A NEEDLE PULLING THREAD

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Projects inspired by ARCHITECTURE

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2

Welcome to this adventurous issue!
In my travels I’ve taken, in
moments of awe, many photos of
famous buildings, structures and
bridges, trying to preserve the
memory forever.
To state the obvious, architecture
offers an abundance of inspiration
for needlework projects. The
dilemma is where to begin
in reproducing a favourite
architectural subject? Photos,
whether yours or not, are the key.
In our thrilling world of the needle
arts, fibre artists have played with
fabric, yarn and threads to mimic
textures of buildings, brick and tile
patterns, and the shape of things
we live in and call home.
I hope this letter finds you in good health.
E ditor's letter
I’m so excited to showcase the
awesome efforts our needlework
ARCHITECTURE
experts have put together for you.
Do enjoy the issue, there's a lot
You’ll find tutorials including sewing
Stay Calm
techniques and products that make to explore, learn and make.
the artwork possible. The whole
Once again, I invite you to
experience of learning these will
share your finished projects,
stretch your needlework abilities.
the ones you've conquered
&
as well as the ones born from
The concept of structure has
Make
isolation, and post these with
played a key role in knitting
#TheSewGoesOn.
and crochet projects that give a
As always, stay safe and stay calm.
garment a professional look. See
what Cynthia MacDougall has to
say about the construction of
knitted garments. Cheerfully,
3
 90 32

72

66 70
12

86

42

28 40

Contents 22
issue 53
36

4 38 94
12 Cathy McClean
quilting
Life is a Beach Table Runner in
16 Annette Janca 3 Editor’s Letter every
quilting
Old Meeting New Architecture 6 Mark Your Calendars! issue
Royal Ontario Museum 6 Advertiser Index
Wall Hanging 8 Heather McArthur
22 Lynn Swanson 10 The Quilter's Connection
quilting Architecture Quilts,
Sol y Mar Bed Runner Make Mine Modern, Please
27 Jackie White Criss Cross Quilt
quilting 60 Cynthia MacDougall
Yo-yos make your quilts complete Knit Together
28 Clodagh Coker The Architecture of Garments
quilting How Sweet It Is
Maritime Houses Quilt Baby Cardigan and Hat Set
32 Olesya Lebedenko 69 Knitting
patchwork Standard Abbreviations
& Terms
The Windmill Quilt Block
60 98 Business Directory
36 Elaine Theriault
quilting
Under Construction Quilt Special Features
38 Paul Léger 54 More Joy, Less Overwhelm 50 In the Studio with Ana Buzzalino
quilting Ergonomically Correct Architectural structure and quilting
Waves Quilt Brandy Maslowski Ana Buzzalino
40 Paul Léger
quilting 54
Another Brick in the Wall Quilt
42 Jean Boyd
quilting
Seattle Station Quilt
46 Melissa Marginet
quilting
Blossom Quilt
66 Lorraine Thompson
knitting
Thoughful Soles Series
T is for Turn Socks 50
70 Nancy Lekx
knitting
Notre Dame Crescent Shawl
72 Fiona Stevenson ARTIST REVIEW
knitting
Chateau Laurier Cardigan 56 Bridge in Venice
57 St. Peter Port
76 Charles Voth Laine Canivet
crochet
Whoo Baby! 57 58 The Edson House
Jack Edson
Cardigan and Hat Set
80 Jo Gatenby
cross Stitch
The Castle Nursery
86 Iryna Varabei
cross stitch
The Mir Castle
90 Judith Marquis
embroidery
Moroccan Mug Rug
94 Karen D. Miller
rug hooking 56 58
Rio Dei Sogni Rug
5
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6 A NEEDLE PULLING THREAD ● issue 53

7
 Architecture Quilts
Make Mine Modern, Please
by Heather McArthur

As a quilter, knitter, sewist, or a person
1 with any crafting hobby, I’m sure, like
me, you are inspired by what you see
around you. I often take photos of odd
things on my daily travels, so often so
that my husband no longer shoots me
piercing looks when he finds me in the
middle of the street with camera in hand,
face pointing at the ground, snapping a
photo of an intricate sewer grate. I have
hundreds (if not thousands) of images
of buildings, windows, trees, flowers,
and yes, even sewer grates, stored
on my computer. Photo 1 Eventually,
some of these images even make a star
The Quilter’s Connection
foremost for me, is an art quilt. And just like
the idea of designing a beautiful building
would be overwhelming for someone
who is not trained as an architect, art quilt
design can be a little daunting, too, for
someone without experience.
The Art Quilt Association defines an art
quilt in this way: “An art quilt is an original
exploration of a concept or idea rather
than the handing down of a “pattern”. It
experiments with textile manipulation,
color, texture and/or a diversity of mixed
media. An Art Quilt often pushes quilt world
boundaries.” Unfortunately, that is not

where my own quilting strength lies. I’m a

2 Inspiration truly is everywhere - be it
Frank Gerhy’s Walt Disney Concert Hall in Los
Angeles, California
appearance in a quilt I create.
something created by Mother Nature
or created by a human. Myself, I am
particularly inspired by architecture. Just
look at the work of architects like Zaha
Hadid and Frank Gehry – they are true
artists! Photo 2 The lines and shapes and
colours of the buildings and structures
I see around me, every day, are simply
beautiful. Photos 3, 4, 5 and 6. And I love
the idea of using architectural form as a
starting point for a quilt design. But when
I think of using an architectural form in
a quilt, what springs to mind first and
traditional quilter, through and through. I
like to use a pattern, and I’m not prepared
to push too many boundaries. The
thought of making art quilts actually
frightens me just a little (well, maybe
more than little). To me, creating an
art quilt is like painting with fabric. The
problem is, I can’t paint. I don’t seem have
that particular creative gene. The few
forays into art quilting I’ve attempted in
the past have been rather unsuccessful.
As a matter of fact, downright ugly is a
better description.

3 5
4

Photos by Heather McArthur

8 A NEEDLE PULLING THREAD ● issue 53
So, when I look at the numerous photos
of architectural subjects that I have taken,
rather than trying to ‘explore’ the concept
(as the Art Quilt Association suggests)
to create a unique art quilt, I look for
the most simplistic way to recreate the
image. That takes me back to the basics
of architecture - lines and shapes. And
simplistic lines and shapes are what
modern quilts are all about, right?
In that way, architecture forms are well
suited to modern quilting. Just take a
look through Instagram or Pinterest
and you will see many modern quilts
that are inspired by architecture, or an
architectural feature. That’s because it’s
rather easy to do and creates stunning
results.
Let me walk you through the process I
use to create a modern quilt using an
architectural photo...
Find THE photo. Start with a photo that
inspires you, that you want to recreate in
fabric. Note: If it’s not your own image, be
sure to obtain permission from the owner/
photographer! For this example, I chose an
image of the inside of Boghall Parish Church
in Bathgate, England. Photo 7
Choose an interesting feature. You may
want to use the entire image - it could
be a unique bridge or a building that you
want to recreate in its entirety. Or it might
be a specific feature, such as a window
frame, or the texture of the brick wall on
the front of the building, that holds your
interest. For me, the colourful windows
of the parish church reminded me of a
Mondrian painting.
6 7
Define the strongest elements. Look
for the strongest elements within that 8
architectural feature, then break them
down into simple lines and shapes.
Architecture is made up of simple shapes
- squares, rectangles, triangles, and circles
- that are very easy to recreate in fabric. At
this point, feel free to use artistic license
here – change up the lines to suit you –
it’s your quilt! Photo 8
Draw your design. Using your choice of
design program, such as Electric Quilt
(which is what I used), or simply a pencil
and graph paper, draw your design. Grab
some pencil crayons or markers and play 9
with the colours. You don’t have to use
the colours shown in the photo - choose
colours that speak to you, or that match
your decor. I happened to like the colours
of the windows, but they would look just
as fantastic against the grey background
in reds and pinks! Photo 9
The next steps are easy, and fun, too. It’s
time to choose your fabrics and make
your quilt! The wonderful thing about
a modern quilt is that it’s functional
too. Unlike an art quilt, which typically
just hangs on a wall, you will use your 10
quilt every day, and will be constantly
reminded of that special moment when
you took the photo that inspired it.
Photos 10 and 11
So, what are you waiting for? Grab your
laptop, start looking through your photos,
and get inspired to create a modern
architectural quilt today!
11
A NEEDLE PULLING THREAD ● issue 53 9
 skill level Easy

Criss Cross Quilt finished measurements

36½" x 36½" [91 x 91cm]
materials
fabric
• 15⁄8 yds [1.5m] solid dark grey cotton
• ¾ yd [.7m] solid dark yellow cotton
• 1¼yd [1.15m] coordinating fabric for
backing
thread
• thread to match
batting
• 40” x 40” [100 x 100cm] lightweight
batting
other
• sewing machine with ¼” presser foot
• rotary cutter
• quilting ruler
• cutting mat
• sewing pins
• iron and ironing board
• fabric spray starch
Note: A scant ¼” seam allowance is used
through this project.

I grew up on a hobby farm, with horses and cows,

chickens and rabbits. My childhood memories are filled
with time spent in the barn on our property - feeding
and grooming the animals, polishing the horse tack,
and cleaning the stables. Now, as an adult and far from
the family farm, the scent of hay immediately takes
me back to the old barn and those fond memories! A
barn door is the inspiration for this small lap quilt - the
‘crisscross’ of the door’s frame is an interesting detail
that makes great lines on a modern quilt!
– Heather
Photos by Heather McArthur
10 A NEEDLE PULLING THREAD ● issue 53
instructions 5. Stitch together,
removing pins
Assembly
as you sew. Press 1. Sew the (4) four X blocks together
Cutting vertically. Press all seams in the
seam towards
Dark Grey darker fabric. Cut same direction.
Cut (1) 8½" x WOF strip; trim to 36½" long block apart on the
Cut (1) 17½"x WOF strip; trim to 36½" opposite diagonal.
long
Cut (1) 9½" x WOF strip; sub-cut into (4) 6. Finger press the
9½" x 9½" squares center of one side.
Fold a second 2. Sew one dark yellow 2” x 36½" strip to
Cut (4) 2¼" x WOF strips; set aside for each long side of the X Block panel.
binding dark yellow strip
in half and finger Press seams toward yellow fabric.
Dark Yellow press center; sew
Cut (2) 2” x WOF strips; trim to 36½" long to one triangle,
Cut (4) 2” x WOF strips; sub-cut to (8) 2” x ensuring centers
16” strips are aligned. Press
Make the X Block seam towards
Note: Press the dark grey squares well, using darker fabric. 3. Sew the 8½" x 36½" dark grey strip to
spray starch, before making the X blocks. You 7. Pin the second the left side of the panel. Press seam
will be sewing on the bias, which tends to triangle to the towards grey fabric.
stretch; the starch will help prevent distortion. other side of 4. Sew the 17½" x 36½" dark grey strip to
In the following instructions, I have noted to the strip, again the right side of the panel. Press seam
press the seams toward the dark grey fabric. aligning the towards grey fabric.
However, that increases the bulk at some centers. Take
of the seams; you may wish to press seams a moment to
toward the yellow fabric, if you don’t mind ensure seams on
the seams showing through to the top of either side of the dark yellow strip are
your quilt. You decide - there are no quilt aligned before you sew, otherwise
police judging your decision. you will end up with a wonky X! Press
1. Cut a dark grey 9½" square block seam towards darker fabric.
in half on the diagonal, making two 8. Square up your
triangles. Fold one block to 9½". To
triangle in half do this, fold your
along the long block in half into a
edge and finger rectangle, aligning 5. Layer quilt top, batting and backing;
press at the fold to raw edges. Place quilt as desired. Trim and square up quilt.
mark the center. the 4¾" mark on
6. Bind quilt using your favourite method.
2. Fold a dark yellow your ruler along the fold line of the
2” x 16” strip in half and finger press to block. Cut away excess fabric. Open
mark the center. the block, then fold in half along the
opposite edges. Place the 4¾" mark
3. With right sides together, pin the dark of the ruler along the fold of the block
grey triangle to the and cut away excess fabric.
dark yellow strip,
matching centers. 9. Make 4 blocks, using Steps 1 through 7.
Stitch together,
removing pins
as you sew. Press
seam towards
darker fabric.
4. Finger press to mark the center of
the other dark grey triangle, and
the center of the sewn dark yellow
strip. Pin with right sides together,
matching centers. Heather McArthur
quiltersconnection@telus.net
www.shutupandquilt.wordpress.com
A NEEDLE PULLING THREAD ● issue 53 11
 Life is a Beach Table Runner
In my travels of the world small houses have always
spoken to me. Whether they are in Newfoundland,
England or Oceanside California, these rows of small
houses give each area a very distinctive look. I spent
many holidays walking down the beach at Oceanside.
I always think about how fun it would be to sit on
the front porch of one of these houses with a glass
of wine, facing west watching the sun drop into the
Pacific Ocean.
In this pattern, I made the doors quite prominent
as in many areas of the world the doors make a
statement. Embellish your doors so they make a
statement about you! The windows are a turned
appliqué technique allowing you to make any shape of
window. This appliqué technique also makes the end
project very washable, which is great for kids’ quilts,
table runners and placements. Use this paper pieced
house pattern, fabrics from your stash (or maybe
it’s time for a shopping trip!) and create houses that
reflect the feeling of your favourite place in the world.
Remember, life is a beach! – Cathy

12 A NEEDLE PULLING THREAD ● issue 53

 quilting

skill level Intermediate instructions

finished measurements Foundation Paper Piecing
table runner 54” x 24” [137 x 61cm] Houses
pieced houses Foundation paper piecing is a technique
house (1) 7¾” x 9” [19.5 x 23cm] used for piecing projects that require
house (2) 6¼” x 9” [15 x 23cm] smaller pieces. It can give incredible
materials detail and a fine look to quilt blocks. Have
fabric you ever been afraid of foundation paper
• Houses piecing? Where to start, what to do, will I
»2 Fat Quarters for main colour of make a mistake? This project is amazingly
the house simple and has less than 10 pieces for
»fabric scraps for doors and front porches each house, working through this block
»2 Fat Quarters or for sky will give you confidence to try other
• Sand projects. Check out the internet and find
»6” x WOF [15cm x WOF] Note: Some many how-to videos which will help you
of this will be used for piecing when work through this technique.
making the houses.
»center strip and ends Sewing Machine Set up
»20” [51cm] of two different fabrics Needle: Schmetz Microtex needle size
• Backing 90/14
»1.6yds [1.5m] fabric for backing Top Thread: Gütermann Cotton thread
Bobbin Thread: Gütermann Cotton thread
threads Stitch: straight stitch
• Gütermann Cotton thread to match the Stitch Length: 1.5mm
fabric. Tension: normal
• Gütermann Rayon thread in Black (top
stitching the windows) Foundation Paper Piecing Instructions
• Sulky Invisible Thread in Smoke Foundation paper piecing is sewn on the
back side of the Foundation Paper, so
notions the block will be a mirror image. This is
• SCHMETZ microtex needle size 90/14 important if lettering is involved. To make
• UNIQUE Wash-out marker it easier to remove the paper after the
• 45mm Rotary Cutter project, use a short stitch length 1mm or
• Heirloom Double Sided Cutting mat 24” 1.5mm.
x 36”
• Sew Easy Quilting ruler 6½” x 24” This is a simple sew by number
• Sew Easy 60-degree triangle ruler technique. Start at 1 and keep adding the
• Omni Grid 1” x 6” ruler fabrics in order. These photos courtesy of Cathy McClean
• SoftKut Pinking shears 1. Copy the pattern onto HeatNBond
• KAI fine tip scissors Stitch n Sew Ez Print Quilt Block
• Clover Fabric Folding Pen sheets. TIP Use your printer - this is
• Clover Point Turner a time saver plus it will help to avoid
• UNIQUE Ruler Grips errors in tracing the pattern.
2. Cut a square of fabric slightly larger
equipment than the area for area 1.
• iron, ironing board 3. Hold the foundation paper, unprinted
• sewing machine side of paper up to a light, place fabric
other one (right side facing you) over area 1.
• Fairfield Toasty Natural Cotton Batting TIP Use a pin to hold in place.
• Sulky Soft n Sheer Extra 4. Place the second piece of fabric, right
• HeatnBond Stitch n Sew Ez-Print Quilt side together over fabric 1, area 2 is
Block sheets still visible through the Ez Print Quilt
Block sheet. TIP When starting, use a
slightly longer strip of fabric, cutting
off the excess as you go.

A NEEDLE PULLING THREAD ● issue 53 13

 5. Remove the pin, pin fabric 1 and 2
together to the foundation paper.
6. On the right side of the foundation
paper sew on the line between areas
1 and 2.
7. Flip fabric 2 and check that it covers all
of area 2. Flip back.
8. Fold the foundation sheet back on
stitched line. Using a rotary cutter
and ruler, trim the seam allowance
between 1 and 2 to ¼”. TIP For this
step, use the Omni Grid 1” x 6” ruler
9. Flip fabric 2 back over area 2 and press
flat. TIP For a crisper look I use a Fabric
Folding Pen and run it along the
stitching line just before I press.
10. Section 1 and 2 are now stitched.
11. Select each colour in order and
repeat steps 2 to 9 for each colour to
complete each house.
12. Create ten houses:
- six using pattern 1 (with sky along
the sides)
- four using pattern 2
13. Trim houses to size (these
measurements include a ¼” seam
allowance):
- house one 7¾” x 9”
- house two 6¼” x 9”
Turned Appliqué
Windows
This a great technique to use when the
project will be laundered often. The
appliqué will be slightly raised giving it a
bolder look. This turned appliqué is also
fusible making it easier to stitch in place.
TIP Simple shapes such as a leaf, circle,
square or even a flower are easiest to
work with.
Sewing Machine Set up
Needle: Schmetz Microtex needle size
90/14
Top Thread: Black Gütermann Rayon thread
Bobbin Thread: Gütermann Cotton thread
Stitch: straight stitch
Stitch Length: 2.0mm
Tension: normal
Note: Make (1) 1” x 1” and (2) 1” x 1½” for
each house. See templates.
1. Using a Wash Away Fabric Marker draw
the pattern onto the smooth side of
Sulky Soft n Sheer Extra.
2. Place the rough side of the Sulky Soft n
Sheer Extra to the right side of the fabric.
14 A NEEDLE PULLING THREAD ● issue 53
3. Stitch on the lines.
4. Using a pinking shear cut out the
shape, close to the stitching line. If
there are corners, clip them.
5. Using a sharp pair of scissors, cut away
a small amount of the Sulky Soft n
Sheer Extra. Clip into each corner to
within a ¼” of the edge. Photo 1
6. For a nice crisp edge; run a Clover Fabric
Folding Pen along the stitching line.
7. Turn right side out using a point turner.
8. Place on desired spot and fuse in place.
9. Stitch in place.
Note: It’s not necessary to use a satin stitch as
the appliqué edges are finished and won’t fray.
Cutting Instructions for the Table Runner
Cut:
Sand
(2) 2” x WOF
center strip (step 4 in assembly)
colour 1: (1) 1½” x WOF
colour 2: (2) 2½” x WOF
Table Runner Ends
colour 1: (2) 12” 60° triangles
colour 2: (4) 12” 60° triangles
Houses
(6) house one 7¾” x 9”
(4) house two 6¼” x 9”
Table Runner Assembly
Sewing Machine Set up
Needle: Schmetz Microtex needle size
90/14
Top thread: Natural Gütermann Cotton
thread to match fabric
Bobbin thread: Gütermann Cotton thread
to match fabric
Stitch: straight stitch
Stitch Length: 2mm
Seam allowance: ¼”
Tension: normal
1. Use a ¼” seam allowance to sew the
houses together (sewing order: house
1, house 2, house 1, house 2 and house
1) creating two strips of 5 houses one
for each side of the runner.
2. Square off the strips to 33½” x 9”.
Note: If your measurements are slightly
smaller, square both strips to the same size.
3. Measure the finished length. Cut
and stitch sand fabric to the base of
the houses.
4. Create the center strip of the runner
by sewing the three pieces together
(colour 2, colour 1 and colour 2). Trim
to the same length as the house units.
5. Sew strips of houses on each side of
the center stripe. Ensure the roof tips
are lined up and towards the center.
6. For each end, sew three 60°
triangles together.
7. Sew these units onto each end of
the runner.
8. If necessary, trim off excess amount
on the 60° triangle ends.
9. Backing Fabric
TIP I like to use up some of the pieces left
over from the project or something from
my stash. For the backing on this project I
took artistic licence to play with the fonts
on my embroidery machine. This gave me
the opportunity to practise and gives it a
personal touch.
These where sayings on artwork
displayed in the condo I stayed at in
Oceanside:
The beach is calling I must go
Life is a beach
Life is better at the beach
10. Cut or trim the back fabric (whether
it is pieced or a single piece of
fabric) to the same size at the front.
Press both pieces.
11. Cut a piece of low loft cotton batting
slightly larger.
12. Pin the front and back right sides
together.
13. Place this unit on top of the batting.
14. Use a ¼” seam allowance to stitch
the three layers together leaving an
opening to turn.
15. Trim the batting. Clip away batting on
all corners and points. Clip the fabric
at the corners and points.
16. Run a Fabric Folding Pen along the
stitching line, an inch out from each
point.
17. Turn right side out, press and slip
stitch the opening closed.
18. Top stitch and quilt as desired. Sulky
invisible thread was used in the sample.
 Life is a Beach Table Runner
Patterns
Enlarge to 200%

8
7
9 8

4 4

7
6
3 1 2
3 1 2

WINDOWS Templates Actual Size

Make (1) 1” x 1” and (2) 1” x 1½” for each house.

Cathy McClean
National Product Specialist and Educator
www.hakidd.com
cmcclean@hakidd.com

Photo 1

15
 Old Meeting New
Architecture
Royal Ontario Museum
Wall-hanging
The theme for this issue, the shape of things, made me think about unusual shaped buildings. In I found
researching this I discovered that the Royal Ontario Museum (ROM) has a very unique design this design
combining its original heritage stone façade with the Lee-Chin Crystal section. The older section was fascinating
created in a neo-Byzantine style with rusticated stone, triple windows within recessed arches and and decided to
different coloured stones arranged in a variety of patterns. The new Deconstructivist* crystalline form do something
is 25% glass and 75% aluminum, sitting on top of a steel frame; it is composed of five interlocking, self- similar when
supporting prismatic structures. These buildings co-exist but are not attached except for the bridges creating this
that link them. One interesting fact I discovered in my research is that the ROM has been ranked as one wall hanging
of the ten ugliest buildings in the world, so I guess beauty is in the eye of the beholder! by combining
various quilting
techniques old
and new.
These
instructions are
not intended
for you to
recreate this
exact project
but give you the
steps I used to
create it. You
can apply these
techniques to
create your own
unique wall
hanging from a
photograph.
– Annette

16 A NEEDLE PULLING THREAD ● issue 53

 quilting

*Deconstructivism is a movement
of postmodern architecture which
appeared in the 1980s. It gives the
impression of the fragmentation
of the constructed building. It is
characterized by an absence of
harmony, continuity, or symmetry.

skill level Advanced

finished measurements
24”x 32” [61 x 81cm]
materials
fabric
• 2 yds [1.8m] dark blue cotton print
for background, backing, sleeve and
binding
• 4” [10cm] strip grey batik for sidewalk
• 4” [10cm] strip black cotton print for
road
• 18” [45cm] brick cotton print for old HUSQVARNA® VIKING® DESIGNER EPIC™ 2
building Top-of-the-Line Sewing and Embroidery Machine
• 4” [10cm] strip mottled beige print for
bottom of old building
stabilizers needles
• 27” [70cm] silver lamé for new building
• INSPIRA™ Tear-A-Way stabilizer • INSPIRA™ Universal needle size 80
• 9” [23cm] silver crepe de chine for new
• INSPIRA™ Light & Soft Fuse-On stabilizer • INSPIRA™ Topstitch needle size 90
building
• INSPIRA™ Stick N’ Fuse II (fusible web) • INSPIRA™ Titanium needle size 90
• 9” [23cm] city line cotton print for
• white freezer paper • INSPIRA™ Quilting needle size 90
windows
• Pellon® Tru-Grid™ – 1” graph sheer • hand sewing needle
• 9” [23cm] glitter tulle for shading
pattern trace other
• 6” [15cm] strip black sheer organza for
shading threads • HUSQVARNA® VIKING® DESIGNER EPIC™ 2
• 6” [15cm] strip mottled yellow for • assorted colours of Robison-Anton® sewing and embroidery machine
windows 40wt rayon thread • sew-in computer printer fabric sheets
• 4” [10cm] strip mottled grey for • Robison-Anton® metallic thread • transparent plastic film
windows • Sulky® Sliver thread • overhead projector
• 6” [15cm] square grey for door and • Sulky® invisible polyester thread • temporary spray adhesive
windows • Mettler® 60wt bobbin thread • Sewer’s Aid (thread lubricant)
• 36” [91cm] sheer striped fashion fabric • 50wt cotton sewing thread • appliqué pressing sheet
for window strips sewing feet and accessories • pressing cloth
• 36” [91cm] clear vinyl • Utility foot A • rotary cutter and mat
• Non-Stick Glide foot H • 6” x 12” ruler
trims
• Quilt Binder foot for IDF System • 6” x 24” ruler
• assorted trims
• Open Toe foot for IDF System • Clover chaco liner
• black 1⁄8” [3mm] satin ribbon
• Braiding foot • black permanent marker
• black ¼” [6mm] Clover Quick Bias
• Mega Piping foot • INSPIRA™ 6" precision appliqué scissor
batting • INSPIRA™ blunt pocket scissor
• Multi-line Decorative foot
• 24” [61cm] INSPIRA™ Sew Soft Fusible • INSPIRA™ 6” safety stiletto
• Quilter’s ¼” Piecing foot
Batting
• Open Toe Free Motion Spring foot
• 31½” [80cm] cotton batting

A NEEDLE PULLING THREAD ● issue 53 17

 Instructions
Cutting Instructions
Dark blue cotton print
• 1 (24” x 32”) background
• 1 (26” x 34”) backing
• 3 (1¾” x 42”) binding
• 1 (10” x 28”) sleeve
Cotton batting
• 1 (26” x 34”)
INSPIRA™ Light & Soft Fuse-On stabilizer
• 2 (12” x 34”)
Pellon® Tru-Grid™
• 2 (26” x 34”)
Preparations
1. To start a project like this you’ll need
a good photograph from which you
can work.
2. The internet was a good source of
photographs of the Royal Ontario
Museum. There were lots of
photographs to choose from, with
various views of the museum.
3. Once the view of the museum was
decided on, I looked for a photograph
that was a royalty-free stock image
which I purchased from Shutterstock a
stock photography company.
4. The photograph that I used for my
design was a daytime photograph,
but I wanted to do a night scene, so I
found a few more photographs that
would give me an idea of what the
building looks like a night. These were
my inspiration photographs.
5. The photograph was then cropped
and straightened to the image from
which the wall hanging will be created.
6. The photograph was then printed
onto a transparent plastic film
(transparency).
7. To enlarge the photograph the
transparency was placed on an
overhead projector and then
projected onto a wall. Once the
projected photograph is the size of
the wall hanging, tape one of the
Tru-Grid™ (pattern trace) in position
on the wall.
8. Use a black permanent marker to
roughly outline the photograph; don’t
worry about getting the exact details
you can fill them in later. Here’s what
the rough outline looked like.
9. On the remaining piece of Tru-Grid™
trace the rough outline, but this time
use a ruler to get the lines straight.
Also, now you can fill in the details by
referring to the photograph.
Sewing Machine preparations
1. Set up your HUSQVARNA® VIKING®
DESIGNER EPIC™ 2 for piecing by
attaching the Quilter’s ¼” Piecing foot.
2. Insert an INSPIRA™ Universal needle
size 80.
3. Thread with 50wt cotton sewing
thread on top and in the bobbin.
4. Select a straight stitch.
Background and Batting preparations
1. On the (24” x 32”)
dark blue cotton
print background,
sew the grey batik
for the sidewalk
according to the
pattern. Press.
2. Sew the black cotton print for the
road according to the pattern. Press.
3. Fuse the 2 (12” x 34”) INSPIRA™ Light &
Soft Fuse-On stabilizer on one side of
the cotton batting.
4. Set aside.

