgill) Ph: +64 03 214 9111 (Invercargill) Ph: +64 03 455 5238 (Dunedin) [email protected] www.kitznthingz.co.nz

7

On the road WEST VICTORIA & MELBOURNE

8

9 6 5

10

4 2 3 3

TOUR GUIDE 1 BLACKBURN 2 MOONEE PONDS 3 WERRIBEE & GEELONG WEST 4 BALLAN 5 BALLARAT 6 BALLARAT 7 KANIVA 8 BENDIGO 9 TYLDEN 10 GISBORNE

1. Blackburn

SEWN AND QUILTED

rn Suburbs Where’s Blackburn: Located in the Easte bus. or train car, by of Melbourne; an easy trip

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(also known Where in Blackburn: 92 Whitehorse Road the rear of our at ed locat is shop Our . Hwy) as Maroondah of the shopping house, which is just five doors past the end strip, on the city-bound side of the road. from her Who plays host: Carol, along with huge help fantastic staff members. something new Worth visiting because: There is always colour and with elf yours und surro to look at. Visit us and tea or coffee, of cup a for good s alway inspiration. And we’re see some too. Classes are run most days, so you can ress. prog in s work wonderful by Wendy What we recommend: ‘Flying Fish’ patterns a large range have We Williams are the ‘flavour of the month’! ce. Or we are enien conv your of patterns plus kits available for , with our rway colou own your n happy to assist you to desig threads. nza Elega and felts wool s, huge selection of fabric up on brush to need or e befor felt wool Never worked with es t class to get your embroidery stitches? Then ask us abou you going. We’re here to help. , Vic 3130 Address: 92 Whitehorse Road, Blackburn Phone: (03) 9877 1664 Email: [email protected] Website: www.sewnandquilted.com.au

1

2. Moonee Ponds

TRANQUILITY CRAFTS ‘N SU PPLIES

Where’s Moonee Ponds: Moonee Ponds is in the inner north-western suburbs of Melbou rne. Where in Moonee Ponds: Tranquil ity Crafts ‘N Supplies can be found at 37 Holmes Rd, Moonee Ponds and is just around the corner from the railway station or a quick tram ride from Melbourne.

Who plays host: On your arrival at the store, you will be greeted by Joanne, who has man y years of experience and is always ready to help you. Worth visiting because: We are a shop well worth visiting especially if you’re looking for insp iration, as the walls and shelves are lined with completed samples to get you inspired. We stock a large range of patchwo rk fabrics, embroidery and cross-stitch linens and Aida clot h, embroidery threads and ribbons, including stranded DMC , Cottage Garden Threads, Threadworx, Cosmo and Finca Perl e in sizes 3, 5, 8, 12 and 16. There is also a large variety of kits, patterns, books and notions for stitching, painting, beading and patchwork on offer. Why not join in a class for a fun time and make new friends who share your passion? Extensiv e range of classes are held, including Sit and Stitch, BOM and UFO classes. What we recommend: We recomm end the lovely embroidered wallhanging – Edwardian House (pictured), which is a 12-part BOM that , when completed, mea sures 46 x 33in (approx.). Each month receive a pattern, linen and batting for just $22 .50. For more information, please contact us. Address: 37 Holmes Rd, Moonee Ponds, Vic 3039 Phone: (03) 9375 3575 Email: [email protected] om.au

3. Geelong West & Werribee HEIGHTS SEWING CENTRE

Where are Geelong West & Werribee: You’ll find Geelong just south-west of Melbourne, and Werribee is halfway between Melbourne and Geelong on the Princes Highway M1. Where in Geelong West & Werribee: 176 Pakington Street, Geelong West. Pakington Street is a main shopping street through Geelong West – you’ll find us surrounded by lots of great shops to visit. Shop 1/63 Synnot Street, Werribee. Synnot Street is one of the major roads in Werribee, and we are right next door to Officeworks. Who plays host: Owned by Ken and Marj Wilks. Lynn and Jodi lead the team in Werribee. Worth visiting because: Heights in Werribee has a large range of quilting fabrics to choose from, along with batting, interfacing and haberdashery. If you’re after threads, we’ve got you covered with brands including Signature 40, Robison Anton, Rasant,

