OCTOBER 2015

your heart in your hands

a u s t r a l i a n

CRA
MAGAZFT
INE
OF THE
ANNUAL SPECIAL YEAR

THE BUMPER BOOK OF

CHILDREN’S PROJECTS & IDEAS!
‘GO FETCH’ PUPPY QUILT
SC OLKID DOLLS
TEENAGER’S TOTE
KNITTED MOUSE WITH ‘ATTITUDE’
BOBBLY RUG & BOLSTER
PRETTY GIRL PATCHWORK
JONAH’S WHALE QUILT

No. 149 (Vol. 16.10)

AU $9.95* NZ $12.20*
(Both incl. GST)

Toys & treats to make kids smile!

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 LOOKING FOR THE
PATTERN SHEETS TO START
YOUR HOMESPUN PROJECT?

1 2 3
Simply go to www.homespun. Once you’ve logged in, just go Don’t forget when printing PDFs,
net.au/wp-login/ and click the to the “Patterns” section of print on plain A4 paper, with page
“register” link to create your the Homespun site, or direct scaling turned off (or at 100%).
account, or you can log in with link www.homespun.net.au/
Facebook. Note: this is a different homespun-patterns/ and click
account to your Zinio/Apple/ on the project you’re after to
Google account. download the PDF.

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 OUR PROJECTS
THIS ISSUE

34 44
Playful puppies Dishy bird

50 58
Bobbled dazzlers Whispered beauty

4 Homespun
68 78
Edgy Errol Jonah’s whale

86 96
Smell the roses Spring carousel

106 124
Educating Robbie China shop Part 9
& Rita

Homespun 5
 AUSTRALIA’S
LARGEST
NETWORK OF RETAILERS!

VISIT OUR NEW WEBSITE AT

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O
OU RES
WESTERN AUSTRALIA Clarkson 9407 7285 Kalgoorlie 9021 7005 Midvale 9250 2722
Albany 9842 1466 Duranillin 9862 9056 Karratha 9144 1323 Morley 9375 9554
Balcatta 9446 2070 Esperance 9072 1760 Katanning 9821 1577 Nedlands 9389 1222
Bentley 9451 2727 Geraldton 0429 051 315 Maddington 9459 7843 Rockingham 9527 1511 Willagee 9337 7182
Bunbury 9792 4111 Joondalup 9300 3499 Mandurah 9534 7188 South Hedland 9172 3190 Willetton 9259 4844
VICTORIA Cheltenham 9584 3955 Greensborough 9435 5330 Mildura 5022 1855 Traralgon 5176 2188
Ballarat 5333 2877 Coburg 9354 1936 Horsham 5381 1525 Moonee Ponds 9370 8695 Wonthaggi 5672 3127
Baxter 5971 5737 Colac 5231 4847 Koo Wee Rup 5997 1779 Narre Warren 9705 6006
Bendigo 5443 0693 Geelong 5229 6302 Lakes Entrance 5155 2021 Portland 5578 3226
Boronia 9762 6633 Geelong West 5229 3558 Maribyrnong 9317 8103 Preston 9470 2208
Camberwell 9882 7673 Glen Waverley 9887 8874 Melton 9747 9416 Shepparton 5821 2000
NEW SOUTH WALES Chatswood 9417 5454 Goulbourn 4822 1266 Newcastle 4960 2426 Tamworth 6766 2237
Albury 6041 2027 Chippendale 8034 8675 Gunnedah 6742 1235 Nowra 4421 5805 Taree 6552 2092
Alexandria 9698 7855 Cobar 6836 3555 Hornsby 9477 5885 Orange 6362 0011 Temora 6977 1760
Armidale 6772 1760 Coffs Harbour 6652 2625 Inverell 6722 2644 Parkes 6862 2858 Toronto 4959 3518
Bankstown 9708 6925 Coolah 6377 1522 Kempsey 6562 7792 Pennant Hills 9980 8966 Tumut 6947 2800
Bateman’s Bay 4472 5984 Cooma 6452 3480 Kings Park 9621 4000 Penrith 4731 3061 Tuncurry 6554 5824
Bathurst 6331 6149 Cootamundra 6942 1104 Kirrawee 9542 3513 Penshurst 9585 1544 Tweed Heads Sth 5524 4697
Bega 6492 2872 Cowra 6342 3854 Lismore 6621 3158 Phillip 6282 7144 Wagga Wagga 6921 6722
Belconnen 6253 0011 Dubbo 6884 3640 Liverpool 9602 8144 Port Macquarie 6581 3338 West Wyalong 6972 3664
Belconnen 6253 1174 Dulwich Hill 9569 2845 Macksville 6568 1122 Richmond 4578 3094 Wollongong 4229 8188
Broken Hill 8087 3048 Dungog 4992 1232 Maclean 6645 1480 Ryde 9877 5067 Yass 6226 2459
Campbelltown 4628 4437 Erina 4365 1127 Maitland East 4933 6800 Scone 6545 1306 Young 6382 1231
Castle Hill 9899 2624 Glen Innes 6732 7000 Narooma 4476 1378 Seven Hills 8733 5090
Charmhaven 4393 2200 Gloucester 6558 2656 Narrabri 6792 2124 Singleton 6572 1233
QUEENSLAND Cairns 4051 2145 Emerald 4982 4982 Ipswich 3281 6950 Southport 5532 7133
Aspley 3862 8033 Caloundra 5491 6199 Everton Park 3355 5522 Kingaroy 4162 4608 Stanthorpe 4681 3694
Atherton 4091 2133 Capalaba 3245 5303 Gatton 5462 2401 Macgregor 3849 4176 Strathpine 3205 5388
Beenleigh 3807 8641 Charleville 4654 2366 Gladstone 4978 7772 Mackay 4957 7706 Toowoomba 4633 7639
Boondall 3865 8505 Chermside 3359 6000 Gladstone 4972 9309 Maryborough 4121 2480 Toowoomba 4632 1257
Booval 3282 4711 Chinchilla 4669 1675 Gympie 5482 1296 Morayfield 5495 5381 Townsville 4755 2336
Browns Plains 3806 9600 Cleveland 3821 3020 Hervey Bay 4124 4420 Mt Isa 4743 2070 Underwood 3341 9351
Bundaberg 4152 1718 Clontarf 3889 4545 Indooroopilly 3878 1228 Nambour 5441 2482 Warana 5493 4977
Burleigh West 5576 4298 Clontarf 3883 1825 Ingham 4776 3747 Noosa Heads 5474 9799 Warwick 4461 2398
Cairns 4054 1455 Dalby 4662 3433 Innisfail 4061 1870 Rockhampton 4926 5004

SOUTH AUSTRALIA Clare 8842 2144 Loxton 8584 7364 Port Augusta 8642 4723 Victor Harbour 8552 3553
Ascot Park 8276 3273 Elizabeth 8252 3922 Meningee 8575 1102 Port Lincoln 8683 1566 Whyalla 8644 1297
Berri 8582 3773 Gawler 8522 3246 Mt Baker 8398 2150 Port Pirie 8632 2436 Windsor Gardens 8261 5588
Bordertown 8752 1930 Kadina 8821 3738 Mt Gambier 8725 5451 Renmark 8586 5866 Woodville 8244 3066
Broken Hill 8087 3048 Lameroo 8576 3979 Murray Bridge 8576 3999 Rostrevor 8365 1005
Ceduna 8625 3560 Lonsdale 8382 9357 Parkside 8272 4722 Seacombe Gardens 8298 8018
NORTHERN TERRITORY Alice Springs 8953 6866 Winnellie 8941 0088
TASMANIA Burnie 6431 2853 Devonport 6424 5440 Hobart 6234 5616 Launceston 6331 3266
 CONTENTS
October 2015
Stitching
34 QUILT
Playful Puppies
Cori Blunt
44 EMBROIDERY
Dishy Bird
Bobbie Watts
50 CROCHET RUG &
BOLSTER CUSHION
Bobbled Dazzlers
Sue Pinner
58 QUILT
Whispered Beauty
Leanne Milsom
68 KNITTED SOFTIE
Edgy Errol
78 QUILT
Jonah’s Whale
Dawn Hay
86 TOTE BAG
Smell the Roses
Sue Belleli
96 QUILT
Spring Carousel
Vicki Knight
106 SCHOOLCHILDREN Sourcing Showing
DOLLS 14 PIN INTEREST & telling your heart in your hands
OCTOBER 2015
a u s t r a l i a n

Educating Robbie & Rita A feast of crafty 10 READERS’ SHOWCASE

Tita Leach ideas from the best Clever Homespun CRA
MAGAZFT
INE
OF THE
ANNUAL SPECIAL YEAR

124 BLOCK OF THE creative minds readers share their THE BUMPER BOOK OF
CHILDREN’S PROJECTS & IDEAS!
‘GO FETCH’ PUPPY QUILT
OLKID DOLLS

MONTH PART 9 28 SELVEDGE stitching successes TEENAGER’S TOTE

KNITTED MOUSE WITH ‘ATTITUDE’
BOBBLY RUG & BOLSTER

China Shop Designer Edge: Merle 74 WELCOME TO MY PRETTY GIRL PATCHWORK

JONAH’S WHALE QUILT

Kaffe Fassett, Axelrad pieces fabric WORKROOM

Kathy Doughty scraps into works of art Opening the door to
and the Material 30 SALVAGE Sandra Paul’s pretty
Obsession team Waste-not, want-not crochet, scrappy and
wonderland – weaving sweet studio space No 149 Vol 6 0)
AU $995 NZ $ 2 20
(B th i cl GST)

a little quilt magic, plus Toys & treats to make kids smile!
leaf cushion appliqué Shopping 17/08/2015 9:30:18 AM

57 WHAT A CUTE IDEA! 22 PATTERN &

Taking camera bags
to a new designer level
123 ANOTHER CUTE IDEA!
Falling for a fishing quilt
hook, line and sinker
137 STOCKISTS
& CONTACTS
138 NEXT MONTH
A crafty teaser for
134 MARKET PLACE
Homespun’s November
celebration issue
PALETTE PLAY SUBSCRIBING
Fabrics – Grim and DON’T MISS THIS
ghoulish fabrics for MONTH’S SPECIAL
Halloween month OFFER
32 WINDOW
SHOPPING
Barkingly brilliant
dog products
133
Product browsing
from your armchair

Homespun 7
 espun
your heart in your hands

a u s t r a l i a n
Edito y
Deputy Editor Elizabeth Newton
Technical Editor Megan Fisher
Writer/Online Editor Emma Bradstock
Writer/Researcher Janai Velez
Senior Designer Martha Rubazewicz
Pattern Artist Susan Cadzow
Photography Ken Brass
Stylist Sandra Hinton

Advertising
Rob Jordan (NSW and Qld) ph: (02) 9887 0359,
fax: (02) 9805 0714, mob: 0411 424 196
Angelos Tzovlas (Vic, WA, SA, Tas and NT) ph: (03) 9694 6404,
fax: (03) 9699 7890, mob: 0433 567 071
Advertising Production Hannah Felton
Advertising Senior Designer Martha Rubazewicz
Associate Publisher Karen Day
Subscriptions & mail orders 1300 303 414 or +61 2 9887 0317
Editorial enquiries homespun@universalmagazines.com.au
Advertising enquiries rjordan@universalmagazines.com.au
atzovlas@universalmagazines.com.au

Subscription enquiries
www.universalshop.com.au or 1300 303 414

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Distributed by Network Services – ph: 1300 131 169
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Circulation enquiries to our Sydney head office (02) 9805 0399.