Product photos courtesy of SVP

18 A NEEDLE PULLING THREAD ● issue 53
 Freezer paper appliqué
1. The older section of the building
will be put together using a more
traditional method of appliqué
using freezer paper. Start by placing
the freezer paper, shiny side down,
on the reverse side of the older
building pattern and trace the
pieces. Cut out the pieces exactly
along the line you traced.
2. Lay the freezer-paper pieces shiny
side down on the wrong size of the
brick and mottled beige print fabric. Use an iron to press the
freezer-paper piece onto the wrong side of the fabric. Cut
away the excess fabric, leaving a ¼” seam allowance.
3. For the side of the building place a piece of black organza
over the brick fabric to give the illusion of depth.
4. Turn under and baste by hand the seam allowance on all of
the appliqué pieces.
5. On your sewing machine insert an INSPIRA™ Topstitch
needle size 90. Thread with Robison-Anton® rayon thread on
the top and Mettler® 60wt bobbin thread on the bottom.
6. Attach the Open Toe foot for IDF System and engage the
IDF System.
7. Use the pattern as a guide to put the pieces together.
8. Use a blanket stitch to stitch the appliqué pieces down onto
the background fabric.
9. Once the piece is stitched down, remove the basting thread
and cut an opening in the back of the background fabric
big enough to remove the freezer paper. Continue until the
entire building is appliquéd onto the background.
Windows
1. Attach the Non-Stick Glide
foot H to your machine.
2. Select a triple reinforced
straight stitch.
3. The windows were created
by placing a piece of
clear vinyl over the cotton
print for the window and
stitching a grid.
4. Attach the Open Toe foot for
IDF System and engage the IDF
System.
5. Sew windows in place adding trim
to cover the raw edges.
6. The curved part above the window
was a challenge because it is such
Instruction photos by Annette Janca
an intricate design. To capture
the design, it was printed onto
computer printer fabric, including
the Canadian flag. The pieces were
cut out and incorporated into the
wall hanging.
7. Place INSPIRA™ Tear-A-Way
stabilizer under the piece when
satin stitching any of the details.
8. Attach the Mega Piping foot to
attach the eavestroughs and any
of the trims with cording.
Raw edge appliqué
1. The crystal section of the building was constructed using a
more modern type of appliqué technique called Raw Edge
Appliqué. This method eliminates the need to turn under
the raw edges of the pieces as they are covered with a wide
satin stitch.
2. Freezer paper templates were still used in this part of the
piece to eliminate having to draw on the fabric. Place the
freezer paper, shiny side down, on the reverse side of the
new building pattern and trace the pieces. Cut out the
pieces exactly along the traced line.
3. Fuse INSPIRA™ Sew Soft Fusible Batting to the wrong side of
the silver lamé and silver crepe de chine. Use a pressing cloth
to protect the fabrics.
4. Press the freezer paper template to the wrong side of the fabric.
5. Thread the machine with 50wt cotton sewing thread on top
and in the bobbin.
6. Attach the Open Toe foot for IDF System and engage the
IDF System.
7. Select a straight stitch.
8. Straight stitch around the freezer paper. Then remove the
freezer paper.
9. Repeat for all the templates.
10. Mark the angle of the quilting lines on each of the pieces
with a Chaco liner according to the photograph that follows.
A NEEDLE PULLING THREAD ● issue 53 19
 11. Thread the machine with Robison-Anton® Metallic thread
or Sulky® Sliver thread on the top and Mettler® 60wt bobbin
thread on the bottom. Use Sewer’s Aid thread lubricant on
the thread for smooth sewing.
12. Attach the Utility foot A.
13. Stitch evenly spaced quilting lines.
14. To create depth and shadows on the building; glitter tulle
and organza was placed over the lamé and crepe de chine.
See the pictures to see the difference this makes to the look
of these fabrics.
15. Thread the machine with Robison-Anton® 40wt rayon thread
on the top and 60wt bobbin thread on the bottom. Attach
Non-Stick Glide foot H to the machine.
16. Create the windows using the city line cotton print fabric,
vinyl, ¼” Clover Quick Bias and 1⁄8” ribbon.
20 A NEEDLE PULLING THREAD ● issue 53
17. To create the narrow window strips, cut narrow strips from
the sheer striped fashion fabric. Lay a vinyl strip on top and
sew in place. Trim the vinyl close to the fabric.
18. Attach the braiding foot and feed
the 1⁄8” ribbon through the hole in the
foot, stitch the ribbon on each side of
the narrow strip. Use the INSPIRA™ 6”
safety stiletto to help hold the ribbon
down as you sew.
19. Attach the Open Toe foot for IDF
System and engage the IDF System.
20. Sew the windows in place on the quilted pieces.
21. Fuse the
INSPIRA™ Stick
N’ Fuse II (fusible
web) onto the
wrong side of all
the pieces. Cut
out exactly on the
sewn line.
22. Insert an
INSPIRA™
Titanium needle
size 90 into your
machine. This
will help you
get through the
multiple layers
of appliqué plus
the INSPIRA™ Stick N’ Fuse II (fusible web).
23. Lay the batting with the INSPIRA™ Light & Soft Fuse-On
stabilizer down on a flat surface. Spray with temporary spray
adhesive and place the wall hanging on top. The INSPIRA™
Light & Soft Fuse-On stabilizer will make it easier to quilt and
prevent the batting from snagging on the feed teeth.
24. Remove the paper backing from the fusible web. Lay the
pieces of the building onto the background using the
pattern as a guide. Fuse in place using low heat and a
pressing cloth so not to melt the vinyl and lamé.
25. Set up your machine for a wide satin stitch and stitch around
all the raw edges. The batting and stabilizer will prevent the
satin stitches from tunneling. Change threads to match the
piece that you’re stitching down.
26. Insert an INSPIRA™ Quilting needle size 90 into the machine.
Multi-line Decorative Foot
27. Change to a straight stitch and quilt the piece. Tie off the Binding and Sleeve
beginning and end thread tails on the batting side. By 1. Set your machine for regular sewing. Select a straight stitch.
not putting the quilt back on until the intricate quilting is 2. Insert an INSPIRA™ Universal needle size 80.
completed, the beginning and end thread tails don’t need to 3. Make a sleeve to hang your wall-hanging and attach it to the
be buried and the back of your wall hanging will be neat. back. Hand stitch the bottom of the sleeve in place.
28. Attach the Multi-line Decorative foot when quilting the 4. Stitch the binding strips on the diagonal to form one long strip.
mottled beige piece at the bottom; the lines on the foot are 5. Follow the instructions included with the Quilt Binder foot
perfect for stitching equal distance rectangles without have for IDF System and stitch the binding in place.
to mark the fabric.
29. Attach the Open Toe Free Motion Spring Foot and set your
machine for Free Motion Spring Action.
30. Stipple quilt the sky and around the bricks.
31. Place the quilt backing on a flat surface and spray with
temporary spray adhesive and place the wall hanging on top.
32. Attach the Open Toe foot for IDF System and engage the
IDF System.
33. Thread the top with Sulky® Invisible polyester thread and the
bobbin with 60wt thread matching the backing.
34. Quilt around the buildings enough to attach the wall
hanging to the
quilt back.
35. Thread your
machine with
50wt cotton
sewing thread
on top and in the
bobbin.
36. Select a Three-
step zigzag and
stitch around the Open Toe Free Motion Spring Foot
perimeter of the wall hanging.
37. Trim the excess batting and backing around the perimeter of
the wall hanging.

Annette Janca
Education and Marketing Administrative Support
SVP Canada Inc.
husqvarnaviking.com/en-CA
HUSQVARNA VIKING, DESIGNER EPIC and INSPIRA are trademarks
of KSIN Luxembourg II, S.a.r.l. ©2019 KSIN Luxembourg II, S.a.r.l.

A NEEDLE PULLING THREAD ● issue 53 21

 Sol y Mar
Bed Runner

Last year on
vacation in
Loreto, Mexico
I fell in love
with the tiles I
saw everywhere.
Especially on
the staircase
in this photo.
I decided I
needed to
incorporate
the look into
my home
decor…This
felted wool bed
runner is the
result. Update
your bedroom
décor with this
Mexican tile
inspired bed
runner. It can
also function
as a table
runner if you
prefer and can
be shortened
or made as a
single tile for a
hot plate.
– Lynn

22 A NEEDLE PULLING THREAD ● issue 53

 sewing and machine embroidery

Brother ScanNCut SDX225 and cutting mat Brother Sewing and Embroidery Machine Luminaire XP1
Sewing, Embroidery and Quilting Machine

skill level Intermediate

finished measurement 14” x 75”
time required 8 hours
materials
fabric
• 59” [1.5m] felted wool - white or cream for background fabric
• 39½” [1m] each of assorted colours of felted wool for blue,
grey, rust accents
• 79” [2m] cord for piping
• 39½” [1m] cotton fabric for backing
notions
• coordinating thread
• Wonder Clips
• pins
• rotary cutter and mat
• scissors
• ruler and marking tools
• iron and ironing board
• Brother Iron-on Fabric Applique Contact Sheet (CASTBL1)
• Transfer Paper Grid (CAVINYLTPG)
other
• ScanNCut Design files (3 cutting files provided)
equipment
• Brother Sewing and Embroidery Machine Luminaire XP1
• Brother ScanNCut SDX225 and cutting mat
• standard sewing foot
• zipper foot
Notes:
• Determine desired length of bed runner
• Adjust size of background squares to create desired size of
bed runner
• Design shown is 14” x 75” and is used on a queen size bed
Instruction photos by Lynn Swanson
A NEEDLE PULLING THREAD ● issue 53 23

Tile design on ScanNCut mat
Use the Luminaire Projector and Guideline Marker to view your
stitches’ trajectory.
Making the piping.
24 A NEEDLE PULLING THREAD
instructions
prepare designs
3 Mexican tile designs have been provided. To use these
designs, follow these steps:
1. Print out each design.
2. Place printed design on ScanNCut mat.
3. Press Scan.
4. Save design.
5. Enlarge design to desired size (15” x 15”).
6. Save design in machine.
prepare fabric for cutting
1. From background fabric cut (5) 15” x 15” squares or the
number of squares required for your desired length of
bed runner.
2. Cut piece of backing fabric 15” x length of bed runner.
3. Cut (1) 3” x 60” strip of grey felted wool; this becomes
the grout between the tile pieces.
4. Stabilize wrong side of contrast appliqué fabric with
Iron-on Fabric Applique.
Note: Follow Iron-on Fabric Applique package instructions to
adhere and test fabric to determine correct heat setting of iron.
5. Place stabilized fabric on ScanNCut SDX225 cutting mat
and load the mat.
6. Select your first design.
7. Press Set.
8. Press Cut.
9. Carefully remove cut fabric (design) from cutting mat.
10. Place design onto background fabric and press in place.
Note: For 2 of the designs the positive and negative sections
of the design were both used in the bed runner. When using
the positive and negative sections – first remove the negative
section in 1 piece. Then, place transfer tape over the positive
section and gently remove from the cutting mat. Place transfer
tape onto the background fabric (square), then gently remove
the transfer tape. You can also mix and match the various
appliqué pieces to provide mulitcolour blocks.
11. Repeat the cutting and placement steps for each of the
desired designs.
stitching
1. Place applique design cut at ScanNCut SDX225 on
background fabric square.
2. Use iron to gently press in place.
3. Stitch the felted wool appliqué pieces to the
background fabric.
4. For the negative designs select stitch Q -14 (blanket
stitch) to appliqué around the outside of the block to
adhere it to the background.
Note: Use the projector feature and laser guide features on the
Luminaire XV1 to ensure your stitches are where you want them.
Instruction photos by Lynn Swanson
● issue 53
5. To stitch the balance of the appliqué pieces in place onto
the background fabric squares, you can choose a straight or
a decorative stitch. You decide how much stitching you wish
to add to each tile.
6. To make the piping separating each block place cord in the
middle of grey fabric strip. Fold strip in half and hold in place
with pins or Wonder Clips.
7. Stitch cord together using zipper foot. Position machine
needle very close to the cord. Use your fingers to feel where
the cord is positioned.
8. Square up each of the completed blocks, so each block is the
same size.
9. Arrange blocks attractively.
10. Place cut edge of piping along cut edge of first block. Stitch
in place. Trim piping to edge of block.
11. Place cut edge of second block even with edge of piping
attached to first block and stitch.
12. Repeat steps 10 and 11 to stitch all blocks together.
13. With right sides together lay backing fabric on top of
assembled tile strip.
14. Trim backing fabric to the same size as assembled tile strip.
15. Use pins or Wonder Clips to hold the two pieces together. Audition tile arrangement.
16. Use a ½” seam to stich the top edge and bottom edges of
the bed runner.
17. Turn right side out. The inspiration for the Sol y Mar bed runner
18. Fold in the left and right edges of bed runner and stitch
closed.
19. Adorn your bed top with the completed bed runner and
dream of your next Mexican vacation.

Lynn Swanson
Brother Educator
Western Canada
www.brother.ca

A NEEDLE PULLING THREAD ● issue 53 25

 Sol y Mar Designs
enlarge each design to 200%

26 A NEEDLE PULLING THREAD ● issue 53

Yo-yos make your
quilts complete
Yo-yos are a fun way to complete skill level beginner
your quilt. They can be the whole materials
quilt or they can be easy and fast fabric
embellishments on your quilt or • scraps of fabric, depending on your size
quilted items. Here you can find of yo-yo, a 5'' square for the larger one
• a 3'' square for the smaller one
two simple ways to make yo-yos.
other
– Jackie • TrueCut 360

Use the TrueCut 360 to cut your circle to your
exact specifications.
Do a running stitch 1⁄4'' from edge of circle.
Create a more finished looking yo-yo by folding
the fabric in and stitching through both layers
around the circle.
instructions
Creating a Yo-yo
1. This first method creates what I call a
raw edge yo-yo. Do a running stitch
around the perimeter of the yo-yo
starting on the wrong side and about Yo-yo
1⁄4'' from the edge. completed
2. Once stitches are completely around with raw
the circle, pull to gather and do a few edge finish.
stitches to hold.
3. Finesse to get a nice looking circle.
4. Create a smaller yo-yo to go on top of
the large one and stitch down.
Put a small yo-
To create what I call a finished yo-yo, as yo on top
you do your running stitch, fold your of a larger
fabric in wrong sides together from the one to
edge about 1⁄4'' and stitch through both cover the
gathered
layers going around the perimeter.
hole.
When gathering the yo-yo, you can
either pull tight or because you have a
nice clean looking finish, leave a small
opening in which you can insert a
corresponding fabric and stitch down to
give a unique look.
Slip a small
If you want to sew yo-yos together, do
piece of
simple slip stitches at the edges of each fabric into
yo yo to join. Try adding a few onto your opening of
next quilt or quilted bag to make it look yo-yo to create
fun and show off your creativity. a pretty center.
Yo-yos can really make your quilt
complete!

Photos by Jackie White

A NEEDLE PULLING THREAD ● issue 53 27

The Maritime Houses quilt was initially inspired
by the weathered and colorful houses found in the
Maritime Provinces of Canada. When Northcott
introduced their Crackle line of fabrics, it was the
perfect choice for this project.
As I began working on the house blocks, the world
was faced with a Global Pandemic and families
were forced to isolate in their homes, bringing new
meaning to this project. Our homes are where we
28 A NEEDLE PULLING THREAD ● issue 53
Maritime
Houses Quilt
traditionally find safety and security, which was never
truer than it is now. Worldwide Quilting Day took
place at the outset of Social Isolation in Canada and
quilters across the country took to displaying their
favourite quilts outside their homes to show the world
the ways that quilting binds us together. Quilts are
the heart of our homes, so they had to be a part of
this project inspiring the sashing. – Clodagh
 quilting

skill level Advanced Sewing instructions for house block

finished measurements 1. Sew 3 Main House and 3 Window
strips together as per Diagram 1. 3½” x 1½”
47” x 42” [119.5 x 106.7cm]
2. Sub-cut into (6) 2½” sections (discard
materials remaining ½” scrap).
fabric 3. Trim to 5½” x 2½”.

1” x 1½”

• 10” [0.25m] each of four different fabrics
for Main House
• 10” [0.25m] each of four different fabrics
for Side House
• 10” [0.25m] each of light blue/grey
fabric for Windows
• (12) 2” x 3½” for Doors (various)
• 10” [25cm] of dark stone fabric for Roof
and Chimney
• 39” [1m] each for background and
sashing
threads
• Aurifil 50 weight cotton thread for piecing
• Gamut thread for embroidery
1” x 1½”
4. Sew (3) 5½” x 1½” pieces onto the sub 2½” x 1½”
cut strips as per Diagram 2.
5. Press seam allowances as per the arrows.
6. Assemble Side House as per
Diagram 3.
7. Press seam allowances as per the arrows.
8. Draw diagonal line on two 3½” x 2½”
background 2” x 2” squares.
9. Place one right sides together with
7” x 2” Roof piece and stich along
diagonal line.

11⁄4” x 3½”

11⁄4” x 3½”
notions
• Acorn Precision piecing glue 2” x 3½”
• rotary cutter
1½” x 16”

1½” x 16”

1½” x 16”

1½” x 16”

1½” x 16”
• cutting mat

instructions Diagram 3

Diagram 1
Cutting instructions for 3 house blocks
10. Cut ¼” seam allowance off as per
Main House
Diagram 4 and press towards Roof.
• (3) 1½” x WOF strips
11. Position 3½” x 2” side house rectangle
» Sub-cut
on the Roof as per Diagram 5 and
- (3) 1½” x 16” 5½” x 1½” stich along diagonal line.
- (9) 1½” x 5½”
Side House
• (3) 1½” x 3½”
• (6) 1” x 1½”
• (3) 3½” x 2½”
• (6) 1¼” x 3½”
• (3) 3½” x 2”
Windows Diagram 4
5½” x 1½”
• (2) 1½” x 16”
• (3) 2½” x 1½”
Door (various)
• (3) 2” x 3½”
Roof and Chimney
• (3) 7” x 2”
• (6) 1½” x 2”
Background 5½” x 1½”
• (12) 2” x 2”
• (3) 3½” x 2” Diagram 2 Diagram 5

Instruction photo by Clodagh Coker

A NEEDLE PULLING THREAD ● issue 53 29
 12. Cut ¼” seam allowance off and press towards the Roof.
13. Position 2” square of background on the Roof section as per Diagram 6 and stitch along
diagonal line.
14. Cut ¼” seam allowance off and press towards the House.
Diagram 6 15. Assemble Chimney section Diagram 7.
16. Layout all pieces as per Diagram 8 below and sew segments together using ¼” seam
allowance. Make sure to carefully nest all seams. Acorn Precision piecing glue is a great tool
2” x 2” 3½” x 2” 2” x 2” create super-straight lines and precise seams to assist in keeping seams aligned.
17. All seam allowances should be pressed open unless indicated otherwise by the arrows
Diagram 7 in the diagram below.
18. Trim block to 8½” x 10 ½”.

2” x 2” 3½” x 2” 2” x 2”

3½” x 1½” 5½” x 1½”

1”x 1½”

1”x 1½”

2½” x 1½”

3½” x 2½”
5½” x 1½”
11⁄4” x 3½”

11⁄4” x 3½”
2” x 3½”

5½” x 1½”
Diagram 8

sashing
Note: The Maritime Houses Quilt sample is
embellished with an embroidered sashing,
Anita Goodesign Farmstead collection. The
quilt could be completed with plain sashing.
1. Cut 9 pieces 33⁄8” x 10½” for sashing and
4 pieces 33⁄8” x 41” for outer sashing.
2. Cut an additional 2 pieces of sashing
33⁄8” x 41” if not doing embroidery.
3. Prepare your backing, quilt and bind
as desired.

Designed by Clodagh Coker

Custom quilted by Mandie Eddie
The Quilt Store
17817 Leslie Street, Unit 40
Newmarket, Ontario L3Y 8C6
www.thequiltstore.ca
905.853.7001

30 A NEEDLE PULLING THREAD ● issue 53

 #TheSewGoesOn
While we are sew at home, together we
keep the spirit of sewing alive.

Be part of a passionate sewing

community. Share your sewing
and quilting projects on Instagram
using #TheSewGoesOn

Look for giveaways, supplies and special offers!

Share your love of sewing

31
 The Windmill
Quilt Block
365 days quilt
scraps challenge
This windmill block pattern is
offered here in 3" block sizes.
Any of my blocks can be made
smaller or larger than these by
playing with the size options
on your colour printer before
printing. –Olesya

Photo by Olesya Lebedenko

32 A NEEDLE PULLING THREAD ● issue 53
 patchwork

skill level intermediate

Sewing Scrap Blocks
finished measurements with Character
3” block
by Olesya Lebedenko
materials
celebrates her year
fabric
• fabric scraps long challenge of
notions making patchwork
• thread to match fabric quilt blocks out of

#365daysquiltscr
• heavy weight thread or embroidery fabric scraps. More
floss for embellishing
than 60 original
• sewing needles and pins
• 1 mini button patchwork blocks!
• sharp scissors Step-by-step
• ruler diagrams speak
• rotary cutter for themselves,
• pencil or water-soluble marker
and templates are
other BQQ
included.
• transfer paper MJRV
• colour printer Ï
X
JOE
Note: The diagrams are actual size N JMM
C
excluding seam allowances.
MBE
FT

Instructions
'PS
Preparing the Pieces
Print method Windmill

6"
XJO
E
and blade
Print the diagram in colour then cut the NJM
M templates
paper pieces to use as templates.
Tracing method BTTFNCMZ
PG
QJF
Using transfer paper and a ruler, trace blade: make 4
the windmill image. Cut the pieces to
use as templates. SCALE 1:1 actual size
Cutting and Sewing 'PS inches 1 25 3

cm 1 2 3 4 6 7 8

1. Place each template on a chosen XJO

EN
scrap fabric and cut around the JMM
template including a ¼” all around
8

each piece. Cut all the pieces of fabric.

3

2. Use the numbered diagrams to sew all

'PS
7

pieces in the recommended order. Sew

the pieces by hand or by machine. XJO
6

EN
3. Use backstitching at the start and stop JMM
of seam if sewing by machine, use
25

knots if sewing by hand.

4

Making Decorative Stitches

1. Use the photo as a guide and big
3

quilting stitches to make a border on

]

1
m

the door and window markings.

6m

2
”[

2. Cut and appliqué windmill blades

¼

inches

using big quilting stitches.

1

3. Use a mini button for the center of

cm

the windmill turbine.

