scandinavian needlecraft 35 step-by-step projects to create the scandinavian homescandinavian needlecraft CLARE YOUNGS CICO BOOKS LONDON NEWYORKlrtreduction eta og wth enbriered bid a bog wth embroidered bi Ble dencelon fled bog Scag fog | ig rol wiht dein Fedak beg) ol Gifts and decorations Folk horse wall hanging Coat hanger cover Reindeer Tipe recsures Christmas sockings Folk bird garland Embroidered gif tage 4 6 10 12 16 20 24 26 32 contents Kitchen Erraded sek lg ie Bhe ering to evel “bie umn Folkbeo ogg coces Clothes and accessories fleecy ot woe! dippers ied aera ces Embroidered linen calor Feral winter seat Sean el mites Fell boby boots Semple linen chess 40 42 46. 4g, 50. 92 34 58 0. 62. 64 66 68 Soft furnishings ‘Applcus bd pilow Bhs border how Enbrodered pelnet ond curtain Cian teboek rd Ei hs pa Vintage foal dpcore Coton we bath not Patch div coe Grossaitch heat plow Grgfern bead cu Temploles and sich guides Techniques a Acknowledgments 72 % 78 80. 82 84 86 92 om. 7 125 128introduction Scandinavia is made up of five countries—Denmark, Finland, Iceland, Norway, and Sweden—with a varied landscape of forests, lakes, mountains, rivets, and thousands of islands forming archipelagos along rocky coastlines. For three months of the year, the days ‘re long, and filed wit ligh; forthe rest of the year, the days are short and the nights long ‘and cold. The home is the center of family life d there is an eagemess fo fill it with h and light and make i'@ cozy place to see out the winler months The area has long tradition of folk att ismanship. The practicalities of remote, ural life and limited resources h n understanding of the simple, honest beauty of natural raw materials such as linen, wool, and wood. The countries af jeeped in myths ger on furniture, omaments, and legends, and traditions that have been cherished and handed down throug lions, and many of these have found their way into kaditional mot time, handicraft goes hand in hand with a respect for the natural johing. AV the sa world: animals, natural forms, plants, flowers and trees, and # seasons have all chang} been sources of inspiration in Scandinavian design. The pale colors used in Scandinavian Inleriors reflect the c lear northern light. The color palette is made up of tones of chalky whil cheery, vibrant reds, bl ver grays, milky blues, and sof gree es, yellows are picked out on fumiture and in the soft furnishings, 10 make comfortable and welcoming place. It is all about hygge—a Danish word that means «© sense of wellbeing, a comfortable feeling, coziness, and pleasure in the simple things in life It is @ look that I-ond many other people—love. The unpretentious balance between function and beauty, the calm serenity of pale, uncluttered interiors, and the use of beautiful natural materials have made Scandinavian design renowned the world over This collection is largely inspired by my love of Scandinavian textiles, from early traditional embroidery to the bold, abstract, and innovative fabrics of the Finnish textile company Marimekko in the1960s and '70s, to the wonderfully colorful and organic designs of Josef Frank, wilh so much in between, But | ho Iso looked at many olher aspects of Scandinavian design in my research, from beauifully painted folkan! furniture and murals and the inkicale, hand: carved wooden furniture of the 18th century fo traditional ceramics of the 19th century, as well as more recent designers such as the sist Sig Lindberg and the clean ines of Danish designer Ame Jacobsen. | have been inspired by the architecture of Stockholm's Old Town square and by the natural beauty of the Scandinavian landscape, from the pine and birch forests that cover much of northern via to the blue, green, and gray colors of the lakes, glaciers, and surrounding seos. In this book, | have tried to translate all these sources, and more, into the medium of textiles without losing any of the spirit and vitality of the original Anyone new to sewing will soon realize how relaxing sewing, especially embroidery can be. It is a pleasure to see something develop slowly and the satiskaction you will gain from holding a finished piece sewn by yourself is immense and something fo be proud of. You may nol get a perfect sich every time: perfection comes with years of proctice, patience, cond a willingness lo unpick and redo! But | do not believe embroidery has to be absolutely perfect: the odd wobbly line or a few misplaced stiches all reinforce the charm of a homemade piece Ive given full sleprbystep insuctions and stitch guides for each project ond, if you're new fo embroidery oF come actoss a stich that you'te not sure how to work, the techniques section on pages 117-124 will provide all the information you need I hope you gain as much pleasure from these projects os | have and they give you the confidence to experiment and develop your own ideas. Before long, you will be making beautiful things for yourself and wonderful gifts for your family and friends.CHAPTER ONE bagsfelt bag with embroidered bird The bird image is a popular motif in Scandinavian craft. Designs are passed on from generation fo generation and even odey many modern Scandinavian designers reveal their ols in the folk art of years gone by. | made this bag out of beautifuly thick fel, which is quite hard to source. Wool felt isthe bes. If you connot find any the tight thickness, use a double layer of thin felt and machine stitch around the top and handle holes to join the layers together. > Po \ \ a 1 Enlarge the bog temples on page 96 by 250 percen! (see poge 117) ia Transfer the bag shapes to thick | cream felt and the appliqué hopes to hin bue fel, and cut out. Using dressmaker's carbon paper, aster the sitch design to the front panel of he bag Isee page 118) Cut out he thee leaf sections from the fron panel 2 Place the blue cotton fabric behind the \ cutout leof sections. Pin itin place, making sute that is free of wrinkles. Using tread thot matches the felt, machine topsich round each cutout leaf shape, siching close o the edge. materials peoete sh ee AO x 18 in, (100 x 45 em) thick cream felt Small piece of blue cotton fabric to go behind the cutouts Small piece of blue Fel for the appliqué 3% x 114 in, (9x 4 em) oronge felt for the label Dressmakers carbon paper Blue and green stranded embroidery floss (cation) felt bag with embroidered bird 75 Fold the lobe in half lenghwise and sew up each long side close to the edge. 6 Wilh wrong sides together, pin he kont cand bock panel ofthe bag together along the side edges, inserting the label in the seam in. (2.em| down from the top lef edge, 7 Fin the base to the botiom of the bag and baste (lack) it in place. Using bive embroidery floss [coton), work the decorative cross sich ‘round the sides and base ofthe bag. Bring tho needle out al the top of one side seam con the right side, obout Ye in. (3 mn) down iy from the top of the bog and ¥ in. {5 mm in Hf, fom ho side, Take he raed ovr toto ofthe bag ond bock through the same hole. Make evenly spaced diagonal sliches all down the side seam and ‘round the base, Fast of, then work A the second side seam in the same way. Ga 8 Come back he ether way, making diagonal siiches the! startin the opposite direction so that they cross over on the icined edge folt bag with embroidered bird 9blue dandelion felted bag 1... materials Scandinavian patiein work is stylized. In the 1950s, a much freer, looser stitch was Teese ‘and sftch guide on rage sometimes used, olen adapted ftom fadtional embroidered mots. took his syle as my 9 5 (0 em bb inspiration and embroidered a simple dandelion motif on a subtle milky-blue felted wool, feled wool 1212 25 in, 82 x64 em) caon Suede handles givo the bag that extlueiou fel oe Dressmaker's carbon poper or "ssve poper Two 19x 14in, (48 x 4em) strips of dark blue or block suede for handles 3x14 in [Bx 4 em) orange fat for label Dork blue ond vite srondet ‘embroidery floss (colton) 1 Enlarge the iomplates on page 97 by 200 petcent [see poge 117]. Transfer them 1 the fabrics (s02 poge 1 18), cand cul out one font and one back section fiom both the felled wool and the lining fobic. 