While every effort has been made to ensure that the projects featured in Homespun are the
original work/s of the respective artist/s, no responsibility is taken by the publisher in the
event that originality is disputed, and all proof of original design, or otherwise, lies with the
artisan/s. Inspiration from other sources and the reworking of traditional patterns and
designs in new and unique ways is, however, regarded as constituting ‘originality’ as
acknowledged by the artisan/s and the publisher. No patterns may be reproduced (except
for personal use). If a project is taught in a class or workshop, each attendee is required to
have their own copy of the appropriate Homespun issue/s. Projects may not be produced
for commercial gain without the written permission of the designer.

Chairman/CEO Prema Perera

Publisher Janice Williams
Chief Financial Officer Vicky Mahadeva
Associate Publisher Emma Perera
Associate Publisher Karen Day
Circulation Director Mark Darton
Creative Director Kate Podger
Production Executive Nerilee Chen
Editorial & Production Manager Anastasia Casey
Prepress Manager Ivan Fitz-Gerald
Marketing & Acquisitions Manager Chelsea Peters

Homespun is published by Universal Magazines, Unit 5, 6-8 Byfield Street, North Ryde
NSW 2113. Phone: (02) 9805 0399, Fax: (02) 9805 0714. Melbourne office, Level 1, 150 Albert
Street, South Melbourne Vic 3205. Phone: (03) 9694 6444, Fax: (03) 9699 7890. This book is
copyright. Apart from any fair dealing for the purpose of private study, research, criticism
or review as permitted under the Copyright Act, no part may be reproduced by any process
without written permission. Enquiries should be addressed to the publishers. The
publishers believe all the information supplied in this book to be correct at the time of
printing. They are not, however, in a position to make a guarantee to this effect and accept
no liability in the event of any information proving inaccurate. Prices, addresses and phone
numbers were, after investigation, and to the best of our knowledge and belief, up to date
at the time of printing, but circumstances may have since changed. It is not possible for
the publishers to ensure that advertisements appearing in this publication comply with the
Trade Practices Act, 1974. The responsibility must, therefore, be on the person, company
or advertising agency submitting the advertisements for publication. While every
endeavour has been made to ensure complete accuracy, the publishers cannot be held
responsible for any errors or omissions. This magazine may have some content that is
advertorial or promotional in nature.
Please pass on or recycle this magazine.
*Recommended retail price MMXV
ISSN 1443-4792 ACN 003 026 944
Copyright © Universal Magazines www.universalmagazines.com.au

8 Homespun
 MC1500O
VERSION 2.0
Memory Craft 15000 v2.0
HAS JUST
LAUNCHED

WIRELESS
CONNECTIVITY

• Wireless iPad connectivity.

• 3 FREE apps now available.
• Design, create and edit on your iPad or laptop.
• The largest, most vivid touch screen available.
• Easy new automatic needle threader.
3 FREE APPS • Hundreds of new built-in designs,
NOW AVAILABLE including designer exclusives.

Apple, the Apple logo, iPad, and iPhone are www

w.janome.com.au
trademarks of Apple Inc., registered in the U.S.
and other countries. www.janome.co.nz
 READERS’ SHOWCASE
One of the joys of putting Homespun together each month is seeing the vision of
our designers translated into personal masterpieces by our enthusiastic readers.
We’d love to hear from you, too. Write to us with your crafty triumphs or with
any tips, advice and new-product sightings you’d like to share with others.

THIS MONTH’S WINNER

Maria Borgo Michelini, from Genoa, Italy,

for her Star Quality quilt:
“I’m an amateur quilter and I’ve been passionate about
patchwork for about six years. My quilts are always dedicated to
my house or my love, and I never begin a quilt without knowing
who it will be given to, so the colours and style are unique each
time. In the July 2013 issue of Homespun (Vol 14 No 7), I noted
Shoko Sakai’s masterpiece, Star Quality, which I found absolutely
marvellous. I admit that she is truly matchless, but her work Congratulations to Maria for her
inspired me to make my own quilt from those instructions. I used great effort. As the winner this
various red-white and black-white jelly roll fabrics and hand month, she will be receiving the
quilted it. I made it for my daughter, Alice, and her husband, following great prizes:
Marco, who honeymooned in Australia, coincidentally.”
Q A collection of dreamy Tilda patchwork fabrics, consisting of 38
squares (25cm/10in) in assorted designs from the ‘All that is Spring’
range, courtesy of Two Green Zebras
Q Tilda’s Winter Delights, by Tone Finnanger – this book is filled
with pretty patchwork, dolls and Christmas accessories – all with
the signature Tilda look, courtesy of Capricorn Link (Australia).

For contact details for Two Green Zebras and Capricorn Link
(Australia), turn to the Stockists pages at the back of the magazine.

SEND YOUR LETTERS TO:

Email enewton@universalmagazines.com.au Mail Homespun Readers’ Showcase, Locked Bag 154, North Ryde NSW 1670.

10 Homespun
 Flex'n Glide Bodkins
- Handy length and flexibility allow smooth passage even along curves.
- Flex'n Glide Bodkin eye features grippers to ensure drawstring remains
firmly in place.
- Large bodkin eye is ideal for easy threading of wide or narrow drawstring.

Long, flexible bodkins quickly With sturdy grippers!

Art No.9581 pull drawstring through casing.

Clip'n Glide Bodkin

- Clip provides firm hold on elastic end for pulling through casing with ease.
Suitable elastic width:5/8 in.(15mm) or wider
Width of casing opening:3/4 in.(20mm) or wider
- Exceptional flexibility ensures smooth passage along curvy areas.

Clip provides firm hold on elastic end!

Long, flexible bodkin pulls elastic through casing with ease!

Art No.9582
Elastic Lock Set
- Elastic Lock firmly holds elastic or tape ends and prevents slipping
into casing (figure 1).
- Side clips for locking two elastics simultaneously-easily pull two rows of
elastics through casing (figure 2)!

Side clips
Set includes Elastic Lock for firm hold and
flexible bodkin for elastic.

Art No.9583
Easily holds two elastics at once! No more elastic slippage!

Distributors in Australia Distributor in New Zealand

Ascot Lane Distributors(Australia) Pty Ltd Birch Haberdashery & Craft QH Textiles Pty Ltd Ascot Lane Distributors(NZ) Limited
www.ascotlane.com.au www.birchhaby.com.au www.qhtextiles.com www.ascotlanedistributorsnz.co.nz
 SCOTTIES FOR A WEE SCOT
Pauline Gacal, from the United Kingdom: “I made this quilt, How Much is that
Scottie from the Highlands?, by Lynelle Slade, from the December 2014 issue
(Vol 15 No 12)
12), for my younger brother
and sister-in-law, who
are expecting their
much-longed-for first
child this year. My
lovely sister-in-law is
from Scotland, so I just
knew that the Scottie
dog quilt would be
ALWAYS WELCOME
right for them. This was
Marie Jackson, from Katikati, New Zealand: “Many, many, many moons
a great pattern to make,
ago, I used to get your magazine and one of the projects I stitched
as
a I already had a stash
several times was the Welcome Wallhanging, by Vivian Robinson, which
of
o ‘Kitty Kitty’ fabrics
was in Homespun Vol 3 No 5. Well, after replacing the mislaid pattern,
that
t suited it. I love
I stitched it again recently for my daughter, and it’s still a lovely design.
your
y magazine, which
Thanks for your help with sourcing such an old pattern.”
I subscribe to on my
Pad here, and I find
iP
something I want to
make in every edition.”
m

THE VIEW FROM HERE

Marion Strohfeldt, from Bucca, Qld: “I’m sharing my
version of Yvonne Westwood’s Room with a View, from the
January 2015 issue of Homespun (Vol 16 No 1). I added a
Queensland aspect with cows, a tractor, grass and a mango tree.
It was great fun sourcing the components and then watching
it come together. Thank you for a stitchery-appliqué project
that will be a favourite piece of art in our home.”

EGGSELLENT EASTER
Jodie Stapleton, from The Oaks, NSW: “My Easter Eden baskets, designed by
Bronwyn Hayes for the March 2015 issue (Vol 16 No 3), were made for my little
people, twins Mike and Megan, aged seven. They were excited for the Easter
bunny to come and even more so having these baskets to leave their eggs in. As
soon as I saw the project, I knew I had to make them, so thank you Homespun.”

12 Homespun
 p. 07 4676 4184 m. 0427 764 147
Find us on Facebook e. stitchesfromthebush@bigpond.com
Stitches from the Bush
www.stitchesfromthebush.com.au

for a cup of tea. Back down again, how much do you love me?
I love you up to the sky. Way, way up high.
h Tip
T toe

To the Moon for a

Cup
C of Tea BOM
M
t

by Katie Dawson for Keep

Calm and Carry on Stitching
through
th

$45.50 per month posted for

6 months. Includes Cottage
Garden Threads and binding
fabric. Finished size 55”
h the

(140cm) square.
th

stars,
t d
dance around
d S
Saturn,
t Jupiter and Mars. To the moon
 Best of the best from letˇs
it up lace
!
Here are our favourite Halloween bats
on Pinterest this month.

Best wreath
‘Trick or treaters’ stop here!
Designer: Itz Fitz.
Contact: www.itz-fitz.com (website), @omgitzfitz (Instagram)

,
NOW, TAT S A GOOD IDEA!
There’s not a stitcher out there who wouldn’t want to pick up fresh ideas for
using their tiny offcuts and remnants. Vera Vandenbosch to the rescue. These
lovely Victorian-style lace wrist bands are just one of 30 projects she has
published in her book called Scraps – Stylish Stash Fabric Crafts to Stitch.
There’s more on her Style Diaries site at www.style-diaries.com.

Best garland
Transform your home into the bat cave.
Designer: Bella & Roo. Contact: www.etsy.com/uk/shop/BellaandRoo (Etsy),
@BellaRooUK (Pinterest), @BellaandRooUK (Instagram)

WITCH CRAFTING It’s Halloween time again. And we know

Best brooch
More cute than spooky!
Designer: Nancy of Do Small Things With Love.
Contact: www.dosmallthingswithlove.com (blog)
you’re ’sposed to be spooked out of your mind, but how’s that ever going
to happen if they keep coming up with ideas that are adorable instead of
deplorable? Take this tiny scarer, for example. She’s every witch way but
terrifying. Her headgear is the work of Delia, from Delia Creates, who has
a complete tutorial for its making at www.deliacreates.com/make-witch-
hat-in-any-size-tutorial. More treat than trick, wouldn’t you say?