A NEEDLE PULLING THREAD ● issue 53 33

 The Windmill Quilt Block
piecing#365daysquiltscraps
order
11 5 9

22
6

10

BTTFNCMZ
PG
QJFDFT
3 7


11

4
8

902-435-7380
www.kellyscreativesewing.ca
804 Main Street
Dartmouth, Nova Scotia B2W 3V1
Olesya Lebedenko
Olesya Lebedenko Design
kellyscreativesewing@gmail.com
olesya-l-design.com
Specialize in Sewing, Embroidery machines,
Sergers and Long arm Quilting Systems facebook.com/365daysquiltscraps
patreon.com/olesyalebedenkodesign
instagram.com/olesyalebedenkodesign

34 A NEEDLE PULLING THREAD ● issue 53

35
 The fabrics used in the
bricks, the border, and
the words were made
using the photocopier
function on my INKJET
printer. The fabric for the
mortar and the binding
are commercial prints. I
used the bricks on my
house as the guide for
the sizes. Feel free to
change up the sizes to
suit your project. There
are many novelty or
architectural prints on
the market that you can
use instead of creating
your own. Why not make
this a memory quilt
or personalize it with
‘bricks’ of someone’s
favourite thing?
– Elaine

Under Construction Quilt

36 A NEEDLE PULLING THREAD ● issue 53


skill level intermediate
finished measurements
32½” x 40” [82.5 x 101.5cm]
materials
fabric
Fabric A The fabric for the bricks was
created by photocopying actual house
blueprints onto muslin that had been
treated to make it colourfast. You can
purchase colourfast sheets of fabric in
white or cream, or you can treat your own
fabric using BubbleJet 2000. The bricks
were cut 2½” x 8½”.
Fabric B The border of the fabric was
created by carefully placing finishing nails
on the bed of the scanner. The resulting
image was then transferred to Photoshop
where the colour of the image was
manipulated to a shade of purple that
matched the blueprints. The border was
cut at 3½”.
Fabric C The lettering on the quilt was
created in WordPerfect using a different
font for each word. You can create any
lettering or numbering that you like. The
colour of the lettering was manipulated
to match the colour of the blueprints.
The letters are 7⁄8” high. A small border
was left beyond all the lettering and
after it was appliquéd to the quilt, the
edges were frayed.
• ¾ yd [0.69m] Fabric A for bricks (create
your own by photocopying house
blueprints or use an architectural or
construction print or even a novelty
print to create a personalized house
for someone)
- Cut ten (10) strips measuring 2½” x wof
™ Subcut thirty-nine (39) pieces that
measure 2½” x 8½”
™ Subcut ten (10) pieces that measure
2½” x 4½”
• ½ yd [0.45m] Fabric B for mortar –
choose a fabric that contrast to the bricks
- Cut seventeen (17) strips measuring
7⁄8” x wof
™ Subcut thirty-eight (38) pieces that
measure 7⁄8” x 2½”
• ½ yd [0.45m] Fabric C for borders
- Cut four (4) strips measuring 3½” x wof
quilting
• ½ yd [0.45m] Fabric D for appliquéd
words (if you’re printing the words
on the printer, then you’ll need as
many fabric sheets (8½” x 11”) as you
need for all the words you’ll place
on the quilt. Alternatively, you could
appliqué personal items on the quilt
if you’re making this into a memory
quilt for someone.
• ½ yd [0.45m] Fabric E for binding
- Cut four (4) strips measuring 2½” x wof
™ Join end to end using a diagonal
seam
• 1 yd [0.92m] for backing
other
• matching thread
• rotary cutter
• cutting mat
• ruler
• pins
Instructions
Note:
• Use ¼” Seam Allowance unless
otherwise stated.
• It’s best to NOT prewash preprinted
fabrics such as panels and border
prints. The fabric goes through many
processes to be delivered to the
consumer and there may be some
size variations. If you’re unable to cut
the panels/border prints to the sizes
mentioned above, cut the pieces
to a size that works for your panels
and adjust any other measurements
accordingly.
Row A
Using four rectangles (bricks) of Fabric A
and three pieces of sashing (mortar) of
Fabric B, join the pieces together to get a
row with four bricks. Press away from the
sashing. Make 6 rows.
Row B
Using two of the smaller rectangles
(half bricks), three full rectangles, and
four pieces of sashing (mortar), join the
pieces together to a row with a half brick
on each end and the three bricks in the
center. Press away from the sashing. Make
5 rows.
Quilt Center
1. Measure several of your rows to get
the average length. Cut 10 strips to
that length.
2. Add a row of sashing to the bottom
of five of the Row A. The sashing is
narrow – make sure you pin it in place
to prevent stretching.
3. Add a row of sashing to the bottom of
all five of the Row B.
4. Sew a Row B to the bottom of a Row A.
5. Continue to join the rows until the
center of the quilt is complete. Row A
and Row B will alternate with the half
bricks in between the full bricks at the
end of each row.
Inner Border
1. Using Fabric B, cut 2 pieces of fabric
that measure the center width of the
wall hanging.
2. Match the center of the inner border to
the center of the wall hanging and pin.
3. Match the ends of the inner border to
both ends of the wall hanging and pin.
You may have to ease the inner border
or the wall hanging. Sew the seams.
Press away from the inner border.
4. Repeat this process for the side inner
borders using the height (through the
center) of the wall hanging as your
measurement guide.
Outer Border
Repeat the steps for the inner border using
Fabric C, add the outer border. If you’re
using your own fabric you created on the
inkjet printer, you’ll have to join the pieces
before you can cut the final length.
Appliqué
The words were appliquéd AFTER the wall
hanging was quilted. Once the words
were secure, the edges of the fabric were
fringed. If you prefer a more finished look,
turn the edges of the appliqué under and
then stitch in place.
Elaine Theriault
Crazy Quilter on a Bike
crazyquilteronabike.blogspot.com
A NEEDLE PULLING THREAD ● issue 53 3737
 WAVES
quilt

Two years ago, I had the opportunity to

travel to Poland with my friend Debbie. At
one point during the tour I went missing
for a couple of minutes, a person on the
tour noticed my absence. When Debbie
was questioned about my absence,
her reply was, “Paul probably found a
quilt inspiration and is probably taking
pictures”. Debbie was correct! I was taking
photos of a design in a brick. On many
trips I more than likely took more pictures
of quilt inspirations than the sites of the
places I’m visiting.
When I travel to foreign lands, I do so
to taste and savour the colours of these
new exotic locations. Now I travel with an
additional interest, quilting. It’s amazing
the inspiration I come across when
quilt design is a big part of my life. I find
inspiration in so many things, ceramic
tiles, plant colours, lines, graffiti and my
favourite architectural designs. I’m always
taking photos.
On a recent extended vacation to Puerto
Vallarta, I was amazed at the inspiration I
was finding everywhere. One such view,
which got to me was an outer hotel wall
located next to the building where I was
staying. Everyday I would see this wall
and enjoy looking at the curved lines
the stonework created. As my vacation
was coming to a rapid end, I was sitting
at the pool staring at the wall I had been
admiring for weeks. Suddenly, I noticed
the wall’s stonework had the same
colours and shades as the many fabrics in
Northcott Stonehenge collections. Within
3 days, I had a plan and had ordered
every piece of fabric I would need to
reproduce this wall, minus the windows.
I had the inspiration, the idea and a plan.
The next step was to put it all together.

Photos by Paul Léger

38 A NEEDLE PULLING THREAD ● issue 53
The first step in preparing to make this
quilt was to figure out the dimensions.
The background rectangles are 10½”
x 20½” (unfinished). As I like to make
large quilts, I decided this quilt would
measure 90” x 100” before quilting; 9
rectangles wide by 5 rectangles tall.
1 5
Calculation made, I needed the
following quantity of Stonehenge
fabrics:
• 7 yards for the background fabric
• ¾ yards of 10 different valued fabrics
For the wave’s pieces, I selected 10
fabrics of different values. I cut pieces 2
measuring 5½” wide x 10” to 13”.
Randomly selecting 18 pieces from
the 10 selected fabrics, I sewed then
together length wise at varying
heights. For this quilt I made a total of
6 bands that would be used for the
waves. Photo 1
3 4 6
On the back of each band I fused
double sided interfacing in a way
which would create a wave once cut.
Photo 2
Using my rotary cutter, I made soft
curves by following the placement of
the interfacing. Photo 3
After the curves were cut, I placed
them one at a time on the quilt top.
I made sure the band’s seams were
aligned with those of the quilt top.
Once all seams were aligned, I pressed
the interfacing into place. Photo 4
Since I was working with raw edges, I
sewed a blind hem stitch along each
curve. Photo 5
Using the walking foot’s edge, I
followed the edge of every curve, then
repeated this process by following the
quilting lines. Following this process, I
calculated I used between 11 and 12
bobbins to machine quilt this quilt.
Photo 6
Now when I see this quilt, I will always
be reminded of my first extended
vacation in Puerto Vallarta. I’m now
looking forward to my next vacation
wherever that may be.
Travel locally or afar when you can,
enjoy the sites, the scenes, the food
but always keep an eye on interesting
architectural or any other features that Paul Léger
could be recreated in a quilt. paullegerquilts.com

A NEEDLE PULLING THREAD ● issue 53 39

 An ot h e r Bri ck I n T h e W a ll
I’ve always love bright colours. I remember in
high school wearing a bright coloured shirt my
mother had made me. As a 17-year-old teenager,
like everyone else I wanted to fit in, be cool.
Well let me tell you, in 1977 wearing the bright
coloured shirts did not make you fit in or be cool,
but for what ever reason I did not care. I loved
the colours and I wore the shirt with pride.
40 A NEEDLE PULLING THREAD ● issue 53
Quilt
My love of bright colours remains to this
day, it’s obvious in many of my quilts. The
inspiration for this quilt came from loving the
geometric shape of a brick wall and the love of
solid coloured fabrics. Having purchased several
pounds of solid remnants in every colour of the
rainbow a quilt plan formed itself. – Paul
 quilting

skill level Easy This quilt has a total of 30 rows: Step 7 Sew the 29 brick strips to each
other. Alternate the rows starting with
finished measurements • 15 rows will have (12) 3”x 6½”
half bricks on the first row, then full brick
approximately 72” x 91½” before quilting rectangles on the second row, then half on third
materials • 15 rows will have (2) 3”x 3½” rectangles row going to full brick on the fourth row.
fabric at each end and (11) 3” x 6½” rectangles Continue this rotation until the 29 rows
5 yds [4.75m] fabric for bricks Note: in between are sewn together. Sew the 30th strip
Step 2 Make 15 stacks of 11 randomly which was put aside earlier to the bottom
This is a great quilt to use up your scraps
selected 3” x 6½” rectangles with black of the quilt top.
and un-used fat quarters.
2¾yds [2.5m] black fabric strip and one 3” x 6½” rectangle without
black strip.
5½yds [5m] backing
2⁄3yd [½m] binding Step 3 Make 15 stacks of 11 randomly
double/full size batting selected 3” x 6½” rectangles with black
strip plus one 3” x 3½” rectangles with
black strip and one 3” x 3½” rectangles

Instructions without a black strip.

cutting
From fabric selected for bricks cut:
(345) 3” x 6½” rectangles
(30) 3” x 3½” rectangles
From black fabric cut in this order:
(2) 1” x 91½” *
(2) 1” x 90” *
(29) 1” x 72” *
(345) 1” x 3” rectangles
* the lengths indicated are the minimum
lengths they must be cut. I suggest
cutting each strip 2” longer than indicated
and trim once sewn.
From binding fabric cut:
(8) 2½” strips
sewing
Note: All seams in the next steps are ¼”.
Step 1 Sew a black 1” x 3” rectangle to
every 330 of the 3” x 6½” rectangles and
to 15 of the 3” x 3½” rectangles.
Note: Each stack will make one row.
Step 4 Using one stack at a time sew
rectangles end to end. End each strip
is the rectangle without a black strip.
Step 8 Baste quilt top.
When sewing the stacks with the 3” x 3½”
rectangles ensure the 3” x 3½” rectangles Step 9 Quilt.
are sewn at each end of the row.
Step 10 Add binding.
Step 5 Mark both sides of the (29) 1” x 72”
strips as follows:
• On one side of every strip mark as
follows: 3¼”– 6½”– 6½”– 6½”– 6½”–
6½”– 6½”– 6½”– 6½”– 6½”– 6½”– 6½”–
3¼”.
• On the other side of the strip mark as
follows: 6¼”– 6½”– 6½”– 6½”– 6½”–
6½”– 6½”– 6½”– 6½”– 6½”– 6½”– 6¼”.

Step 6 Sew the 29 black strips the 29

of the coloured brick strips*. Align the
marking with the black vertical strips.
*put aside one strip with 12 full bricks.

Paul Léger
paullegerquilts.com
The quilt was quilted by Frank Palmer
(Full Frontal Quilt and Dyeworks) of
Duluth, Minnesota.
Instruction photos by Paul Léger
A NEEDLE PULLING THREAD ● issue 53 41
 Seattle
Station
Quilt
One of the most beautiful buildings I’ve found in the
United States is the train station in Seattle Washington.
It’s full of marble, carved window casings and huge
wooden benches. It’s also heavily trimmed with a gold
and green mosaic tile. When I was there several years ago,
I took numerous photos, hoping to incorporate it into a
knitting or embroidery design. In the meantime, I’m very
excited that quilter Jean Boyd has been able to interpret
them into this modern quilt for this issue!
– Cynthia MacDougall

Photos by Cynthia MacDougall

42 A NEEDLE PULLING THREAD ● issue 53
 quilting

Instructions
skill level intermediate cutting instructions Beige
finished measurements Note: Because there are many different size (2) 5½" x WOF. Re-cut to make (4) 5½" x
22" x 42" [56 x 107cm] pieces in this quilt, it's a good idea to label 15½" for Block 1.
materials the pieces as they are cut. (1) 4½" x WOF. Re-cut to make (2) 4½" x
fabric 11" and (4) 4½" x 4½" for Block 2.
• 11⁄8 yd [1m] Northcott Canvas 9030-12 Green (1) 2¾" x WOF. Re-cut to make (4) 2¾" x
beige (4) 3" x WOF for a ½" finished size binding. 6½" for Block 2.
• ¾ yd [0.7m] Northcott Canvas 9030-75 Cut ends of each strip on a 45° angle.
green (2) 3½" x WOF. Re-cut to make (4) 3½" x
• (1) 8" [21cm square] Northcott Canvas (1) 1¾" x WOF. Re-cut to make (4) 1¾" x 11" and (8) 3½"x 3½" for Block 4 and (4)
9030-53 yellow 4½" and (4) 1¾" x 2" for Block 2. 3½" x 2" for Block 3.
• 11⁄3 yd [1.2m] Northcott Canvas 9030-12 (2) 1½" x WOF. Re-cut to make (8) 1½" x (1) 2½" x WOF for Block 4.
beige for backing 5½" for Block 4. From remaining fabric cut (2) 7¾" x 7¾"
batting (4) 1¼" x WOF. Set aside one of the strips for Block 3.
• 1 piece 46” x 26” for Block 4. sewing instructions BLOCK 1
other Re-cut the remaining 3 strips to make:
• threads to match
• rotary cuter, ruler and mat • (4) 1¼" x 15½" for Block 1

Note: Use ¼" seam allowance throughout
unless otherwise stated.
• (4) 1¼" x 5½" for Block 1
From remaining green fabric, cut (4) 2" x
2" for Block 3.
Block 1 make 2
Yellow
(1) 3½" x 3½" for Block 3
(2) 2" x 2" for Block 2
(4) 1¼" x 1¼" for Block 1

Block 1 reversed make 2

A NEEDLE PULLING THREAD ● issue 53 43

 1. Sew a 1¼" x 5½" green strip to one 3. Cut 2 – 4½" beige 2. Sew a 2" green square to each end of
end of a 5½" x 15½" beige rectangle. squares in half the remaining 2" x 3½" beige strips.
Press seam toward green. diagonally to make 4
2. Sew a 1¼" yellow square to one end triangles.
of a 1¼" x 15½" green strip. Press seam 4. Sew a triangle to 2
toward green. opposite sides of
3. Sew the green strip with yellow the pieced square, Press seams toward beige.
square to the bottom of the 5½" x centering the point 3. Sew the 3 rows together.
15½" beige rectangle. Press seam of the triangle with 4. Cut the (2) 7¾" beige squares in half
toward green. the center of the diagonally to make 4 triangles.
4. The block should measure 6¼" x 16¼". block.
5. Make another block like this. 5. Sew triangles to
6. Make 2 Block 1 (reversed) that look the remaining sides.
like this. 6. Trim the block so it
measures
6½" x 6½".
TIP It's a good idea
to draw the cutting
lines on the block
first, before cutting, to 5. Sew a triangle to 2 opposite sides
check that the pieced of the pieced square, centering the
square is centered. point of the triangle with the center
of the block.
7. Sew a 2¾" x 6½" 6. Trim the block so it measures
beige strip to the 11" x 11".
top and bottom.
8. Sew a 4½" x 11" TIP It's a good idea to draw the cutting
Block 1 make 2 beige strip to left lines on the block first, before cutting, to
side of the block. check that the pieced square is centered.
The block should sewing instructions BLOCK 4
measure 10½" x 11".
9. Make a Block 2
(reversed) that looks like this.
Block 1 reversed make 2

sewing instructions BLOCK 2

Block 4 make 4
1. Sew the 2½" x WOF beige strip and
the 1¼" x WOF green strip together
to make a strip set. Press seams
sewing instructions BLOCK 3 toward green.
2. Cut the strip set into (8) 3" x 3¼" units.
Block 2 make 1 Block 2 reversed make 1

1. Sew a 1¾" x 2" green strip to 2 sides

of a 2" yellow square. Press seams
toward green.
2. Sew a 1¾" x 4½" green strip to the
other 2 sides of the yellow square.
Press seams toward green.
Block 3 make 1
1. Sew a 2" x 3½" beige strip to 2 sides
of the 3½" yellow square. Press seams
toward beige.
3. Cut each 3½" beige
square in half diagonally.
4. Sew a 1½" x 5½" green strip
to 2 beige triangles. Make 8
units like this.

44 A NEEDLE PULLING THREAD ● issue 53

 5. Press seams toward green on 4 of the
squares. Press seams toward beige on
the remaining 4 squares.
Trim to 3¼" x 3¼", making sure to keep
the green strip centered.
6. Sew the units together to make 8 like
this. Each should measure 3¼" x 11".
Press seams as shown.
7. Sew a 3½" x 11" beige strip to the top
of each pieced strip to make 4 Block 4.
Each block should measure 6¼" x 11".
Jean Boyd
www.patternsbyjeanboyd.com
Instruction photos by Jean Boyd
putting it all together
1. Sew the blocks together to make 3 rows.
Row 1
Row 2
Row 3
2. Sew the rows together to complete the quilt top.
finishing
1. Layer backing fabric, batting and quilt top, making sure to centre the quilt top on
the backing.
2. Baste the layers together. Quilt as desired.
binding (½" finished size)
1. Sew the 3" binding strips together, end to end, to make one strip long enough to
go all around the quilt. Press seams open.
2. Fold the strip in half lengthwise with wrong sides together. Press.
3. Using a walking foot, sew on the binding using a scant ½" seam and mitering
the corners.
4. Fold binding to back and hand-stitch in place.
A NEEDLE PULLING THREAD ● issue 53 45
 Melissa Marginet is an avid quilter whose passion is to teach
and inspire other quilters. She is especially passionate about
empowering quilters to quilt their own quilts on their home
sewing machines. She has taught locally for many years and
now travels throughout Canada to share her knowledge. She
has taught for Quilt Canada and the Saskatchewan Stitches
Conference as well as many quilt guilds and groups.
Melissa is the author of two books on walking foot quilting.
After a huge success with her first book, Walking Foot
Quilting Designs, she has decided to publish a second book,
Edge-to-Edge Walking Foot Quilting Designs.
While the first book is a compilation of over 100 quilting
designs, the second book, Edge-to-Edge Walking Foot
Quilting Designs, discusses a technique that once learned
gives you over 200 new quilting designs with many more
possibilities that can be used on any quilt. The following
pattern is a taste of that technique.

BLOSSOM Quilt

46 A NEEDLE PULLING THREAD ● issue 53

 quilting

skill level Intermediate Using the two

finished measurements pieced units and a
13'' x 43'' [33 x 109cm] 5½” square of Twist,
assemble 4 of the
materials following units.
fabric
• 1 fat quarter of Sangria Strawberry Field
pink by Figo Fabrics
• 1 fat eighth of Yarrow by Kona Cottons
• 136⁄8'' [35cm] Sorbet Twist by
Dashwood studios
• 1 fat quarter Sangria Wavy Stripe pink
by Figo Fabrics for binding Section 2 Piecing Instructions
• 195⁄8'' [50cm] fabric for backing Make a strip set from the 3” Strawberry
• 16'' x 44'' [40.5 x 112cm] piece of batting strip and the remainder of the 5½” strip of
Twist. Sub cut (6) 3” pieces
instructions
cutting instructions
From the Strawberry FQ cut:
» (2) 5½” WOF strips - sub cut into (4)
5½” and (6) 3” pieces
» (1) 3” WOF strip – sub cut into (6)
5½” pieces
» (14) 1½” squares
From the Yarrow cut:
Using the (6) 3” x 5½” pieces of Strawberry
» (4) 3” x 5½” pieces
and (6) 1½” squares of Twist and following
From the Twist cut:
the directions from above, make 4 of the
» Cut (1) 5½” WOF strip - sub cut into Final piecing
following units with the corner on the left
4 (5½”) squares
and 2 with the corner on the right. To finish the top of the table runner, piece
» Cut (2) 3” WOF strips - sub cut into
the units together as follows:
(6) 8” pieces, (6) 3” pieces, and (8)
1½” squares
Section 1 Piecing Instructions
Using the (4) Yarrow rectangles and (8)
Attach a 3” square to the 6 units on the
1½” squares of Strawberry
same side as the corner piece. Quilting instructions
• Place two squares on each rectangle,
stitch corner to corner. Marking your quilt can be done before or
• Cut off the excess leaving a ¼" seam. after you layer and baste your quilt.
• Press the corner out. When deciding how to quilt your
Using the diagrams as your guide, piece 2
patchwork, the first thing to decide on is
of the first unit and 1 of the second unit.
where to place the grid.

Using the (4) Strawberry 5½” squares and

(8) 1½” squares of Twist
• Place two squares on each square,
stitch corner to
corner.
• Cut off the excess
leaving a ¼"
seam.
• Press the corner
out.

Photos by Melissa Marginet

A NEEDLE PULLING THREAD ● issue 53 47
 Next we need to mark our patchwork with dots along the lines
Edge-to-Edge Walking of the decided grid. The finished size of each grid section is 2½”
square so I decided to mark points ¾” from the corners along all
Foot Quilting Designs sides.

I used two designs in three different ways to quilt the table

runner. Through the Yarrow I quilted parallel lines. Through the
Strawberry I quilted crossed lines and through Twist I alternated
each from one to the other.

Step 1
Starting at the center of the
table runner quilt all the vertical
lines. Work your way from the
center towards the right edge
After the resounding success of Melissa Marginet’s Walking Foot of the table runner, quilting one
Quilting Designs, Melissa is back with her second brilliant book: line at a time. Turn the table
Edge-to-Edge Walking Foot Quilting Designs. This book is another runner around and quilt the
must-have reference book for your quilting space if you’re remaining vertical lines in the
serious about exploring exciting ways to quilt your projects. same manner.
Edge-to-Edge Walking Foot Quilting Designs is particularly useful
for the beginner quilter puzzled about how to quilt on a Step 2
domestic sewing machine. It’s a reference book you’ll use time Following the same instructions
and time again for small or large projects. Edge-to-Edge means quilt the horizontal lines.
no threads to bury and no rotating your quilt!
Edge-to-Edge Walking Foot Quilting Designs is a collection of
designs that are created from 6 basic designs used in different
combinations and orientations to give you over 200 more ideas.
The designs are created for the walking foot but can also be
used for free motion quilting, ruler work, long arm quilting, and Binding
hand quilting. The binding is made by cutting the wavy stripe into (6) 2” strips.
For more information or to order online visit Melissa Marginet’s They are joined end to end with a diagonal seam and pressed
website at http://www.melissamarginet.ca/. in half lengthwise. It’s sewn to the top of the quilt using mitred
corners and hand stitched to the back.