2 Using dressmake’s carbon paper othe fssue paper and basting tacking] method {see page 116) transfer the patiern lo the fon! of the bag. Following the sich guide on page 97, using dark blue ‘embroidery floss [cotton), embroider the dandelion, 3 Using white stranded embroidery floss (coton}, embroider the label motif on one half ofthe piece of orange fel. Fold the Fel in half widhwise, ‘wrong sides together, ‘and machine sich down each ofthe side edges close to he edge. 41 Pin the font and boc lining pieces ‘ight sides together. Machine stich down each side and calong the bottom of the lining. Tim the seam allowance and cut across the comers fo reduce the blk, Repeot wih he front and back bag pieces, positioning the label between the front and back pleces about 1¥2 in. (4 em) down fom the top and iJ focing in toward the bag, 4 | WV 10 bagsge of the bog {see page 120),stortorget tote bag in the Old Town, the Gamla Stan, of central Stockholm. led 1 2 Slortorget is the mai mater square is lined w Motif on page 97 d 1 Bthcentury houses in shades of och Dressmakers carbon paper and reds, some with k ‘Approx. 1% yd (1.1 m) ble cotton dill or canvas, 44 in, (112 em) wide, for the outer bag ful curvy facades, which provided the inspiration for this stu Keep it at the botiom ofthe stairs to store all the clutter that gathers there, or use Approx, 14d (1.1 m) red coton lil, 44 in, (112.em) wide, for managed without it! the lining shylish toy F even a po} White sewing cotton Two 14 x 2in, (4 x Sem) pacet of green Felt forthe label Red stranded embroidery floss {cotton} 2 on page 97 by lage the hand embroider the desig width of ho zigzag to make fh lines forthe twigs in the tee stortorget tote bag 1341 With righ sides together, pin the boom edge of the embscidered front panel to one long side of the base oblong. Stating and finishing Yein. (1 em] from the end, toking a Yin. (1m) seam, machine stich ‘long the lenglh. Attach the side and back panels 1 the base in the ‘same way, Pin the side seams together, inortng the label in position in the font right secm. 1 i. 4 em from the top and facing inward Machine sich Trin the seam allowance and press the seams open, 7 Wih sight sides together, place the lining section inside the outer sectfon Postion the handles facing down into the bag, sandwiched between the lining and the outer bog, 2% in. (7 em} in tom {20ch side edge on the back and front sections of the bog. Pin in place. Taking a in. (I-cm) seam, machine sich all cround the lop edge of the bog 14 bags 5 Repeat Step 3 to moke the lining, but leave a Sin. [12cm gop in one side seam. * we 6 To make the handles, take the hwo 7 long stips—one ofthe outer fabric and one ‘of he lining, Pin them right sides together. Taking 2 Yein.(1-om) seam, machine sich down each long side. Tim the seam allowances to Yin, (Sm). Tur right side out Press. Repeat to make the second handle, d QQ wi 8 Tum the bog right side out. Slipstich the aap in the lining seam closed see page 120}, Press.log roll with twig detailing icra: A slack of logs next to an open fireplace is @ homely, comforting sight. log Template and stich guide on page 98 baskets oe a populr way o storing them neni, but this log rll makes seta cron paper stylish allemative. Made from thick dill or canvas and finished with a 32 24, (80 60 en) canvas or dil removable liner made of plastic sheeting (bough! from a gorden center) and 32x 24 in, (80x 60 en denim st jing he it is both ti tive i org webbing handles, ts boh proccal and atactve, The ig design 9274 ci (on the front is machine stitched and is inspired by the birch trees of the sheeting inavion 14x24 in, (8 x6 em) orange Scandinavian forests. ee rang 20 in, (50 em! lengh of Yin. 11 Enlarge the twig design on poge 98 by Sel your sewing machine to 0 (1-em) black cotton tope 200 percent iee page 117. Using crssicke’s wide, close zigzog sich, Stich he 2Ysin, [ben legh of Vin catbon paper [see page | 18], rsferitio design in begray thread, adusing (em) black eaten tape th top righthand econ ol he camer, iin. the wid of he sich os nce” 08 tye 50m (130) apo in [4m in fom the top ond side edges. you go. you ples, you con sich Sem) webbing by hand using sain sich 4 suc eee Gea Gee tape Blueray sewing thread Whit stranded embroidery floss i {cotton} y 3 Fin the comvas and denim panels right Machine stitch sides together, sandwiching the 20% ‘round all sides 4 in. (50cm) length of block coton tape (1 can) fom the edge, betiveen the layers at the center ofthe leaving 0 Sin. [12cm] gop in botom seam, making sure thatthe length cone side. Tim across each is tucked inside. comer and trim the seam NDB tor na Yin (1m) hem ‘on the top ond side edges, Press, pin, and machine topsich, stitching 0s cose tothe edge ofthe fabric as possible, edge, Yin, [1 em) from the edge. Tim he materials Template and sich guide on page 104 Thin cond Fodeaway marker pen Two sri of cation fabric, 3! in. (8 em) wide, length o: desired Blue ond green skonded embroidery fs (cotton) are wet cllowance to Y% in. (5 mm], ond cut tiny Vshaped notches We| making sure that you do not eut through the sichingGIPLON Hong this apron on « hook or on the back of a door lo bring a bit of Scandinavian chic to your kitchen. | used a striped linen, but ticking could also work well, especially in a red stripe to contrast with the denim. | decided fo use o herring motion the pocket design; it forms part of many traditional Scandinavian dishes, so is perfect for cooking in, Qyzy a, BL 211) Enos peter orice of by 200 pecent (see pope { [Medias ore ene testyctiee tote cal fle detect pat ces be + | labic and cu out. Fld over a ein [cm] double hem on the bottom ‘edge, pin, ond machine stich. Repeat with th making sure the hom is flat, then s and curved side edges, | the straight side edges inthe same wey. pico 2 Using light dressmaker’ carbon paper 1 the ce 0 pax materials ‘Templates and stich guide on page 10 40 x 40 in. (100 x 100 em) striped linen 11% 167 in, (28x 41 cm denim fer pocket Dressmaker’s carbon poper White sewing thread 2x2 in. (6.5 x 5 cm) red felt fo abe White stranded embroidery