14 Homespun
 PIN INTEREST
Bright ideas, fabulous products, clever tips & quick reads

A BUNCH OF COLOUR FOR A

BABY-STEPS KNIT AND CROCHET
For beginner stitchers of baby gear, Patons suggests these two
adorable items – a striped and shoulder-buttoned crocheted jumper
and a coordinating garter-stitch knitted blanket. The two pieces
come together as a beautiful baby gift – and they are achievable for
the novice stitcher. The patterns are featured in Patons Big Book
of Big Baby, which you can find at your favourite craft outlet.
Alternatively, phone 1800 337 032 or visit www.patonsyarns.com.au.
CROCHETED FLOWER CUSHION
“I have a passion for crochet and colour,” says Lucy, from Attic24
(www.attic24.typepad.com). And her passion has clearly developed
into a fully fledged romantic tone poem with this cushion employing
every shade in the spectrum ... a dazzlingly beautiful thing. Would
seem almost criminal to rest against it! It’s 30cm (12in) in diameter
and was made using bamboo/cotton mix yarn. Go to www.attic24.
typepad.com/weblog/blooming-flower-cushion.html for her
step-by-step tutorial. Note: Lucy got the pattern for this cushion
from the Two Butterflies blog – you can see that version at
mytwobutterflies.blogspot.com/2011/02/and-i-went-with.html.

h
Feeling sheepis s
about pompom
k out
on ly go t a fe w more days to chec aun
You’ve aturing Sh
eep on Parade fe ctober 10,
the PomPom Sh on O
tion. It closes
the Sheep exhibi re near the National Wool
he
so if you’re anyw oorabool St, Geelong, Vic,
M
Museum, 26-32 the thousands of pompom
il it in to se e to break
highta er in an attempt
rd ed to ge th
sheep, he daily from
es s W or ld R ecord. It’s open
a Gui nn $4.50.
am -5 pm ; ad m ission starts from
9.30

Homespun 15
PIN INTEREST
KITTED UP
We’re loving the crochet kits
from Needle Licious, whiich
include this granny-
square bag. There are
also kits for a beanie,
cushion cover, tea
cosy and several
different softies.
The kits include a
crochet hook, all the
yarn you need, darning
needle and instructions.
The beanie kit even incluudes
a pompom maker. Contact

HAIR PINS
Independence Studios on 1800 819 270 or
www.isgift.com for your closest
l retailil outlet.
l

For more from Laura, visit phar-ma.com.

Laura Pasternak is a pharmaceutical rep and mother of two – hence the

name of her blog, The PharMA. She’s also a crafty creator of all sorts of
natty bits and bobs. Her easy-step hairbrush pincushion caught our eye
because it’s not only a cute idea, but very serviceable. With three small
pieces of felt, some batting and a needle and thread, you can make
this (as a gift for a hairdresser friend, maybe?) in a matter of minutes.
Here’s what you do:
Supplies needed:
• mini hairbrush (travel size)
• cardboard
• pen/pencil
• scissors
• felt (two colours)
• needle and thread
• fibrefill or thick batting
• pins On just one of the felt brush
3 shapes, cut out an oval shape
in the top section.

Trace around your small

1 hairbrush on a piece of
cardboard. Cut out the shape.
Running stitch a rectangle of
4 contrasting-colour felt (large
enough to cover the oval cut-out) to
the oval section of the brush shape.
Trim off excess contrasting felt.

Cut out two felt brush shapes
2 using your cardboard template
as a guide. Retain the cardboard
template and trim it slightly all
round so it can later be used inside
the pincushion to stiffen and
support the whole object.
WINGS CLIPPED
Like rare and exotic butterflies, these fabric-scrap paperclip
bookmarks spread their wings to show off their beauty. But their
5 Sandwich fibrefill or thick
batting and your trimmed
cardboard between the plain felt
true charm is in their simplicity of design. They are the brainchild
of Heather, from the Woods of Bell Trees blog. From tiny scraps of
material, she has fashioned these little beauties that are as useful
and the oval cut-out section. Then
as they are attractive – and you can’t ask for more than that! For her
blanket stitch around the whole
tutorial, go to woodsofbelltrees.com/paperclip-bookmarks.
outside of the brush. Now you’re
ready to add some ball-topped pins.

16 Homespun
Sew ing and Qu ilting
Let your imagination take over with this new exciting chapter: the Innov-is Sewing
and Quilting Range. Enjoy creating beautiful quilts and outstanding fashion projects
with clear LCD screen and hundreds of built-in decorative and utility stitches.

Innov-is NV1800Q
With all the support you could want from advanced features, the
Innov-is NV1800Q lets you add your own flourish and flair to sewing
and quilting with 290 built-in stitches and sideways sewing.

Innov-is NV1100/NV1300
Create beautiful sewing and quilting projects with a wide range
of built-in sewing stitches or make your own with the Brother
exclusive My Custom Stitch feature.

Share your creations with us using #BrotherInspires

For more information and to find your
closest dealer visit brother.com.au /brotheraustralia
PIN INTEREST diary dates
Let us know about your upcoming event – email details to homespun@universalmagazines.com.au or send them to
Homespun Diary Dates, Locked Bag 154, North Ryde, NSW 1670. Please notify us at least four months before the event.

Vic – Melbourne
October 3-18
Malvern The Embroiderers’ Guild of
Victoria Statewide Annual Exhibition,
‘Through Doors and Windows’; 170
Wattletree Rd. Showcase of members’
work, some exhibits for sale, gift
boutique, demonstrations and raffle.
Open 10am-4pm. Entry $5 members,
$7 non-members.
More information: Phone (03) 9509
2222, email embgv@bigpond.net.au or
visit www.embroiderersguildvic.org.
October 10-11
Pakenham Stitch! By CraftAlive
Pakenham; Cardinia Cultural Centre,
Lakeside Bvd. Patchwork, needlework,
knitting, embroidery and all things
stitching, with products to buy, demos,
workshops and more.
More information:
Visit www.craftalive.com.au.
November 7
Thornbury Bluegum Quilters’
Exhibition; St James Church, Cnr
of Penders and Newcastle Streets.
Includes craft stall and cafe. Open
9am-3.30pm. Entry $5.
More information:
Phone Heather on 0414 807 871.
October 17-18
Cobden Cobden Quilters’ Quilt Show;
Senior Citizens Centre, cnr Parrott and
Victoria Streets. Held in conjunction
with the Cobden Spring Festival.
Open 10am-4pm. Entry $6.
More information:
Phone Helen on 0408 104 912.
October 24
Campbell’s Creek Goldfields Quilters’
Biennial Quilt In; Campbell's Creek
Community Centre, Elizabeth St. Guest
Campbelltown Campbelltown Quilters’
speaker is Olga Walters. Morning and
afternoon tea provided, soup available
for lunch for $3 or BYO lunch. Open
10am-4pm. Entry $7.
for sale, raffle quilt, refreshments. Also a
More information: Phone Elaine
display of members’ quilts at ‘Glenalvon’,
Duxbury on (03) 5470 6244, or email:
elaineduxbury@bigpond.com.
October 31-
November 1
Ballarat Ballaarat Quilters’ Biennial
Quilt Show Celebrating 20 Years, “We
Have Come a Long Way…”; St Patrick's
Hall, Cnr Dawson St South and Sturt St.
Modern, traditional and retrospective
quilt displays. Open Sat 10am-5pm,
Sun 10am-4pm. Entry $6.
Illawarra Sports Stadium, Hooka Creek
More information: Email
ballaaratquiltersinc@gmail.com.
on (08) 8522 6782 or 0438 114 787,
or email pfaew@internode.on.net.
NSW – Sydney
October 17-18
Guildford Wentworth Quilters’ 12th
Biennial Exhibition; Linnwood House,
25 Byron Rd. More than 60 quilts on
display, items for sale, raffle quilt, retail
shop, refreshments. Open 9am-4pm.
November 7-8
Guild Quilt Show; Campbell Civic Hall,
Cnr Queen St & Broughton St. Quilts
on display, celebration challenge, items
one of the local historic homes
in Lithgow St, Campbelltown.
Open 10am-4pm. Entry $6.
More information:
Phone Jacqui on (02) 4626 2335,
or Pauline on (02) 4627 1264.
NSW – Country
October 16-18
Wollongong CraftAlive Wollongong;
Rd, Berkeley. Interstate and local
exhibitors, hand-finished products,
Exhibition; ARCC Hall, Tarcutta St.
Quilt displays, trading table,
refreshments, proceeds in support
of Sunflower House. Open Fri-Sat
10am-5pm, Sun 10am-4pm. Entry $5.
More information: Phone Kathleen
on (02) 6921 4163.
October 31-
November 1
Bookham Bookham Red Cross
and Hospital Auxiliary Art and Quilt
Exhibition; Bookham Memorial
Hall and Church, Fagan Dr. Opening
evening, Friday 30 October, 7pm.
Open 10am-4pm. Entry gold coin
donation, both days.
More information: Phone Noeleen
Hazell on (02) 6227 7202.
Qld – Country
October 31
Innisfail Lioness Club of Innisfail
Annual Craft Fair; SEE Poy Pavilion,
Innisfail Showgrounds. Funkie Beanie
competition, entertainment, CENT sale,
raffles, refreshments. Open 9am-3pm.
Entry $3, children under 15 free.
More information: Phone Elaine
on 0488 067 935 or email
franelai1@bigpond.com.

Vic – Country SA – Country DIY products, craft supplies,

October 10-11
Kilmore Kilmore Quilters’ ‘Colours of
War’ Quilt Exhibition; Kilmore Memorial
Hall, 14 Sydney St. Viewers’ choice,
raffle, shops, trading table, challenge
quilts, refreshments. Entry $5.
More information:
Phone Fay on 0417 517 109.
homewares and creative workshops. NT – Alice Springs
October 10-11 Open 10am-5pm.
Gawler Gawler Quilting Circle Textile 31 October-
More information:
Art Weekend; Gawler Institute, 7 November
www.craftalive.com.au.
91 Murray St. Quilts, patchwork, textile Alice Springs Alice Springs Quilting
art, embroidery and crafts, themed October 30- Club Exhibition 2015; Araluen Arts
quilts, raffle quilts and craft shops. November 1 Centre, Larapinta Dr. Exhibition of
Open 10am-4pm. Entry $5. Wagga Wagga Wagga Wagga members’ work and challenge quilts.
More information: Phone Anne Webb Patchworkers and Quilters’ Quilt Open 10am-4pm.

TACKING CURLY CUTE

We have to come clean here
ON TYPE and admit that the reason
Well, perhaps that’s selling for publishing this little
a lovely stitched effect short. dormouse is because it’s
We should really be saying it’s unparalleled in its sweetness
fine embroidery on antique (not to mention impeccably
book pages. Either way, it’s worked by Chloe Giordano,
a gorgeous thing, with the www.chloegiordano.com).
textures complementing each Just wanted to share!!
other so perfectly. It’s the work Chloe is pretty gifted when
of Jessica A. Kelly, and you can it comes to embroidery; stay
see more of it at Paper Stitch, tuned for our feature on her
www.paperstitch.net. in our November issue.

18 Homespun
Weave your own unique fabrics - relax create and enjoy

Katie Loom Folding Table Loom

Light and portable Choose 40, 60, 80cm 16-shaft Table Loom
8-shaft workshop loom. width, 4 or 8 shafts. 60cm weaving width.

Visit one of these Ashford dealers to find out more about the full range of
Inkle Loom & Inklette
weaving looms, carders, spinning wheels, fibres and textile equipment.
Compact and versatile.