Gütermann and QA. We also have the latest in quilting machines, with both the Bernina Q20 sit-down machine and the HandiQuilter Simply 16 with HQ little foot frame. We’re also dealers for Husqvarna Viking, Janome and Bernina sewing, embroidery and overlocker machines, along with Babylock overlockers. To complement your craft room, we have Horn sewing furniture available. Our industry-qualified technicians are available to service all brands of machine onsite at our Geelong West store, or drop your machine into the Werribee store and we’ll look after it. We’re also happy to have bus groups visit the store at Werribee – just call Lynn and Jodi to arrange a time. What we recommend: We really love the Horn gaslift sewing chairs. They are height adjustable, and the chair back just sits snugly in to support your back when sewing. It also has hidden storage under the seat and is available in three colourways. The Accuquilt Go! fabric cutting machine is also another favourite. It’s available in three sizes, and a range of dies is available in each store. Address: 176 Pakington Street, Geelong West, Vic 3218 AND Shop 1/63 Synnot Street, Werribee, Vic 3030 Phone: Geelong (03) 5229 3558, Werribee (03) 8742 6238 Email: [email protected] Website: www.heightsewing.com.au

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4. Ballan MILLROSE QUILTING & GALLERY Where’s Ballan: Ballan is an hour west of Melbourne, between Bacchus Marsh and Ballarat, with the Western Freeway running through town. Where in Ballan: 92 Inglis Street. We’re on one of the main stretches of road that runs through town, in a gorgeous old 1857 stone cottage. Who plays host: Sue Bartleman. Worth visiting because: Not only are we a wonderful quilt shop, but we also have a fabulous cafe, and with our gorgeous food, great coffee, lovely staff, stunning garden and roaring open fires, a visit to Millrose Quilting & Gallery is a treat like no other. We purchased the neighbouring old Masonic Hall next door in 2011 and moved the quilt shop there, so we have a lovely open space with plenty of room for all the fabrics and wools, and the Grand Hall is where we hold our classes. Our wide range of fabrics includes Liberty of London, Kaffe Fassett, William Morris and a large selection of reproduction fabrics. With our selection of handdyed Cottage Garden Threads, ricrac, wool and ribbons, not to mention our range of books and patterns, we are sure to fulfil your quilting needs. Classes are lots of fun and are always inspiring and accompanied by some delicious food, and range from beginners to advanced in all sorts of techniques and styles. We also have fantastic guest tutors sharing their knowledge and expertise.

5. Ballarat

What we recommend: You’ll want to spend plenty of time exploring in the store, so if you’re feeling peckish, our cafe is perfect for relaxing, sitting back with a coffee and a delicious breakfast or lunch. Check out our website for a look at the menu. Address: 92 Inglis Street, Ballan, Vic 3342 Phone: (03) 5368 2995 Fax: (03) 5368 2996 Email: [email protected] Website: www.millrosecottage.com.au

SOVEREIGN NEEDLEWORK Where’s Ballarat: Approximately one hour north-west of Melbourne, on the Western High way. Where in Ballarat: 215 Mair Stre et. We’re one block from the train station and one block from Sturt Street, which is the main street of Ballarat . We are just arou nd the corner from where the Dr Blake series is filmed! Who plays host: Elaine and her friendly staff are only too happy to help you out with any info rmation on needlework. Worth visiting because: There is really nothing else like Sovereign Needlework in the area . Our walls are adorned with a wonderful variety of threads. We also have a range of cross-stitch kits and fabric so you can create your own designs, trammed tapestries, wool, needles and plenty of patterns for cross stitch and knitting. We also have a range of Tilda and Jinny Beyer fabric to go with our stitcheries. You’ll also find lots and lots of books to choose from , so you’ll never struggle to find inspiration. Our kettle is alwa ys on, so feel free to drop in and have plenty of fun browsing . What we recommend: We just love stitcheries, and our wide range of sewing needles and othe r stitching products will indulge any passionate stitcher’s needs. Address: 215 Mair Street, Ballarat , Vic 3350 Phone: (03) 5332 1782