Melissa Marginet
IG @melissamarginet
FB Melissa Marginet – Quilter
etsy.com/shop/melissamarginet

48 A NEEDLE PULLING THREAD ● issue 53

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A NEEDLE PULLING THREAD ● issue 53 49
 In the Studio with
Ana Buzzalino
Architectural structure and quilting
The Bridge to the Other Side I
50 A NEEDLE PULLING THREAD
Some months ago, I woke up around 2 a.m., which is not
unusual for me, and had a thought. At the time, I had
just finished a week of intense studies about working in
monochrome. The colour I had chosen to work with was red.
It came to me that night that there’s a beautiful architectural
structure in Calgary, Alberta called The Peace Bridge. The bridge
is a dark red colour, I could use its lines to design and make
abstract art quilts. Join me as I show you how to use your own
photos of an architectural structure or building that is close to
your heart to design your own abstract pieces.
Let’s talk about architecture today: it’s defined as the art or
practice of designing and constructing buildings. The complex or
carefully designed structure of something.
According to Wikipedia, the earliest surviving written work on
architecture is De architectura by the Roman architect Vitruvius
in the early 1st century AD. According to Vitruvius, a good
building should satisfy the three principles of:
• Firmitas – firmness
• Utilitas – commodity
• Venustas – delight
The equivalent in modern English would be:
• Durability – a building should stand up robustly and remain
in good condition
• Utility – it should be suitable for the purposes for which it
is used
• Beauty – it should be aesthetically pleasing
Photos by Ana Buzzalino
● issue 53
 Then, in modern times, the word ‘Utility’ Some facts about The Peace Bridge
was replaced by the concept of ‘Function’ It’s a helical steel structure with a glass
which came to be encompassing all roof; it has a width of 26 ft. and a total
criteria of the use, perception and length of 428 ft. It accommodates
enjoyment of a building. people walking and cycling across the
As quilters, we are also architects of our Bow River in Calgary. Spanish architect
own pieces. We use the same principles Santiago Calatrava designed it. The
that Vetruvius used for our own work: bridge was built by The City of Calgary
• Durability We use the best materials to connect the southern Bow River
possible to make our work durable, pathway and Downtown Calgary with
to withstand time and in some cases, the northern Bow River pathway
multiple washings. and the community of Sunnyside.
• Utility or Function We make our quilts This connection was designed to
for different purposes: as comfort accommodate the increasing number of
pieces for babies, teenagers and adults, people commuting to and from work and
as covers for our pets, as pieces to grace those utilizing Calgary's pathways.
our walls. Each piece is made with care
and love to fit a purpose.
• Beauty No matter what the purpose
of the quilt is, we strive for beauty
using each fabric, each cut piece and
patch, each seam. The quilting design
used to hold the layers together add
to the whole.
One of the best known and admired
architects of the 20th century, Le
Corbusier a Swiss-French architect,
designer, painter, urban planner, writer,
and one of the pioneers of what is now
called modern architecture, wrote: "You
employ stone, wood, and concrete, and
with these materials you build houses and
palaces: that is construction. Ingenuity is
at work. But suddenly you touch my heart,
you do me good. I am happy and I say:
This is beautiful. That is Architecture".
As quilters, we can rephrase his quote as
follows: “We employ fabric, thread and
batting and with these materials we build
quilts: that is construction. Ingenuity is at
work when we use our imaginations and
change a pattern, change a fabric, switch
colours. Use something that is unique.
And suddenly you touch my heart, you
do me good. I am happy and I say: This is
beautiful. That is a Quilt”. The Bridge to the Other Side III

Backdrop photo by Debbie Hudson

A NEEDLE PULLING THREAD ● issue 53 51

1 2
A selection of fabric The selected threads to match
3 4
5 6
7 8
Now that I rambled on about a subject that I find fascinating –
that of architecture – let’s get back to how to use an architectural
structure close to your heart to design abstract pieces.
materials
• photos of the subject of your choice from different angles if
possible.
• a sketchbook if you choose to work in one or some paper to
make sketches
• pencil and eraser
• tracing paper – optional
• fabric in the colours of your choice to go with your structure
• thread – for piecing and quilting
Getting started
I took one of the photos I liked and enlarged it to approximately 8”
x 10”. This made the angles more prominent. I placed tracing paper
on top and traced the angles to have a reference, see photo 3.
Observing the tracing, I looked at the lines and the angles and,
by using this tracing together with the rest of the photos, I
started sketching. I used Post-it Notes; I had decided to make
my pieces 12” x 12” and these square notes were the perfect size.
See photos 4, 5, and 6.
Make as many thumbnail sketches as you like, using straight or
curved lines or a combination of both. These thumbnail sketches
will serve as inspiration and exploration to make larger pieces
out of cloth. One sketch might inform the next. Explore the
“what if …” that will come to mind when you’re working on these.
These sketches are yours and they are your interpretation of the
lines and angles and shapes you’re seeing. They don’t need to be
literal; they need to make YOU think of the building or structure.
Make notes beside the sketches as to what fabrics you might use,
what thoughts come to mind, what the mood might be.
See The Bridge to the Other Side I where the black shibori pieces
made me think of the pieces of glass on the bridge, and The
Bridge to the Other Side III where the yellow and grey piece made
me think of rain on the glass.
Once you’ve worked on a few sketches and chosen one to get
started, you need to decide on how you’ll piece it. Here are two
methods I use – with improve style being my favourite.

9 10

52 A NEEDLE PULLING THREAD ● issue 53

Improv style
This is a piece as you go method. You’ll need to look at your
11
sketch and number the pieces in the order you’ll sew them. This
will make it simpler, as you may need to sew units that then will
be sewn together, as in photo 7 where A, B and C will be one unit
and 1, 2 and 3 a second unit. These will be pieced separately and
then joined together.
With that in mind, cut and sew two pieces together, iron the
seams and then cut the proper angle for the next piece. Add the
next piece and continue as needed to make Unit 1. Then make
Unit 2 and join together.
Templates
This method consists of drawing your design to scale – in my
case 12” as in photo 7. Cut the pieces and use them as templates.
Note: If you want to keep the original piece intact, make a copy or
draw your design twice. You can cut one and keep the other one as
the master pattern. The more involved the design, the more work 12
you’ll need to do ahead of time so that your piece will resemble your
sketch. If you’re keeping a master, this is where you can make notes
to yourself as to the order of sewing, fabrics to be used, stitching,
hand-stitching, etc.

Cutting your fabric and piecing

Mark the pieces in stitching order. For my pieces, I decided
that, for every line, I would add a ¼” to ½” (finished) piece
of fabric to resemble the lines in the bridge structure. So
that adds another level of complexity, as your piece will grow
exponentially. If you do that, you’ll have to trim the piece to
size – after the quilting is done.
When using templates, remember to add seam allowances to all
sides and some extra to the edges to allow for shrinkage during
quilting. See photo 8.
See photos 9, 10, 11 and 12 for the steps to my piece. Photo 12 is
the finished piece.
Once your piece is done, layer with batting and backing and quilt
as desired. Think about the designs you use so they add interest
and texture to your piece. Trim, bind or add a facing to your art
quilt and don’t forget to add a label and sign it!
Hope you’ll enjoy making your own abstract pieces based on
architectural structures.

Ana Buzzalino
www.anabuzzalino.com
Instagram ana_buzzalino
Facebook anabuzzalino

A NEEDLE PULLING THREAD ● issue 53 53

 More Joy
Less Overwhelm
with Brandy Maslowski
Ergonomically Correct
In 30 years of quilting I’ve certainly found
myself suffering now and then from little
aches and pains because I’ve spent hours
stitching, binding, quilting or otherwise
creating in my studio with no regard for
ergonomics. So, I reached out to a local
expert, Wendy Otto, Physiotherapist to
compile a few tips for all of you (and I
define YOU as beautiful creatives who
engage in a love of all things stitching).
I’ve heard some great stories over the
years demonstrating how creative
stitchers can be with makeshift lights and
magnifying glasses, quilt rigging systems,
hand stitching lap tables and more.
We are an inventive bunch. Send me an
email if you’ve done something unique
to prevent pain and strain while stitching.
I’d love to hear your tips too. It’s really
important to take care of your body so
you can continue to quilt, stitch and play
pain free for years to come.
Brandy Maslowski is a quilting and fibre
art teacher and the author of Kristy’s
Quilt. She runs her business Quilter on
Fire exploring the texture, colour and
boundless possibilities of fabric. Surprised
that she even has loyal followers, she
lovingly dubs them her Quilt Crew. She
travels the world to educate, speak and
ignite creativity with the tag line More
Brandy Maslowski Joy, Less Overwhelm, and she holds her
quilteronfire.com annual IGNITE Okanagan Quilting Retreat
FB quilteronfire each fall in Summerland, BC. You can find
IG quilteronfire her as the Quilter on Fire on Youtube,
www.youtube.com/c/quilteronfire Facebook and Instagram or visit
www.quilteronfire.com.
54 A NEEDLE PULLING THREAD ● issue 53
1 LIGHTING
Keep your work area well-lit to avoid
eyestrain and invest in a good quality
magnifying glass if you find yourself straining
to see your work. Natural light bulbs or light
from a window reduce glare and distortion
while allowing you to see the true colours of
your project.
2 POSTURE
Any needle pulling thread hobbies may
involve sitting for a long time, so body posture
is key to prevent injury. Sit with your knees
at a 90° angle while keeping your feet flat on
the floor or footrest. Elbows should be bent
at a 90° angle, with wrists and hands resting
comfortably on the sewing machine, table, or
your lap. Listen to your neck and shoulders. If
you feel pain, take a break, stretch and adjust
to a more comfortable position.
3 WORK SURFACE
The distance between the body and the work
surface should be roughly six inches. For
handwork use a small slanted table to bring
the stitching up to you to avoid slouching
over your work. Rather than holding the
weight of a quilt in your lap or arms, create
a workstation with enough space to the left
and behind your machine for the bulk of the
quilt to rest on the table.
4 HAPPY FEET
Particularly if you stand a great deal of the
time at a cutting table or loom, invest in
an anti-fatigue mat to improve circulation
in your lower limbs and wear comfortable
supportive shoes to keep your feet happy.
5 TOOLS OF THE TRADE
There are dozens of tools designed to
promote neutral joint postures. From
electric, pneumatic, or otherwise automated
tools to scissors and cutters designed with
ergonomics in mind. Pay attention to your
hand position when you’re using tools and
if you experience pain then hop online and
research the best tool for you.
A NEEDLE PULLING THREAD Make & Be Happy!

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A NEEDLE PULLING THREAD ● issue 53 55

 A r
r t i s t eview Laine Canivet

Bridge in Venice For the past few years I host an artist

open house in my home as part of
our neighbourhood artist studio
tour. For two days I talk non-stop
to people who are curious to peek
inside my house. Then they become
fascinated by the fibre art, the likes
of which most have never seen
before. It is my chance to educate
people and encourage them to
purchase some art for themselves.
Very popular is my offer to translate
their favourite photo into fabric so
I always display several options on
how this is done. One option is to
print their photo on cotton which
I then embellish with thread and
beads. Another option involves
building the photo’s elements using
fabric and other objects, assembling
the elements onto background fabric
then quilting and embellishing the
final product.
I received a commission to work
with a client’s Bridge in Venice
photo. First, the photo was printed
on cotton – two copies. One copy
was the base copy, the second was
for me to cut up. On the base copy
the sun-washed buildings were
highlighted using fabric markers.
The vertical lines of the buildings
were quilted to give dimension and
texture. From the second cotton
print I cut out the bridge and the
hand railing and attached them to a
piece of thick interfacing. This was
glued over top of the base copy
bridge to create a 3-D bridge. The
beautiful flowers were smothered
with thick knots of bright beads. A
few beads and Angelina Fibre were
used to add dimension to the water.
Once the frame was selected a line
of square black beads was sewn
along the right edge to echo the
frame’s design. The recipient was
thrilled with this lovely reminder of
her vacation.
Photos by Laine Canivet
56 A NEEDLE PULLING THREAD ● issue 53
St. Peter Port
I used a different technique to
interpret my photo of St. Peter Port,
Guernsey into fabric. I used an app
to reduce the colour in the photo
then I printed the pale photo. Using
a black pen, I traced just the outlines
of the buildings then had a local
print shop enlarge the black and
white line-drawing to a larger size.
I taped the enlarged line-drawing
to a window then taped white
cotton over top. Using a ruler and
a sharp lead pencil I traced all the
lines onto the white cotton. After
applying stabilizer to the back of
the cotton I machine sewed along
all the lines using black thread. This
was very tedious especially the tiny
windows. Painting was the fun part.
Using fabric paints and a very fine
brush I painstakingly painted all
the buildings, windows, trees and
sky. It was impossible to keep the
paint away from the black stitching
so when the painting was finished
the black thread lines needed to
be enhanced. I had to thread the
sewing machine to sew black thread
overtop of all the lines again. It was
beyond tedious the second time - but
of course it was worth it.
– Laine

materials used
print and white cotton fabric, thread,
fabric markers, fabric paint, stabilizer
finished measurements
Bridge in Venice is 24” x 18”
St. Peter Port is 20” x 16”

Laine Canivet
www.lainecanivet.com

A NEEDLE PULLING THREAD ● issue 53 57

 A r
r t i s t eview Jack Edson
The Edson House
My quilt, Edson House, was made in 1995 and it reflects
my growing interest in genealogy at that time as well as my
beginning steps of making a picture of something by using
the designs that appear in traditional quilt blocks. I knew
there was an Edson Street in South Buffalo, New York and
I looked through the city directory to find the address of
the house that my ancestors lived in 1900. Armed with the
address, I drove to the old family house. I remember that as
I stood in front of 47 Edson Street, and began drawing the
house with pencil and paper, it started to snow hard. This
was before digital cameras, and I remember a man walking
his dog who was looking at me standing there, drawing, in a
snowstorm. Was this normal?
Back home, I started making this piece with log cabin
blocks for the windows, as they suggested curtains in the
windows. Next, I filled in the walls with horizontal strips,
just like rows of shingles. For the door, I made two bow
ties, not unlike the parts of a door. A porch roof had to go
between the two floors, cut the top floor like the roofline,
add some strips for trim, and this quilt was beginning to
look like that house in the snowstorm! A little triangle on
the porch had some decorative woodwork, so I sort of
figured out how to do hand applique.
Needless to say, there was no planning for the piece.
Suddenly, it grew much larger than I would have expected,
measuring 90" x 38". I learned that if you start with biggish
blocks for the little windows, you will end up with a quilt
that is larger than you expected. I entered this piece in the
Erie County Fair and won a red ribbon that is stop pinned
to it. I remember hanging this quilt in the library where
I worked, and noticed that people were drawn to it, and
many asked about its story.
58 A NEEDLE PULLING THREAD ● issue 53
It’s made from cotton cloth, with a very limited range of
colors. Now I take pride in the hundreds of different colors
that I use in my quilts today. Back then, I simply did not
have that much fabric. Fabric in the sky is a mix of blue and
a white with grey stones, not unlike clouds visually. The
hand quilting in the sky is made of curves, different from
the quilting on the building, which is geometric lines,
following the architecture or the quilt block patterns. The
biggest challenge making this piece was...having absolutely
no idea how to make a quilt of a building, really, but
jumping in, headfirst to see how this piece was going to
materialize, and it did.
Looking back at this 25 year old quilt, I can see the almost
folk art quality there; showing a picture of something
important in my life, and inventing ways to depict
it, using the materials at hand and very undeveloped
sewing skills of someone who is not going to let anything
stop him from making the piece.
My interests in local architecture and historic preservation
have grown after finishing this quilt. I served on the Historic
Preservation Commission in my village of Hamburg, New
York for nine years and occasionally lead tours of buildings
and collections of stained glass. I have grown to love
our local vernacular architecture and want to share that
interest and enthusiasm with others. My advice to other
quilters is, immerse yourself in your quilt subject matter
as you make your quilt. Now, I usually read a book about
my quilt subject as I make their portrait quilt. Also, use a
quilt block pattern that connects with your subject. I used
Tumbling Blocks for a portrait of Thomas Eakins that I made
during the recent Covid-19 isolation, as it felt liked the
world was tumbling down.
Photo by Jack Edson
My one regret for the Edson House
quilt is that it does not have a
human figure present. It could
have been Buffalo policeman Elmer
F. Edson sitting on the porch, or
maybe his pretty wife Julia Scully
Edson looking out a window, or my
father, young Jimmy Edson sitting
on the front step. Now, the human
presence is very important for me
in my quilts! A person could still
be added, as I have learned much
about my ancestors who lived here,
and I think this quilt really needs
somebody at home. I certainly
have enough fabric nowadays to
make a personal addition to the
quilt!
You’re invited to join my
Facebook group, Edson Fabric
Art Workshop…I post something
almost daily. – Jack

finished measurements 90” x 38”

Machine sewn top and hand
quilted by Jack Edson

Jack Edson
jack14075@aol.com
FB Edson Fabric Art Workshop Group

A NEEDLE PULLING THREAD ● issue 53 59

 The Architecture of Garments
We don’t often think of our
garments – sewn, knitted or
crocheted – as structures, but they
are. They’re man-made, and they
have components which actually
meet the criteria for two forms of
structure: frame and shell.
Frame structures are defined as
structures made of separate, often
thin, pieces that are put together,
and shell structures are used to
enclose or contain the items within.
Doesn’t that sound like the last
sweater you made?
Knit Together
My aunt taught me a lot of
garment construction theory at a
very early age (no doubt before I
knew what ‘theory’ even was). She
taught me machine sewing, where
I learned the purpose of darts and
seams and interfacing and collars.
As I expanded such theories into
my knitting pursuits, I learned
differing viewpoints, and adopted
those that made sense to me. You
can adopt those that make sense
to you, too.
I have a knitting friend who is a
100% no-sew kind of knitter – if she
can avoid sewing a seam, she will.
At another workshop, though, I met
a knitting author who proposed,
quite emphatically, that seams
have a place, especially in knitted
garments. She gave the example of
a knitted skirt, pointing out that if
you knit a skirt in the round it is apt
to show signs of seating over time
– the skirt can sag at the back after
repeated wearing, and eventually it
won’t be able to bounce back to its
original shape.
60 A NEEDLE PULLING THREAD ● issue 53
Likewise, I’ve come to regard shoulder
seams as one of the most important part
of a garment’s structure. I equate it to the
clothes hanger that will help the garment
drape properly over the shoulders, and
help it hang properly further down. It’s
almost as if the shoulder seams provide
a support similar to what a builder puts
over windows or doorways to keep
those spans from sagging. Are there
times when I don’t worry about shoulder
seams? You bet! I love my slouchy, top-
down, knit-in-the-round sweaters!
For people who like fitted garments,
seams can provide great opportunities
to incorporate shaping. Side seams, and
even a back seam can be used to ‘nip
in’ a waist on a garment. Darts can be
employed to add fullness where needed,
but they don’t offer the same amount of
structural stability in knitting as they do
in sewing.
I quickly adopted the method of knitting
the back and fronts of a cardigan
simultaneously on a circular needle until
the time I made a loose-knit mohair one
in garter stitch. While the shoulders and
sleeves were well supported with the
seams for those areas, the fronts of the
cardigan sagged over time, and in just a
year or two this garment was relegated to
informal, around-the-house use. If I’d put
side seams in that cardigan and made
bands for the front instead of leaving
raw garter stitch edges, I suspect that
cardigan would have retained its office-
worthy status for a longer period.
While on the subject of button bands on
cardigans, I always used to wonder why
vintage Patons patterns directed me to
knit the button and buttonhole bands
on a cardigan separately and sew them
on after. How infuriating! That is until
the day I understood that doing this
helps keep the fronts of the cardigan
from sagging, and, if I knitted them in at
Cynthia MacDougall
the same time I knitted the fronts, the
bands would be too sloppy to hold up
the buttons. If you research even further
back, you’ll find that grosgrain ribbon
was often used to provide even more
stability to these bands. Imagine having
to hand-sew ribbon onto your already
hand-sewn button and buttonhole
bands! But, cardigans made with these
structural additions were built to last in
a time where knits were usually made
from thin yarns – often sockweight.
Such garments required a considerably
longer investment of time than today’s
speed knits. If I were to persevere
through knitting a dress or suit out of
fingering weight yarn, I know I’d want
that piece to last!
Collars, cuffs and hems are other
architectural elements of garments.
Yes, I know: ribbing can be boring, but
when you understand that ribbing
helps keep drafts from blowing up your
arm, or worse, over your back or down
your neck, it makes sense to invest
in these mundane but worthwhile
garment elements.
If you don’t like the look of ribbed cuffs
(and some don’t), hems can provide
structure and a bit of weight to help keep
the bottom edges in place, while adding
an extra layer of fabric. I love this tip I
learned years ago for substituting a hem
at the bottom of a garment for ribbing:
Find the number of stitches the pattern
prescribes at the top of the ribbing. Cast
on 90 percent of those stitches, knit
your hem (¾" to 1" [2 - 2.5cm] is enough
for sleeves, 1½" - 2" [4-5cm] works for
the bottom of a sweater, and 2" - 3" [5
- 7.5cm] is optimum for a knitted skirt).
Once the hem is the desired depth,
ending with a knit row, increase 1 stitch
for every 9 on the needle (the 10% of the
stitches you need to bring your stitch
count back to 100%). Knit the next row to
create what is known as a turning ridge.
Then, beginning with a knit row, continue
knitting the main part of the garment.
Photos by Cynthia MacDougall
There are two important things
to remember when making this
substitution:
1. You will need extra yarn. While ribbing
consumes slightly more yarn than
plain knitting, a knitted hem will
consume even more, as it adds length
to the overall piece.
2. You need to adapt your pattern: the
bottom of the pattern piece will now
begin at the turning ridge, so you need
to remember to knit to the right length
before working other pattern elements
– sleeve shaping, for example.
Knitted hems can be used to maximize
the beauty of a knitted pattern
(everything from slipped stitch to cables
to colour-stranded designs) by allowing
them to flow right from the bottom
edge of a garment. An added benefit
of this flow is that it often elongates
the appearance of the wearer, making
this a super little trick for persons of
petite stature. The inside of hems can
be wonderful vehicles for incorporating
messages, such as the recipient’s initials,
or a lasting “love note.”
In sewing, facings and interfacings are
used to provide structure down the
fronts of garments, and around necklines
and sleevelines, particularly in sleeveless
garments. How many times have we
knitted ribbed collars and sleeve edges
for vests twice the finished length, then
turned them down and stitched them
to the underside? Perhaps we’ve done
this without questioning the reason, but
often the reason is twofold: to add an
extra layer where a draft could sneak in,
and to give the garment added structure
and elasticity at an area where it is apt
to come under a higher area of stress.
Ribbed collars, for example, have to
stretch every time a wearer dons (puts
on) or doffs (takes off ) a garment, and
sleeve cuffs are often pushed up over the
lower arm.
When you’re approaching your next
knitted garment, I hope you’ll give a little
extra thought to the structure you’re
about to manufacture and maybe tweak
your piece to suit your own taste. As
knitters, we have the power to regard our
patterns as guidelines rather than edicts
which must be followed to the letter. Just
remember to make detailed notes!
A NEEDLE PULLING THREAD ● issue 53 61

How Sweet It Is
Baby Cardigan and Hat Set
Top Down Raglan Baby Cardi - Knitted Version
If you’ve already read this issue’s Knit Together
column, you’ll see that this little project gives an
opportunity to talk about a garment structure I
absolutely love: raglan shaping!
For a time, it was the fashion to knit sweaters with a
drop shoulder design. It was not my favourite time
in fashion history. Sure, straight body pieces are easy
to knit and make it easy to design or adapt patterns
such as cables or intarsia to flow with minimal
interruption, but (and, to me, it’s a big but), the
absence of shoulder shaping means that the ‘blunt’
sleeves bunch up under the arm, which is especially
uncomfortable when an overcoat is also required.
Raglan sleeves, by contrast, fit nicely up to the under
arm, then taper gently up to the collar. I like this
style so much that sometime in the early 1980s I
invested in Bea Freeman’s patented Raglan Sweater
Wheel. This little device makes it possible for me
to knit any raglan sweater I want in any size from 6
months to men’s or women’s 48" [122cm].
When I was asked to create a simple baby cardigan,
my thoughts went directly to Bea’s wheel! There
were a couple of hitches, though: the wheel is made
for bottom-up knitting, and I want a top-down one,
and all of the instructions are in inches and use a
different needle numbering system! Nothing that a
good needle gauge and a bit of math can’t fix!
Another structural feature I want to talk about
is the trim on this cardigan. I chose garter stitch,
because it works well with cotton and the button and
buttonhole bands can be worked in with a stocking
stitch body most times with success. Keep an eye
on them as your sweater progresses. If you find the
button bands are pulling up too much, you can add
a couple of short rows on each side to add a little
more ease. I did this with the acrylic version. Just
remember to keep the buttonhole spacing on track.
For yarn, I was given carte-blanche, so I chose
some soft cotton out of my stash that will be very
comfortable on a baby! When I wanted a second test-
knit, I chose a soft baby acrylic. – Cynthia