NEW SOUTH WALES SOUTH AUSTRALIA Woolsy Trading Post

Ashford Australia
Free Call 1 800 026 397
www.ashfordaustralia.com
By Lynette
Eastwood, NSW 2122
Ph. 04 3946 8698
bylynette@bigpond.com.au
www.bylynette.com.au
Ewe Give Me The Knits
Australian Wide
Ph. 04 3882 4766
mandie@ewegivemetheknits.com
FibreFilia
Boorowa, NSW 2586
Ph. 04 3266 1874
follettc@hotmail.com
Glenora Weaving & Wool
Gerringong, NSW 2534
Ph. 02 4234 0422
Shalimar Products Pty Ltd
christine@glenoraweaving.com.au
Bridgewater VIC 3516
www.glenoraweaving.com.au
Ph. 04 0047 9272
shalimar199@bigpond.com
Licence to Create
Ambarvale, NSW 2560
Ph. 04 3522 1062
licencetocreate.com.au
Spinners Haven
Armidale, NSW 2350
Ph. 02 6772 8795
spinnershaven@nsw.chariot.net.au
Spun Out - Australia only
Gulgong, NSW 2852
Ph. 02 6374 1170
spunout1@bigpond.com
QUEENSLAND
Green Living Australia
Underwood, QLD 4119
Ph. 07 3808 2576
www.greenlivingaustralia.com.au
Scratch @ Itch Arts & Crafts
Laura, SA 5480
Ph. 08 8662 2663
scratch@itch.net.au
TASMANIA
The Wool Shop
Moonah, TAS 7009
Ph. 03 6278 1800
Fax. 03 6278 1808
woolsuppliers@bigpond.com
VICTORIA
Freshfield Alpaca Farm
Somerville, VIC 3912
Ph. 04 2135 8084
www.freshfieldalpacas.com.au
Memoirs & Memories
Maldon, VIC 3463
Ph. 04 2772 5251
reneet@gcom.net.au
The Craft Circle
Upstairs at Open Drawer
Camberwell, VIC 3124
Ph. 04 2570 2001
www.thecraftcircle.com.au
Winterwood Steiner
Inspired Toys
Warranwood, VIC 3134
Ph. 03 9879 0426
Fax. 03 9879 0427
sales@winterwoodtoys.com.au
www.winterwood@bigpond.com
Wondoflex Yarn Craft Centre
Malvern, VIC 3144
Ph. 03 9822 6231
enquiries@wondoflex.com.au
www.wondoflex.com.au
Geelong, VIC 3218
Ph. 03 5222 1571
www.woolsytradingpost.com.au
WESTERN AUSTRALIA
Bilby Yarns SampleIt Loom
Willagee, WA 6156 20cm weaving width.
Ph. 08 9331 8818
bilbyarn@tpg.com.au
Sample all your favourite
www.bilbyyarns.com patterns or weave fabric.
NEW ZEALAND
Crafty Knitwits Limited
Milford, Auckland
Ph. 09 486 2724
craftyknitwits@gmail.com
www.craftyknitwits.co.nz Rigid Heddle Loom
Choose 40, 60, 80
Creations Unlimited
Sewing Craft Centre or 120cm width.
Nelson 7040 Stands available.
Ph. 03 548 4297
www.creationsunlimited.co.nz
shop@creationsunlimited.co.nz
Fibre Flair
Waikanae
Ph./Fax 04 902 9908
information@fibreflair.com
www.fibreflair.com
Hands Ashford NZ Ltd
Elmwood, Christchurch
Ph/Fax 03 355 9099
hands.craft@clear.net.nz
www.handscraftstore.com
Kiwi Gift Shop
Queenstown 9300
Ph. 03 442 9563
kiwigiftshop@hotmail.com
The Yarn Queen
Online Knitting Store
Servicing all New Zealand
Ph. 09 836 7285
Knitters Loom & Stand
sales@theyarnqueen.co.nz Choose 30, 50 or 70cm width.
www.theyarnqueen.co.nz Very portable. Carry bags available.

New stockist enquiries welcome Visit our website for Join us on facebook. Watch our how-to videos
Australia 1 800 653 397 news and information Search : on You Tube. Search:
www.ashford.co.nz Ashford Wheels & Looms AshfordHandicrafts
New Zealand 0508 459 459
PIN INTEREST

NOT CALLED THE ‘ANGEL’ FOR NOTHING

STAR WALLS Knit your own home decor, says Anna
Hrachovec, of Mochimochi Land (mochimochiland.com), who has devised
her own galatically gorgeous design. Her Lucky Stars pattern is written
for two sizes, so you can wall-mount the finished pieces, as shown here,
or pop one in your little poppet’s pocket as a soft toy. Link through to
mochimochiland.com/shop/lucky-stars-pattern to buy the pattern, or you
can email info@mochimochiland.com for further information, if you prefer.
The Patchwork Angel recently recruited a bunch of volunteers to sew
dresses for the wonderful Dress a Girl Around the World organisation
(which to date has provided 300,000 outfits for those in need in 81
countries around the globe). “We had 15 ladies volunteering their time,
sewing machines and stitching skills,” says Penny Hornbuckle, owner of
The Patchwork Angel. In all, there were 32 dresses completed.” That’s 32
happy recipients somewhere far away and 15 contented stitchers, who not
only got the satisfaction of a job well done, but the pleasure of each other’s
crafting company. The Patchwork Angel – www.patchworkangel.com.au.

STITCHES IN TIME
Hanna Saar describes her Pearls & Scissors site as a DIY lifestyle blog. On it, she
creates all sorts of upcycled and thrifty craft, home and fashion acccessories that
make you cock your head to the side and say, “Why didn’t I think off that?”.
We’ve pulled this wonderful embroidered leather watchband out of the stack
(go to www.pearlsandscissors.com/2015/03/diy-embroidered-leatheer-wrist-
watch.html for the tutorial), but you’ll find heaps of other top ideas at her
www.pearlsandscissors.com address. Watch that space!

TINY TINS,
TINY
TUCK-INS
Some of the sweetest
things come in small
packages – and this
doll’s bedroom in a tin
is here to prove the
point. It’s the work of
Sachiko Aldous, from
Tea Rose Home, and
HIGH PITCHED!
You can go low-key camping under ordinary ol’ canvas or you can
she’s happy to share her
take it to another level with crochet, and since seeing Timothy
step-by-step with you.
Karpinski’s Technicolor Dream Tent, we’d definitely opt for the latter.
Just click on through to
Timothy built this for Milepost Five experimental artist community,
tearosehome.blogspot.
in Portland, Oregon, when he was asked to take over one room for a
com.au/2012/11/tutorial-
month and do whatever he wanted with it. He pegged out his territory
tiny-tin-bedroom.html for
and got to work using thrift-store-bought old Afghan rugs to make this
her tutorial. Or you can
tent, from which he hosted art, music and overnight camp-outs. Here’s
follow her on Instagram,
where you can get to know this innovative thinker a little better:
@tearosehome.
Website, timothykarpinski.com; Instagram, @timothykarpinski.

20 Homespun
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 01 02

03

04

05

06

07

Pattern & Palette Play

We’re crossing to the dark side this Halloween month,
with rattly skeletons, spooky bats and creepy spider
designs. Who would have thought grisly, grim and
ghoulish could be so gorgeous? Compiled by Janai Velez
22 Homespun
 fa
bric
s
01 Andover Fabrics ‘Chillingsworth's Spooky Ride’
15
08 D7743P, designed by Echo Park Paper Co.
Distributed by Leutenegger.
02 RJR Fabrics ‘Basically Patrick’ 2035-09, designed
by Patrick Lose. Distributed by Dayview Textiles.
03 Moda Fabrics ‘Mama Said Sew Dots’ Black 5497-23,
designed by Sweetwater. Distributed by PK Fabrics.
04 Northcott ‘Happy Haunting’ 20593-99, designed
by Deborah Edwards Northcott Studio. Distributed
by Lloyd Curzon Textiles.
05 Moda Fabrics ‘Haunted Gala’ Black Widow 37111-11,
designed by The Comstocks. Distributed by PK Fabrics. 16
09 06 Moda Fabrics ‘Haunted Gala’ Black Widow 37112-13,
designed by The Comstocks. Distributed by PK Fabrics.
07 Northcott ‘Stonehenge Aspen Ridge’ 39310-97,
designed by Linda Ludovico (Slate colourway).
Distributed by Lloyd Curzon Textiles.
08 RJR Fabrics ‘Beggars Bounty’ 2297-003, designed
by Patrick Lose. Distributed by Dayview Textiles.
09 Andover Fabrics ‘Chillingsworth's Spooky Ride’
D7742L, designed by Echo Park Paper Co.
Distributed by Leutenegger.
10 Art Gallery Fabrics ‘Jungle Ave’ Dotted Boulevard
JAV-725, designed by Sara Lawson. Distributed
10
by Craft Project – Charles Parsons. 17
11 Windham Fabrics ‘Lucky’ D406792, designed
by Lotta Jansdotter. Distributed by Leutenegger.
12 Moda Fabrics ‘Mama Said Sew Dots’ Charcoal 5497-33,
designed by Sweetwater. Distributed by PK Fabrics.
13 Andover Fabrics ‘Chillingsworth's Spooky Ride’
D7744P, designed by Echo Park Paper Co.
Distributed by Leutenegger.
14 Moda Fabrics ‘Haunted Gala’ Bones 37113-11, designed
by The Comstocks. Distributed by PK Fabrics.
15 Windham Fabrics ‘Lucky’ D35215B2, designed
11 by Lotta Jansdotter. Distributed by Leutenegger.
18
1 6 RJR Fabrics ‘Beggars Bounty’ 2298-003, designed
by Patrick Lose. Distributed by Dayview Textiles.
17 Rowan/Westminster Fibers ‘Kaffe Fassett
Collective: Spring 2015 Collection’ Creased
PWBM050.BLACK, designed by Brandon Mably.
Distributed by XLN Fabrics.
18 Andover Fabrics ‘Chillingsworth's Bicycle Race’
D7759C, designed by Echo Park Paper Co.
Distributed by Leutenegger.
19 Art Gallery Fabrics ‘Emmy Grace’ Ripples Pond
EMG-4603, designed by Bari J. Distributed
by Craft Project – Charles Parsons.