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6. Ballarat

SEW SPECIAL BUTTON HEAVEN

the hard work is Who plays host: Owned by Gael Fennell; all done by Jenny, Paula, Belinda and Lindy. our new and exciting Worth visiting because: Please come to visit in Buninyong by shop old our store. We have now tripled the size of n shop, Sew butto our with n, combining our wool shop, Darn’n’Yar wool and ery, rdash habe your all ase Special. You can now purch buttons 7,000 than more have We . shop t buttons in one convenien ct perfe provide the in stock and pride ourselves on being able to ng quilti x s from Nute button for your project. We also stock range Check out all the wool. and ery rdash habe of range great fabrics, a many more. and i, latest yarns from Noro, Sublime, Patons, Amur s and bus group r Large . New patterns and yarns are arriving often car park large a is there em: probl tours are welcome. Parking is no me. welco are s order e onlin and at the rear of the shop. Mail ns and yarn, but What we recommend: Our passions are butto the young at heart. we also have a great range of fun fabric for in store r bette and r bigge new, a in are We project with you, Where’s Ballarat: If you plan to visit for our buttons, bring your we are only ng, Geelo from ing Com rat. Balla n, Reda of that certain button the suburb and we will be only too happy to help find Coming from Ballarat, road. the down er furth tes minu 10 er anoth that will bring your work alive. Vic 3350 we are now a lot closer. Address: 107 Rubicon St, Redan, Ballarat, rat, head along Where in Ballarat: From the centre of Balla Phone: (03) 5335 5302 From Geelong, simply Skipton St and turn right at Eclipse Motors. Email: [email protected] to send hubby while turn left at Eclipse Motors. (It’s a great place Website: www.buttonheaven.com.au you browse.) NE NE W W LO SH CA OP TI , ON

7. Kaniva

LITTLE DESERT QUILTS

Where is Kaniva: Kaniva is the closest town to Little Desert Quilts, as we are in a remote part of Australia, near the border of South Australia and Victoria. Where in Kaniva: The store is not in Kaniva proper, but actually on a sheep farm a short drive from Kaniva. We are on the edge of the Little Desert, 22km south of the main MelbourneAdelaide highway. Who plays host: Fleur Maddern owns and runs the store. Worth visiting because: With over 3,000 fabrics in store, we specialise in novelty fabrics and have a huge range of farm and machinery fabrics, including large panels and coordinates of tractors, trucks, motorbikes. Not to mention the transport, tools and gadgets, foods, sports, wild animals, farm animals, Australian flora and fauna, landscape fabrics, not girly stuff prints! We stock fabrics for boys, which can be hard to find. You can also find the 250 Jinny Beyer Pallete range of blender fabrics and 100s of other blender and tone-on-tone fabrics in store, along with a wide selection of wideback fabrics, battings, interfacings and fusible products. You’ll be amazed by our carefully curated sections of haberdashery in store – designing, measuring, cutting, pinning, stitching, pressing, marking and quilting! Let’s not forget our large range of patterns and books, and we are happy to cut kits for any project you would like to make. Fleur teaches general patchwork classes on

Wednesdays and Fridays and runs some weekend workshops, teaching specialised techniques, including One Block Wonder, Stained Glass, Bargello, Bargello in the Round and other unique methods. Patchwork and craft groups or bus tours are welcome to visit Little Desert Quilts for a shopping trip, or a mini class can be arranged. What we recommend: Cinnamon Sticks are fabrics rolled with magic papers for making perfect half-square triangle blocks. Completed blocks can be swapped and shared with other patchworkers with confidence, as they are all the same size. We recommend a visit to the shop (or the Facebook page) to see the range of fabric on offer. Please ring prior to visiting Little Desert Quilts, just in case Fleur is busy on the farm or away from the homestead. Address: 2204 Kaniva-Edenhope Rd, Kaniva, Vic 3419 Phone: (03) 5392 2234 Email: [email protected] Website: www.facebook.com/Little-DesertQuilts-195560660567211