62 A NEEDLE PULLING THREAD ● issue 53


skill level Easy
size 3 (9, 18, 24) months
Instructions are given for smallest size,
with larger sizes in round brackets
finished measurements 18½" (20", 21¼”,
22") [47 (51, 54, 56)cm]
materials
yarn
• 3 (3, 4, 4) 50g balls of DK weight yarn is
enough for the jacket and hat
needles
• US 6 [4mm] straight or 24" [60cm]
circular needles double points hat -
optional for sleeves
other
• stitch markers
• 3 (3, 6, 6) buttons ½" dia. [13mm]
gauge
22 sts to 4" [10cm]
Note:
• Markers are placed to make it easy to
remember the raglan shaping increases.
• Sweater is worked from the top down
in one piece. Sleeve stitches are placed
on holders at the underarm and
worked after the body is complete.
• Buttonholes are worked with the
body of the cardigan on both sides of
the front. Buttons are sewn over the
buttonholes on the appropriate side for
the baby’s gender. This makes button
placement easy! For the two smallest
sizes, only 3 buttons are placed in the
yoke of the sweater and the bands are
worked solid down the body.
abbreviation slm - slip marker
instructions
Cardigan
Neck
Cast on 80 (80, 84, 84) sts with straight
needles
K 5 rows.
Buttonhole row: K2, yo, k2tog, k to last 4
sts, k2tog, yo, k2.
K 3 (3, 5, 5) rows.
knitting
Body
Row 1: K5, pm, k4, m1, k4 (4, 6, 6) m1, k4,
pm, m1, k9 (9, 10, 10), pm, m1, (k4
(4, 5, 5), m1) twice, k8 (8, 6, 6), (m1,
k4 (4, 5, 5) twice, pm, m1, k9 (9, 10,
10), pm, m1, k4, m1, k4 (4, 6, 6) m1,
k4, pm, k5. (88 (88, 96, 96) sts)
Row 2: K5, slm, p to last marker, slm, k5.
Row 3: K5, slm, (k to marker, m1, slm, k1,
m1) 4 times, k to end. (96 (96, 104,
104) sts)
Row 4: As row 2.
Repeat rows 3 and 4 3 more times. (120
(120, 128, 128) sts)
CHECK: 7 (7, 8, 8) ridges from top of
buttonhole
Buttonhole row: K2, yo, k2tog, k1, slm, (k
to marker, m1, slm, k1, m1) 4 times, k to
marker, slm, k1, k2og, yo, k2.
Next row: As row 2.
Rep rows 3 and 4 6 (6, 7, 7) times.
: 7 (7, 8, 8) ridges from top of last
buttonhole and 51 (51, 55, 55) sts
between back stitch markers
Work Buttonhole row (184, 184, 200, 200)
sts on needle.
Next row: As row 2.
Repeat rows 3 and 4 0 (2, 2, 4) times. (184
(200, 216, 232) sts
Next row: K across, slipping markers as
needed.
Next row: K5, p to last marker, k5.
Largest size only: Repeat last 2 rows.
Divide body and sleeves
K5, slm, k to marker, *remove marker.
With a dpn, k to next marker, remove
marker and k next st. (34 (38, 42, 44)
sts for sleeve. Join to work in round,
dividing sts onto 3 needles.
Sleeve
K3 (5, 5, 7) rounds.
Dec round: K1, k2tog, k to last 3 sts, ssk, k1.
K 5 (5, 7, 7) rounds.
Rep these 6 (6, 8, 8) rounds until there are
24 (28, 30, 32) sts in a round.
K every round until length of sleeve from
underarm is 5 (6, 7½, 8)” [13 (15, 19, 20)cm].
Work 10 rounds garter st (k1 rnd, p1 rnd)
Cast off all sts.**
With RS facing, join yarn to last st on right
needle. Pick up 2 sts from underarm of
sleeve, k to next marker, rep from * to **
to complete second sleeve.
Body
With RS facing, join yarn to last st on right
needle. Pick up 2 sts from underarm of
sleeve, k to end. (118 (126, 134, 142) sts)
Row 1 (WS): K5, slm, p to marker, slm, k5.
Row 2: K across, slipping markers.
Remembering to make buttonholes after
every 8 ridges for two largest sizes, repeat
rows 1 and 2 until length from under arm
is 4 (5, 6, 6½)” [10 (13, 15, 16)cm], ending
with a Row 2.
K 9 rows, cast off all sts.
Weave in ends and sew on buttons.
Hat
Crown
With dpn, cast on 8 sts. Divide onto 3
needles.
Rnd 1 and all odd numbered rounds:
K around.
Rnd 2: (K1, m1) around. (16 sts)
Rnd 4: (k2, m1) around. (24 sts)
Rnd 6: (k3, m1) around. (32 sts)
Rnd 8: (k4, m1) around. (40 sts)
Continue, working 1 more stitch before
the m1 on every even numbered round
until there are 80 (96) sts on needle.
K every round for 2½ (3)” [6.5 (7.5)cm]
from last increase round.
Brim
Decrease round: (K9, k2tog) around (72
(84) sts)
Beg. With a p round, work 7 (9) rounds
garter st (k1 rnd, p1rnd). Cast off loosely.
Weave in ends, make a pompom for
the top of the hat if desired, and stitch
on securely.
A NEEDLE PULLING THREAD ● issue 53 63
 Buttoning up Baby
When putting
buttons on baby
garments there are
a couple of safety
rules to follow. In
choosing buttons
for my project, I
followed one, but
broke the other.
Buttons can be
choking hazards for
infants and toddlers, so the rule I always follow is "sew every item
on securely." My grade 9 home economics teacher taught us the
most secure (and expedient) way of sewing on a button. I’ve used
it ever since, and have never lost a button in over 40 years.
The method is this: cut a length of thread 4 times longer than
you need. Fold it in half and thread the fold through the eye
of the needle. Bring the fold back down to the cut ends of the
thread and smooth the thread from the eye down to the ends
before knotting it. There are now two strands of thread through
the eye of the needle, and 4 strands in the knot.
Stitch into the back of the fabric, pick up the button, and stitch
through to the back, passing the needle between the knot and
the fabric. This helps secure the knot to the fabric, particularly
with knitted fabric. Make a back stitch or two on the back of the
fabric, then continue sewing the button, securing the end well
when done.
The benefits of this method are that it’s very fast: for every stitch
you make, you’re passing 4 strands of yarn through the button
and the fabric, so in 3 stitches, you’ve laid down 12 strands; and,
it would take a huge calamity (and probably a scalpel) to cut
enough threads for that button to ever come loose, which makes
this a very safe way of sewing on buttons and other fasteners.
64 A NEEDLE PULLING THREAD ● issue 53
The rule I broke has to do with buttons being a choking hazard.
It’s safer to use buttons with holes drilled right through them
than it is to use the shank buttons I chose for these baby jackets,
the theory being that if a shank button becomes lodged in a
windpipe, there’s no way for air to get around it, whereas a drilled
button has 2 or 4 holes through which air can pass. This isn’t a
comfortable thought, but it is an important one to consider.
Button manufacturers seem to have a diabolical master
scheme in that you invariably need one more button than
is on the card. That happened with the green jacket. I had
5 buttons on a card, and didn’t the jacket end up with 6
buttonholes! I opted for a creative solution - one that can
make your baby jackets extra-special.
Choose a decorative or vintage button for the top, in either a co-
ordinating colour or larger size. For this project, I ended up with
this slightly larger white button that has a rhinestone set in it that
came from my grandmother’s button jar. Whenever I go to that
jar, I wonder what Grandma would think to know that her buttons
are being used in another century for another generation.
My second option was a mid-century plastic button that was
quite oversized. Clearly it won’t go through my buttonhole, but
I can sew the button over the buttonhole and conceal a snap
fastener by sewing one side on the back of the buttonhole band
and the other on the front of the button band.
A third option that also uses the “concealed snap” method is a
co-ordinating button made from a plastic form. This solution
works well because it always matches the jacket and it is softer
under baby’s chin.
Keeping babies safe and warm are two of a knitter’s most
important goals. It’s great that there are so many ways for us to
do it creatively! 
Photos by Cynthia MacDougall

A re
Cynthia MacDougall
Canadian Guild of Knitters
PO Box 20262
Barrie, Ontario L4M 6E9
705.722.6495
1.866.245.5648 (CGK – KNIT)
https://cgknitters.ca/
blog: CGKnitters.ca/blog
ravelry name: macknitnow
y o u a Canadian knitter?
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A NEEDLE PULLING THREAD ● issue 53 65
 T
IS FOR
Turn Socks
Socks

Sock 1 TOE FOOT GUSSET TURN

HEEL LEG CUFF
Sock 2 CUFF LEG HEEL TURN
GUSSET FOOT TOE
The architecture of a hand knit
sock offers endless opportunities
in design. However, the steps in
construction are quite fixed and
they depend on the ingenious heel
turn.
I used different colours of wool to
draw attention to each component
of the sock. I listed the words
on the soles in different orders
because regardless of how you knit
socks each step must be made.
I encourage you to try something
you have never done before. Start
with just one part of the sock and
become a sock architect.
– Lorraine

66 A NEEDLE PULLING THREAD ● issue 53

 knitting

Thoughtful Soles Series

skill level Intermediate Leg Join to work in the round.
finished size women’s medium Change to C2. Rearrange sts onto three Round 1: (decrease round)
needles (20, 30, 20). Work the 16 rounds Needle 1: Knit to last 3 sts, k2tog, k1.
finished weight 90g of the Textured Slip Stitch for a total of 88 Needle 2 and 3: Knit.
materials rounds. Knit 2 rounds. Needle 4: K1, ssk, k to end.
yarn Round 2: Knit.
Textured Slip Stitch
100g fingering weight sock yarn Repeat rounds 1 and 2 decreasing to 70 sts.
Rounds 1, 3, 5 and 7: *Wyif sl 5sts, k5,
• 20g Cuff – black (C1)
repeat from * to end. Foot
• 40g Leg – light brown (C2)
Rounds 2, 4 and 6: Knit. Change to C6.
• 5g Heel – dark brown (C3)
Round 8: *K2, insert RH needle under 4 Join at beg of sole sts. Use wine colour as
• 5g Turn – gold (C4)
strands below next st, k these MC, add gold colour as CC. Work rounds
• 10g Gusset – marl (C5)
strands together with next st on 1 to 48 of Chart A for sole of Sock 1 and
• 20g Foot – wine/gold (C6/4)
needle, k2, k5, repeat from * to end. Chart B for sole of Sock 2. Work Chart C
• Toe – black (C1)
Rounds 9, 11, 13 and 15: *K5, wyif sl 5sts, for 36 instep sts.
needles repeat from * to end. Toe
• a set of US 1 [2.25mm] 5 dpns or in size Rounds 10, 12 and 14: Knit. Change to C1.
required to meet gauge Round 16: *K5, k2, insert RH needle under Knit 1 round decreasing to 68 sts.
notions 4 strands below next st, k these Rearrange sts with 17 on each of four
• sewing needle strands together with next st on needles.
• scissors needle, k2, repeat from * to end. Work toe decrease as follows:
• stitch markers Heel Round 1 (decrease): *K to last 2 sts on
• ruler Continue with C2 to set up heel flap. The heel needle, k2tog, repeat from * 3
flap is worked back and forth on 34 sts. more times.
gauge
32 sts = 4” [10cm] in stocking stitch
Set up: K17 sts. Leave 36 sts on two Rounds 2: Knit.
needles. P34 sts, marker will be Repeat rounds 1 and 2 decreasing eor to
special abbreviations in center. 36 sts.
2st cable (used in rib) Knit into second st on
left needle. Do not drop. Knit into first st on left Change to C3. Repeat round 1 decreasing er to 8 sts.
needle. Drop both sts at the same time. Row 1: (Sl1, k1) repeat to end. Gather these sts to close hole.
er every round Row 2: Sl1, p to end. finishing
eor every other round Repeat rows 1 and 2, 16 times altogether. Weave in ends.
wyif with yarn in front
Turn Wet block after making second sock.

instructions Change to C4.

Cuff
With C1 cast 64 sts onto one needle.
Using a k2, p2 repeat, work 16 sts onto
each of four needles. Join to work in
the round, placing a marker to indicate
the beginning of the round. This marker
will stay in place at the center back and
center of the sole throughout.
Round 1: *K2st cable, p2, repeat from *
to end.
Round 2: *K2, p2, repeat from * to end.
Repeat rounds 1 and 2 until work
measures 2”.
Knit one more round increasing to 70 sts.
Row 1 (RS): K to center, ssk, k1. Turn.
Row 2 (WS): Sl1, p1, p2tog, p1. Turn.
Row 3: Sl1, k to one st before gap, ssk, k1.
Turn.
Row 4: Sl1, p to one st before gap, p2tog,
p1. Turn.
Repeat rows 3 and 4 until all sts are used
ending with a WS row. 16 sts
Gusset
Change to C5.
Set up: Needle 1: K16. Pick up and knit 16
sts up side of heel flap.
Needle 2: K18 instep sts.
Needle 3: K18 instep sts.
Needle 4: Pick up and k16 down
side of heel flap, k8. 84 sts

A NEEDLE PULLING THREAD ● issue 53 67

 
CHART C - Instep sts


8 row / 8st repeat
MC Colour 6 wine 8

IS FOR x CC Colour 4 gold 5

Turn Socks CHARTS

k2tog
ssk
 1   


CHART A CHART B
48 48


40 40


30 30



20 20


10 10

1 1


marker Start marker Start

of of
round round
Lorraine Thompson
905.885.0347 x415


  
www.sewwithvision.net
     
902-479-2227
480 Parkland Dr,
Halifax, NS B3S 1P9, Canada

Your Authorized Dealer for:

Perfection starts here.™

68 A NEEDLE PULLING THREAD ● issue 53

 Thoughtful Soles Series Crochet Designs by NanaRuth
416-754-0998
www.NanaRuth.com
NEW! Downloadable Book!
DARK MUSHROOMS WINTER IS COMING Main focus is traditional designs in
crochet and knit for children.
All garments are designed and/
or handmade with discerning
attention to comfort and finishing.
Baptismal sets, dresses, suits,
blankets and shams, cardigans, hats
and other items.

Hardanger House
designs by Betty Stokoe
bettystokoe@gmail.com, 403-742-2749
Betty incorporates traditional
hardanger embroidery in her
WIGGLE ROOM COLOURWASH contemporary designs. From small
quick-to-stitch gift ideas to larger
pieces for your home decor, you'll
find lots of variety in the Hardanger
House line of embroidery patterns
& kits. View them all on Etsy:
etsy.com/shop/HardangerHouse

Rypan Designs
416.247.1993
www.rypandesigns.com
NEW! Downloadable Patterns!

Maria Rypan is an international

WOOL STEW HIGH FIBRE designer, researcher & instruction
book publisher recognized for her
‘Gerdany’ beadwork and projects
for many publications. Since 1995
Maria teaches, produces a kit line and
presents on beading & global folk arts.

A Needle Pulling Thread Standard abbreviations & terms

alt = alternate p = purl
approx = approximately p2tog = purl 2 sts tog (decrease)
beg = begin(ning) patt = pattern
BO= bind off pfb = purl into front and back of stitch
CC = contrast colour (increase)
ch = chain pm = place marker
cm = centimetre(s) psso = pass slipped stitch over
cn = cable needle RS = right side
Welcome to Thoughtful Soles Series co = cast on rem = remain(ing)
BUMPS IN THE ROAD cont = continue, continuing rep = repeat
by Lorraine Thompson! This is a dc = double crochet rev = reverse
dec = decrease(s), decreasing rnd = round
zany collection of knitted sock dpn = double-pointed needle(s) sc = single crochet
patterns to tickle your funny bone foll = following
g = gram(s)
sl = slip
skp = slip one st, knit next st, pass
every time you wear them. T is for hdc = half double crochet slipped st over knit st (dec)
inc = increase(s), increasing ssk = slip, slip, knit: slip 2 sts knitwise, 1
Turn is the 8th sock pattern in this in(s) = inch(es) at a time, insert left-hand needle
k = knit into front of both sts and knit
series. The following sock patterns kf&b or kfb = knit into front and back of st them tog (left-leaning decrease)
(increase) sssk = slip next three stitches
were published in previous issues: ktbl = knit through the back loop individually, knitwise. Insert tip of
k2tog = knit 2 sts tog (right-leaning decrease) left needle from front to back into
Dark Mushrooms (Issue 46), Wiggle k3tog = knit 3 sts together (double right- the fronts of these three stitches
leaning decrease) and knit them together (double
Room (Issue 47), Winter is Coming m = marker left-leaning decrease)
(Issue 48), Colourwash (Issue 49), m = meter(s) st(s) = stitch(es)
m1 = Make 1 stitch: pick up the horizontal St st = stocking stitch
Wool Stew (Issue 50), High Fibre strand between 2 stitches from front to tbl = through back loop
back and knit it tbl (lifted increase) tog = together
(Issue 51) and Bumps in the Road MC = main colour tr = treble crochet
mm = millimetre(s) WS = wrong side
Socks (Issue 52) oz = ounce(s) yo = yarn over

A NEEDLE PULLING THREAD ● issue 53 69

 Notre
Dame
Crescent
Shawl

Watching Paris’s Notre Dame

Cathedral burn in April 2019
was heartbreaking, but the
generosity of people from
around the world, and the
resolve of the French citizens
and their government give
hope for its resurrection. The
yarn chosen for this project
has the colours of stained glass,
and the overall shape of the
shawl is suggestive of a section
of the cathedral’s famous
rose window. The horseshow
lace motifs are reminiscent of
gothic arches, and the columns
between the arches evoke
the flying buttresses that are
quintessential traits of gothic
architecture. – Nancy

70 A NEEDLE PULLING THREAD ● issue 53


skill level Intermediate
finished measurements
One size
60” across at widest point x 12” deep at
center back
materials
yarn
super fine yarn weight 1
3.5oz [100g] / 437yds [400m]
• 1 skein
needles
• US 6 [4mm] circular knitting needle, at
least 32” [80cm] long, or size required to
obtain gauge
other
• stitch markers (optional, although
useful to define border stitches and to
identify pattern repeats)
• yarn needle for weaving in ends
• rust-proof pins for blocking
gauge
20 sts and 29 rows = 4” [10cm] square,
blocked, in stocking stitch
special abbreviations
sk2p = slip 2 stitches together knitwise,
knit next stitch, pass slipped stitches
together over knit stitch (central double
decrease).
knitting
Instructions
Row 6: P to within 1 st of gap (i.e. 1 st
before previous turning point),
Loosely cast on 329 sts. A knitted cast on p2tog, p6; turn work.
will stretch and works well for this project. Repeat rows 5 and 6 until 8 sts remain
Do not join. Shawl is worked back and unworked on each end of needle (265 sts
forth on circular needle to accommodate total remain).
the large number of stitches. Garter Stitch Border at Top of Shawl
Knit 1 row (WS). Row 1 (RS): K to within 1 st of gap, ssk, k
to end of row.
Lace Section Row 2 ((WS): K to within 1 st of gap, ssk, k
Follow written instructions below or to end of row (all sts worked, 263
attached chart. sts remain).
Row 1 (RS): K3 (border), * k1, yo, k2tog, yo, Knit 4 rows.
k3, s2kp, k3, yo, ssk, yo; rep from * Cast off loosely.
to last 4 sts, k1, k3 (border).
Row 2 (WS) and subsequent WS rows: finishing
Wet block to crescent shape. Weave in
K3 (border), p to last 3 sts, k3
(border). all ends.
Row 3: K3, * k1, yo, k2tog, k1, yo, k2, s2kp,
k2, yo, k1, ssk, yo; rep from * to
last 4 sts, k1, k3.
Row 5: K3, * k1, yo, k2tog, k2, yo, k1, s2kp,
Nancy Lekx
lekxknits@gmail.com
k1, yo, k2, ssk, yo; rep from * to ravelry lekxknits
last 4 sts, k1, k3.
Row 7: K3, * k1, yo, k2tog, k3, yo, s2kp, yo,
k3, ssk, yo; rep from * to last 4 sts,
k1, k3.
Row 8: K3, p to last 3 sts, k3.
Repeat these 8 rows three times more (32
rows of lace pattern completed).
Decrease Rows
Row 1 (RS): K9, s2kp, [k25, s2kp] 11 times,
k9 (305 sts remain).
Row 2 (WS): K3, p to last 3 sts, k3
Crescent Section
Row 1 (RS): K157 (148 stitches remain
unworked); turn work.
Row 2 (WS): P9 (148 stitches remain
unworked on each end of
needle); turn work.
Row 3: K8, ssk, k6; turn work.
Row 4: P14, p2tog, p6; turn work.
Row 5: K to within 1 st of gap (i.e. 1 st
before previous turning point),
ssk, k6; turn work.
A NEEDLE PULLING THREAD ● issue 53 71
 ChâteauLaurier
Cardigan

Laurier Cardigan is knit in two

sections. The first part, knit flat,
makes up the back and sleeves. When
it’s finished, the two sleeve seams
are sewn up leaving a large hole at
the center. The second part is knit by
picking up stitches around the center
opening. It creates the collar and body
of the cardigan using a combination of
short rows (knit flat), and knitting in
the round to build its shape. A little bit
of striping, a button hole, and an icord
bind off finish the sweater.
– Fiona

Photos by Andrea Palmatier

72 A NEEDLE PULLING THREAD ● issue 53
 knitting

skill level Intermediate

sizes
2XS, XS, Small, Medium, Large, XL, 2XL, 3XL

materials begin purling, keeping a tighter tension This should leave an opening for each
yarn than usual for the first few sts. arm and a large round opening at the
Essence of Autumn, Heather (4oz/(113g, GSRK Bring the yarn to the front center for the body and the collar that
250yds/228m) in colourways Algae (MC) BETWEEN the needles. slip the first stitch will be worked in the round and also will
and On Wings of Buttlerflies (CC) from the left needle to the right needle be worked flat for the short rows.
• 3 skeins (750yds/684m) MC purlwise, with the yarn in front pull Body and Collar Set-Up
• 3 skeins (750yds/684m) CC the yarn to the back of the work OVER From the center of the right underarm
needles top of the right needle. This will distort Using CC, pick up and K121 (125, 125,
• 4 mm circular 32” and 40", or correct the stitch making it look as if there are 125, 129, 129, 129) sts, PM (side marker),
size to attain gauge. 2 stitches instead of 1. Begin knitting pick up and K121 (125, 125, 125, 129, 129,
notions keeping a tighter tension than usual for 129) sts, PM (side marker). Join stitches to
• yarn needle the first few sts. knit in the round. 242 (250, 250, 250, 258,
• 9 stitch markers 258, 258 sts)

Instructions
• 1 large button Rnd 1: SM (side), P18 (19, 19, 19, 20, 20,
• needle and thread 20) PM, P16 (17, 17, 17, 18, 18, 18),
gauge PM, P53, PM, P16 (17, 17, 17, 18,
21 sts x 26 rows in garter stitch = 10 cm or 4" 18, 18), PM, P18 (19, 19, 19, 20, 20,
Back and Sleeves
special abbreviations 20) to side marker, SM, P20 (21,
CO 120 (124, 124, 124, 128, 128, 128) sts 21, 21, 22, 22, 22), PM, P40 (41, 41,
GSR: German short row
Row 1: P. 41, 42, 42, 42), PM, P41 (42, 42, 42,
GSRK: German short row knit (see stitch
Row 2: K2, M1R, K to last 2 sts, M1L, K2. 43, 43, 43), PM, P20 (21, 21, 21, 22,
guide)
Row 3: K. 22, 22).
GSRP: German short row purl (see stitch
guide) Repeat rows 2 and 3 nineteen MORE Side and Back Set-Up
M1L: Make a left-leaning knit increase times for a total of 20 repeats 160 (164, Begin knitting flat, back and forth, for the
M1P: Make a purl increase 164, 164, 168, 168, 168) sts. short rows. See the Stitch Guide for the
M1R: Make a right-leaning knit increase Work in garter stitch (K every row) until GSRK and GSRP stitch instructions.
RM: Remove marker work measures 23.5 (25, 27.5, 32, 35, 39.5, Row 1: SM (side), P to first st before
Rpt: Repeat 43.5, 46.5) cm from the cast on edge. marker, TW.
SL: Slip stitch purlwise Row 2: GSRP, P to side marker, (SM, K to 1
SM: Slip marker Row 4: K1, K2tog, K to last 4 sts, SSK, K1. st before side marker, P1) x 3, K to
TW: Turn work Row 5: K. side marker, SM, P to first st before
stitch guide Repeat until 120 (124, 124, 124, 128, 128, next marker, TW.
GSRP With yarn in front, slip the first stitch 128) sts remain ending with a row 5 Row 3: GSRK, K to side marker, SM, (P to
from the left needle to the right needle finished. next marker, YO, SM, K1, YO) x 3,
purlwise. Pull the yarn to the back of the BO all sts. P to side marker, SM, K to 2 sts
work OVER TOP of the right needle. This before next marker, TW. 248 (256,
Create shrug sleeves 256, 256, 264, 264, 264 sts)
will distort the stitch, making it look as if Fold piece in half by bringing the cast on
there are 2 stitches instead of 1. Bring the edge to the bind off edge. On either side,
yarn to the front BETWEEN the needles to sew up the angled edges (approx 12cm).