floss (cotton ‘on poge 105 to the denim pocket 12 118]. Machine sti using a tight zigzag stich the design5 Pin he pocket on the apron, tucking the label under the right hand edge of the pocket, Yin. (1 cm] fom the lop, withthe rave edges lacing inward. Meche stich along the two sides ond base of pocket, close fo the edge, so that you have formed a double row of siches. Machine slic ftom the top to the bottom ofthe pocket, in between the fish and the cutlery, to create o divide in the pocket © Forthe ties, cut wo 4 x 28:n, (10x 7Oem) ablongs of sped fabric, Fold each one in half widthwise, wrong sides together, and press, Open ou, then press under % in, (2 cm along each long ledge. Fold in the raw edges at each short end of he sip and press, then refold along the center crease, Pin, then machine sth ‘round the three unfolded sides, sitching as close o the edge os possible, Place on the apron, flush with the side hem, then slich all ‘round in a rectangle ond finally om comer to comer. Sew the reck piece in the same way. Poss the finished apron. opron 45blue herring t ea towel ....table runner sie vores cvs stylish allernative to tablecloths This one is decorated with running stitch, the simplest of embroidery, but used lo great effect here. I have chosen a deep indigo blue and matched the embroidery thread so that itconttas's well on the cream border To fit your table, simply decrease or increase the length of the central panel Using a ler and fode-away matker pen, draw nine straight lines across the width of the lwo border panels. Vary materials the distance between each line by Ya, Ye, or Yin. ae ee (5, 10, er 15 mm). Using woning sich fsee poge 121), sew along the lines. Vary the thickness of the bad stitches by using either all six stands of the 55 x21 in. (138 x 53 cm) cotton embroidery floss (cotton) or by doubling it to 12 cor linen fobrie strands. Vary the length ofthe stiches and the spaces in between them with each line. 2 pieces cotton er linen in @ ‘contrasting color, each 514 x 21in (14 x 530m) 61 «21 in (152 x 53 em) coton lining fabric Standed embroidery fos (coon) 2 Using cream standed to metch central ponel embroidry floss [cotton], sew one ‘Cream stranded embroidery floss line of runing stich % in. [2 em) in {corer from each shor edge of the center ponel. Wi right sides together, pin and machine stich the border panels tothe center panel | Press the seams fa 3 Place the ining and outer panels right sides together. Pin and machine sich all around the edge, leaving a én. (15cm) gap in cone ong side. Tun the table runner right side out, Fold inthe seam a the gap ond slipsich it closed. Press 48 kitchenfolk-heart Egg COZI!S ti veni cis ing 6 note these endearing egg cozies. They are an ideal fist project for anyone new to sewing, ‘and make a quick gift idea for the more experienced needleworker 11 Enlarge the templates on poge 104 bby 200 percent (see poge 117). ace ‘he motifs onto felt se page 1 18] and cut Cut hwo egg cozy shapes fom gray felt «and two from cream fe. Cutout the cream and geay heat shopes. 2 To make the cutout holes inthe heat shapes, | used « hole punch thot has diferentsized heads and made holes Me in, ond 42 in. (2 mm ond 1 mm) in diameter. f you do not have « hole punch, cut the holes with small scissors; the holes, will be mote lke petal shapes than perfec! circles, but they will work just os well 3 The embroidery is very i s a .. simple—|ust French knots and sight stiches. Chose one color of embroidery floss [cotlon} for the gray cozy and o diferent color for the cream cozy. Embroider the stiches con the heart shapes, using the stich guide on poge 104, materials Templetes and sich guide on page 104 Fadeaway marker pen 7 x6 in. (18 x 15 cm) each of gray ond cream Felt Eyelet or leather punch Stranded embroidery fs (cotton) in two colorscarter cour Clothes and accessoriesfleecy Neat as crc tet ch hoses ces fora baby t materials has the added charm of two embroidered labels. The bird is @ popular motif in both Henelshs od ‘itch guide on ove tradtional and modem Scandinavian design PE gs tue Hece fabric Dresamoke’s cabon poper 1 Enlarge the templaies on page 108 by 200 percent tee page 117) c rope es ate tanser onto he fleece fbsic, and cutout. You will nee four panels forthe hot, plus one center circle. f eae ae 2.Using dressmake's carbon paper, tansfer he embroidery | ‘ ‘mots othe felt forthe labels. Sew the snowlake design by sewing fou stig stiches of equal logh hat os ore each | | ‘cher in the middle, Make one small sich across the overlapping | siiches inthe middle and finish off with « French knot at each end ofthe stiches. Embroider the bird using satin sich (see page 124) ‘3 Pin ond sow the labels 4 With ight sides together, pin and machine in position on two of he stich the four hat panels together, making hat panels, 234 in. (6.5 sure that the panels with labels are opposite _/ Cem) up from the bottom leach othe. Use stretch sich your machine / edge ond centered from has it. Tur the hat right side out and side to side, 2igzng sltch over each seom in a Contasing color. Tun under @ 2¥ein, (cm) hem around the botiom edge. Pin and machine stich. Zigzag stich over the hem line using thread thot is the same color { a3 the lesce fabric. / $3 Turn the hat inside out, Pin and baste [tack] the small round piece to \ the center top of the hat. Machine } sitch. Tum right side out \ fleecy hat 53felted Wool slippers trecss:codsittmsiingn materials Scandinavia dates back to the Iron Age, and felt was cn essential port of life for Fora pair ofsippers approx. nan 8 1@ Iron Ag felt was on essential part of everyday life for Sees Templates and stich guide on Teodiionally, fel has been used in making jackets, hats, mitlens, socks, and boots, as well page 107, the nomadic tribes of the area, vital as insulation against the long, horsh winters Dressmaker's carbon paper Approx. 12. 16 in. 80 x 40 em) cream fled woel stylish ond contemporary felt slippers tha! have their roo's in an ancien! radon ‘Approx, 8x 12 in (2030 en) cream fleece fic 84x 11 in, (22 28 cm svedote detoiled, bul can be done even by anyone new to embroidery os itis moslly made up of rho deher «3 for soft furnishings such as rugs, blankets, and pillows. n recent years, designers have revived the interest in feltmaking and, in today’s Scandinavian homes, you may well find These felted wool slippers ore incredibly snug and comly. The embroidered design looks backstitch, satin stitch, and bullion knots. You can make your own felted wool for this eee embroidery Project by ioking a woollen sweater and boil washing it atthe highest temperature your eh machine will wash at, 7 Enlarge the templates on page 107 to the desired size {see page 1171, Stating wih he lei foot, cut out an upper and a sole fom felted wool, an upper from fleece, and a sole from suedete or chamois eather. Tun the temples over and cat the same pieces for the righ foot 2 Using dressmaker’s carbon per and the postion guide on the femplate [see page 107), raw the desiga onthe left upper. Tun the template and postion guide over and drow the design on the right uppec 3 Using he sich guide on page 107, ‘embroider the design on each slipper upper. felted wool slippers 554 With wrong sides together, pin the feted wool and fleece uppers together. Machine sich them together, stitching about ¥é in. [3 mim) from the edge. Do the some for the feted wool cand suedette soles, 55 Fin each upper secton othe conesponding sole piece, easing it around the hont curve of the slippet. 