14 19

13

12

Homespun 23
 20 21 22

25

24

23

20 Cotton+Steel ‘Spellbound’ Doily Web Grey

26
CS5010-1, design by Rashida Coleman-Hale.
Distributed by Dayview Textiles.
21 Moda Fabrics ‘Nocturne’ Atmosphere
Armstrong 1383-12, designed by Janet Clare.
Distributed by PK Fabrics.
22 Moda Fabrics ‘Haunted Gala’ Black Widow
37113-13, designed by The Comstocks.
Distributed by PK Fabrics.
23 Windham Fabrics ‘Lucky’ D35215B1,
designed by Lotta Jansdotter. Distributed
Suppliers:

Q Craft Project – Charles Parsons: 1300 364 422,
info@craftproject.com.au.
Q Dayview Textiles: (02) 9607 2724,
www.dayviewtextiles.com.au.
Q Leutenegger: (02) 8046 4100,
sales@leutenegger.com.au,
www.leutenegger.com.au.
Q Lloyd Curzon Textiles: (08) 8362 2451,
www.lcurzon.com.au.
Q Millhouse Collections: (07) 5449 1936,
sales@millhousecollections.com.
Q Nutex Wholesalers: New Zealand (09) 846 6366,
craft@nutex.co.nz.
Q PK Fabrics: (02) 9557 2022,
sales@pkfabrics.com.au.
Q XLN Fabrics: (02) 9621 3066, info@xln.com.au.
Fabrics shown were available at the time of going to print. Check with the suppliers for current availability and your nearest stockist.
by Leutenegger.
24 Nutex Wholesalers ‘Whimsical Wheels’ 89090,
col. 104. Distributed by Nutex Wholesalers.
27
25 Windham Fabrics ‘Lucky’ D406791,
designed by Lotta Jansdotter. Distributed
by Leutenegger.
26 Nutex Wholesalers ‘Whimsical Wheels’ 89090,
col. 103. Distributed by Nutex Wholesalers.
27 Andover Fabrics ‘Chillingsworth's Bicycle
Race’ D7761C, designed by Echo Park Paper
Co. Distributed by Leutenegger.
28 Moda Fabrics ‘Hugaboo’ Huggable Grey
19733-17, designed by Deb Strain. Distributed
by PK Fabrics.
29 Riley Blake Designs ‘Halloween Magic’ Web
C4612-BLACK, designed by Bella Blvd.
Distributed by Millhouse Collections.
30 Andover Fabrics ‘Chillingsworth's Spooky Ride’
D7743K, designed by Echo Park Paper Co.
Distributed by Leutenegger.

30 29 28

24 Homespun
 Happy Dayz by Paula Storm
Happy Dayz BOM is a 10 month program for $35 per
month. Includes pattern and exact fabrics. This bright and
beautiful program uses Paula’s now famous needleturn
without the needleturn technique.

Jigsaw Club
Over 12 months, grow your sewing collection with
gorgeous fabrics, English piecing papers and templates as
you learn how to create new designs using new shapes.
Each month you will receive a set of English Paper Piecing
shapes and 4 fat eighths of fabrics. Through this program
you get the chance to increase your awareness of the large
collection of shapes and design possibilities that are
available to Paper Piecers. Sign up and receive FREE bonus
of folder to store all of your patterns, 2 technique books
by Sue Daley, 1 set of milleners needles and a pack of
bottom line threads. $38 per month plus postage.

Not Nanna’s Dresdan BOM by Paula Storm

Learn how to create a variety of different Dresdan blocks
using Westalee Rulers. This is a great way to develop
technique and build up your collection of 8-20 point
Westalee Dresdan Rulers and Toppers. 9 month program. $50
first month, $35 all other months. Pattern includes full colour
photographs and instructions. The item includes all fabric and
Westalee Rulers required to complete this quilt top.

Your Shop for

• Husqvarna Sewing Machines • Patterns • Quilting
& Dress Fabrics • Wool Felt • Yarn • Workshops

PO Box 6 E: sew@mypatchfabrics.com.au
Batemans Bay NSW 2538 W: www.mypatchfabrics.com.au
P: 0432 517 663 F: www.facebook.com/mypatch
 Selvedge
DESIGNER EDGE

MERLE AXELRAD
We can all get carried away with
snapping holiday photos, but Merle
Axelrad has turned it into part of
her art form. Her photographs
of inspirational landscapes and
architecture – the very foundation
of her work – grow at a much faster rate than she can stitch and
collate their beauty into her wondrous fabric collages.
“Anytime I go anywhere, I am inspired,” Merle says by way of
explanation and justification. “I have 2,000 aerial views, as many tree Merle’s stitched artworks are overwhelming in their detail. Each piece
images, fields, rivers … And I haven’t even started working on clouds of fabric is thoughtfully selected to make its individual contribution.
yet! The images never stop coming. I keep seeing new possibilities.” Fragments of woven colour and texture are carefully arranged, layered,
The thing is that her happy snaps are put to perfect use, unlike pinned and sewn together and are a mix of silk, wool, cotton, tulle,
the filed-and-forgotten stash accumulated by most travellers. Once blends, hemp, recycled – “whatever works”. Fabric is dyed, manipulated,
inspired by one of those photographic subjects, Merle sets to work and/or painted. “It’s not just two-dimensional; it’s more like a bas relief,”
making spectacular artworks that trick the eye with their realism. says Merle. “The pieces of fabric act like little brushstrokes, all secured
Created from thousands of tiny fabric pieces (some as small as in place with stitching – no adhesives are used.
a quarter of an inch), her collages are painstakingly pieced, slowly, “My favourite time when working on an art piece starts about
slowly, until they come together as natural wonders in their own right. a third of the way into the project. I’ve made the big decisions about
A rocky country river has all the bouncing light, depth and colour, massing and light. And
reflections of the real thing. The texture on the boulders, the variance then I hit the sweet spot – where
of water depth, the graded perspective make you want to dip your toe the work starts answering its
in or at least reach out and touch. Similarly, tree studies are tactile own questions. You get a rhythm,
wonders of peeling bark, gnarled branches and sinuous roots. and it’s flowing, and you know
As for the architectural subjects … you can track their development it’s working.” Sure is!
in Merle’s vocational history. After obtaining a Masters of Architecture
degree, Merle went on to become project manager and vice president Find out more about Merle
of a well-respected Californian architecture firm, overseeing housing Axelrad, of Axelrad Art,
and office constructions as well as work for George Lucas’s Skywalker by visiting her website,
Ranch and Disney. “I worked as an architect in San Francisco for 12 www.axelradart.com, or by
years but, when I was eight months pregnant, I made a baby quilt. My following her interesting blog,
work got non-traditional fairly quickly and, by the time my son was axelradart.com/wordpress.
seven years old, I was working on my first large public art commission. Alternatively, you can email her
I’ve been working as an artist and/or architect for the past 35 years. at fabricart@axelradart.com.
It’s all about design. But art has an advantage in that it doesn’t have
to keep the rain out. And it’s not as much about time and budget.” - Susan Hurley
28 Homespun
 WIN

CREATIVE
and WIN Brother’s fabulous new
sewing,embroidery & quilting machine
WHAT YOU COULD WIN:
is for Brother – and Brother is the meeting
The best entry wins Brother’s new
wonder machine. The Innov-is place of ultimate sewing-machine technology,
NQ3500D Computerised Sewing, creativity and great craft inspiration.
Embroidery & Quilting Machine
has: To celebrate the launch of the brand-new, ultra-deluxe
• 290 built-in sewing stitches Brother Innov-is NQ3500D Computerised Sewing,
• 173 built-in embroidery designs,
Embroidery & Quilting Machine, we’re giving away one
including 35 Disney characters
• Large workspace and
of these miracle machines – valued at $3,999.
embroidery area
• Automatic Height Adjuster And all you have to
& Pivot function
• Built-in USB port to let you
do is stitch the letter
import designs from your USB TO ENTER:
memory stick Stitch a small (no larger than 6 x 6in) letter B. It can be in whatever
• 3.7” colour LCD touch screen medium suits your skills and whatever style you wish – embroidered,
appliquéd, patchworked – modern, classic, funky, framed or unframed,
• Design-your-own stitch any colours, any backgrounds … whatever you choose.
pattern capacity
• Stitch-length adjustment
• Embroidery design preview
• Editing features, inclu
uding
layout, rotation, mirror imaging,
pattern combination
• Help function with cleear
instructions
For more information about
a
this amazing machine,
visit brother.com.au

Send your entry (by the closing date of November 30, 2015) to:
‘Big B Competition’, Homespun, | Universal Magazines,
Locked Bag 154, | North Ryde, NSW 1670
THE WINNER WILL BE ANNOUNCED BY FRIDAY DECEMBER 4, 2015 ON FACEBOOK –
WWW.FACEBOOK.COM/BROTHERAUSTRALIA & WWW.FACEBOOK.COM/HOMESPUNMAG
FOR TERMS AND CONDITIONS, GO TO WWW.HOMESPUN.NET.AU
 Photography: Olaf Szczepaniak; Production: Wilckens & Brückner/Zuhause Wohnen/Picture Media

Breathe new life into little leftovers, small

scraps and otherwise wasted remnants with
clever ideas that demonstrate your creativity.

30 Homespun
Leaves to be desired
There are several reasons why these leaf appliqués
on plain cushions work so well. One is that half their
charm is in their rough cut-out (which makes the
stitcher/decorator’s job so much simpler). Two, they
are attached with equally haphazard single or double
lines of tacking (which makes the stitcher/decorator’s
job so much simpler). Three, because they are abstract
forms, they can be configured in any way you want
(which, you guessed it, makes the stitcher/decorator’s
job so much simpler). And, as an added bonus, they
would work equally well with patterned fabric (which
helps put your stash of scraps on a diet).

Weaves to be desired
A quick look at this picture shows you a pleasing
combination of colours and patterns in a pretty classic
patchwork quilt. But look again! This is an ingenious
design that’s relatively easy to make with a simple
weaving technique. Follow the line of any of the
fabrics shown in this photograph and you’ll notice
it’s constructed in a long double-sided padded band
that’s woven over and under equally proportioned quilt
strips in complementary fabric designs and shades.
All the lengths are woven together and anchored at
the points where they meet to ensure they are quite
stable. Clearly, we’re not dealing with small remnants
here, but this is an idea worth bearing in mind (and
perhaps buying extra fabric to support) if you find
yourself with a generous run of leftover material.

Homespun 31
 02

04

01

05
03

Bow Wows!
01 A feel-good message plus
a designer decor statement. Get
in touch with GoingPlaces2 for this
and other dog-themed art prints.
02 Now for some daring dachshunds
Do a little pooch mooching in bright and bold attire. This cute
this month and you’ll find that A4-size notebook is available from
Sarah J Home Decor.
man’s best friend is also a 03 Hamish McBeth is an online
dog boutique, and it is where you
shopper’s keenest inspiration. will find the dachshund wall clock
A1 for K9s, we say! that caught our attention.
04 Check out this quirky striped
06
dog design – a 3D body base with
matching shade. The ‘Fido the Dog’
table lamp is by Rouge Living.
05 Fox terrier Bertie stars on lots
of Plum & Ashby’s beautiful home
accessories. This screen-printed
cushion is made from cotton canvas.
06 This ‘Mucky Pup’ cosmetic case
08 by Casey Rogers is made from cotton
canvas and has a water-resistant
lining. Available from Podsnap.
07 Take the high road or the low road,
but visit The Tea Centre for this
Scottish terrier tea cosy. The cotton,
padded design has a solid base and
accommodates a four-cup pot.
08 Fill this Scottie-dog’s tummy with
09 tomes. These floral bookends are
available from Corner Store.
09 Leather uppers, flexible soles and
complete comfort for keeping up with
energetic pets. Contact Fab eStore
07 for these Zooligans ‘PawFlex’ shoes.