A NEEDLE PULLING THREAD ● issue 53 73

 Row 4: GSRP, P to side marker, SM, (K to 2
sts before the next marker, P2, SM,
P1) x 3, K to side marker, SM, P to
2 sts before next marker, TW.
Row 5: GSRK, K to side marker, SM, (P to
next marker, YO, SM, K1, YO) x 3,
P to side marker, SM, K to 3 sts
before next marker, TW. 254 (262,
262, 262, 270, 270, 270) sts
Row 6: GSRP, P to side marker, SM, (K to 2
sts before the next marker, P2, SM,
P1) x 3, K to side marker, SM, P to
3 sts before next marker, TW.
Row 7: GSRK, K to side marker, SM, (P to
next marker, YO, SM, K1, YO) x 3,
P to side marker, SM, K to 4 sts
before next marker, TW. 260 (268,
268, 268, 276, 276, 276) sts
Row 8: GSRP, P to side marker, SM, (K to 2
sts before the next marker, P2, SM,
P1) x 3, K to side marker, SM, P to
4 sts before next marker, TW.
Row 9: GSRK, K to side marker, SM, (P to
next marker, YO, SM, K1, YO) x 3,
P to side marker, SM, K to 5 sts
before next marker, TW. 266 (274,
274, 274, 282, 282, 282) sts
Row 10: GSRP, P to side marker, SM, (K to
2 sts before the next marker, P2,
SM, P1) x 3, K to side marker, SM, P
to 5 sts before next marker, TW.
Row 11: GSRK, K to side marker, SM, (P
to next marker, YO, SM, K1, YO) x
3, P to side marker, SM, K to 6 sts
before next marker, TW. 272 (280,
280, 280, 288, 288, 288) sts
Row 12: GSRP, P to side marker, SM, (K to
2 sts before the next marker, P2,
SM, P1) x 3, K to side marker, SM, P
to 6 sts before next marker, TW.
Row 13: GSRK, K to side marker, SM, (P to
next marker, YO, SM, K1, YO) x 3, P
to side marker, do NOT turn work,
but continue on to Row 1 of the
Body. 278 (286, 286, 286, 294, 294,
294) sts
Body
In this section, begin switching between
knitting back and forth and in the round.
If it's ‘Row’ at the beginning, it's knitted
flat. ‘Rnd’ means, return to knitting in the
round. See the Stitch Guide for the GSRK
and GSRP stitch instructions.
74 A NEEDLE PULLING THREAD ● issue 53
Short rows (flat)
Row 1: (Con't from Row 13 of side and
back set-up) K to next marker
knitting the 2 legs of each GSR
stitch together as you go, SM, K to
1 st before next marker, TW.
Row 2: (slip all markers as you go) GSRP,
P to next marker, SM, P to side
marker, SM, P to next side marker,
SM, P to next marker purling
together the 2 legs of each GSR
stitch together as you go, SM, P to
1 st before next marker, TW.
Row 3: (slip all markers as you go) GSRK,
K to side marker, SM, (K to next
marker, YO, SM, K1, YO) x 3, K to
side marker, SM, K to marker, SM,
knit to next marker knitting the 2
legs of each GSR stitch together
as you go, SM, K to next marker,
SM, K1, knit the 2 legs of GSR
stitch together, K to side marker,
SM, K to next side marker. 284
(292, 292, 292, 300, 300, 300) sts
In the round
Rnd 1: (slip all markers as you go except
the ones being removed) SM, K to
next marker, RM, K to next marker,
M1, SM, K to next marker, SM, M1,
K to next marker, RM, K to side
marker, (K to next marker, YO, SM,
K1, YO) x 3, K to side marker, SM,
K to 1 st before marker, TW. 292
(300, 300, 300, 308, 308, 308) sts
Back to short rows (flat)
Row 4: GSRP, P to side marker, SM, (P to
2 sts before marker, P2, SM, P1) x
3, P to side marker, SM, P to 1 st
before marker, TW.
Row 5: GSRK, K to side marker, SM, (K to
marker, YO, SM, K1, YO) x 3, K to
side marker. 298 (306, 306, 306,
314, 314, 314) sts
Repeat Section
In this section, switch between knitting
back and forth and in the round. If it's
‘Row’ at the beginning, it's knitted flat. ‘Rnd’
means return to knitting in the round.
If you come to a marker in this section
that doesn't have SM, assume it is slipped.
*Rnd 1: SM, K to 2 sts before marker, knit
the 2 legs of GSR stitch together,
K1, SM, K to next marker, SM,
K1, knit the 2 legs of GSR stitch
together, K to side marker, SM, K
to next side marker.
Rnd 2: SM, K to marker, M1R, SM, K1, M1L,
K to 1 st before marker, M1R, K1,
SM, M1L, K to side marker, SM, (K
to marker, YO, SM, K1, YO) x 3, K to
side marker, SM, K to 1 st before
next marker, TW. 308 (316, 316,
316, 324, 324, 324) sts
Row 3: GSRP, P to side marker, SM, P to
next side marker, SM, P to 1 st
before marker, TW.
Row 4: GSRK, K to side marker, SM, (K to
marker, YO, SM, K1, YO) x 3, K to
side marker. 314 (322, 322, 322,
330, 330, 330) sts**
Repeat from * to **, 3(5, 8, 11, 14, 17, 20,
23) MORE times for a total of 4(6,9, 12, 15,
18, 21, 24) repeats.
Border
If you come to a marker in this section
that doesn't have SM, assume it is slipped.
Set Up
Note: The 2 legs of GSR stitches count as
one stitch.
Row 1 (Row 4 of last section Con't): K to
2 sts before marker, TW.
Row 2: GSRP, P to side marker, SM, P to
next side marker, SM, P to 2 sts
before marker, TW.
Row 3: GSRK, K to side marker, SM, (K to
marker, YO, SM, K1, YO) x 3, K to
side marker, SM, K to 3 sts before
marker, TW. (400 sts)
Row 4: GSRP, K to side marker, SM, (K to 2
sts before next marker, P2, SM, P1)
x 3, SM, K to side marker, SM, K to
3 sts before marker, TW, GSRK, K to
side marker.
Border Edge
Return to knitting in the round.
Rnd 1: SM, (K to marker, YO, SM, K1, YO)
x 3, K to side marker, SM, K to
marker knitting the 2 legs of each
GSR stitch together as you go, K
to marker, RM, K to next marker,
RM, K to marker, SM, K to side
marker knitting the 2 legs of each
GSR stitch together as you go.
Rnd 2: SM, (P to marker, K1, SM, K2) x 3, P
to side marker, SM, P to next side
marker.
Rnd 3: SM, switch to MC. (K to next
marker, YO, SM, K1, YO) x 3, K to
side marker, SM, K to next side
marker.
Rnd 4: Switch to CC. K to end (slip
markers as you go).
Rnd 5: SM, (P to marker, YO, SM, K1, YO) x
3, P to side M, SM, P to next side
marker.
Rnd 6: Switch to MC - K to end (slip
markers as you go).
Rnd 7: Switch to CC. SM, (K to marker, YO,
SM, K1, YO) x 3, K to side marker,
SM, K to next side marker.
Rnd 8: SM, (P to 1 st before marker, K1,
SM, K2) x 3, P to side marker, SM, P
to next side marker.
Rnd 9: Switch to MC. SM, (K to marker, YO,
SM, K1, YO) x 3, K to side marker,
YO, SM, (K2tog), K to next side
marker.
Rnd 10: Switch to CC. K to end (slip
markers as you go).
Rnd 11: SM, (P to marker, YO, SM, K1, YO)
x 3, P to side M, SM, P to next side
marker.
Icord Bind Off
Switch to MC - K3, slip 3 sts from RH
Saskatchewan
Saskatchewan
needle to LH needle, K2, K2tog, *slip 3 sts
from RH needle to LH needle, K2, K2tog**.
Repeat from * to ** until 1 st remains on Stitches
Conference
Conference
Saskatchewan
the LH needle, slip 3 sts from RH needle
to LH needle, BO 1 st, K2tog, BO 1 st, cut
yarn, and pass through remaining stitch
Conference
Prou
Proudud
ProProdu d
to finish. SpoSp
SpSpo oso
on nsonrssrosrs
nso rs

finishing
Sew in all ends. Using a needle and May 27Pro-u dJune 5, 2021
thread sew button in appropriate place. Sp o nAbbey,
St. Peter’s so r s Muenster
for more information call
1-800-344-6024
626 Main Street
www.saskstitches.ca
Fabric and yarn you won’t find just anywhere!
Humboldt
Fiona Stevenson 306-682-0772

likeafox.ca
IG @fiona.knits Authorized Dealer For
Ravelry Fiona Stevenson Designs

A NEEDLE PULLING THREAD ● issue 53 75

 Whoo Baby! Cardigan and Hat Set
The little one
in your life
is worthy
of wearing
Merino wool!
To maintain
the softness of
Dona yarn in
crochet, you need
a modern stitch
that is elastic and
light. Working
with a slightly
larger hook to get
the gauge listed
for this pattern
is essential, and
the extended
single crochet
stitch is one of
the ‘stretchy-est’
crochet stitches
that is still solid
in appearance
but doesn't feel
like those stiff
baby sets from
the ‘70s. The
young wearer of
this hat and cardi
will turn even
more heads, and
everyone will
ask, "Whoo's that
cutie?"
– Charles

76 A NEEDLE PULLING THREAD ● issue 53

 crochet
skill level Intermediate R-Ext-sc (reverse extended sc) With yarn
sizing in front of hook and fabric, insert hook
under 2 top strands of next st from back
Age 3M 9M 18M 24M to front, yarn under hook and take hook
Chest 181⁄2" 20" 211⁄4" 22" tip back out towards WS of work, yarn
Length 9" 91⁄2" 101⁄2" 11" under hook and draw through first loop
on hook ensuring to draw through away
materials from yourself towards the wrong side (it
yarn may help to turn the hook chin counter-
Dona by Fibra Natura
clockwise), yarn under hook, draw
100% Extra Fine Merino Superwash. through 2 loops on hook, ensuring to
126yds [115m] and 1.75oz [50g]
draw through away from yourself towards
• 3 (4, 4, 5) balls for cardigan the wrong side.
• 1 ball for hat colourway Blue Hint
Rm Remove marker
hook RS Right side
• US 8 [5mm] or size necessary to get Sc (single crochet) Insert hook where
gauge indicated, yo, pull up lp, yo, draw through
2 lps on hook.
other
Sl st (slip stitch) Insert hook where
• locking stitch markers
indicated, yo, pull up lp and draw through
• 4” or 5½” buttons
• embroidery floss that matches colour
lp on hook.
Sm Stitch marker
of yarn
St(s) Stitches
gauge WS Wrong side
21 ext-sc sts and 19.5 ext-sc rows = 6” Yo Yarn over
Abbreviations (US-terms) — Numbers after long dash are the
Blo Back loop(s) only stitch count
Bpdc (back post double crochet) Yo, [ ]/{ } rep instructions inside square/curly
insert hook from back before next st to brackets the number of times indicated
front and across next st and through to ( ) parentheses indicate a} a group of
the back again, yo, pull up lp, [yo, draw stitches to be worked into the same
through 2 lps] twice. insertion point or to be skipped as a
Btwn Between group; b} a comment about something
Ch Chain that just occurred in your stitching; c}
Dc (double crochet) Yo, insert hook different instructions for largest 3 sizes.
where indicated yo, pull up lp, [yo, draw * ; Rep instructions from the asterisk to
through 2 lps on hook] twice. the semicolon as indicated and often
Ext-sc (extended single crochet) Insert these instructions are interrupted by
hook where indicated, yo, pull up lp, yo, another symbol, such as a double asterisk
draw through first lp on hook, yo, draw **, at which point you stop there and
through both lps on hook. continue the next set of instructions
Fpdc (front post double crochet) Yo, where the instructions interrupted the
insert hook from front before next st to stitching.
back and around post of next st and up Special Stitch Patterns
through to the front, yo, pull up lp, [yo, Zigzag stitch pattern Work RS row
draw through 2 lps] twice. normal ext-sc; work WS row R-ext-sc.
Hdc (half-double crochet) Yo, insert hook Fsc (foundation single crochet) Ch 2,
where indicated, yo, pull up lp, yo, draw insert hook in first ch, yo, pull up lp, yo,
through 3 lps on hook. draw through first loop on hook (this
Lp(s) Loop(s) stitch becomes the next insertion st),
Rem Remains(ing) yo, draw through 2 lps on hook. *Insert
hook in lower st, yo, pull up lp, yo, draw
through first st on hook (becomes next
insertion st), yo, draw through 2 lps on
hook; rep from *.
Slst-flip row Insert hook in first st, yo, pull
up lp, insert hook in next st, yo, pull up
lp and draw through other lps on hook,
*insert hook in same st as previous, yo,
pull up lp, insert hook in next st, pull up lp
and draw through other lps on hook; rep
from * across, end with an additional sl st
in last st.
Pattern Notes:
• Instructions are given for 3m size, sizes
9m, 18m, 24m are given in parentheses.
• Turn work clockwise consistently.
• When working post stitches do not
work into the top 2 lps of the st itself but
around it.
• Increases next to post stitches are made
by working into the top of a post stitch
before or after the post stitch is worked
around the lower one.
Instructions
CARDIGAN
Yoke
Set-up Row: Work 38 (38, 38, 42) fsc, turn.
Row 1: Work 1 Slst-flip row, ch 1, turn.
Row 2: Hdc in blo across, ch 1, turn–38
(38, 38, 42) sts.
Row 3 (WS): Sc in lower 3rd lp across, turn.
Counting from the beginning, place
locking st marker in the 6th (6th, 6th,
7th), 11th (11th, 11th, 13th) sts. Repeat
st marker placement, counting from the
opposite end.
Row 4 (RS): Ch 1, [ext-sc in each st across
to next sm, (sc, dc) in marked st,
move sm to dc just made]x4, ext-
sc in each rem st, turn–34 (34, 34,
38) ext-sc, 4 dc, 4 sc.
Row 5: Ch 1, [R-ext-sc in each st across
to next sm, sc in marked st, rm,
bpdc around same st, return sm
to top of st just made]x4, R-ext-sc
in each rem st across, turn–46 (46,
46, 50)
Size 3M only
Row 6: Ch 1, [ext-sc in each st across to
next sm, sc in marked st, rm, fpdc
around same st, return sm to top
of st just made]x4, ext-sc in each
rem st across, turn–50 sts.
Rows 7–16: Alternating, rep Rows 5 &
6–90 sts.
Sizes 9M, 18M, 24M only
A NEEDLE PULLING THREAD ● issue 53 77
 Row 6: Ch 1, ext-sc in next 3 sts, {sc in
blo of next st, ext-sc in both lps
of same st}, [ext-sc in each st
across to next sm, sc in marked
st, rm, fpdc around same st,
return sm to top of st just made]
x 2, ext-sc in next 3 sts, rep btwn
{ } once, ext-sc in each st across
to 3 sts before next marker, rep
btwn { } once, rep btwn [ ] twice,
ext-sc across to last 4 sts, rep
btwn { } once, ext-sc across last 3
sts, turn–(54, 54, 58) sts.
Row 7: Rep Row 5–(58, 58, 62) sts.
Size 9M only
Row 8: Ch 1, [ext-sc in each st across to
next sm, sc in marked st, rm, fpdc
around same st, return sm to top
of st just made]x4, ext-sc in each
rem st across, turn–(62) sts.
Rows 9–18: Alternating, rep Rows 5 & 8–
(102) sts.
Row 19: Rep Row 5–106 sts
Size 18M only
Row 8: Rep Row 6–(66) sts.
Row 9: Rep Row 5–(70) sts.
Row 10: Rep Row 6–(78) sts.
Row 11: Rep Row 5–(82) sts.
Row 12: Ch 1, [ext-sc across to next sm,
sc in marked st, rm, fpdc around
same st, return sm to top of st just
made], {ext-sc in each of next 5
sts, sc in blo of next st, ext-sc in
both lps of same st}, rep between
[ ] twice, rep btwn { } once, rep
btwn [ ] once, ext-sc across rem
sts–(88) sts.
Row 13: Rep Row 5–(92 sts)
Row 14: Ch 1, [ext-sc in each st across to
next sm, sc in marked st, rm, fpdc
around same st, return sm to top
of st just made]x4, ext-sc in each
rem st across, turn–96 sts.
Rows 15–18: Alternating, rep Rows 13 &
14–112 sts.
Row 19: Rep Row 13–116 sts.
Size 24M only
Row 8: Ch 1, [ext-sc across to next sm,
sc in marked st, rm, fpdc around
same st, return sm to top of st just
made], {ext-sc in each of next 5
sts, sc in blo of next st, ext-sc in
both lps of same st}, rep between
[ ] twice, rep btwn { } once, rep
btwn [ ] once, ext-sc across rem
sts–68 sts.
78 A NEEDLE PULLING THREAD ● issue 53
Row 9: Rep Row 5–72 sts.
Row 10: Ch 1, [ext-sc in each st across to
next sm, sc in marked st, rm, fpdc
around same st, return sm to top
of st just made]x4, ext-sc in each
rem st across, turn–76 sts.
Rows 11–20: Alternating, rep Rows 9 &
10–116 sts.
Row 21: Rep Row 9–120 sts.
Remove markers.
Divide for Body – All sizes
Row 1 (RS): Ch 1, hdc in each of first 14
(15, 16, 17) sts, ch 4, sk next 17
(22, 25, 25) sts, hdc in each of next
28 (32, 34, 36) sts, ch 4, sk next 17
(22, 25, 25) sts, hdc in each rem st
across, turn–56 (62, 66, 70) sts, 2
ch-4 sps.
Row 2: Ch 1, work slst flip row across,
turn.
Row 3: Ch 1, hdc in blo in each st across,
turn–64 (70, 74, 78) sts.
Row 4: Ch 1, ext-sc in 3rd lower lp across,
turn.
Row 5: Ch 1, ext-sc across, turn.
Row 6: Ch 1, r-ext-sc across, turn.
Row 7: Ch 1, [ext-sc in next st, sc in next
st] across, turn.
Row 8: Ch 1, hdc in each st across, turn.
Rep Rows 5-8 until work is 8 (8.5, 9.5, 10)
inches from beginning of yoke (or desired
length minus 1 inch).
End with a WS row.
Bottom Edging
Ch 6, hdc in 2nd ch from hook and each
ch across, along stitches from bottom
edge sl st in next 3 sts, turn work.
Row 1: Sc in lower 3rd lp of next 5 sts,
turn.
Row 2: Ch 1, hdc in blo across, sl st in next
2 sts along bottom edge, turn.
Row 3: Sc in lower 3rd lp of next 5 sts,
turn.
Row 4: Ch 1, hdc in blo across, sl st in next
3 sts along bottom edge, turn.
Rep Rows 1–4 around lower edge, near
the end adjust the number so slipped sts
inorder to end with a sc row, turn.
Last Row: Sl st in blo of each st across, sl
st in edge of cardigan. Fasten off.
Sleeves
With RS facing and with sl st, join in
opposite side of 3rd ch under the arm,
ch 1, sl in same st as join, place st marker
in top of st just made, ext-sc in each st
around–21 (26, 29, 29) sts.
Work in ext-sc rounds, moving marker up
each round, without joining at ends of
rounds until sleeve measures 4.75 (5.75,
6.75, 8) inches from armhole, AND AT THE
SAME TIME, decrease 1 st by skipping it
when under the arm every 3rd round 4 (0,
2, 8) times, then every 2nd round 2 (9, 8,
1) time(s), ending final round 2 sts before
marker, sc in next st, sl st in next st–15 (17,
19, 20) sts.
Next Rnd: Ch 1, hdc in each st around, sl
st to join in first hdc, turn.
Last Rnd: Work slst flip row in lower 3rd lp
and front lp of each hdc around. Fasten
off and weave in end to tidy up join.
Weave in all ends.
Button Band
Row 1: With RS facing join in top left edge
for girl or bottom left edge for
boy with a sl st, ch 1, sc in same
location as join, sc evenly along
row edges across, turn. If side
flares, rip out row and redo with
fewer sc; if side buckles, rip out
and redo with more sc; make a
note of # of sc made.
Row 2 (WS): Ch 1, work slst flip row
across, turn.
Row 3: Ch 1, hdc in blo of each st across,
turn.
Row 4: Ch 1, work slst flip row across.
Fasten off.
With 2 strands of embroidery floss, sew 4 or
5 buttons spaced across the band to taste,
and count the number of sts between the
edges of each pair of buttons.
Buttonhole Band
Row 1: With RS facing join with sl st in
opposite corner as other side, ch
1, sc the same # of sts across row
ends as opposite side, turn.
Row 2: Ch 1, work slst fip row across, turn.
Row 3: Ch 1, hdc in blo of each st till a
buttonhole is needed across from
opposite side, work 2 fsc (or 2
chs), sk 2 sts, resume hdc in blo to
next buttonhole.
Row 4: Ch 1, work slst flip row across.
Fasten off.
Weave in ends.
HAT
Crown
Rnd 1: Make slip knot using tail instead of
working yarn, ch 2, work 6 sc into
2nd ch from hook.
Rnd 2: 2sc in each st around–12 sc.
Rnd 3: Place sm in last st of previous
round and move it to the last st of
each rnd worked to track end of
round, [(1 sc, 1 hdc) in next st, hdc
in next st]x6–18 sts.
Rnd 4: [(1 hdc, 1 ext-sc) in next st, 1 ext-sc
in each of next 2 sts]x6–24 sts.
Rnd 5: [1 ext-sc in next st, (1 hdc, 1 ext-sc)
in next st, 1 ext-sc in each of next
2 sts]x6–30 sts.
Rnd 6: [1 ext-sc in each of next 2 sts, (1
hdc, 1 ext-sc) in next st, 1 ext-sc in
each of next 2 sts]x6–36 sts.
Continue in spiral rounds as established
increasing 6 sts evenly around until there
are 48 (54, 60, 60) sts.
Work 2 rounds plain.
Body of Hat
Next Rnd: Increase 6 (4, 2, 4) sts evenly
around–54 (58, 62, 64) sts.
Next Rnds: Work evenly in ext-sc rnds until
hat from center of crown along arch of hat
to bottom edge is 4 (4.5, 5, 5.5) inches (or
desired length minus 1 inch) long.
Edging
Sc in each of next 2 sts, sl st in next st.
Work Bottom Edging as for Cardigan
around. With WS facing, sew gap close
with whipstitch technique.
Lowery Workstands
The Strong Steel Workstands from England
Weave in all ends.
www.workstands.com

Available in
Canada from
Tygarth
Enterprises at
519-956-9632 or
email to:
tygarth@cogeco.ca

Charles Voth
charlesvothdesigns.ca
Ravelry StitchStud

A NEEDLE PULLING THREAD ● issue 53 79

 This piece was a happy combination
of the theme for this issue and an
art project our youngest did while
in University! Katie created this
large castle wall full of windows,
and when you opened each window,
you could see the room inside. I
kept the project pieces long after
she graduated, as I always thought
it would make a wonderful cross-
stitch series – and when Carla
provided the theme, that long-
delayed project was the first thing
that came to mind.
It also became my COVID-19
project, as much of the stitching
was completed in isolation. My
thanks to Belinda Howell, who
jumped in and helped by stitching
the back layer! Due to the 3D
nature of this piece, there were
some corrections to the graph to
make it easier to assemble, like
shifting the windows slightly into
the center and up a few stitches
so the side/bottom measurements
The were easier to figure out.

Castle
It is strongly recommend reading
all the instructions before you
begin stitching, as there are both
stitching and assembly options
provided such as the colour wire or
beads to use for hinging.
Since we were in isolation, and so
many businesses were closed, we
also had to ‘wing’ the framing!
Fortunately, I had a mat I liked
on hand; it has a slightly smaller
opening than I would have
preferred if I’d been able to get a
mat cut, so more of your castle wall
may show than mine! I’m also lucky
enough to have a handy husband,
Bill was able to make a frame deep
enough to accommodate all the

Nursery layers of foamcore, fabric and a

mat! Just keep in mind that you’ll
need a deeper-than-usual frame
to fit this design. Enjoy… happy
stitching… and stay safe! – Jo