6 Tread a needle with embroidery toss (Coton. Take the needle though he top ofthe sole inst inside the upper and xing It ut onthe line of we machine stiching on he sole, The kool shen hidden. Toke the needle back down through the top layer about Yin. (5 mm) ». (2.em] down liom the lop edge Nth wrong sides together, aligning pressed edges, pin the facing to \ \ 1 dress, sandwiching the ends of slaps in between. (Adjust the smed-under hem as you go ifit joes not match exactly) 1 2. Place the bution loop at the lop of e back opening, adjusting the length s necessary to ft your bution. Pin, oste ack, and machine stich al found the pressed-under ormholes nd neckline of he dress, sitching in. (3 mm) from the edge and ving the botiom edge of the cing loose 113 Tun the dees sight side ou. Ton undera double Yen. [Sa] hem aroun the bottom of the dress, pin, and machine Sitch Sew on the but, Press, sompler linen dress 71tt furnishingsappliqué bird pillow sick cccgeavayd materials changing the look of a room and of bringing color and pattern into neutral areas, In ao eo designing this pillow, | was influenced by the wonderfully organic, abstract designs on re ord seas eater postwar Scandinavian textiles, ceramics, and glassware—but alhough i's reto in style, Yellow wollen fabri i would sit equally well on Victorian bedroom chair ora 20Ihcentary modern classic. Aven, 1213 in, 8089 en Ihave used mostly felt forthe appliqué, which does not have lo be lumed under around Scraps of while, red, yellow, ond the edge as you stich itn place. If you use a fabric that frays, either turn under the edges rae" fl Ain, (96cm) zipper Femember'o allow a lite exta when you ct ou the pieces or machine o close zigzag 9 nen et slich oll around fo attach the pieces. (cushion pod) 1 Enloige the templates on page 111 by 200 Percent [see page 117). Tiace them ono the felt kee poge 118] and cut ou. 2 Cernier the bird on he front ponel Pin, then slpsiich itn place [see page 120). Place all he remaining eppliqu’ pieces in position, Pin and base tack) ‘hem in ploce (see page 118] 3 Sipsiich all the appliqué pieces in place [see page 120) If you ore using a fatxic that frays, tum under a small hem as ‘you appliqué or machine sich line of close zigzag stiches all ‘round the shapes to cover any raw edges. appliqué bird pillow 734 Wit ight sides together, pin the font and back of the pillow cushion) together along the botiom edge. Machine Stich for a distance of 214 in. (6 em] fom each end, taking a Vein. (1-em) seam allowance ond leaving o gop the lengh of the zipper in the canter. Baste (lack) the seam in between t Iwo sliched ends. 5 Open the seam out and press lat, On the wrong side, Position the closed zipper centally on the pressed seam, Zipper side down. Pin in ploce. 74 soft furnishings6 Using 0 zipper foo, sich he zipper in place all he vwoy around 77 Remove te basing ackng| sliches, hn over, ond press la {8 Following the insinctions forthe toe bag (see page 13), make the label © Open the zipper. With right sides together, pin the front and, bock panels together, inserting the label into the left seam, pointing inward. Machine stich, taking a Yein, (I-em| seam alowonce. Tim the comers and the seam allowance to 4 in. (5 ml. Tun right side Cu, easing the comers ino shape. Press. Insert the pilow form {cushion pad to finish appliqué bird pillow 75blue border throw the scibic ued inte boner otitis materials cozy throw fs typically Scandinavian, The design is worked in French knots, an easy stich Tamale er sich gui on poe Tracing poper Airerasable marker pen 40 x 54 in. (100 138 cm] white Fleece fabric Two 40 x 13%4in. (100 x 33 cm) Pieces of blue woollen fabric for to do, which gives the throw a wonderful textural feel, 11 Enlarge the template on poge 113 by 200 percent (see page | 1171, Transfer the moto the bottom half of one boider stip and the top hol ofthe other, pling it »\ the border ‘in om) fam he tp edge ard \ LO 1 bal ct ntingcotono mach ¥6 in. (1 em) in from the side (see a ‘border color page 118} and moving italong the \ & border strips to repeat, os necessary, =~ \ 2. Using cotion yor to match the border fabric, embroider the design in French knots Isee poge 123} ‘3 With right sides together, fold the borders in half widthwise. Pin and machine stich down each short side. 4 Fold under small hem along each side 5 Turn the borders right ledge of the main sectionsf the throw. Pin and side out. Turn under @ hem machine sitch ‘onthe front and back edge cof the bordes and pinto the main part of he tow, sondwiching the thiow between the border edges, Pin in place, moking sure thatthe pin cotches the back pat ofthe border. Baste tx) and machine sich. Press. Go Zembroidered pelmet and curtain jiess. a Curtain and pelmet on traditonal Scandinavian embroidery—but othough the mots are fom another era, they sit very happily in a contemporary interior and would look charming in a while and wood kitchen To hang the pelmet, lop in small tacks through the tape along the lop of the window frame. If your window is "ot suitable for 0 pelmet, embroider the floral design across the top of the curtain instead 1 For both the curtain and the pelmet, cut one oblong of linen & Joking o Yin, (1-om) seam allowance, machine stich and one oblong of cotton lining fob 1o the required size [see ‘round all four sides, leaving a Sn, (12cm) gap in one Box, opposite) side. Tim the seam allowances and eut across each corner to reduce the buk, Tum the pelmet ight side cut and slipsitch the gop closed. Press. 2 Using he tocing method [see page 118), rans the embroidery motif onlo the pelmet and curtain linen. Following the sich guides on page 112, embroider the mots 5 Repeat Steps 3 and 4 to make the curtain—but instead oF insering lope, make pots of es folowing the instuctions forthe patchwork duvet cover on poge 89 and insert them ceenly along the top edae. '3 Place the bock and front ofthe pelmet right sides togeher. Cut pieces ‘oF tape into 1 Yin. [acm lengths. Fold them in half lengthwise. Aligning the caw fpe edges with the raw edges of the pelmet,sondwich \¥ the tgpe along the top ofthe pele! between the two panels, spacing them evenly 7B soft furnishings eee — ersldblemaitiensibedssalsinas naterials hi nen hin con fa fining ed sronded embroidery os (coton) Vhite cotion webbing tape, 2 in. (2 em) 1 ca ide Working out fabric amounts First, decide whether you wont very full curtain or one that hangs straight, os here. If you want he caurlain fo hang skoigh, ust measure the widih ofthe window and add about 4 in. (10 er) extra. For a full curtain, the fabric should be 21 mes the width ofthe space. To work out the length ofthe curtain, measure where you want to stop and siart the curtain ond codd Y2 in. (1 em) top and bottom for seam allowances For the pelmet, measure the wich of the window frame and ode ein. (1 em) to each side. The pth should be 10% in. [27 em), which allows Yin. (1 em) op and bottom for the seam. ~ ~< = ~ ~ ~ ~ ~ = ~ ~ ~ ~ — — ~ ~ = _ — ~ —_CUFtAIN tie-barck jp ici households in he 18h conn, materials sewing was an occupation for he winter monihs when the days were short and the nighis Template and sch guide on page 113 were long. Scenes from everyday life were represented with shyized figures, such os he Ps er farming couple of tis curtain ebock, Fowers, and animals. Crested cocketels, another prox. 1304 1m (24x35 ol blue-and-white gingham fabric motif used here, were popular motifs in Finnish embroidery and came from Norse or eee eee mythology, when « cockerel was supposed to have perched on Yggdrasil—the giant ash Sa Drench cen poh ‘Approx. 