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8. Bendigo BENDIGO WOOLLEN MILLS Where’s Bendigo: It’s about one-and-a-half hours’ drive north of Melbourne. Where in Bendigo: 4 Lansell Street. If you’re coming from Melbourne, head through town, past the fountain, follow the tram tracks through the main street, turn right, as if heading to the Tram Museum, and we are just around the corner. Who plays host: Ann can usually be found in the shop and is very helpful with any questions. Worth visiting because: We have a large selection of yarns, ranging from 2 ply to 12 ply using luxurious fibre blends and, with over 170 colours to choose from, you can always find the perfect yarn for any item. We have patterns and accessories: everything you need from the start to the finish of your project. Our yarns come in large 200g balls, which means fewer joins for ease of knitting. We’ve recently released a new limited-edition yarn, so pop in and see what all the buzz is about. Our factory shop is open 9am-5pm Monday to Friday and 10am-3pm Saturday and on public holidays. What we recommend: The Bargain Room is a must see for anybody who comes into the shop. It’s full of end-of-run yarns: you might a get a shade or yarn you’ve never seen before. Address: 4 Lansell Street, Bendigo, Vic 3550 Phone: (03) 5442 4600

9. Tylden

PICK UP STITCHES

town, 83km from Where’s Tylden: Tylden is a lovely country Melbourne, near the Macedon Ranges.

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Email: [email protected] Website: www.bendigowoollenmills.com.au

We are now 10km Where in Tylden: 43 Trentham Rd, Tylden. Kyneton. down the road from our clearance store in Who plays host: Sharon Boxshall. all things knitting Worth visiting because: We absolutely love ises, we’re prem r large a to ng and patchwork and, after movi s, plus a fabric erful wond with filled s lucky to have three room the craft as store our of think to like We lovely vintage cafe/bar. to be filled with that equivalent of a lolly shop, where you’re sure fabric. Not only sense of excitement when you find your dream also have a we do we have a wonderful range of fabrics, but , Heirloom, Noro ding fantastic selection of wool products, inclu extensive an have We . yarns Sirdar Sublime and speciality sock felting, ng, quilti , work patch on s selection of patterns and book wanting e you’r ct proje ever what so g, knitting, crochet and sewin days Sew and h Stitc . hand at s alway is to start on, inspiration s alway are and year the t ghou throu held and evenings are popular, so why not join in the fun? ton is currently a What we recommend: Pick Up Stitches Kyne remains, plus our fabric clearance centre where all our patchwork opening hours. for 6614 5422 yarn is up to 50% off. Please call (03) 3444 Vic n, Address: 43 Trentham Rd, Tylde Phone: (03) 5424 8104 Email: [email protected]

10. Gisborne

PATCH’N QUILT

Where is Gisborne: Gisborne is loca ted at the foot of the Macedon Ranges. Take the Calder Highway , take the Gisborne turnoff, follow Hamilton St through to the third street on the right into Prince St. You will be greeted by a tree-lined street, with plenty of parking, and my shop has a quilt painted on the window.

Who plays Host: Mary Kelly own s and runs the shop. Worth visiting because: Patch’n Quilt has a wide range of different styles of fabrics to offer from brights, reproductions, 1930s, Liberty, printed denims, bac kgrounds, wide backs and linens. The shop is light-filled and welcoming, beautifully laid out in colours, for ease of access and viewing. I stock quilting hardware, including batting, and threads including Gumnut poppies and stars, Appletons, Cott age Garden Threads and DMC. Our range of knitting wool is expanding along with the haberdashery lines. We also offer sewing-machine repairs for all sewing brands. Regular classes and workshops are held in the big light-filled classroom. Check out our latest blog posts, and of course, I would be thrilled to welc ome you instore. What we recommend: I love the colour orange – it’s such a happy colour – and I love chatting and helping people with their projects. l feel lucky that l am in an industry that l love so much. I love my shop; it’s as simp le as that . And I would love to see you here! Address: Shop 4, 14 Prince St, Gisb orne, Vic 3437 Phone: (03) 5420 7333 Email: [email protected] Website: www.patchnquilt.com.au Instagram: patchnquilt

Beautifully Hand-dyed NZ Yarns Merino, Sock & Alpaca 15 fabulous colour choices

Be inspired... by one of our one-skein patterns

Check out our website for new arrivals www.knitcola.co.nz Find us on facebook Knitcola

P: +64 3 308 9085 E: [email protected]

www.knitcola.co.nz Homespun

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Market Place

PRODUCTS OF THE MONTH P

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HEIGHTS SEWING CENTRE

TRANQUILITY CRAFTS ‘N SUPPLIES

LILY LANE QUILTING

BERNINA Q20 LONG-ARM QUILTING MACHINE

SWEET AND SOUR

BUGS IN SHADOW BOXES QUILT

Quilt Big with an amazing 20in throat space, needle threader, built-in stitch regulation, M class bobbins, LED lighting, touch screen and many other great features all in the long-arm quilting machine you’ve been waiting for.