80 A NEEDLE PULLING THREAD ● issue 53


skill level Intermediate colour key Castle Nursery
finished measurements symbol
(rounded up)
11ct – 12¾”W x 10¾”H
[32 x 26cm]
14ct – 10”W x 8”H
[26 x 20cm]
16ct – 8¾”W x 7”H
[22 x 18cm]
stitch count
outer 140W x 112H
materials
fabric
• 28ct Black Jobelan
• 14ct White Aida
threads
• DMC embroidery floss
according to colour keys
other
• foam core board to
match each fabric
(black and white)
• 20 gauge wire (black)
• Mill Hill Size 8 Glass
Beads (18011)
• Mill Hill Large
Bugle Beads
Notes:
1. Finishing Instructions
are based on a 14ct
stitching.
2. Three strands of floss
are recommended for
this design (3x) based
on using a 14ct fabric.
This is a personal
preference of the
designer, because of Half-Stitch Nursery Floor (/ = stitch direction)
the wonderful coverage symbol
provided when using
three strands. However,
if using a smaller
count fabric as in 16ct
or less, then using
two strands of floss is
recommended. Backstitching (Watch the weights of floss for various areas)
3. All backstitching is
done with one strand of
black.
cross stitch
Nanny’s Hair
DMC strands colour 3 dots§ show the placement of a braid, made as follows:
. white 3 white
A. Using the hair colour (DMC 680), separate the strands of
S 310 3 black
two 18” lengths of floss (to make them fuller), then put
\ 312 3 baby blue - vy dk
all 12 strands together. Bring one end of the 12-strands
X 321 3 Christmas red up in each of the top two spots indicated by grey dots
5 414 3 steel grey - dk (either side of a single stitch). The tails should BOTH be
‹ 415 3 pearl grey on the face of the stitching, and the ends even.
b 501 3 blue green - dk B. Get a ‘tie’ ready to fasten the end of the braid, by
÷ 503 3 blue green - md anchoring a single strand of DMC 321 embroidery floss
í 676 3 old gold - lt on the back of the fabric near the third grey dot on the
] 680 3 old gold - dk Nanny’s chest. Bring the strand up at that dot position,
4 712 3 cream and park the needle out of the way, then finish the braid
› 729 3 old gold - med (see C).
_ 738 3 tan - vy lt C. Divide the floss (24 strands) into 3 groups of 8, and
G 739 3 tan - ult vy lt carefully braid the 3 strands, so they are firm, but do not
j 740 3 tangerine pull the fabric out of shape. Continue braiding until the
m 745 3 yellow - lt pale braid reaches the third dot position, curving it slightly to
Š 754 3 peach - lt follow her body.
* 762 3 pearl grey - vy lt D. Use the parked needle/thread to anchor the end of
z 800 3 baby blue - lt the braid, going up and down (around the braid) in the
À 801 3 coffee brown - dk same hole, at least 4 times. End off the floss, anchoring
p 813 3 blue - lt it well on the back of the stitching so it doesn’t work
loose with washing etc.
O 816 3 garnet
E. Leave at least ¾” of the hair floss unbraided below the
H 841 3 beige brown - lt
anchor point; leave this a bit longer to start, you can
0 948 3 peach - vy lt
V / 3607 2 plum - lt always shorten, if desired. Fluff the loose strands, so they
separate and lay nicely below the anchor point.
\ white 1 white
¿ 3607 3 plum - lt Back Nursery Wall
Q 3608 3 plum - vy lt symbol DMC strands colour
w 3689 3 mauve - lt k 640 1 beige grey - vy dk
W 3799 3 pewter grey - vy dk 1 642 1 beige grey - med
† 3863 3 mocha beige - med Ò 644 1 beige grey - dk
Front Castle Wall
symbol DMC strands colour
DMC strands colour a 402 3 mahogany - vy lt
ß 632 1 desert sand – ult vy dk k 640 3 beige grey - vy lt
1 642 3 beige grey - med
Stitch horizontally across
Color Variations Ò 644 3 beige grey - dk
/ 1 the floor, so colour changes
4140
flow left to right. ¤ 3776 3 mahogany - lt
/ 3787 1 brown grey - dk
\ 640 3 beige grey - vy dk
symbol DMC strands colour area to backstitch
310 1 black Castle Front / Window Sashes: all backstitching
310 1 black Nursery: all backstitching not set out separately below
§ 310 2 black Nursery: French knot eyes on rocking horse & dragon
321 2 Christmas red Nursery: torch flames (on back wall)
503 3 blue green – med Nursery: inner border on carpet
640 1 beige grey – vy dk Nursery: stone walls
676 2 old gold – lt Nursery: wall hanging: fringe and decorative curls
3799 1 pewter grey – vy dk Nursery: floorboards; apples in bowl and table cloth folds
A NEEDLE PULLING THREAD ● issue 53 81
 Finishing instructions
1. When all pieces are stitched, there will be:
• a Castle Wall stitching
• a Castle Nursery stitching
• 8 Window Sash pieces
2. Mounting Materials
(1) foam core mounting board the size
of the Castle Wall stitching
(2) filler foam core the size of the
frame opening
(2A) a mat (optional)
(3) foam core the size of the Nursery
stitching
Note: Keep extra foam core scraps for steps
15 -17.
(4) 20GA wire I beads
Window openings
1. Use black foam core if black fabric was
used, and white foam core for white
fabric. Turn the castle wall foam core
(item 1 in photo), to 10"W x 8"H. Cut a
3"W x 4"H rectangle (D), starting 1½"
in from the left side (B), and 1" up from
the bottom (C). Repeat from the right
side for the second opening.
2. Cut the window Xs on the stitched
Castle Wall, as shown on the graph.
Mounting stitching (pinning method)
1. Mount the Nursery on foam core (item
3 in the photo), trimming fabric as
necessary. Line up the center points of
the stitching with the center of each
side of the foam core, and pin in place
(A). Work out from the center points
to the corners, inserting pins into the
edge of the foam core board to hold
the fabric in place. Glue or lace the
fabric on the back of each foam core.
2. Using the same mounting method,
mount the Castle Wall stitching on
foam core (item 1 in the photo). Once
82 A NEEDLE PULLING THREAD ● issue 53
all the outer edges are pinned, fold
the cut triangles to the back, lining
up the stitched edges with the cut
opening edges. Pin firmly in place
around the window opening, into
the foam core. Hide the heads of the
pins by colouring them with a black
permanent marker. You won’t be able
to lace the Castle Wall, because of the
large window openings!
TIP Apply a generous amount of white
glue (which will dry clear) in the window
corners, to flatten and anchor loose fabric
strands. Set aside to dry.
Window sashes
As shown in the photo, cut window sash
inserts (E) from lightweight cardboard
such as a cereal box. Cut 4 pieces 1¼"W
x 3¾"H; these are ¼" smaller than the
window opening on two sides, to allow
for fabric thickness etc.
Handles
Two sets of window sashes are required
for each window opening. The sashes
are labelled left and right, stitch two of
each, per window (4 sets). Two large
bugle beads form one handle. Refer to
the grey dots on the window sash graphs
for placement. Sew handles on all 8 sash
pieces before assembling.
Joining technique
1. Put two left sashes together, flipping
the back sash vertically  when
assembling, so the bead handles
are both on the inside edge of the
sash. This keeps the stitched shadows
correctly positioned.
2. Matching up the outer backstitch/
outline stitches, use 2 strands of the
dark grey, DMC 3799, and a loop
start to anchor the beginning tail
(see the how-to inset box).
3. Slip the needle
through a
backstitch on each
piece (without
catching the
fabric) and pull
the thread tight
to join the two
pieces together. Repeat in every
stitch around the pieces being joined.
With two sashes back to back (so
the handles are on the same side -
opposite the hinge side of the sash),
join around three sides.
4. Put one cardboard insert inside the
sash pocket, trim to fit as necessary,
and close the final side of the sash. Put
two right sashes together the same
way (steps 1 - 4), to complete both
sashes for one window.
5. Repeat steps 1 - 4, making two more
sashes for the other window.
Hinge beads
1. Use the black arrows on
the Window Sash Graph
for placement. Sew
hinge beads on the sides
of assembled sashes.
Beads need to be sewn
horizontally so a wire hinge
can be inserted down
through them all.
Note: Hinge beads and handle beads will
never be on the same side of the sash!
2. Set one assembled sash in the
window opening of the Castle Wall.
Insert pins close to the sash hinge
beads to mark the position of the
Castle Wall hinge beads. Ensure
a right and left sash will fit in the
opening (adjust the pins if necessary),
with the handles meeting in the
center of the opening. Sew hinge
beads to both sides of the window,
replacing
each pin (see
Step 1 under
Hinge Beads).
Do not to
bend the
foam core!
Repeat for the other window.
3. To create a hinge, cut a 4½" piece of
wire, 20 gauge black stove wire was
used in the sample, but a plain silver
 wire can be used
instead or use a
permanent black
marker to colour
the silver wire
before inserting
the wire through
the hinge beads.
Straighten the
wire as much as
possible, then use
a pair of needle
nose pliers to bend
the top over to form a small hook.
4. Place the sash in position, so the
hinge beads line up with the beads
on the side of the window, then insert
the wire down through all 10 beads.
Open the sash, and turn the wire, so
the top hook is on the inside). Pull the
wire down, so the beads are snug. Use
the pliers to fold the wire snug around
the bottom beads and on the inside,
to complete the hinge. Cut off any
excess folded wire at the bottom. The
sash should now open and close!
TIP Gold beads were used for our hinges,
to match the window handles, but for less
noticeable hinges, use black beads instead.
5. Repeat steps 2 - 4 to hinge all
window sashes.
To assemble
1. The mounted Castle Wall, with all the
window sashes in place, can now be
centered on the filler foam core (item
2). If a mat is used, this foam core will
be larger than the Castle Wall piece,
with no mat, they will be the same
size. In either case, a hole must be
cut, so the room, mounted behind,
can show through. If the filler foam
core is the same size as the mounted
Castle Wall, skip down to the hole
measurements.
If the filler foam core is larger than
the Castle Wall piece, center the
mounted stitching on top, and
draw an outline around this smaller
piece. Set the mounted piece aside.
Measure 1" from the bottom, and
sides of that outline, and draw an
inner outline. The height of this
inner rectangle should be about
1" taller than the window opening,
approximately 5".
2. Cut out the inner rectangle, then
re-center the mounted Castle Wall
stitching, and check that the filler
foam core isn’t easily visible through
the window openings. Widen the
opening if necessary. Pin or glue the
two foam core pieces together.
3. Add additional foam core strips to the
filler foam core, around the outside
edges of the mounted Castle Wall so
all the pieces now form one solid piece
around the outer edges. Glue and pin
in place, pressing down to the height
of the stitching mounted foam core.
Note: It will take two layers of foam core to
equal the height of the fabric covered foam
core center. This means the finished piece
will be five layers of foam core thick, plus the
mat (if applicable).
4. Center the mounted Nursery Room
stitching behind the joined two-piece
foam core, centering the room so it
shows well through the window. Pin /
glue in place.
5. Lay this final assembly of layered foam
core face down and apply additional
foam core strips to the back of the
filler foam core board (around the
edges of the Nursery Room piece),
so the outer edges of the five foam
core layers become one solid piece. If
desired, cover the back with a layer of
heavy paper, to hide all the joining.
6. Frame as desired.
Note: As mentioned in the introduction,
because there are so many layers to
this masterpiece, an extra deep frame is
required. We made our own frame, and if
you would like info on how to do that, we'll
be happy to share our ideas! Please contact
us at x-stitch@xs-and-ohs.com for more
information.
Loop start
When using an even number of strands
of floss, reduce the number of tails with
the following simple technique.
1. Begin by cutting two lengths of
floss of the desired stitching length.
Remove one strand and fold in half to
make 2 strands; even out the cut ends.
2. Feed the cut ends through the eye of
the needle, so the fold (or loop) at the
bottom becomes the tail of the strand
as shown in diagram.
3. Come up from the back of the fabric
in the starting position, then go down
in the second position but do not pull
the floss tight.
4. Slip the needle through the loop (on
the back of the fabric), and gently
tighten to anchor the floss with no tail!
A NEEDLE PULLING THREAD ● issue 53 83
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110

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kk111111111ÒÒ111aa111111Ò11Ò111111a111111Ò1111Ò11111¤¤1Ò111111111111111Ò11a111Ò11k111kkkk¤kkk11k11ÒÒ111aa111111111Ò1ÒÒ1kka111111111k1ÒÒ11kkk
kkk1111111111Ò111aa1111111111111111a11111111111111111¤Ò111111111111111Ò11a1111111111111k¤kkk1k1111111111a111111111111111ka11111111k11Ò1111kk
kkkk11111111111111a1111111111111111a11111111111111111¤¤111111111111111111a111111111111kk¤k11111111111111aa111111111111111a111111111111111kkk

The Castle Nursery CHARTS

Graph for Sashes
Window sashes
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WWppWpzzWpzzWpzzWpzWW
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WWWpzzpzzzWpzppzzzWWW
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WWppWpzzWpzzWpzzWpzWW
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WWpppWpWpzzpzWpWpzzWW
WWppWpzzWpzzWpzzWpzWW
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WWWpzzzpzzWpzpzzzzWWW
WWpWpzpzzWpWpzzzzWpWW
WWppWpzzWpzzWpzzWpzWW
WWpppWpWpzzpzWpWpzzWW
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WWWpzzzppzWpzzzzpzWWW
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WWWWWWWWWWWWWWWWWWWWW
WWWWWWWWWWWWWWWWWWWWW
WWWWWWWWWWWWWWWWWWWWW

A sash is the part of the

(4 total)

window frame that holds

the panes, and often
Right Sash40Stitch 2 per window 50

opens. In this design,

two sashes meet in the
middle of each window,
and really do open out
from hinges on either
side of both windows to
reveal the room inside.
There are four pairs of the
sashes shown above, 8
sashes in total.
30

84 A NEEDLE PULLING THREAD ● issue 53

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1 1 1 1 1 1 1 1 1 Ò Ò Ò Ò Ò Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò › k k k k › \ \ \ \ \ \ \ \ \ \÷ ÷ ÷ ÷ ÷\ \ \ \÷ \ \ \ \÷ \ \ \ \ \ ÷ \ \ \ \\ \ \ \ › k k k k › k 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 Ò Ò Ò Ò Ò Ò Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò › k k k k › \ \ \ \ \ \ \ \ \÷ ÷ ÷ ÷ ÷\ \ \ \ ÷ \ \ \÷÷\ \ \ \ \ \ ÷ \ \ \ \ \ \ \ › k k k k › k 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 Ò 1 Ò Ò Ò Ò X XÒ Ò Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Ò ÒX X Ò Ò Ò Ò Ò 1 › k k O k › \ \ \ \ \ \ O\\÷ ÷ ÷ ÷ ÷ ÷ \ \ \ ÷ \ \÷÷\ \ \ \ \ \ \ ÷ \ \ \ O\\O \ \ › k k O k › k 1 1 1 1 Ò Ò Ò Ò Ò 1 1 1 1
1 1 1 1 1 1 Ò Ò Ò Ò ÒX j X Ò Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Ò X j XÒ Ò Ò Ò Ò Ò › k k k k › \ \ \ \ \ \÷ ÷ ÷ ÷ ÷\ ÷ ÷ ÷\ \ \ \÷ ÷ \÷÷\ \ \ \ \ \ \ \ ÷ \ \ \ O O \ \ › k k k k › k 1 1 1 1 1 1 1 Ò Ò Ò 1 1 1
1 1 1 1 1 1 Ò Ò Ò Òj j j X jÒ Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Òj X j j jÒ Ò Ò Ò 1 › k k k k › \ \ \ \ \ ÷ ÷ ÷\ \ \÷ ÷ ÷ \÷÷\ \ ÷ ÷÷ ÷ \ \ \÷ \ \ \ \ \ \÷÷\ \ \ \O O \ \ › k k kk k › k 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 Ò Ò Ò Ò j j í j j Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò j j í j j Ò Ò Ò 1 › k k kk k › \ \ \ \ \ \÷ \ \ \÷ ÷ ÷ ÷O \ \ \÷ ÷ ÷ ÷ ÷ ÷ ÷\ \ \ \ \ \ \ \÷÷\ \ \ O\ \ \ › k k k k › k 1 1 Ò Ò 1 1 1 1 Ò Ò 1 1 1
1 1 1 1 1 Ò Ò Ò Ò j í . í j Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò j í . í j Ò Ò Ò Ò › k k k k › \ \ \ \\ \ \\\÷ ÷ ÷ ÷ ÷O O \ \÷ ÷ ÷÷ ÷ ÷ ÷ ÷\ \ \ \ \ \ \÷ ÷ ÷\ ÷ \ \ \ \ \ › k O k k › k 1 Ò 1 1 Ò 1 1 1 1 Ò 1 1 1
1 1 1 1 1 1 Ò Ò Ò Òj í . í jÒ Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Òj í . í jÒ Ò Ò Ò 1 › k O k k › \ \ \ \ \ \÷ ÷ ÷ ÷ ÷O \ \ \÷ ÷ ÷÷ ÷ ÷ ÷÷ ÷ ÷\ \ \ \ \ \÷÷\ \ \÷÷÷ \ \ \ \ \ › k k k k › k 1 1 1 Ò 1 Ò 1 1 Ò Ò 1 1 1
1 1 1 1 1 Ò 1 Ò Ò Ò› › › › ›Ò Ò Ò 1 p p z z G G G z z G G G z z p p Ò Ò Ò Ò› › › › ›Ò Ò Ò Ò 1 › k k k k › \ \ \ \ \÷ ÷ ÷ ÷ ÷O O \ \÷ ÷ ÷÷ ÷ ÷ ÷÷ ÷ ÷ ÷ ÷ ÷\ \ \ ÷ \ \ \ ÷÷÷\ \ \ \ \ › k kk k k › k 1 1 1 Ò Ò 1 1 1 Ò 1 1 1 1
10

1 1 1 1 1 1 Ò 1 Ò Ò › › › Ò Ò 1 Ò p p z z G G G z z G G G z z p p Ò Ò Ò 1 › › › 1 Ò Ò 1 k › k kk k k › \ \ \ \ ÷ ÷ ÷ ÷ \ \ \÷ ÷ ÷÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷\ \ \ \ \÷÷\ \ \÷÷\ ÷ \ \ \ \ › k k k k › k 1 Ò Ò Ò Ò 1 1 1 1 Ò 1 1 1
1 1 1 1 1 1 1 Ò Ò 1 › › › 1 Ò Ò 1 p p z z G G G z z G G G z z p p 1 Ò Ò 1 › › › 1 1 Ò Ò 1 › k k k k › \ \ \ \ ÷ ÷÷ ÷ ÷ ÷\\÷ ÷ ÷÷ ÷ ÷ ÷ ÷ ÷÷ ÷ ÷ ÷ ÷ ÷\ \ \ \ \÷ ÷ ÷\\÷÷\ \ \ \ \ › k k O k › k 1 1 Ò Ò 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 Ò Ò Ò 1 › › ›1 1 Ò 1 1 p p z z G G G z z G G G z z p p Ò 1 1 1 1› › › 1 Ò 1 Ò k › k k k k › \ \ \ \ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷\ \ \ \ \ \÷÷\ \ \ \ \ \ › k k k k › k 1 1 1 1 1 1 Ò 1 1 Ò Ò 1 1
1 1 1 1 1 1 1 1 Ò 1 1› › 1 Ò 1 Ò 1 p p z z G G G z z G G G z z p p 1 Ò Ò 1 1 › ›1 1 1 Ò 1 k › k k O k › \ \ \ \ \÷÷÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷÷ ÷ ÷ ÷ \÷ ÷ ÷ ÷\ \ \ \÷ ÷ \ \ \ \ \ \ › k k kk k › k 1 1 1 1 Ò Ò 1 Ò Ò Ò Ò 1 1
1 1 1 1 1 1 1 Ò Ò 1 ] › ]4 4 4 41 1 p p z z z z z z z z z z z z p p Ò 1 1 1 ] › ] 1 1 1 1 k › k k k k › \ \ \÷ ÷ ÷ ÷\\÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷÷ ÷ ÷ ÷÷÷÷ ÷ ÷\ \ \÷ ÷ ÷ ÷ ÷ ÷ ÷\ \ \ \ \ \ \ › k k k k › k 1 1 1 1 1 1 1 1 1 Ò 1 1 1
1 1 1 1 1 1 1 1 Ò Ò ] ›4 4 4 4 4 41 p p z S z z z z z z z z z z p p 1 1 1 1 ] › ] 1 1 1 1 k › k kk k k › \ \ O\\÷ ÷ ÷\\÷ ÷ ÷\ \ \ \ \ O\\÷ ÷ ÷\\÷ ÷ ÷\ \ \ \÷ ÷ ÷ ÷ ÷\ \ \ \ \ \ 4 4\ › k k k k › k k k k k k k 1 1 1 1 Ò 1 1
1 1 1 1 1 1 1 Ò 1 1 ] 4 4 4G 4 4 4 4p p z z z z z z z z z z z z p p 1 1 1 1 ] › ] 1 1 1 1 k › k k k k › \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \4 4 4 4 4H H H H H H † H † † † †kkH H Hk k 1 1 1
1 1 1 1 1 1 1 1 1 1 14 4 4G G 4 4 4] ] ]p z z G G G z z G G G z z p p 1 1 1 1 1 1› 1 1 1 1 1 k › k O k k › › › › › › › › › › › › › › › › › › › ›HH› › › › › › › › › › › › 4 4 4 4 G › › › › 4 4 4 4 4À À † H H H k 1 1 1
1 1 1 1 1 1 1 1 1 1 4 4 G 4 4] ] ] 0] ] z z G G G z z G G G z z p p 1 1 1 1 11 1 1X X X1 1 1 k › k k k k k k k k k k k k k k k k k k k kG G G H G Gk k k k k k k k k k k k 4 4 4 G › › › › › › 4 G G 4 4À À †H H Hk k 1 1 1
1 1 1 1 1 1 1 1 1 1 4 4 ] ] ] ] 0 0 p z z G G G z z G G G z z p p 1 1 1 1 1X X XX X XX X 1 k › k kk k k k k kk k k G k k
kk k k O k kk k k k k GG G HH H G O k k k k kk k O k k4 4 G G › › › › › › 4 4 G 4 4 À À † k 1 1 1 1
20

1 1 1 1 1 1 1 1 1 1 4 4 ] ] ] 0 0 0 p z z G G G z z G G G z z p p 1 1 1 1 X X X X X X 1 k › k k k k O k k k k k k k k k k O k kk G G G H H H kG k k kk k O k k k k k k H4 4 4 G › 0 › 0 0 › 4 4 4 G 4À À À † k 1 1 1 1
1 1 1 1 1 1 1 1 1 1 G 4 ] Š 0 0 0 0 p z z G G G z z G G G z z p p 1 1 1 1 4 G G G G 4 1 k › k k k k k k k k k k k k k k k k k k G G H H H H k k k k k k k k k k k kHHÀ 4 G G. . .0 0 0 0 G 4 4 4 4 À À À † k 1 1 1 1
1 1 1 1 1 1 1 1 1 1 G G4 ] Š Š 0 0 0p p z z G G G z z G G G z z p p 1 1 1 1 4 4 G G 4 4 1 k › › › › › › › › › › › › › › › › › › ›H G H H ›H H H H› › › › › › › › › › › H À 4 G. . . . 0 0 00
0S G G 4 4 4 G À À À † k 1 1 1 1
1 1 1 1 1 1 1 1 1 1 G G Š Š ŠŠ Š 0 p p z z G G G z z G G G z z p p 1 1‹ . ‹ ‹4 G G G G 4‹ ‹ . .k k k k k k k k k kG G Gk k k k k k kHHH H H H kk H kH H k k k k k k k k k kHHÀ À GXX. 0 0..‹ ‹ ‹Š Š G 4 4 4 G À ÀH H † k 1 1 1 1
1 1 1 1 1 1 1 1 1 1W W W 4Š Š Š Š 1 p p z z G G G z z G G G z z p p 1‹ ‹ . . ‹ ‹ ‹ ‹ ‹ ‹ . . . .k 1 k k 1 k k k G G GHHX X X X O H H HH H HH k k k k k 1 1 k k k 1 k kH H À ÀX X O Š 0 0‹ ‹ ‹ Š G G 4 G G GÀ H À † k 1 1 1 1
1 1 1 1 1 1 1 1 1W W W W 4 4Š Š Š 4 4p p z z G G G z z G G G z z p p ‹ . . . . . . . . . . . . ‹ 1 1 1 1 1 1 k G G H O O X O O H H H H H k 1 1 1 1 1 1 1 1 1 1 1H H HÀ À X X X OŠ Š 0 0 Š ‹ ‹ . . .G G GH H À † k 1 1 1 1
1 1 1 1 1 1 1HHW W W W W 4 4 4 4 4 4 Wp z z z z z z z z z z z z p p 5 ‹. . . . . . . . . . . .‹ 5 1 1 1 1 1 1 k kG G H O O O O O H H H H H k 1 1 1 1 1 1z z z z z zHHÀ À ÀO X O X X O O ‹ŠŠ‹ ‹ . . . * *HH† † À † k 1 1 1 1
1 1 1 1 1H H H W W W W W W4 4 4 4 4 4 W z z z z z z z z z z z z p p 5 ‹ ‹ ‹ 5 5 ‹ 5 5 ‹ 5 5 ‹ 5 k k k k k k k k G H HO O O O OH H H H H H k k kz z p pz z p p† † † † † †À O O X O X X O O‹ * . . . * * H
HH † † † À † k k 1 1 1
1 Ò Ò ÒH H HÀ À W W W W S W 4 4 4 4 4 W z z z z z z z z z z z z p p 15511‹ ‹ 5 5‹ ‹ 5 5 ‹ 51 1 1551 1 Ò Ò Ò Ò Ò 1 1G G H H H H H H H H H HH H 1 1 z p pz z p† † † À À À † † † †X O X O O O O * . . * * H † † À À † 1 Ò Ò Ò Ò
1 Ò Ò † † À ÀW W W W WS S W 4 4 4 4 4 W z z z z z z z z z z z z p p 1 1 1 1 5 ‹ ‹ ‹ 5 ‹ 1 1 1 1 Ò Ò Ò Ò Ò 1 1 G GH H H H††k k kH H H H H H H11z z p z p† † † À À À À À † † † z z z zz z z z* * . * *HH† † † † À † 1 1 Ò Ò Ò
30

ß ß ß † † À W W W W S W W O O O O O W / / / / / / / / / / / / / / ß ß ß ß ß À‹ ‹ 5 5À À ß ß ß ß ß ß ß ß ß ß G G H H H†† ß ß ßßßH H H H H z p p p† † † À À À À À À À † † †z z p z z p z z z**HH† † † † † À † ß ß ß ß ß

/ / / † H À W W W W S W W O O O O O W / / / / / / / / / / / / / . . . . . .ß À ‹ 5 À À / / / / / / / / / / H H H†† / / //// / / / / / / /H z p p\ † † À À À À À À X À À † † † †p p p pp p z pzzH † † † † À À † ß / / / /
/ / / † H À W W W W S S W › › O › ›W W / / / / / / / / / / / / ..Á Á Á Á Á Á. . .‹5À À À / / / / / / X XOO/ / H H††ÀÀ/ / / / / / / / / / / / z p \ † † À À À X À À À À À À À † † p pp p p pp p z À † † † À À † ß / / / /
/ / / † H À W W W W S W W W› › O › W W / / / / / / / / / / / ..Á Á Á Á Á Á Á Á. . .À À À À/ / / / / / /X X XOO/ H H††zzÀÀ/ / / / / / / / / / / /p p \ \† † †À X À ÀÀ À ÀÀ À À X À À † † \ p p zp p p z À † † † † À † ß / / / /
/ / / † H À W W W S S S W W › O ›4 W W / / / / / / / / / / ..Á Á Á Á Á Áw w w wÁÁ. . À À À À ß / / / / /X X XOOH H † z zÀ À À/ / / / / / / / / À p p \ † † À ÀÀ À À À ÀÀ À À À À † †\ \ p p z p p z zÀ À † † † À † ß / / / /
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50

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If stitching sashes on white fabric If stitching sashes on black fabric Regardless of fabric used
40

Stitch exactly as shown on the graphs Stitch the two blue (windowpane) colours Grey dots indicate handle placement as
(above). Backstitch the black lines with 1 only and leave the grey areas (W symbol) described under HANDLES. Leave at least
strand of black (DMC 310); and the outer unstitched, allowing the lovely black 3 - 4 stitches wide seam allowances all the
grey dash lines with 2 strands of dark grey fabric to show through. On dark fabric, way around each sash when cutting away
(DMC 3799). backstitch the black lines with 1 strand of excess fabric as described under JOINING
dark grey (DMC 3799); and backstitch the
30

outer grey dash lines with 2 strands of dark

grey (DMC 3799).
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Left Sash Stitch
10
total)
2 per window (4 20

Jo Gatenby
xs-and-ohs.com
MODEL STITCHER
10 20 30 40 50 Belinda Howell

A NEEDLE PULLING THREAD ● issue 53 85

The Mir Castle
A little history…the Mir Castle
In medieval times, Belarus (the former Grand
Principality of Litva) was considered a ‘country of
palaces and castles’. Unfortunately, there are very
few 'old' things left after the numerous wars and
200 years under Russian occupation.
Still, Mir Castle is undoubtedly known to everyone
who has heard about Belarus at least once. A source
of Belarusan pride, and a UNESCO World Heritage
Site, Mir Castle is a unique monument of Belarusan
architecture that impresses with its strength and
graceful elegance.
The Castle was built as a fortress at the beginning
of the 16th century. Thick brick walls with
slits, many towers, a rampart, a moat, and a
drawbridge, were all part of the original structure.
The successful blend of Gothic, Baroque and
Renaissance architecture makes Mir Castle one of
the most impressive castles in Europe.
86 A NEEDLE PULLING THREAD ● issue 53
After several sieges, the last one being Napoleon’s
war in 1812, the Mir Castle ruins were abandoned
for one hundred years and only in 1983 did the real
reconstruction begin.
In 1994, UNESCO placed the Castle of Mir in the
top category of world cultural monuments.
In 2000, UNESCO designated Mir Castle a World
Cultural and Natural Heritage site.
Today, Mir Castle is one of the most famous and
popular attractions in Belarus. It brings travelers
back in time, exposing them to the deep and
distinctive Belarusan history in the medieval times.
The modern Mir Castle is a complex with a well-
developed tourist infrastructure.
The Belarusan people are proud to consider Mir
Castle to be the main landmark or recognizable
icon of Belarus. – Iryna
en.wikipedia.org/wiki/Mir_Castle_Complex
www.belarus.by/en/travel/belarus-life/mir-castle
 cross stitch

skill level advanced Colour Keys

finished measurements Floss used for full, half and quarter stitches:
• 12½” x 8” [31 x 19cm] in 28ct linen symbol strands number colour
(as in sample) 3 745 yellow lt
• 10” x 6” [25 x 15cm] in 18ct fabric ~ 3 3855 autumn gold lt
(as alternate fabric ct) 3 3822 straw lt
stitches < 3 3854 autumn gold md
170w x 104h - 3 722 orange spice lt
materials 3 3853 autumn gold dk
fabric _ 3 922 copper lt
• 28 count linen, dyed light blue m 3 720 orange spice dk
threads 3 921 copper
• DMC floss according to chart
3 919 red copper
Notes: ¿ 3 918 red copper dk
• Worked over two fabric threads (14ct) ¤ 3 3857 rosewood dk
• The highlighted darker areas on the
3 3371 black brown
charts on the following pages indicate
the connection to the other part of the
b 3 349 coral dk
chart and should not be stitched twice. 2 3 304 Christmas red md
Watch the central row, which is pointed k 3 986 forest green vy dk
with the arrow above. ” 3 936 avocado green vy dk
ì 3 934 black avocado green
Floss used for back stitches: r 3 435 brown vy lt
symbol strands number colour W 3 433 brown md
2 745 yellow lt 3 310 black
2 3853 autumn gold dk
3 720 orange spice dk
2 918 red dopper dk
Iryna Varabei
2 3857 rosewood dk
Spirit of Belarus
2 3371 black brown https://ivarabei.wixsite.com/spiritofbelarus
2 310 black www.facebook.com/SoB.designs