25 in (64 em] ribbon Win (12am) wee 1 Enlaige the template on page 113 by 200 percent (see page 117), transfer Doik ioe oaal Aneta io the gingham labric (see poge 118), and cut out the front and back panel embroidery floss (coon) of the tieback. Ifyou wish, apply itomon interfacing lo fim up the front panel ttee that supports the nine worlds —to warn the gods of the approach of giants Dark blue kniting yorn for tassels and cord 2. Using dressmake’s carbon pape, transfer the embroidery motif onto the Front pane Isee page 1 18], and embroider the design using blue cond while standed embroidery flosses[cottons| 3 ‘Moke a cord forthe lossel see page 124). To make the tassel, cut 26 sands of kniting yarn about 5¥2 in. (14 cm] in length. Fold them in half over the cord. Wind yan around the tassel about ¥é in. [1 em) from the top, and fe ina knot. Repeat to make a sec ? ? of us 5 With sight sides together, pin the hont pone to the back pane! ‘Sandwich the ends of the tassel cords in between the front and back panels, positioning them centrally on each side edge withthe tassels facing in toward the center. Taking o Yin, {1-cm) seam allowance, machine stich oll around, leaving « 4n. (10cm gop in one side. Tim the seam allowance (see poge 119). Tum the te-back right side S ‘ut, Slipsitch the gap closed Ise page 120), Press 4 Pin the ribbon along the top and boom edges ofthe panel, ‘about % in, (2 cm] rom the edge. Machine stich in place. 80 soft furnishingsscala Berit al See ree tr ai Ehida eer eee es ar acrested bird chair pad the wpicion tis choi pad came from 1 8thrcentury Danish embroidery. The crested bird, a popular theme, is framed by prety flowers, leaves, and tendrils. | have used a palette of bright, zingy colors ‘ogainst « cool, blue-gray background to bring it info the 21st century and have added: colorful pompom ties, 1 Exiorge he template on page 114 by 200 percent, transfer it onto the felt, and cut out one front and one back section. Using a craft knife or scissors, cut a small slit in each buon ab o match te size ofthe butions you oe sing 2 Using dressmaker’s carbon popes, ansfer the embroidery motif onto the front ofthe chair pod (see page 118}, Fllowing the stich guide on page 114, embroider the bird ond flower mols in a selection of bright colors materials Template ond sich guide on page a Approx. 15 x30 in (88 x76 em) bow gray fl Dressmakers catbon paper Brighly colored biting or tapestry yarn Topesty needle 7 smell buon in, (6.em) square of hin oom ‘or batting (wadding), Yn (1.5 cm) thick Moke eight pompoms about 11 in, (3-4 cm) in diameter, in diferent colors (see page 124), 5 Gorther the ties of four pompoms together ond cut them 1 about 4 in 111 em) in length. Pin them inside the cover at the buon edge, toward the lothand side; then repeat onthe righthand side, (The ‘exact position ofthe pompom bunches will vary depending on what 3 Fin the from and back sections of he cover right sides logether. type of chair you have.| Machine o few stiches back and forth aking « Yin. [Smm) seam allowance, machine stich around thiee acess the stands of wool that have been tucked into the wrong side ides, leaving he buton end open. Ton the cover right side out and ofthe cower. Inset foom or batting |wadding) ino the cover to xe3s. Sew the butions in position on the back ofthe cover. complete the pad. crested bird chair pad 83vintage floral slipcover tsi sicowriss good way fo give an old chair a new lease on life. Look out for old linen tea towels or embroidered tray cloths and napkins in thrift stores and flea markets. The simple charm of prey, faded, floral accessories and fabrics is typically Scandinavian. This slipcover is made from vintage handkerchiefs and will add a country element fo any interior f), 1 Fist, measure your choir, The cover consists of one materials Selection of patirned hondkerchiels 16-20 in. (40-50 em) ribbon, “ein, (1 em) wide 8-10 buttons long piece that covers the legs, seat, and back, and | |\ two side pieces. Stat withthe long piece. Work out | \ how far down the front legs you wan! he cover io | ‘extend, then moasure up fom that | ‘and down the other side fo the point, across the sect, up the back, 2 Lay the handkerchiefs on the floor ‘end move them around until you're happy withthe layout. You may need to cut them to get he right width and lenghh—or simply to breok he paichwork up into less regular shapes some level a5 on the front. Then ‘work out the depih of the hwo side panels to maich ‘3 Moke the long piece list. The panel should be larger then you need, so that you can kim ‘and hem ito the right size. Pin the fabrics right sides together and machine sich, taking Yin, (Sm) seam allowances. Press the seams open Tim the panel io size, leaving a Yé-in.(1-em) seam cllowonce all the way around. Tum over @ double Yin. (5mm) hem all oround, pin, and machine sich Te i 4 Nioke the two side panels in he some way, again leaving a Vein. (Tem] seam alowance all the way around. I recessary, tun over a double Yein. (Sm) hem around one long and both shot sides of each side panel, pin, and machine stich. (you use handkerchiefs, os | did, the sides will oleady be hemmed.