Sweet and Sour, an English paper pieced quilt, will make a great wallhanging or table centre. The pattern, papers and template are $32.95. Or the complete kit (including fabric as per photo, the background and binding) is just $69.50.

Fun little crawly bugs adorn this lovely bright quilt. Delightful, colourful and easy to make. The kit includes all fabric and pattern. Simply add more boxes for a larger quilt.

Phone: Geelong (03) 5229 3558, Werribbee (03) 8742 6238 Email: [email protected] Website: www.heightsewing.com.au

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Phone: (03) 9375 3575 Email: [email protected]

Phone: (03) 5199 2777 Email: [email protected] Website: www.lilylane.com.au

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THE TEDDY TREE

ECHIDNA SEWING PRODUCTS

CRUCCI TERRA FIRMA 100% WOOL

SOFTLIGHT GLOW IN THE DARK THREAD

Crucci Terra Firma 100% Wool is a superchunky yarn that works up so quickly. Also features a free pattern for a cowl on the label. $22.90 per hank.

Echidna Softlight Glow in the Dark sewing and embroidery threads are durable and will glow in the dark after being exposed to the light. Perfect for adding fun and decorative touches to stage garments or fancy dress, Halloween costumes or children’s clothes. Purchase individually or in a pack of six.

Phone: (08) 9201 1011 Email: [email protected] Website: www.teddytree.com.au

Phone: 1800 000 360 Email: [email protected] Website: www.echidnaclub.com.au

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ACCUQUILT

SEWN AND QUILTED

GO! QUBE MIX AND MATCH SETS

80WT COTTON THREAD

Everything you need to get started. Just add fabric! Each Qube includes: eight Mix & Match GO! dies, cutting mat and storage box, instructional DVD and pattern book, 13 free block patterns. Available in 6in, 8in, 9in and 12in finished block sizes.

You will fall in love with this fine and most beautiful thread. It is amazing to use for either appliqué or hand piecing. Join our thread club to enjoy the superb collection.

Phone: (02) 4337 3737 Email: [email protected] Website: www.accuquilt.com.au

Phone: (03) 9877 1664 Email: [email protected] Website: www.sewnandquilted.com.au

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10 EXPERTISE EVENTS THE SYDNEY CRAFT & QUILT FAIR

CYNTHIA’S ARK

HABIT PATCH

MISSOURI STAR QUILT CO RULERS

BEAUTIFUL BOOKS

Did you know we stock Missouri Star Quilt Co rulers? You can now purchase the rulers featured in the famous Missouri Star Quilt video tutorials from Cynthia’s Ark. And we are always adding new rulers to our vast stock.

Some of the beautiful books available at Habit Patch include: Constantinople Quilts, All Points Patchwork, Quilts from the Colonies, Millefiori Quilts 1 and 2 and so many more.

Phone: (08) 8527 2120 Email: [email protected] Website: www.cynthiasark.com.au

Phone: (08) 8733 1155 Email: [email protected] Website: www.habitpatch.com.au

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The Sydney Craft & Quilt Fair returns to Darling Harbour from June 22-25, 2017 – at the new International Convention Centre Sydney (ICC), in Darling Harbour, which is easily accessible with all modes of public transport. Highlights of the event include the Sydney Quilt Show, free workshops, make and take classes, and a huge range of exhibitors with unique and boutique supplies, for knitting, crochet, sewing, quilting, papercraft and jewellery making all under the one roof. Phone: (02) 9452 7575 Email: [email protected] Website: www.aqc.com.au

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CROSS STITCH CORNER

TAJIMA AUSTRALIA

SOMETHINGS COUNTRY

TAPESTRIES

MADEIRA AEROLOCK ALL PURPOSE THREAD

SEW BETTER SET OF 10 ROTARY BLADES

More than 200 tapestries in stock, so you are spoilt for choice. Choose animals, people, countryside, vehicles or flowers plus trammed tapestry. Happy stitching everyone.