Photos by Iryna Varabei

A NEEDLE PULLING THREAD ● issue 53 87
 CHARTS
The Mir Castle

88 A NEEDLE PULLING THREAD ● issue 53

A NEEDLE PULLING THREAD ● issue 53 89
 Moroccan Mug Rug

The inspiration for the design of

this little project was a window
grate in a photo of an old door in
Morocco.
When I saw the photo so many
ideas for ways to create with the
design began popping into my
head. Now, the window grate
was distorted by the angle of the
picture, so the first job was to
try to align it. Then I re-created
one quarter of the design, this
too could be broken down into
quarters. These quarters, like the
original, could be mirror imaged
vertically and horizontally or run
in a column to create a multitude
of new designs. The possibilities
seem nearly endless!
Work a block or ¼ block or ¼ of a
quarter with mirrors to design a
block of your own. Turn the inside
to become the outside or flip flop
vertically or horizontally. You may
be surprised at what you create.
Make it your own!!
– Judith

90 A NEEDLE PULLING THREAD ● issue 53


The design may already ‘speak’ to you
as it is but here are some additional
design ideas:
• use the center diamond only
• use as Sashiko embroidery for a center
panel of a tablecloth
• close partial circles or turn them into
squares or diamonds for more designs
• fill open areas with Battenberg lace
• work in white work embroidery
• stained glass work as in quilting
• reverse appliqué
• shadow embroidery
• silk ribbon work
• heirloom sewing techniques
• cross stitch
• red work or black work
• rug hooking – make a mat
• duplicate stitch on a sweater or scarf
• knitting - scarf or cushion top
• add a button or concertina rose in the
center or corners for a different effect
• reduce the wide lines of design to
single lines, remove any lines that don’t
appeal to simplify
• build/create a table runner by adding
blocks lengthwise
• try quilting a laptop, wall hanging,
place mat, quilt patches, the list goes
on and on
• enlarge design to desired size
The Mug Rug
For this project a quarter design
was chosen to be worked in
simple embroidery, representing
a parterre garden. Low hedges
in green twisted fly stitch, tile
walkways in royal blue open
herringbone, low borders in
grey coral stitch and random
rose bushes in magenta colonial
knots each framed by long
tailed fly stitch in green. All are
simple embroidery stitches that
may or may not be familiar but
are easy to execute. For clean
stitching #8 Pearle cotton was
used. Width of heavy black lines
determined height of stitches,
working within to keep stitches
of consistent height.
embroidery
skill level Intermediate
finished measurements
instructions
prepare fabric for smocking
4” x 4¾” [10 x 12cm] 1. Press fabrics and spray starch.
materials 2. Enlarge design to desired size (4” x 4
fabric ¾” for this sample).
• 12” x 12” [30 x 30cm] light weight, white 3. Secure design to a hard, flat surface
cotton or cotton blend with tape. Secure top fabric over
• 6” x 7” [15 x 18cm] approximately top. Try to line up straight grain with
Thermolam® for batting/padding design.
• 9” x 9” [23 x 23cm] approximately fabric 4. Trace onto fabric with marker. Mount
of your choice for backing in embroidery hoop. Pull fabric taut,
needles keeping grain straight.
• chenille 5. Embroider herringbone walkways first.
• tapestry Knot the end of threads for all work.
• fine long darner 6. Embroider hedges of twisted fly stitch.
7. Embroider low borders in coral stitch.
notions
Keep fabric taut and on grain while
• 6” – 7” embroidery hoop
working design.
• embroidery threads of your choice,
8. Remove lines while fabric is in
colours of your choice
embroidery hoop by immersing in
• sewing thread to match backing fabric
cool water. Let dry completely before
• adhesive tape
removing from hoop. Press lightly.
• fine point water soluble marker or
9. Pin fabric to Thermolam®. Machine
other type of marker of your choice
stitch through both layers at ¼”
• spray starch
outside walkway. Stitch beyond
• iron, ironing board
corners to achieve crisp corners. Trim
• embroidery scissors
both layers to ½”.
• shears or rotary cutter and mat
10. Embroider colonial stitch roses with
• fine pins
long tailed fly stitches last in each part
• transparent ruler
circle. Knots and travelling threads
• sewing machine
will be hidden on wrong side of
Thermolam®.
11. Lay rug on backing fabric, wrong sides
together. Repeat machine stitching
but through all layers. Pivot at exact
corners. Bring threads of stitching to
surface; knot and trim.
12. Trim backing fabric to 1” beyond
Thermolam® layer.
13. Starting with long sides, fold backing
fabric to edge of Thermolam® (½
“). Repeat, folding up to machine
stitching of top layer. Pin in place.
14. Slip stitch, catching machine stitching
as a guide for short, neat stitches.
15. Repeat for short ends. If necessary,
give one final light press.
This photo by Judith Marquis
A NEEDLE PULLING THREAD ● issue 53 91
 Grids and ideas stitches
Note: It is suggested that you practise
stitches to scale before starting project.
Colonial knot
• Bring thread to
surface of fabric A

Photocopy and enlarge grids of your Open Herringbone stitch where knot is to
choice to create new designs. • Draw two parallel be placed, point A.
lines. Mark off • Wrap needle in a figure 8 as illustrated.
Quarter of full grid used for rug Mug both with equally • Put needle back into fabric close to
distant dots e.g. point A.
1⁄8” apart. • Pull thread close around needle and
• Come up at A on top line. take needle to back forming knot.
• Down at B on lower line. • Do not pull too tight.
• Up at C on lower line. Long tailed fly stitch
• Down at new B on top line. • Bring thread to
• Carry on thus, alternating between surface at A.
two lines. • Take needle to
• Pick and poke stitching method works back at B.
Use as is or square it up then turn the best for this stitch. • Come up again at
grid ‘inside out’. • To make the stitch bolder, it’s possible C catching loop
to work a second row of stitching, of thread.
filling in the empty spaces, using a • Take thread to
lighter value of thread. back at D.
• Taking this a bit further, weave the • For this project,
second row of stitching over and the arms of the
under the first row. stitch surround
Twisted fly stitch coral stitch rose. They do not have to
• Mark two parallel be the same length.
line. • Point C is directly at base of rose.
Now create a border! • Mark off both • The tail has been ‘stylized’ to swing at
with dots 1⁄8” apart an angle suggesting a circle of roses.
Full grid as in The center on top line, and off set on line below.
photo. Slice it as diamond with • Come up at A Put needle in at B and
you please. which to work. out at C.
There are so many • Pass thread over needle in a loop as
other ways to 'cut' illustrated.
this design. • Pull needle through. Judith Marquis
• Take needle to back at D. Amberlane & Amberpetites
• Come up at new A right beside old B www.amberlane.ca
and carry on sequence. marquisjudith@gmail.com
Coral stitch
• Draw a line for Judith Marquis is a designer of
stitching. needlework and smocking. The patterns
• Mark dots on line from her company, Amberlane &
approximately 1⁄8” Amberpetites, are designed for real
people with today’s children in mind.
apart.
Patterns for ladies nighties and dolls are
Take one quarter of the ‘Quarter’ grid. • Bring thread to
included in her collection. If you have
surface at first
any questions about this article, are
dot. Lay thread along line and hold in
interested in learning to smock or her
place.
‘Pleating by Mail’ service, please contact
• Take a stitch equal to width of thread
Judith. She would love to hear from you.
or slightly larger.
• Slip thread under needle.
• Complete stitch.
• A knot will form.
Original rectangle Now squared up
• When evenly spaced this stitch will
look like a string of pearls.

92 A NEEDLE PULLING THREAD ● issue 53

 learn with us!
• surface embroidery • Hardanger
• hem and edge techniques • Deerfield
• metal thread • Schwalm
• canvaswork • blackwork

p e n s S ept. 1, 2 020
registr a ti o n o
Seminar 2021: Magical Mystery
May 18-23, 2021 • Richmond, BC

join us
local chapters :: online chapter :: individual member

discover more
eac-acb.ca
reach out
info@eac-acb.ca

Quilt Canada 2020 Virtual Shows

Quilt Canada 2020 may have been cancelled, but we’re not letting that get in
the way of having a little fun. Starting mid-August, we’ll post nine different quilt
galleries on our website for you to enjoy. Vote on the Viewer’s Choice in four
Challenge galleries and view the variety of quilts in the Concurrent Show Galleries.
Come back again mid-October to bid on your favourites in
our 2020 TrendTex Challenge online quilts auction!
Visit www.canadianquilter.com for all the details.
The Wet Spring of 2017 by Helen Fujiki

OCTOBER 1 to NOVEMBER 30, 2020

A NEEDLE PULLING THREAD ● issue 53 93

 Rio Dei S ogni

It wasn't supposed to be this way; we weren't supposed to fall in love. We, the hardened travelers
of remote islands and empty seacoasts, were supposed to be repelled by a fairground city given
over to the hordes. And yet, like the many millions before us, of course we swooned. How
mistaken we were to think we would be immune to the work of centuries of masters; how wrong
we were to think that the number of footsteps before ours should matter. We bathed in the
energy that comes of having the eyes of the world upon you, and we relaxed in the peaceful alleys
and byways that were surprisingly easy to find. We were silly to have waited so long. In Venice, we
dreamed. And yes, we loved.
My daughter is old enough now that she is already embarking on her own artistic journey. Rio dei
sogni is not meant to be any particular place in Venice; it is just her memory of a wonderful place,
and of our happiness together. We hope that you enjoy our first collaboration! – Karen

94 A NEEDLE PULLING THREAD ● issue 53

 rug hooking

skill level Easy Since you won’t be using your finished piece as a floor mat but instead will be hanging
finished measurements it on the wall where it will receive minimal wear, leaving your tails down will be
5" x 5" [12.7 x 12.7cm], plus mat and frame harmless to your finished art piece.

materials
• minimum 12" x 12" backing material
of burlap, linen or rug warp. Larger
dimensions required if you choose to
enlarge the design.
• a variety of thinner (smaller gauge)
yarns, approximately fifteen distinct
colours. Note: If you choose to use bulkier
yarns or wool strips, you’ll have to increase
the size of the design to accommodate
the larger loops.
• minimum 10" quilting or hooking
hoop, available in most craft stores
• medium size rug hook
• standard picture frame with 5" x 5" mat
Hooking patterns are not typically strict about either detail or colour choices, which
is why I have not specified a colour pattern in the materials list. The art form is more
about adding your own preferences and flair to a basic pattern. In my own experience
as a teacher, it’s unlikely that any two of you choosing to do this pattern will complete
it in the same way, and my example is only one way to complete it. My daughter's
design is small, only 5" x 5", but you can expand it as you wish. In its original size, it’s
best suited to hooking using yarn, as I do, or other fine cuts of wool. If you choose to
enlarge the design, then it will be possible to add more detail.
In the original design my daughter has left you with the essential outlines and it’s up
to you to capture the mood that you want through your colour choices. You can select
corals and muted pastels, as I did in the example, to remain true to the sun washed feel
of the Mediterranean in summer. Or you can choose vibrant, electric colours and turn it
into a scene of Northern Europe, maybe of Amsterdam or Copenhagen. Or you can just
close your eyes and find the colours of any place in your own dreams. Whatever you
choose to do, have fun!

Instructions
Hooking is a relaxing, interpretative art
form based on a very simple technique
of pulling loops of wool or yarn through
a backing like burlap, linen or rug warp
with a hook. Just poke your hook through
the backing, catch the hook around your
wool or yarn, and pull up a small loop of
yarn. Move to the adjacent hole in the
backing and repeat, making sure only
to pull each of the loops to the same
height as you progress through the row.
The pressure of the loops against each
other and the squeeze of the backing on
the base of each loop keeps everything
secure. Yes, it really is that easy!
When you reach the end of a strand of
yarn, or you need to switch colours, you
have two choices as to how to secure
your work. The first is the conventional
approach used when hooking with wool
strips. In this approach, you pull the end
of your wool strip (the ‘tail’) up through
the last hole in your row and trim it off
at the height of your loops. This ‘tails up’
approach keeps the back of your work
very neat and the tail is indistinguishable
on the presentation side of your work.
If you’re working with yarn, like I do,
tails up isn't always desirable because
trimmed yarn splays and will be obvious
in your work. Instead, I pull up my final
loop and I leave the tail down, where I
trim it quite short.

Photos by Karen D. Miller

A NEEDLE PULLING THREAD ● issue 53 95
 Eyes Open to the World by Karen D. Mil ler
For more examples of how to use travel to inspire your art,
check out Karen's book Eyes Open to the World: Memories
of Travel in Wool (Ampry Publishing). Karen shows that travel
is really a state of mind - a curiosity about the world ‘out
there’ beyond the comfortable familiarity of ‘home’ – that
bridges easily to inspiration for her art. Intended as a must-
have resource of shared experiences for new and established
fibre artists alike, Eyes Open to the World will take you on a
160 page journey through the artistic process, from turning
inspiration into an idea, to techniques in observation and
composition, and all the way to working en plein air. It brings
you to Karen’s favourite places across the North Atlantic and
explores a range of artistic approaches, from conventional to
abstract. Every step is liberally sprinkled with insights and art
from Karen and over thirty contributors, all inspired by their
own travels all around the world. Above all, Eyes Open to the
World is Karen’s exhortation to set free the artist within you
and tell your own stories. As she learned, and now shares with
you, there is nothing to be afraid of, and nothing to wait for.
Available through Amazon.com and Searchpress.com.

Designed by Kadyn MacDonald and

hooked by Karen D. Miller
karendmillerstudio.com

The Ontario Hooking Craft Guild is all about the Þne art
and craft of traditional & contemporary rughooking, with
60+ branches all over Ontario, plus one in Québec.
Canadian
membership is $40;
with a full colour
quarterly magazine.
We have many
teachers, some now
offering Zoom
workshops!

“The Christmas Flower”, hooked by Helen www.ohcg.org

Sands of Frontenac OHCG branch.
Pattern: Old Tattered Flag (RHM Nov/Dec/19)
“Shine On”, designed and hooked by
Please follow our Facebook Page and Leslie Knight; Etobicoke OHCG branch.
(Note the custom cable-knit tabs)
join our interactive Facebook Group

96 A NEEDLE PULLING THREAD ● issue 53

A NEEDLE PULLING THREAD ● issue 53 97
BUSINESS DIRECTORY To list your business in this space please call 1.866.969.2678.
CANADA
Brampton Sew & Serge
289 Rutherford Rd S, Unit 7, Brampton, ON L6W 3R9
 905.874.1564  bramptonsewnserge.com
 monique@bramptonsewnserge.com
Welcome to Your One Stop Sewing Centre! We are authorized
dealers of Baby Lock, Husqvarna Viking, and Singer sewing
machines and sergers. We also offer a full schedule of sewing
classes for everyone.
Bytowne Threads - Ottawa, ON
 1.888.831.4095  bytownethreads.com
 mlj@bytownethreads.com
Featuring Aurifil thread from Italy. Long staple Egyptian
cotton threads - 270 colours in 12, 28, 40 and 50 wt; 88
colours in 80 wt. Polyester Aurilux - 240 high sheen colours.
Wool threads - 192 colours. Many kits available. Check our
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Canadian National Fabric - Brampton, ON
 https://canadiannationalfabric.com/
 info@canadiannationalfabric.com
We are an online fabric shoppe offering a wide variety of
fabrics, patterns, books and notions for all your sewing
needs. Flat rate Canada wide shipping of $5. Shop in person
available by appointment!
Country Concessions
1 Dufferin St, Cookstown, ON L0L 1L0
 705.458.4546 or toll-free 1.888.834.4407
 countryconcessions.com
 info@countryconcessions.com
Visit our lovely and unique quilt shop in the quaint village of
Cookstown. We have over 7000 bolts of cotton fabrics plus a
wide selection of patterns, books & notions. You will be so glad
you came for a visit.
Gitta's
271 Lakeshore Rd E, Mississauga, ON L5G 1G8
 905.274.7198  gittas.com
 questions@gittas.com
Gitta's, named after owner Gitta Al-Basi, nestled in the east
village of Port Credit, is the place where stitchers meet with
their stitching friends, shop for stitching supplies and see the
new stitching designs from Europe and the United States.
Hardanger House, designs by Betty Stokoe
PO Box 1223, Stettler, AB T0C 2L0
 403.742.2749  bettystokoe@gmail.com
 tnplisting.com/hardanger-house.html
Hardanger embroidery charts and kits. Designs feature
contemporary adaptations of this traditional cutwork
embroidery from Norway. Shop online at etsy.com/shop/
HardangerHouse. Some digital downloads available.
Haus of Stitches
626 Main Street, Humboldt, SK S0K 2A0
 306.682.0772 or toll-free 1.800.344.6024
 hausofstitches.ca
Our one of a kind store offers everything you need for sewing,
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 902.435.7380  kellyscreativesewing.ca
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We offer sales and on-site service of high-end domestic
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 613.695.1386  ottawasewing.com
 ottawasewing@gmail.com
Authorized Dealers for Brother, BabyLock, Elna, Q'nique &
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Sew Inspired
375 Daniel St S, Arnprior, ON K7S 3K6
 613.623.0500  sewinspired.ca
 info@sewinspired.ca
Your Ottawa Valley PFAFF® Authorized Dealer. We have a
large supply of quilting & sewing supplies, knitting supplies,
as well as in stock PFAFF® sewing machines. We also have a
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98 A NEEDLE PULLING THREAD ● issue 53
Sew With Vision
480 Parkland Dr, Halifax, NS B3S 1P9
 902.479.2227  sewwithvision.net
Authorized PFAFF, HUSQVARNA VIKING, and SINGER dealer
and service provider offering an extensive line of sewing,
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That Sewing Place
16610 Bayview Ave #10, Newmarket, ON L3X 1X3
 905.715.7725  thatsewingplace.ca
 jaret@thatsewingplace.ca
Introducing That Sewing Place as your sewing source and
Authorized Dealers for Bernina and Brother machines.
Our focus is on placing your sewing needs first, providing
outstanding support, service, and training.
The Quilt Store / Evelyn's Sewing Centre
17817 Leslie St, Unit 40, Newmarket, ON L3Y 8C6
 905.853.7001 or toll-free 1.888.853.7001
The Quilt Store West
695 Plains Rd E, Unit 6, Burlington, ON L7T 2E8
 905.631.0894 or toll-free 1.877.367.7070
 thequiltstore.ca
Now with 2 locations to serve you, we are your Quilt Store
Destination! The staff here at The Quilt Store is always on
hand to provide Quilt Wisdom, Quilt Inspiration and most
of all we pride ourselves as the place to make... All Your
Quilt Dreams Come True!
The Stitcher's Muse Needleart
#101 - 890 Crace St, Nanaimo, BC V9R 2T3
 250.591.6873  thestitchersmuse.com
 info@thestitchersmuse.com
A divine little shop with supplies for all your hand stitching
needs! Friendly, knowledgeable, helpful staff. Cross stitch,
canvaswork, needlepoint, embroidery, counted thread,
lace making & more. Books, patterns, fabric, threads, tools.
The Yarn Guy
15 Gower St, Toronto, ON M4B 1E3
 416.752.1828 or toll-free 1.800.836.6536
 theyarnguy.com  info@sewknit.ca
See us on Facebook, follow us on Twitter!
Knitting machines, sewing machines, repairs, parts
for Passap, Studio, Singer, Silver Reed, Superba, White.
Sewing notions and supplies, books, ball yarns, coned
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Upper Canada Quiltworks – Quiltworks Studio
37 Perth St, Brockville, ON K6V 5C3
 613.865.7299; Open 10-4, Tuesday-Saturday
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Quilt patterns and books, fabric and notions, felted wool,
wool kits, punchneedle patterns and supplies and Valdani
embroidery floss. Workshops in quilting, punchneedle,
wool applique, rug-hooking, sewing, sign painting & more!
Brandon Sewing Centre
821 Princess Ave, Brandon MB R7A 0P5, 204.727.2752
Carellan Sewing Centre
1685 Corydon Ave, Winnipeg MB R3N 0J8
204.488.2272, facebook.com/CarellanSewingCentre
K&A Quilt Studio
160 Ingersoll St S, Ingersoll ON N5C 3V3
519.425.4141, kaquiltstudio.com
Stitch By Stitch
550 Days Rd Unit 1, Kingston ON K7M 3R7 613.389.2223,
stitchbystitchkingston.com
UNITED STATES
A-1 Singer Sewing Center
1012 S Oliver St, Wichita KS 67218
316.685.0226, a-1singer.com
American Folk Art and Craft Supply
1415 Hanover St, West Hanover, MA 02339
781.871.7277, americanfolkartonline.com
Charlotte Sewing Studio
1109 Tamiami Trl Unit 2, Port Charlotte FL 33953
941.235.3555, charlottesewingstudio.com
Close to Home Sewing Center
277 Hebron Ave, Glastonbury CT 06033
860.633.0721, closetohomestores.com
Cottage Quilts * Sew Creative Studio
1310 Center Dr Unit A, Medford OR 97501
541.500.8071, cottage-quilts.com
Discount Fabric Warehouse
933 Kanoelehua Ave, Hilo HI 96720
808.935.1234, discountfabricwarehouse.com
El Cajon Sew & Vac
1077 Broadway, El Cajon CA 92021
619.442.2585, sewezr.com
Jessamine Quilt Shop LLC
1301 Old Cherokee Rd, Lexington SC 29072-9047
803.490.1031, jessaminequiltshop.com
JS Linen and Curtain Outlet
1250 Northside Dr, Statesville NC 28625
704.871.1939, jslinenoutlet.com/js-quilt-shop
Just Sew Studio
51 Third St NE, Waite Park MN 56387
320.654.1580, justsewstudiomn.com
Keeping You Sewing
226 4th Ave S, Clinton IA 52732
563.242.6135, keepingyousewing.com
Lone Star Quiltworks
4301 S Texas Ave, Bryan TX 77802-4360
979.595.1072, lonestarquiltworks.com
Maryland Vacuum and Sewing Center
26845 Point Lookout Rd (Rt 5), Leonardtown MD 20650
240.309.4019, mdvacsew.com
New England Sewing
501 Hartford Rd, Manchester CT 06040
860.647.8119, nesewing.com
Options Quilt Shop
102 E Commerce St, Jacksonville TX 75766
903.586.9546, optionsquiltshop.com
Paramount Sewing & Vacuum
3960 Rickey St SE, Salem OR 97317
503.990.8186, paramount-sew-vac.com
Pick Your Stitch
6701 Manlius Center Rd, East Syracuse NY 13057
315.437.0962, pickyourstitch.com
Quality Vac and Sew
1213 Gilmore Ave Ste E2B, Winona MN 55987-2632
507.452.2203, qualityvacandsew.com
Quilter's Attic Sewing Center
118 Maple Ave, Pine Bush NY 12566
845.744.5888, quiltersattic.com
Quilters' Corner @ Middlebury Sew-N-Vac
260 Court St Ste 4, Middlebury VT 05753
802.388.3559, middleburysewnvac.com
Quintessential Quilts
4261 Lien Rd Ste M, Madison WI 53704
608.242.8555, qquilts.com
Select Sewing
2415 East 65th St, Indianapolis IN 46220
317.255.6332, selectsewingservice.com
Sew Special
688 W Main St, Uniontown PA 15401
724.438.1765, sew-special.biz
Sew What? Fabric Shoppe
7 W Front St, Addison NY 14801
607.359.4308, sewwhatfabricshoppe.com
Sierra Sewing, Quilting, and Vacuums
8056 S Virginia St Ste 6, Reno NV 89511
775.823.9700, sierrasewing.com
Singer Factory Distributor
4914 W Irving Park Rd, Chicago IL 60641
773.545.6834, singerfactorydistributor.com
Suddenly Sewing
5850 Kroger Dr Ste 110, Fort Worth TX 76244
817.741.5400, suddenlysewing.com
Thimbelina's Quilt Shop
118 North B St Ste B, Livingston MT 59047-2662
406.222.5904, thimbelinasquiltshop.com
Wise Monkey Quilting
501 Hwy 39 N, Denison IA 51442
712.393.7979, wisemonkeyquilting.com
 Light Years Beyond
Presenting the Luminaire 2 Innov-ís XP2. Brilliant new quilting innovations and app-based
features available from your mobile devices let you find perfection in every stitch.

13.1"

Enjoy StitchVision technnology and see Experience the comfort of sewing on 65 Large 10.1” HD LCD touchscreen display
your designs projected on fabric before square inches of workspace, the largest of with capacitive technnology.
you begin to embroider. any Brother machine.

The Luminaire 2 has the magic of 192 Stop your stitch in the perfect place just
built-in Disney embroidery designs and by placing the Snowball End Point Sticker
10 decorative Disney stitches. on your project. Enjoy 2-colour quilting sash designs, built-in
hexagon shapes for auto split sash, single or
triple stitching, and more.

Visit an authorized Brother dealer today to find out more!

brother.ca/en/XP2

Photos are for illustration purposes only. Brother and its logo are trademarks of Brother Industries, Ltd., Japan. All specifications are subject to change without notice. All registered trademarks referenced herein are the property of their respective companies.
©2020 Brother International Corporation (Canada) Ltd. 1, rue Hôtel de Ville, Dollard-des-Ormeaux, Québec, H9B 3H6. 09/2020-2020-1064
99