} Pin the fouth side under the main panel, and machine sitch iin place, toking @ Yein,(1-cm) seam allowenee, 5 Fold he ribbon in half widhwise, press, ond machine sitch along the ‘aw, unfolded edge. Cut into 2, [Scam] sections. and fold each one in hal io make a loop. Pin the loops in position on the wrong side of = @ » the ponels; you will need at least (zs ‘wo on each side of he back | section and one on each leg section. Sew a line of stitching | ‘across the botiom raw edges of b the loop to secure. Sew buttons in position to complete. Press vintage floral slipcover 85.cotton waffle bath mat josccices materials Scandinavion design when researching projects, from textiles to furniture and ceramics Dressmakers carbon poper The motif on this bath mat is based on designs painted on carved wooden chests over ao aaa 200 years ago. Embroidered in blue on white cotton watfle, the design takes on a fiesh 22 x 20, (56 x 50 em) white ‘and modein appeal. | always try to recycle as much as | can; here, | used part of an old “atom wale cotton waffle towel for the front and toweling fabric for the backing Pantanal 7 (One boll hick blue gray cotton yorn ‘Sharppointed topesty needle poge 115 by 200 percent (see page 117). Using dressmaker's carbon paper | (see poge 118}, draw the rmotifon the cotton wall Centering it wihin the rectangle, 2 Work bulion knots fee } page 123) inthe area marked oa the templa, placing them randomly and quite close together. For this project you want fat knots, so wrap the yorn oround the needle four tims insead of he usual he.Patchwork duvet cover incr civ: Paichwork hos been « means of moking something decoraive and useful out of lover ‘crops of fabric, lovable pieces were ued, fom clothes hat he chiden had grown out of fo scraps let over fom dressmaking or pieces cut fom a womn tablecloth, The Relchwotk hove mode sno diferent, ransforming recycled scops ino something the i very special Scandinavian interiors are often decorated in chalky hues of white, blues, and grays, to ‘elect as much light os posible. Hee, cliferentedyrescndpaters ae held iogebher by fa same palate of coo), sf color. | have also included scops of vintage embyoidered linens for a look that is pretly and sophisicatedly Scandinavian, F Cutout 49 pieces of fabric measuring 117 in. (29 cm) square. Lay them out on the floor in seven rows of seven squares each, maving thom ‘round uni you have a pleasing Combination of colors and prints materials ‘Makes 0 quil measuring approx 745 in. (186 om) square Selection of scrap fabrics (Ole flat sheet for backing 12 pieces of fobric measuring 20x 1" in. (50% 4 cm) for es 2 Working one row a atime, pin the squeres "igh sides together and machine stich, taking o Yé in, (1-em seam, Press allthe seams 1o one side, ‘ttemating the direction in each row. patchwork duvet cover 893 With sight sdes ogather, aligning he seams, pin the seven rows together. Machine stitch, goin tokirg o Yin, (on seam alowance Press the seams to one side. 90 soft furnishings To make the ties, fold the redangles of fabric in half widthwise, wrong sides together, ond press. Open out, hen press under Ye in (1 cm) along each long edge. Fold in the raw edges at each short end ofthe snp and press thon refold along the cenler crease. Pin, then machine stich along the three unfolded sides, Yin. (3 rm] ftom the edge 5 Tum under a double Yin, (cm) hem along one edge of the patchwork, Pin and machine stich 6 ay he potchwork square down on on old double shoe, right sides together, making sue tha! the hemmed edge is lush withthe top edge ofthe sheet, Pin, then base tack) the patchwork tothe sheet along the side edges and the ur-hemmed end, moking sure thatthe layers are smooth and wrinkle fee. rim off cny excess sheet ‘and machine stich around the three unhemmed sides, ¥ in. [1 cm) from the edge.\ ‘SONScross-stitch heart pillowslip »..:..: ‘motif has been used in Scandinavian design for many centuries and red on white is very traditional. Cross stitch works well on cotton watfle, as you can follow the squares to keep. the sitching even. This pilowslip would look charming on a child’s bed with a red gingham quik: 11 On the cotion waffe piece, tun under Yin {1 cm), ond then 2% in. (6 em] along one short \ end. Pin and machine sich materials Template on page 112 31% x 20%4in. (80 x 52 cm) white cotton wale fabric 344 x 20/4 in, (88 x 52 om) tite coton fabric Red stranded embroidery floss (cotton) 2. the plain cotton piece, tun under a Yin, (om) double hem on one shor! end. Pin and machine stich / 3 Enlarge the template on } poge 112 by 200 percent and transfer it to the center of the ccotton waffle ponel. Using red stronded embroidery floss {cotton}, ‘embroider the heart motifs in cross F stitch [see page 122}. 4 Wil right sides together, pin the back and front panels together, ' aligning the raw edges along the bottom and Iwo long sides. Fold back the hemmed end ol the plan coon so tha tis he acme length as the colton waffle side. Machine stich along the side and bottom edges. Zigzag stitch the row edges. Turn the pillowslp right side out and press.gingham heart quilt cicharicscces materials i fabric in Scandinavia. It looks fresh and clean, and you can combine it quite happily Template ond stich guide on page 116 with florals and ticking. For this quilt | chose a large-squared gingham and Deedee ith Two 95% x 83%in, (90x 196 crease through all hee layers, leaving the overlap of e cach end unstiched. Repeot wih he other three sips. x Press, Remove the basting tacking) stiches 85 Miter the comets on the font of the quit (see poge 120), sipstiching the joins as for as the central crease in the border stip. Tim the seam allowances to Yin, (5 mm, Fold the border strips to the back of he quil, ond miter he corners. Fin ond then slipstich the tumedtunder edge to the quit gingham heart quilt 95templates and stitch guides felt bag with embroidered bird p2326 enlarge by 250 percentlue dandelion stortorget tote bag jog. 12 elted bag pose 10 ‘enlarge by 200 percent large by 200 percent 1 mochine zigzag sitch MW Ws SSI ] I] i SS a ZAIN Ai A S ~ aD templates ond stitch guides 97log roll with twig detail floral cutwork bag 03-20 Pease lela bye perce enlarge by 200 percent 1 mochine zig-209 stich 98 templates and stitch guidesreindeer poge 28 ‘enlarge by 200 percent french knot WM backsitch RIGHT HOOF cut 4 cud RIGHT INNER LEG aut? UNDERBELLY cut]coat hanger cover pose 26 enlarge by 200 percent Hi cross sich embroidered gift tags 29: 38 enlarge by 200 percent cross sltch templates and stitch guides 101STOCKING cut? christmas stockings 5. 34 enlarge by 250 percent french knot 1 siraight sch REINDEER cut | Wrench knot i bockstich Mi staight sich bullion knot Wi running sch 102 templates and stitch guidesfolk bird garland 03-36 enlarge by 200 percent Wrench knot i bocksich IW siraight stich Wi sir stitch | 1 doisy sich & ® io * tree treasures jog: 32 enlarge by 200 percent backstitch templates ond stitch guides 103embroidered shelf edging page 40 enlarge by 200 percent ~ See + SUN te za bulion knot straight stitch folk-heart egg cozies page 50 enlarge by 200 percent Wrench knot Wi straight stitch button badges and cute clips jog. 58 enlarge by 200 percent Wrench knot Mi bockstch straight stich chain and fy stich seed sich 1 doisy sch 104 templates and stitch guidesGPFoNn page 42 enlarge by 200 percent machine zig-zag stch Wench knot blue herring tea towel pog2 45 large by 200 percent B machine zig-zag stitch templates and stitch guides 105felt baby boots og. 06 femplote is fll size SOLE cut 2 from felt and 2 from fleece fabric hench knots bocksitch I chain and By sich ly sich ee I choin sch cut 2 from felt and c 2 from fleece fabric 106 templates and stitch guidesNN ii felted wool slippers page 54 cnlorge by 133 percent SOLE cut 2 from felt and 2 from svedette or chamois leather UPPER ‘cut 2 from felted wool and. 2 from fleece fabric the 2 pointed ends of the top piece start & finish here Wrench knot Mibockstich I sroigh stich ain stich IB doisy stitch Wscod sich Mbulion knot templates and stitch guides 107embroidered linen collar poge 40 ‘enlarge by 200 percent fleecy hat poge 52 FOLD LINE enlarge by 