Madeira Aerolock All Purpose sewing thread is a top-quality 100% polyester core-spun thread. Only this type of construction guarantees longevity even if the seam is frequently washed and heavily strained. So, no matter what use you make of it, this thread will provide you a long-lasting final product.

These super-sharp rotary blades will fit most 45mm rotary cutters for a fraction of the cost. Don’t waste your time and money with blunt and inferior-quality blades. Pack of 10, just $19.95 with free postage.

Phone: (07) 4096 5109 Email: [email protected] Website: www.cross-stitch-corner.com.au

Phone: 1300 283 460 Email: [email protected] Website: www.tajimaaustralia.com.au

Phone: (07) 4162 2040 Email: [email protected] Website: www.somethingscountry.com

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LEUTENEGGER

FABRIC PATCH

DMC NATURA SPRING YARN

SHARK APPLICUTTER The Shark Applicutter, by Rob Appell, of Man Sewing, makes cutting appliqué shapes easier with its precise 14mm blade for supurb accuracy, soft left- or right-handed grip and safety fin.

This beautiful soft 100% cotton yarn, with a brushed matt finish, offers an outstanding resistance, especially against many machine washes. Thanks to its softness and high absorption and eight exciting colours, it is especially suitable for clothing decoration.

Phone: (07) 5442 4613 Email: [email protected] Website: www.fabricpatch.com.au

Phone: (02) 8046 4100 Email: [email protected] Website: www.leutenegger.com.au

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FREUDENBERG

BERNINA AUSTRALIA

VILENE CREATIVE RANGE

Q-MATIC

The Vilene Creative Range is ideally suited for all kinds of handicraft work, like creative applications, embroideries, bags, patchwork and quilts and other textile craft work. You can even create your own individually designed outer fabric.

Bernina’s state-of-the-art system for automated quilting, Q-matic, fulfils your automated quilting needs in just a few simple steps. Whether you’re stitching simple edge-to-edge designs or custom patterns, Q-matic will enhance your masterpiece, with its user-friendly interface making finishing your quilts extremely easy.

Contact: Trade and general enquiries, contact our distributors, Birch or Sydney Sewing Supplies. See Stockists page.

Phone: 1800 237 646 or (02) 9899 1188 Email: [email protected] Website: www.bernina.com.au

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WACKY JACKYS

PFAFF

CAROLS OF MIDLAND

BALI QUILTING AND TEXTILE RETREATS

PFAFF CREATIVE SENSATION PRO II

BOOK SIGNING EVENT FOR WEEKEND QUILTING, BY JEMIMA FLENDT

A family-owned Australian company specialising in Bali quilting and textile retreats. Tours include return flights, transfers, accommodation, breakfast, morning/ afternoon tea on workshop days, sewing and batikmaking classes, shopping and cultural tours.

Experience the brilliance and clarity of the most modern technology, and more perfect results than ever before with this top-of-theline sewing and embroidery machine.

Join us on June 24 from 10am-1pm to celebrate Jemima Flendt’s book – Weekend Quilting. Get your signed copy and enjoy morning tea while viewing the quilts, cushions and projects from the book. RSVP by June 18 on [email protected]

Phone: 0408 995 440 Email: [email protected] Website: www.wackyjackys.com.au

Phone: (02) 4337 3737 Email: [email protected] Website: www.pfaff.com/au

Phone: (08) 9250 2722 Email: [email protected] Website: www.carolsofmidland.com.au

Homespun

NEXT MONTH IN HOMESPUN

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IN THE RED! Time to get stitching so you’re ready for Christmas HUSQVARNA HUSQVARNA OPAL RANGE

Q Appliqué a fairytale

Go from good to great sewing with the Opal range. The Opal 690Q and the Opal 650 both feature built-in assistance along with a large 8in sewing space and the unique Exclusive Sensor System™.

table runner

Phone: (02) 4337 3737 Email: [email protected] Website: www.husqvarnaviking.com/au

Q Embroider a

child’s pillowcase and Santa bag set

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FAERIES IN MY GARDEN CLOCK NOTICEBOARD Using appliqué and embroidery, our wonderful and unique clock noticeboard would be a great addition to your sewing space. Kits, including clock mechanism and hands, are $59, pattern is $29 with threads at $18, plus postage. Phone: (07) 3869 0808 Email: [email protected] Website: www.faeriesinmygarden.com.au