32 Homespun

13
10 Get your paws on these collage
placemats designed by Simon Hart
– they combine Harris Tweed,
vintage newspapers and sheet music
to create 38 dog-breed designs.
Contact Simon Hart Design.
11 Sew Heart Felt’s sheep-dog rug
is available from Leo and Bella,
along with other animal designs.
12 This timber magnet clip
comes complete with rhinestone
embellishments and lots of charm.
Contact Natural Life.
13 Use these Beutron iron-on
embroidered motifs to add an extra
special touch to your textiles or to
cover stains and holes in garments.
You should contact Leutenegger
for more information.
14 Here’s another Plum & Ashby
cushion featuring a gorgeous terrier.
This design has tactile appeal, being
hand-knitted with merino wool.
15 Flensted’s ‘Doggy Dreams’ mobile
features playful puppies vying for
a bone. It’s designed and handmade
in Denmark. Contact Design Mode
International for more information.
16 Maybe not at the top of your list
of priorities, but if you’ve ever wanted
to learn How to be a Dog, this is the
guide for you. The picture book, by
Jo Williamson, is a delight for both
children and grown-ups. Contact
Scholastic Australia.
17 Sit! The sweet design on this
trinket tin is tail-waggingly cute.
Contact Artique Designs.
window shopp
11 ing
12
1
10
14
15
WHERE TO BUY
Q Artique Designs: (08) 9455 1901,
www.artique.com.au.
Q Corner Store: (08) 9336 3005, cornerstore.net.au.
Q Design Mode International: (02) 9998 8200,
www.designmode.com.au.
Q Fab eStore: 0423 583 555,
www.thefabestore.com.au.
Q GoingPlaces2: www.GoingPlaces2.etsy.com.
Q Hamish McBeth: (02) 9818 3989,
www.hamishmcbeth.com.
Q Leo and Bella: 0438 733 088, leoandbella.com.au.
Q Leutenegger: (02) 8046 4100,
www.leutenegger.com.au.
Q Natural Life: www.naturallife.com.
Q Plum & Ashby: www.plumandashby.co.uk. 16
Q Podsnap: www.podsnap.com.au.
Q Rouge Living: (03) 9023 8654,
www.rougeliving.com.au.
Q Sarah J Home Decor: (07) 3356 7161,
www.sarahj.com.au.
Q Scholastic Australia: (02) 4328 3555,
www.scholastic.com.au.
Q Simon Hart Design: www.simonhart.co.uk.
Q The Tea Centre: (07) 3890 8643,
www.theteacentre.com.au.
If you’re not yet Fido-ed out, see what Cori Blunt
has in store for you – a ‘Go Fetch’ puppy quilt to
melt your heart. Turn the page for Cori’s project. 17
Homespun 33
 T
JEC
PRO

01

PLAYFUL
PUPPIES
Is there anything cuter, sweeter,
more heart-melting than a frisky
little puppy at play? Well, perhaps
Cori Blunt’s go-fetch kids’ quilt!

34 Homespun
Homespun 35
 T
JEC
PRO

01

Materials Q 13cm (5in) square of solid 4, word appliqué and appliqué fabrics. Cori
Q 1.8m (2yd) white tone- orange fabric (puppies’ binding) used Cosmo Stranded
on-tone print fabric collars) Q 1.6m (13⁄4yd) solid Embroidery Cotton in
(patchwork background) Q 40cm (1⁄2yd) light grey white fabric (appliqué and White (100), Black (600)
Q 70cm (7⁄8yd) orange dot tone-on-tone print fabric Border 1) and Dark Grey (894)
print fabric (Border 3 (blocks) Q Fat eighth solid blue fabric Q Appliqué needles
and blocks) Q Fat quarter dark grey (ball appliqué) Q Fusible web
Q 40cm (1⁄2yd) orange tone-on-tone print fabric Q 3.2m (31⁄2yd) backing Q Freezer paper
geometric print fabric (puppy appliqué) fabric Q Fray check (optional)
(blocks) Q Scrap of black tone-on-tone Q Batting at least 205 x Q Fabric appliqué glue
Q Fat quarter orange print fabric (puppy’s noses) 170cm (80 x 66in) (optional)
tone-on-tone print fabric Q 1.3m (11⁄2yd) solid grey Q Stranded embroidery Q Thin cardboard
(appliqué in blocks) fabric (Borders 2 and cottons to match your Q Spray starch

36 Homespun www.homespun.net.au/homespun-patterns
Q Water-erasable fabric-
marking pen
Q Rotary cutter, ruler and mat
Q Sewing machine with
1
⁄4in and free-motion/
darning feet
Q General sewing supplies
Stitches used: French knot,
running stitch, satin stitch,
stem stitch
Finished size: 189 x 154cm
(741⁄2 x 601⁄2in)
Note: Read all instructions before
starting the project. A seam
allowance of 1⁄4in is included
throughout for the patchwork.
It is recommended that the fabrics
be 100% cotton, pre-washed and
well ironed. Requirements are
based on fabrics 107cm (42in)
wide. Instructions are provided for
hand appliqué using a needleturn
with freezer paper technique for
the puppies and fused raw-edge
machine appliqué for the words,
but the design can be adapted
to your preferred appliqué
method. Instructions are given
for using the printed Pattern
Sheet in the magazine, but you
can also download the digital
patterns from www.homespun.
net.au and print them out.

Diagram 1

CORI’S MARKING TIP Take your time to ensure that

any lines you’ve drawn on your quilt top with a fabric-marking pen are
removed thoroughly. I use only plain cold water, as I’ve found that if I add
even a little bit of detergent, the lines turn brown and become virtually
impossible to remove. (Ask me how I know!) The only thing that seems
to help on such occasions is to soak the quilt in white vinegar.

Block 1

Preparation and cutting

1 From the white tone-on-tone

print fabric, cut:
• Three strips, 13⁄8in across the width
of the fabric. Crosscut them to yield
72 squares, 13⁄8in (C) (Block 2)
• Six strips, 21⁄4in across the width
of the fabric. Crosscut them to yield
176 rectangles, 13⁄8 x 21⁄4in (A) (Blocks
1 and 2)
• Nine strips, 4in across the width of
the fabric. Crosscut them to yield 140
rectangles, 21⁄4 x 4in (E) (Blocks 1 and 2)
and 36 rectangles, 13⁄8 x 4in (F) (Block 2).
• Three strips, 13⁄8in across the width
of the fabric. Crosscut them to yield
72 squares, 13⁄8in (C) (Block 2).
4 From the light grey tone-on-tone
print fabric, cut:
• Three strips, 13⁄8in across the width
of the fabric. Crosscut them to yield
68 squares, 13⁄8in (C)
• Three strips, 25⁄8in across the width
of the fabric. Crosscut them to yield
34 squares, 25⁄8in (D).
5 From the solid white fabric, cut:
• Four strips, 9in down the length
of the fabric (Border 1)
8 Use the cardboard template for the
medium circle to trace 17 circles on
the wrong side of the remaining solid
white fabric, leaving at least 1⁄2in
between them. Cut the circles out of
fabric 1⁄4in by eye outside the traced
lines. Work running stitch close to the
outer edge of each fabric circle. Centre
the cardboard template on the wrong
side of a fabric circle and pull up the
threads, gathering the fabric around
the template. See Diagram 1. Spray the
fabric with starch and press with the
iron until it is dry. Gently remove the

2 From the orange dot print fabric,

cut:
• Two strips, 21⁄4in across the width
of the fabric. Crosscut them to yield
35 squares, 21⁄4in (B) (Blocks 1 and 2)
• Eight strips, 21⁄2in across the width
of the fabric. Sew them together, end
to end, in pairs, to make four long
strips (Border 3).
6 From the solid grey fabric, cut:
• 16 strips, 11⁄2in across the width
template and press again. Repeat to
prepare all 17 medium white circles.
of the fabric. Sew them together, end
to end, in pairs to make eight long
strips (Borders 2 and 4)
9 Repeat the process described in
Step 8 to trace, cut and prepare
72 small circles from the solid orange
• Seven strips, 21⁄2in across the width fabric (Block 2), 18 large circles from the
of the fabric (binding). remaining solid white fabric (Block 2)
7 Trace the small, medium, large and
extra large circles from the Pattern
and six extra large circles from the solid
blue fabric (appliqued border).

3 From the orange geometric print

fabric, cut:
Sheet on to paper. Cut them out
roughly, then glue them to thin Block 1
• Three strips, 25⁄8in across the width
of the fabric. Crosscut them to yield
34 squares, 25⁄8in (D) (Block 1)
cardboard. Once the glue has dried,
cut the shapes out accurately on the
traced lines and label them.
10 To make one block, you will need
four white tone-on-tone A
rectangles and four E rectangles, one

Homespun 37
 orange dot print B square, four light
grey tone-on-tone print C squares,
C A C
two orange geometric print and
two light grey tone-on-tone print
D squares.
A rectangles, four E rectangles, four
F rectangles and four C squares; one
orange dot print B square; and four
orange geometric print C squares.

11 Lay out the A, B and C patches

in three rows, referring to
A B A Diagram 2. Sew the patches in each
row together, then sew the rows
together, carefully matching seams.
18 Begin by sewing a white
A rectangle to the left and
right edges of the orange dot print
B square. Press. Then join a white
F rectangle to the top and bottom
edges, as shown in Diagram 4. Press

12 Draw a light diagonal line from

C C
A squares. Match each of them with
Diagram 2
corner to corner on the wrong
side of each of the light grey D
an orange geometric print D square,
right sides together. Sew 1⁄4in on
either side of the line.
again. This centre unit should
measure 4in square from raw edge
to raw edge.
19 Make a corner unit for the
block by joining an orange
C square to a white C square. Press.
Then sew a white A rectangle to

13 Cut along the drawn line

and press the squares open
to make half-square triangle units.
Refer to Diagram 3.
them, as shown in Diagram 5. Repeat
to make a total of four corner units.
They should measure 21⁄4in square
from raw edge to raw edge.

14 Lay out the centre unit from

Step 11, the half-square
triangle units from Step 13 and the
white E rectangles in three rows,
Diagram 3
as shown in the Block 1 Assembly
Diagram. Sew the patches in each
row together, then sew the rows
E
together, carefully matching seams.
Your block should measure 71⁄2in
square from raw edge to raw edge.
20 Lay out the centre unit from
Step 18, the four corner units
from Step 19 and the white E
rectangles in three rows, as shown
in the Block Assembly Diagram. Sew
the patches in each row together,
then sew the rows together, carefully
matching seams. Your block should
measure 71⁄2in square from raw edge
to raw edge.

15 Centre one of the medium

white circles you prepared
in Step 8 in the centre of the orange
E E
dot B square. Use a tiny dab of fabric
glue or pins to hold it in place. Work
tiny blind stitches in white thread
to appliqué it in place. Press.
21 Centre one of the large white
circles you prepared in Step 9
on the orange dot B square. Use a
tiny dab of fabric appliqué glue or
pins to hold it in place. Work tiny
blind stitches in white thread to
appliqué it in place. Press.

E
16 Repeat Steps 10-15 to make
a total of 17 Block 1. 22 In the same manner, centre
a small orange circle you
prepared in Step 9 over the seam
Block 2 line between the A and E white
Block 1 Assembly Diagram
17 To make one block, you will
need six white tone-on-tone
rectangles, as shown in Diagram
6, and stitch them in place.