200 percent coral sich © fronch knot straight stitch Wsctin stitch 108 templates and stitch guidesfloral winter scarf page 62 ‘enlarge by 133 percent sami felt mittens poge 64 terri kee: WW straight stitch 1 detoched chain stitch coral stich templates and stitch guides 109sampler linen dress page cs enlarge by 400 percent wl = FRONTFACING 2 BACK FACING cut =| out | cord stitch running sich bullion knot 1H straight sich Im herringbone stich chain and fy sch DRESS FRONT cut DRESS BACK cut2 110 templates ond stitch guidesembroidered pelmet and curtain pose 78 ‘enlarge by 200 percent & vhipped bockatitch stich monn Bigs sich alos ict MWY. Iidetached chain stitch UO Oe straight stitch cross-stitch heart pillowslip ;.92 92 enlarge by 200 percent 112. templates ond stitch guidescurtain tie-back page 80 cenlorge by 200 percent french knot backsich 2g 209 sich pepo blue border throw paz. 76 ‘enlarge by 200 percent Bi french knot templates and stitch guides 113crested bird chair pad poce 52 enlarge by 200 percent me NL. Wi sotin stitchcotton waffle bathmat pce 86 4 enlarge by 200 percent ol) bee cued in pup fil in the oreo in purple pee templotes and stitch guides 115gingham heart quilt o2.9: 94 enlorge by 200 percent 1 ah Noes os ast San Gt Sooke Seay a RS a q 2 44 4s = running sich bullion knot 116 templates and stitch guidestechniques tools and equipment The projec inthis book can all be made wih very litle equipment. ‘A sewing machine is essential, butt can be a very simple model. Even the most basic of modem sewing machines offers voriely of stiches. For his book, you will only need shaight stich and zigzag, But the other stiches tht I find very useful on @ machine axe an automatic one-step button hole, « zigzag overlocktype stich to rgclen raw edges on seams, and o strech sich. F you buy 0 machine with these stiches, then it will also have some decorative sliches such os scallops and heorts, which con be useful In addition, you'll need the folowing: * Dressmakers shears for cuting fabric. Never, ever use your dressmaking shears fer cuting poper, os this will quickly blunt them. * Small, sharprpoinled scissors for cuting threads, clipping seam allowances, and rimming. * Poper scissors for cuting pattems and templates * Along et, flexible measuring tape, and a pencil for measuring ‘and marking fabric “Tracing paper and a fabric marker pen that either fades away cer @ couple of days or can be brushed off, and/or dressmaker’s carbon paper for transferring motifs to fabric * Pins, hand-sewing needles (size 6-8 are a useful medium size) and embicidery needles. The type of embroidery needle depends ‘on the fabric and thread you are using. Sharprpointed needles called crewels are thn, but are designed to take thicker han-normal thread and are idea! for mos! decorative embroidery on plainweave fabrics. Chenlles are shorp-pointed and heavier, and take thicker threads for work on heavyweight fabrics. ‘A steam iron and ironing board are essential fr pressing seams fabrics and threads | have used natural fabrics in cll he projects, especially nen, cotton, ‘and wool. | oso used wool fell for many projects. This can be dificult to source, but you can substive ccrlic fel. Allematively, ty ‘making your own from an old sweater. Make sure tha itis 100 percent woo, it won't el it contains any man-made fibers. Pt the ‘woo! items inthe washing machine at the-hotes sting; they will ‘emerge shrunken, bul with tht lovely feted look. | sometimes do this twice for a realy feted piece. ‘The other essential is sewing thread. Ideally, ry 1o match the thread type tothe fabric fsyrihetic thread for synthetic frie, cotton teod for cotton fabric) and match the thvead color as closely as possible To the fabric colox. For most ofthe embroidery projecs inthis book, | have vsed stranded embroidery floss (cotton). | usually use oll si stands. I have used less or more, this willbe specified inthe instructions. | have alo used peal coton and embroidery yarn such as ciewel, Persian, or tapesty yarn. However, much depends onthe effect you wan! fo create so fea free o experiment changing the size of motifs The project inshuctions and the templates on pages 96-116 specily hhow mych you need to enlarge motifs in order for your project to be the same size as he ones | made, but you may well wish to adap a design io make something completely diferent—zo ifs worth knowing how to enlaige or reduce motto the size you require. Enlarging motifs First, decide how big you wont the pattern or motto be. Let's say that you want a paticular shape fo be 10 in, {25 cm) al Thon measure the template hal you are working fom—5 in, (12.5 em) tall, for example, techniques 117Take the size that you want the patiem or motif tobe (10 in,/25 em) cand divide it by the actual size ofthe template (5 in./12.5 cm ‘Mutiply that igure by 100 and you get 200—s0 you need to elige the motion a photocopier to 200 percent IF you want fo make something that’s too big to fit on @ standard Commercial photocopier, make “registation marks” fether circles or < dotted line] on the exiginal poten. Enlarge one half ofthe pattern card then the oher, making sure thatthe registation marks appear on both photocopies, and then tape the two pats of the patern| together, aligning the egiskation marks Reducing motifs IF you want a motif on the finished piece to be smaller hon the pattern, the process is exactly the same. For example, i he patern is 5 in. [12.5 cm) tall and you want the moti to be 3 in {7.5 cm) tal, divide 3 in./7.5 cm by the actual size ofthe template {5 in /12.5 em) and mutiply by 100, which gives you a figuie of 60. So the ligue that you need to key in on the photocopier is 60% transferring patterns and motifs eee eee ee eee tee oy pattern or motif onto the fabric. | use three different methods. The fist—and the easiest—is tracing, fhe fabric is sheer enough, lay it over the pattem and trace it, using a dressmaker’s fade away matker pen. Allemaively, tape the patern oo window with the fabric on top, and drow over the lines of the pater The second method is for thick or dark fabrics. Lay dressmaker’s carbon poper onthe fabric, carbon side down, Loy the embroidery ppattein on lop and trace over the molif with @ ballpoint pen. You can bby catbon paper in different colors suitable for different lobics The final method is for the few fobs that hove o fly pile and ore Aificult io draw on. Trace the motif ono « piece of white issue poper and pin it onto the fab. Using cotion sewing thread ond a closely spaced running stitch, baste (lack through the tissue poper cod fabric along the pattem lines. Remove the tissue paper, complete the embroidery, and then remove the basting (tacking) sich. 118 techniques machine stitching The key to successful machine siiching is 0 sttch slowly and in. stoight line. learn to cantl the speed s0 thatthe machine doesnt ‘un away wih you! Straight machine sch is vse for seams; sto sich lengh of 10-12 on a scale of 1-20, and a stitch width of O. Topstitching isa stoight stich that is siched fram the right side of, the fabric, Because it will be visible when the project is completed, i’ important o sich in a straight line. For the projects inthis book, topsiching should be done about i in. (3 mm fom the edge. Zigzag sfitching is used for finishing seam allowances fo stop them from fraying and! to creale a salinstich elfeet in machine roidery. The sich width varies depending on the fabric and the desired effect basting (tacking) This is o temporary way of holding two or more pieces of fabric together before siching, if pins would got in the wy fs useful when making seams in awkward comers, or when sewing curved, edges together, oF when anather layer will be added cn top and you woulda’ be able to get a he pins To base lack] by hand, sew long running stiches (see page 121] cand don't secure the feod atthe end: when you wan! fo remove the basting lacking, us! sip off he knot atthe stort of the thead, and pull the other end ‘Machine basting is faster han hand basing, and i usad to hold o seam or several layers of fabric together temporary. Hower, iis not as usell for inicate work as hand bastingstitching seams Here is how to stitch the plain seams used in this book. 1 Place two pieces of fabric right sides together, oligning the raw edges. Pin the seam, placing the pins ether at right angles to the yy / 3 Atthe beginning and end of each seam, do a few sliches in ‘averse 1 secure the thread. When sliching around curves, work slowly so tho he curve will be continuous ond gradual, and you ‘won't stray off the seaming. I helps to use a slightly shorter stich length here. if necessary, baste (hack) tho seam close to the seomine, just within the seam ollowonce. Wit the raw edges onthe ih, machine sitch a seam of the cowrect width, To keep the siching shaight, use the siching guide oro piece of fope the conect distance from the needle A When you come toa comer, siop # in. (1.5 cm] from the edge, or whatever the width of he seom is Wih the needle ot its lowest Point, raise the presser foo! ‘ond pivot the fabric around nti he new searmline sin line with the presser foot lower the presser foot and continue siching along the new seamline trimming and pressing seams + Seoms need to be immed and pressed to moke them li lt 1 On curved seams, clip into the seam allowance after sitchin, For inward curves, the clips should be wedge-shaped notches. For outward curves, they just need to be sits, 2 On a pein, kim away the seam allowances around the point. On square comers, snip off the cocnars of he seom allowances 3 When a sioight piece of fabric is sitched to « corner of concther piece, clip into the seam cllowance of he straight piece ‘atthe comer, This clip will open up and allow the edges 1 align with the edges either side of the comner on the other piece Be careful not to snip beyond the seamline, 4 Press seoms open from the wrong side, unless insructed terns, Do not press seoms from the right side, as you moy A ima he fabric. # itching together two pieces thot akeady wv have seams, press open the fis! seams, sip ofthe comers ofthe seam olowances, and align the seams exacly if opproprict] when pinning the fabric pieces together. While slicing the new seam, keep the seam allowances of ho old seams ft techniques 119mitering corners ‘Miered comets on a border create «neat, professionaHooking finish, ‘V.cineseh border snp ic he desired depih plus the seam allowance; lengthwise, each ship should be the length ofthe border plus twice the depth of the finished border. Press each border stip in half widhwise, then press the seam ollowonce along each long raw edge tothe wrong side. (Open out he sips. With right sides logethes, dligning the row edges, pin and baste {tack the fist stip along one edge, leaving the same amount overhanging ol each tend. Machine sich along the first crease, leewing the overlap and ‘in, {1 om} at each end Unstiched. Fold back he border stip 10 the tight side, and press. 2 Asiach he remaining border sips inthe same wey, taking Care nol fo sich inio the djoining border ships. 3 Fold each overlopping end ‘of each sip othe wrong side, ‘01.4 45° angle. Pin the folds in place from the right side, ond slipsitch together, making sure the mitts maich exactly. Then remove the pins and press \ the folds. 120 techniques i} | } Fold in the remaining comers, as shown, 5 Slicticholong th iter 10 complete. hand stitches There are many embroidery stiches; his section shows the ones | Used in the projects, but you can, of course, subsite sliches of your onn choice. Slipstitch Slipstch is used to close epenings—for example, when you've left a _99p ina seam in order to tun a piece right side out—and to appliqué one piece of fabric © another. Work from right to let. Slide the needle between the two pieces of fabric, bringing it out on the edge ofthe top fabric so that he knot inthe thread is hidden between the two layers, Pick up one or Wo threads from the base fabric, then bring the needle up a shor cstance along, on the edge ofthe top fabric, and pul through. Repeo! 10 the end.Running stitch ‘Whipped backsttch Wea fom ight to lef. Secure the 0 Waka ine of backstiches (soe thread wih « couple of small cbove). Using blunt needle, siiches, ond then make several b slide the needle under the smal siches by bringing the z thread ofthe fist backstich frm needle up and back down oe top to bottom and pul the —_ through the fabric several tes thread tough. Repeat in each along the sitching line, Pull he slic in he row og needle through and repeat Tiytoleep the stiches ond p> the spaces between them the same size. Couching lay a thread along the line to be ‘embroidered. Bring another needle up just below the lid thread, take iN actoss, and reinsert i just ~ above the laid thread to form a small “tying” stich. Repeat at regular intervals. The tying stiches can be in a diferent color to the base thread if desire. ‘Whipped running stitch Work o line of running stitches {see dbove}. Using o blunt rar dee odo under the thread of he fist running sich from top to botom andl pul the thread through. Repeat in each stich inthe row. eon hg sre aot tga Sion der ela ase ee ees ] _sxch os seed stitch, star sich, ond zigzag stich [see below! fabric, one stich lengh othe let ‘9 ol the end ol he stitching line a through. To begin the next sich, insert the needle a the lefthand end ofthe previous sich, a Continue tothe end oo Inset tone sich eng he tight, at the very end of the og siitching line, and being it up ad Seed stitch ‘again one sitch length in front of ‘Work paits of very short straight the point from which it frst o stitches, positioning them ‘emerged. Pull the thread randomly to fill an area. 2 e ¢ techniques 121Slar stitch Work a series of straight sfiches from the outside of o 40 the center point lo ale a str shape. you wish, you con futher rary sources. The c ons and throws, clothe acces and more, each with clear stepbystep instructions and beautiful ph ;ophy, will inspire you fo start stitching rig Packed with ideas that will look in all typ ome, from city apar unity cotlag n ty the simple table runner, more cd crafters can m reindeer sof toy band ISBN 978-1-907030-22-2 M0000 i CICO BOOKS LONDON NEWYORK -www.cicobooks.com °