Q Knit tthe cutest Santa be

ar ever

Q Make a set of beaded

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t s as tree Xmas felt Xm

KORNACRAFT THICKET PANELS BY GINGIBER FOR MODA If you missed out on these gorgeous panels last year then grab one now. Only $30 for all four pictures (90cm x 1.1m) or $15 for the smaller panel version (45cm x 1.1m) and includes postage within Australia. Phone: (08) 8522 3246 Email: [email protected] Website: www.kornacraft.com.au

+ LOTS, LOTS MORE July Ju ully y Homespun on sale July 6. Homespun

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STOCKISTS & CONTACTS A

shford Craft Shop Email: sales@ashfordcraft shop.co.nz, website: www.ashfordcraftshop.co.nz. Ashford Wheels & Looms Ph: 1800 653 397, website: www.ashford.co.nz. Asia Discovery Tours Ph: (02) 9267 7699, website: asiadiscoverytours.com.au. Australian Country Spinners Ph: 1800 337 032, website: www.auspinners.com.au. endigo Woollen Mills Ph: (03) 5442 4600, website: www.bendigowoollenmills.com.au. Bernina Australia Ph: 1800 237 646, website: www.bernina.com.au. Berry Quilt & Co. Ph: (02) 4464 3387, website: www.berryquiltandco.com.au. Birch Haberdashery & Craft Ph: (03) 5442 4600, website: www.birchhaby.com.au. Black Possum Fabrics Ph: (02) 4997 0866, website: www.blackpossumfabrics.com. Brother Australia Ph: 1300 880 297, website: www.brother.com.au. arol’s of Midland Ph: (08) 9250 2722, website: www.carolsofmidland.com.au. Clover Mfg Co., Ltd Email: [email protected], website: www.clover-mfg.com. Constantine Quilts Ph: (08) 8825 6214, website: www.constantinequilts.com. CraftAlive Ph: (03) 9682 5133, website: www.craftalive.com.au. Craft Project – Charles Parsons & Co Ph: 1300 364 422, website: www.craftproject.com.au. Cross Stitch Corner Ph: (07) 4096 5109, website: cross-stitch-corner.com.au. Cynthia’s Ark Email: [email protected], website: www.cynthiasark.com.au. ragonfly Fabrics Ph: (08) 8948 0691, website: www.dragonfabric.com.au. chidna Sewing Products Ph: (07) 3390 3600, website: www.echidnaclub.com.au. Expertise Events Ph: (02) 9452 7575, website: craftevents.com.au. abric Patch Ph: (07) 5442 4613, website: www.fabricpatch.com.au.

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Faeries in My Garden Ph: (07) 3869 0808, website: www.faeriesinmygarden.com.au. Fiskars Australia Ph: (03) 8645 2400, website: www.fiskars.com.au. Flip la` K Ph: (02) 4992 1631, website: www.fliplak.com. Freudenberg Performance Materials Website: www.vlieseline.com. irls’ Shed Ph: 0409 748 600, website: www.girlsshed.com.au. abit Patch Ph: (08) 8733 1155, website: www.habitpatch.com.au. Height’s Sewing Centre Ph: (Werribee) (03) 8742 6238, (Geelong) (03) 5229 3558, website: www.heightsewing.com.au. Hettie’s Patch Ph: (08) 8346 0548, website: www.hettiespatch.com. Horn Australia Ph: (08) 8209 2800, website: www.horn.com.au. Husqvarna Viking Sewing Machines Ph: (02) 4337 3737, website: www.husqvarnaviking.com/au. anome Ph: 1300 526 663, website: www.janome.com.au. ornacraft Sewing Centre Ph: (08) 8522 3246, website: www.kornacraft.com.au. eutenegger Ph: (02) 8046 4100, website: www.leutenegger.com.au. Lily Lane Ph: (03) 5199 2777, website: www.lilylane.com.au. Little Desert Quilts Ph: (03) 5392 2234, email: [email protected]. Lyn’s Fine Needlework Ph: (02) 9686 2325, website: www.lynsfineneedlework.com.au. illrose Quilting & Gallery Ph: (03) 5368 2995, website: www.millrosecottage.com.au. npoint Patchwork & Needlecraft Ph: (02) 4968 0094, website: www.onpointpatchworkand needlecraft.com. atch ’n Quilt Ph: (03) 5420 7333, website: www.patchnquilt.com.au. Perivale Gütermann Ph: (02) 9416 0605, website: www.guetermann.com.