F
A

A B A

C C
F

Block 2 Diagram 4 Diagram 5

38 Homespun
23 Repeat Steps 17-22 to make
a total of 18 Block 2.
Assembly
24 Lay out the patchwork blocks
in seven rows of five blocks
each, alternating Blocks 1 and 2.
The top, third, fifth and seventh rows
begin and end with Block 2. The
second, fourth and sixth rows begin
and end with Block 1. Refer to the
Quilt Assembly Diagram.
25 Sew the blocks in each row
together, then join the rows,
carefully matching seams.
26 Measure your quilt vertically
through the centre. Trim two
of the solid white strips cut in Step
5 to this length. Sew them to the
left and right edges of the quilt,
matching the centre points.
27 Measure your quilt horizontally
through the centre. Trim the
remaining two solid white strips cut
Quilt Assembly Diagram
in Step 5 to this length. Sew them to
the top and bottom edges of the quilt. E
28 Repeat Steps 26-27 to
measure the quilt, trim the
strips of solid grey and orange dot
print fabric to the appropriate
lengths, and add them to the quilt
as Borders 2, 3 and 4. E E
Appliqué
29 Trace all the shapes for the
puppies from the Pattern Sheet
onto the dull side of the freezer paper.
30 Cut out each shape out on the
traced lines. Lightly fuse the
E
shapes to the right side of the fabrics
you have chosen for them. When
fusing multiple shapes to the same
Block 2 Assembly Diagram
fabric, leave at least 1⁄2in between
them. Cut the shapes out of the
fabric about 1⁄4in by eye outside the
edge of the templates. Cut into the
seam allowance at inner curves and
corners and, if you wish, dab a tiny
Diagram 6
CORI’S FABRIC TIP
There are two schools of thought on pre-
washing fabric: those who do and those
who don’t. I’m a paid-up member of the
pre-washing fraternity. To my mind, it’s
much easier to pre-wash than to have to
battle with dye runs in a completed quilt.
When a fabric that I want to use runs
during a pre-wash, I wash it a second
time with colour catchers and an ‘oxi-
action’ stain remover added to the load.
Homespun 39

Getting to know …
CORI BLUNT
How did you start your sewing career? I started
my career in the quilting industry as a young
mother of five. Money was quite tight in my
household, and my love for fabric and hobby
was something I couldn’t afford to indulge.
I was determined to make my beloved hobby
a self-sustaining one. I thought if I could make
enough money to cover the costs of creating,
I could continue in my pursuits without
burdening my family. So far, I’ve done just
that, and I’m delighted to have the opportunity
to do so. I am grateful that there are others
who enjoy the same projects as I do.
What would you do without sewing? I’m not
sure I’d know what to do with myself these
days, since this career has me SEW busy
creating for my business on a daily basis. If
I had to speculate, I think I’d be into repurposing
furniture. I love cottage style, and have had
many projects refinishing and re-purposing
objects to decorate my spaces. I love the
history associated with older objects; they have
a charm and personality that I’m drawn to.
What are the stitching tools you couldn’t live
without? I love my Perfect Circle templates
– use them on almost every project I create.
I love ThimbleLady needles ... they’re the most
wonderful needles, and I have a hard time using
anything else. My thread donut by Superior
Threads is a wonderful asset to my appliqué
projects. The threads are beautifully displayed
and easily taken for stitching on the go.
Do you cherish the time you spend in your
workroom/studio? I do love every minute.
I seldom take on more than one commissioned
project at a time. I’m a devoted mother and
wife, and I find that deadlines really stifle my
creativity. I enjoy the freedom of creating at
my own pace, and I’m free to move around my
dot of fray check on the cut to prevent
it from fraying.
31 Referring to the photo of the
quilt as a guide, pin or glue the
shapes to the solid white Border 1
strips. When you have a layout that you
like, needleturn appliqué them in place,
then carefully remove the freezer paper.
40 Homespun
schedule to be available for my family when
I need to be. Currently, my workspace is in the
family room; I still have all the kids at home in
my tiny cottage, so space is quite limited. My
time spent in my space is usually shared with the
family in the evening, making it hard to focus
at times. I do enjoy it during the daytime hours,
when the family is away at school and work.
What is it that you love about it most? I love
that everything is organised and easily
accessible. I love that I can work and still be
a part of the family, because I’m in the same
room as they are. I love having my studio here
because I can be a mum ... breaking up the
occasional argument, vetoing inappropriate
TV shows, taking part in the kids’ conversations
and helping with the homework. I also love that,
in the evenings, my family is here to bounce
ideas off – and I like that I can be here working,
and hold up what I am working on for advice.
I used to have my own crafting room, but it was
a place I found myself retreating to – to get
away. At this time in my life, this type of space
is more conducive to being a mother – my
most important work at this time.
What would you like to change about your
workspace? Eventually, I’d love to have my own
room with customised storage space to put all
of my supplies and enough wall space to hang
up my work. It’d be great to design the room to
fit my personality and colour preferences. Just
having all of my stuff for crafting in the same
area with a nice big design wall seems very
appealing to me. It’s something I look forward
to having in the future, when I can become
a full-time designer and quilter, as the
responsibility of raising my kids has lifted a bit.
How many different crafts do you do? I do all
kinds of crafts – so many I don’t think I could
count them all. I enjoy quilting and embroidery,
of course, but I also love many others. I love
woodworking. My poor husband has to share
his garage space with me to store all of my saws,
sanders and gadgets. I love refinishing furniture,
and have a few unfinished pieces in there also.
Both my husband and I love improving our home
and quite often take on remodelling projects,
which I love to do. I love crochet, and paper-
crafting. I really don’t think that there is a craft
I haven’t done at one time or another. I’m always
open to learning new ways of creating.
What’s your favourite? My favourite is appliqué
and embroidery, because I love handwork. I love
the feel of the fabric, and the many ways you can
manipulate it to create designs and patterns.
32 Add the blue balls that you
prepared in Step 9 and work tiny
blind stitches in matching thread to
appliqué them in place.
33 Trace the letters from the Pattern
Sheet on to the matt side of the
fusible web. They have been printed in
reverse for your convenience. Fuse the
Keeping my hands busy is important to me.
I really enjoy bringing my little characters to life
through fabric and stitching. It is much more
dimensional than drawing or painting. My
favourite part is to add the batting and quilting,
because it’s as if it breathes life into them.
Do you take your stitching with you on
holidays? I take my stitching with me
everywhere I go. I spend a lot of time waiting
for kids, and driving here and there, so I find
it very calming to have something to do while
I’m waiting for that kid who says they would
be finished at 3:30 and it is now 4! I love having
the option of stitching while on holiday. It is
so wonderful to feel the luxury of having time
to waste and nowhere to have to be ... but also
having something relaxing to do if you so
choose. It’s a holiday to have the time to spend
thinking and stitching. It really is a solitary
activity, stitching. Very much like meditation
and reflection for me. It’s almost soul soothing
to have the opportunity to stitch for hours.
Have you got lots of projects waiting to be
done? I have several projects going at a time.
I like the variety and different challenge each
one presents. I find that I put my focus on one
at a time, though, and over time they all get
finished eventually. Those projects that have lost
my interest I tend to get rid of, because I don’t
like the idea of unfinished projects hanging
around me. It is burdensome to me. If I feel that
I’m never going to finish it, I discard it and move
onto projects that I am excited about. I find that
it’s just part of the creating process: some turn
out just the way you wanted them to, but others
fight with you through the entire process. I just
get rid of the fighters. However, I do love
challenges, but if the piece has lost its lustre
for me, I abandon it for a better idea.
If you had one secret sewing wish, what would
it be? My sewing wish would be: to be able to go
to a quilting retreat for at least a month and sew
with my girls, sisters, mother, grandmother and
great-grandmother at the same time on a really
great quilt designed by my favourite artist, Ethel
Hays. My grandmother passed away when I was
10 – she loved quilting and quilted until she
couldn’t anymore. Even blindness did not keep
her from her love of quilting. My great-
grandmother loved quilting, too, and I spent time
as a child admiring her beautiful bed that always
had a different quilt on it. Now that I have found
a career in this business, I would love to be able
to share it with those sweet ladies in my life
who instilled in me a love for quilting.
web to the wrong side of the remaining
solid light-grey fabric, then cut each
letter out accurately on the traced lines.
34 Peel the backing paper off each
letter, position it on Border 1
and, when you’re happy with the
layout, fuse the letters in place with
a hot, dry iron.
 Diagram 7
Embroidery
35 Use a ruler and the fabric-
marking pen to draw straight
lines on each of the patchwork blocks,
as shown in Diagram 7.
36 Work running stitch along each
line in four strands of Dark Grey
(894). Cori worked her stitches so that
they were about 1⁄4in long with about
1
⁄8in between them.
37 Refer to the patterns to copy
the embroidery lines on to each
puppy. Work stem stitch and satin
stitch in Black (600) for the eyes. Use
two strands of Dark Grey (894) to work
running stitch for the wagging tail and
bark lines; stem stitch the leg details
and eyebrows; satin stitch the nose
highlight and the tag; and add French
knots for the chain. The decorative
lines on the collar are worked in
running stitch in two strands of
Black (600).
38 Use two strands of White (100)
to satin stitch the highlight on
each ball.
39 There are three lines on the
Pattern Sheet that Cori used for
the bounce of the balls. You can either
copy them by eye or, if you prefer, lay
the quilt over them and trace them on
to the fabric using the fabric-marking
pen. Repeat Step 36 to work running
stitch along each line.
42 Homespun
40 Remove the fabric-marking
pen marks by sponging them
thoroughly with cold water.
length. Press the seams open. Fold the
strip in half, wrong sides together and
long edges matching, and press.
Quilting and binding 46 With raw edges together, stitch
the binding to the edge of the
41 Cut the backing fabric in to
two equal lengths, remove the
selvedges and sew the two pieces
quilt with a 1⁄4in seam, mitring the
corners as you go and referring to the
Binding Diagrams on page 82 for
together side by side. Press the seam details.
open. The quilt top, backing and
batting are ready to take to a long-arm
quilter as they are.
47 Turn the binding over and stitch
it by hand to the back of the
quilt. Label and date your quilt.
42 If you’re doing the quilting
yourself, smooth out the backing
fabric on the floor with right side down
For contact details for Cori Blunt, of Chitter
Chatter Designs, turn to Stockists at the
and secure it with masking tape. Lay back of the magazine.
the batting on top, ensuring it is free
of wrinkles. After pressing the quilt
top, lay it, right side up, on top of the
batting and baste the three layers
together with safety pins (or thread
if you’re hand quilting).
43 Quilt as desired. Cori’s quilt was
machine quilted. She worked
a series of diagonal lines across the
patchwork blocks, extending them into
Border 1. The appliqué and embroidery
lines on Border 1 were echo quilted.
The letters were quilted and appliquéd
simultaneously by using a free-motion/
darning foot to work straight stitch just
inside their raw edges in thread to
match the light-grey fabric. Borders 2,
3 and 4 were quilted in the ditch.
44 When the quilting is complete,
trim the backing fabric and
batting 1⁄4in outside the edge of the
quilt top.
45 Cut the ends of the light-grey
binding strips you cut in Step 6
at a 45-degree angle and join them
with diagonal seams to make one long
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S = Storage Chest
D

T = Sewing Table
D = Storage Drawers
*Your ultimate setup may require more than 4 pieces
www.tailormadecabinets.com.au
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02

Dishy Bird
Bobbie Watts hands you
wren-work embroidery on
a plate – and it’s a soaring
tribute to the fusion of
simplicity, colour and
hybrid patterning.