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Pfaff Sewing Machines Ph: (02) 4337 3737, website: www.pfaff.com/en-au. Pick Up Stitches Ph: (03) 5422 6614, email: [email protected]. ainbow Patchwork Ph: 02 6622 3003, website: rainbowpatchwork.com.au. ew Many Stitches Ph: (02) 4628 4437, email: [email protected]. Sewn and Quilted Ph: (03) 9877 1664, website: www.sewnandquilted.com.au. Sew Special Button Heaven Ph: (03) 5335 5302, website: www.buttonheaven.com.au. Singer Ph: (02) 8811 1900, website: www.singerco.com.au. Somethings Country Ph: (07) 4162 2040, website: www.somethingscountry.com. Sovereign Needlework Ph: (03) 5332 1782. Sydney Sewing Supplies Ph: (02) 9672 3888, website: www.sss.com.au. Stitches from the Bush Email: [email protected], website: www.stitchesfromthebush.com.au. ajima Australia Ph: 1300 283 460, website: www.tajimaaustralia.com.au. The Patchwork Angel Ph: (07) 5477 0700, website: www.patchworkangel.com.au. The Stitcher’s Cupboard Ph: (02) 4655 8348, website: www.thestitcherscupboard.com.au. The Strawberry Thief Email: robyn@thestrawberrythief. com.au, website: www.thestrawberrythief.com.au. The Teddy Tree Ph: (08) 9201 1011, website: www.teddytree.com.au. Tranquility Crafts ‘N Supplies Ph: (03) 9375 3575, email: [email protected]. Travelrite International Pty Ltd Ph: 1800 630 343, website: www.travelrite.com.au. acky Jackys Email: [email protected], website: www.wackyjackys.com.au. elly's Craft & Gifts Ph: (02) 6847 9131, website: www.zellyscraftsandgifts.com.au.

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191000 Easy-action Pinking Shears: New style of Easyaction Pinking Shears with spring-assisted, softgrip® handles makes long pinking jobs more comfortable. One blade is longer than the other, to allow for easy continuity when “pinking” a long piece of fabric. Slide locking device keeps blades closed for safety and to prevent damage.

A CUT ABOVE: INTRODUCING A NEW GENERATION OF FISKARS EASYACTION SCISSORS 190600 Easy-action Rag Quilt Snip: These spring-action snips and softgrip® handles make the repetitious cutting to “rag” double seams easier and more comfortable. The tips are short and wide for extra strength, and blunted to prevent cutting into the stitching on your seams. Slide locking device keeps blades closed for safety and to prevent damage. 190520 Easy-action Micro-tip Titanium 5” Snip: Endorsed by Arthritis Foundation for ease of use, these spring-action scissors are comfortable to use and reduce hand fatigue during lengthy cutting projects. They have a double grind on the tips, making them perfect for intricate cutting or “fussy cutting” when there is the need to snip into tight corners. Titanium-coated blades provide resistance to corrosion and are more durable. Slide locking device keeps blades closed for safety and to prevent damage. Visit our website www.fiskars.com.au for more information. Available from stockists Flip la K, Spotlight and Trendy Trims (NZ).

l-purpose Shears: Endorsed 71787097 Easy-action General-purpose by Arthritis Foundation for ease of use, these spring-action 8” Shears are perfect for making long cuts with less stress on the hands. The comfortable softgrip® handles are ergonomically shaped to add to the experience of comfortable cutting. Titanium-coated blades provide resistance to corrosion and are more durable. Slide locking device keeps blades closed for safety and to prevent damage.

“The most e in h c a m le b a d n depe on ear th.” TULA PINK, QUILT ER AND FABRIC DESIG NER

“My BERNINA never lets me down.” Tula Pink expects her machine to consistently perform. She loves the proven stitch quality, unmatched reliability and made-for-the-sewist design only BERNINA offers. You will too. Find a store near you at bernina.com.au.

Toll free 1800 237 646 • www.bernina.com.au • shop.bernina.com.au

Australian Homespun June 2017

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