44 Homespun
Homespun 45
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02

Materials Grey (3021), Light Stitches used: throughout, unless stated

Q Rectangle of ecru linen Mocha Brown (3782), Chain stitch, couching, otherwise. Bobbie used a
suiting fabric at least Light Moss Green (3819) French knot, long and discontinued shiny rayon
35 x 40cm (14 x 16in) and Dark Autumn short stitch, seed stitch, floss (30472) for filling the
(background) Gold (3853) stem stitch, straight stitch, swirls on the head but has
Q DMC Stranded Q Gumnut Yarns ‘Buds’ whipped chain stitch specified a replacement
Embroidery Cotton in in Cornflower (389) stranded thread in its place.
Ecru, Black (310), Very Q Size 22 chenille needle Finished size: Instructions are given for
Light Avocado Green Q Fine-pointed brown 19.5 x 15.5cm (73⁄4 x 61⁄8in) tracing the design from the
(471), Drab Brown (611), pigment pen or design area printed Pattern Sheet in
Light Tangerine (742), preferred fabric marker the magazine, but you can
Medium Yellow (743), Q Large embroidery hoop Note: Read all the instructions download it from the website,
Dark Blue (825), Copper (optional) before starting the project. www.homespun.net.au, and
(921), Very Dark Brown Q General sewing supplies One strand of thread is used print it out instead.

46 Homespun
www.homespun.net.au/homespun-patterns
Preparation Embroidery by oversewing the tail with very long

1 Trace the embroidery design from

the Pattern Sheet onto the centre
of the fabric. Bobbie used a 1.0 brown
3 To begin, use two strands of Very
Dark Brown Grey (3021) to stem
stitch the outlines of the head, crest,
chain stitches in Cornflower (389)
with a long straight stitch in Dark
Blue (825) at their end.
micron pen to do this, but you could
also use a very sharp pencil. Keep the
lines very fine so that the stitching
beak, chest, body and back of the bird.

4 Embroider the rest of the design in

completely covers them.
the order given in the Stitchery
Guide below. For the tail, note that
5 When the embroidery is complete,
put the fabric face down on a clean,
thick towel and press it gently from the
back to avoid flattening the stitches.

2 If you wish, put the fabric in an

embroidery hoop to prevent it
puckering as you stitch the design.
However, don’t leave it in the hoop
between stitching sessions as this
can cause creases that are very
difficult to remove.
only the five unbroken design lines
from the left are stitched in the darker
brown – the dotted line on the right
and the dotted curved lines at the top
indicate the end of the filled area
worked in the lightest brown.
The blue tail feathers are formed
6 It’s now ready for framing, or
incorporating in another project
such as a cushion or bag.
For contact details for Bobbie Watts,
of BW Textile Designs, turn to Stockists
at the back of the magazine.

STITCHERY GUIDE

Design area Thread Stitch

Head

Flower outer petals Light Tangerine (742) Long and short stitch

Flower inner petals Medium Yellow (743) Long and short stitch

Flower centre area Copper (921) Long and short stitch

Centre stamens Light Tangerine (742) French knots

Petal outlines Light Tangerine (742) Stem stitch

Swirl filling Light Moss Green (3819) Stem stitch

Swirl outlines Very Light Avocado Green (471) Stem stitch (2 rows)

Dots between swirls Very Light Avocado Green (471) French knots (2 wraps)

Eye ring outline Drab Brown (611) 2 strands Stem stitch

Eye outline Drab Brown (611) Stem stitch

Pupil Black (310) Straight stitch

Highlight Ecru French knot (2 wraps)

Upper beak filling Drab Brown (611) Straight stitch

Lower beak filling Very Dark Brown Grey (3021) Straight stitch

Wing
Cornflower (389) (chain stitch) and
Curlicues Whipped chain stitch
Dark Blue (825) (whipping)

Edge filling Cornflower (389) Seed stitch

Homespun 47
 STITCHERY GUIDE cont ...
Design area Thread Stitch
Belly

Upper shapes Very Light Avocado Green (471) Long and short stitch

Lower shapes Light Moss Green (3819) Long and short stitch

Very Light Avocado Green (471)

Background filling and Light Moss Green (3819) Straight stitch
(1 strand of each)

Chest
Scallop outlines Cornflower (389) Couching

Medium Yellow (743) and

First and third rows
Dark Autumn Gold (3853) French knots
from the top
(1 strand of each)

Second and fourth rows Dark Autumn Gold (3853) Straight-stitch fans

Tail
Five design lines Very Dark Brown Grey (3021) Stem stitch (3 rows)

Beside design lines Drab Brown (611) Stem stitch (5 rows)

Tail filling Light Mocha Brown (3782) Stem stitch

Blue tail feathers Cornflower (389) Chain stitch

Feather tips Dark Blue (825) Straight stitch

Feet
Design lines for leg
Very Dark Brown Grey (3021) Stem stitch
and feet

Beside design lines Drab Brown (611) Stem stitch (2 rows)

Legs and feet filling Light Mocha Brown (3782) Stem stitch

48 Homespun
 most of which are mundane household things.
But I do have a lovely, quite distracting view
from my workroom window.
What is it that you love about it most?
The fact that I have a designated, fairly large
workspace that I can claim as my very own.
What would you like to change about your
workspace, if anything? Nothing at all.
Well … maybe reduce the mess just a little.
How many different crafts do you do?
I describe myself as a textile designer because
my designs encompass embroidery, jewellery,
drawing, mixed media and fibre arts.
BOBBIE’S HOOP
TIP The use of a hoop in
embroidery is optional for some
projects. The main disadvantages
of a hoop are that the fabric
can slip, it leaves an imprint on
the fabric and is sometimes
considered to be a bit awkward.
For finer fabrics, such as lawn
and fine linen, a hoop is always
used, as it prevents the fabric

Getting to know …
BOBBIE WATTS
How did you start your embroidery career?
Fortunately, I had a mother who was a beautiful
embroiderer, and I went to a school with a craft
room and a wonderful teacher who was more
inspirational than practical.
What was your path to embroidery? Like
most stitchers, I suppose, I have taken quite
a while to become a full-time stitcher. In a past
life, medicine was my forte.
What are the embroidery and craft tools you
couldn’t live without? Surprisingly, when I think
about it – and because I am a designer – the
answer probably is my camera and computer.
Do you cherish the time you spend in your
workroom/studio? Definitely. When you work
from home, there are endless distractions,
What’s your favourite – and why? It took me from puckering when being
a while to discover that designing is my thing. embroidered. Even with heavier
I’m not sure why, possibly because it gives me
quite a lot of scope to explore themes and ideas.
fabrics and large projects such
as this, a hoop can be useful
Do you take your stitching with you on because it helps to make the
holidays? Yes, of course. Do I ever do anything? project more manageable.
Of course not. But you never know!
Have you got lots of projects waiting to be BOBBIE’S
done? I work on three or four projects at a time, NEEDLE TIP Before
usually. Some projects take a while, so there’s you start a new project, check
a danger of them getting stale. It can be quite your needles for a burr at the tip.
refreshing to move onto other designs and then To do this, run your finger along
return to the original. At the moment, my the needle to the point at the
projects are: a Xmas stocking; doodle art for a end: your finger will catch on
bag; embroidered felt medallions; and a fibre-art a burr. This can often make a
commission using embroidered organza flowers. difference to your embroidery
If you had one secret sewing wish, what would and can be one reason why you’re
it be? There’s not a lot to wish for when you do
not satisfied with the end result.
what you love every day – and even get paid for
it. I think that I’m very lucky.

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We sell sewing machines, overlockers,

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Homespun 49
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BOBBLED
DAZZLERS
The beauty of Sue Pinner’s crocheted home
accessories duo is not just the masterful design
and execution but the use of electric colours
to super-charge bobble-stitched highlights.

50 Homespun
Homespun 51
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PRO
03
Materials
Q Patons 10 ply 50g wool
blend: 13 balls in grey –
see Note (rug background)
Q 8 ply 50g acrylic yarn:
four balls in oatmeal – see
Note (bolster background)
Q 8 ply 50g acrylic yarn: two
balls each of yellow, dark
orange, watermelon, dark
pink, light pink, green,
mauve, purple and mint
green – see Note (rug
and bolster bobbles)
Q 6.00mm (UK 4/US 10-J)
crochet hook
52 Homespun
Q Bolster cushion insert
46 x 20cm (18 x 8in)
– see Note
Q Wool needle for sewing
in ends
Finished sizes:
Rug 112cm (44in) square and
weighs about 850g (30oz);
bolster 64cm long x 56cm
circumference (25 x 22in) and
weighs about 280g (10oz)
Note: Read all the instructions
before starting the project.
Yarn quantities stated are only
approximate as they vary
between crocheters and the
brands/fibres of yarn used. As
a further guide, Sue advises that
the 43rd and 44th background
rounds take about 50g (1.8oz) of
yarn and the 45th bobble round
takes about 60g (2.1oz). She
used Stylecraft Life DK in
Heather, Crocus, Fern, Clover,
Fuchsia, Melon, Copper, Zing
and Mint for her bobbles and
Oatmeal for the bolster
background. As the rug grows,
the starting point for the tr rows
will move along the row. Always
www.homespun.net.au/homespun-patterns
attach the coloured bobble yarn
in a corner space. Check that all
the bobbles have popped to the
front of the rug. The bolster is
crocheted in the round. Apart
from the rug background (10 ply
grey), all the other yarns are
crocheted with two strands
together. If you can’t find a
bolster insert, a regular bed
pillow can be rolled and inserted.
Australian/UK crochet terms are
used – North American readers
should consult a crochet manual
to ensure they interpret the
instructions correctly.
Pattern repeat
The design has multiples of 2 sts
(bobbles) and 3 rows. The size of the
bolster can be increased if desired by
adding multiples of 2 sts and 3 rows.
No tension is given for this project.
Abbreviations
beg = begin/ning; ch = chain;
dc = double crochet; dtr = double
treble; rep = repeat; sl st = slip stitch;
sp = space; st/s = stitch/es; tog =
together; tr = treble
3rd round – Attach the first bobble
colour (used double) in any corner sp. In
the first st, 2dtr tog, ch1, sl st into next
st, 2dtr tog, ch1, sl st into next st, 2dtr
tog, ch1 , sl st into the next st, 2dtr tog,
ch1, sl st into the corner sp, rep for each
side, sl st into the first sl st to complete
the round. Cut off the yarn and weave
in the ends ... four bobbles each side.
2dtr tog, ch1, sl st into next st, (2dtr tog,
ch1, sl st into next st,) 5 times, 2dtr tog,
ch1, sl st into corner sp. Rep for each
side, sl st into the first st to complete
the round. Cut off the yarn and weave
in the ends ... 7 bobbles each side.
7th-45th rounds – Rep 4th, 5th and
6th rounds with an increase of 12
bobbles in each new colour added.

RUG
Using grey yarn, ch5, sl st into the
first ch to make a circle.
1st round – Ch2 (counts as first tr),
3tr, ch3, 4tr, ch3, 4tr, ch3, 4tr, ch3, sl st
to complete round ... 4tr each side and
ch3 corners.
2nd round – Ch2 (counts as first tr),
1tr in next 3 sts, (1tr, ch3, 1tr) in the
corner sp, 1tr in next 4 sts, (1tr, ch3, 1tr)
in corner sp, rep for each side, sl st to
complete the round. Pull the yarn through
the st, don’t cut it off ... 6tr each side.
1st and 2nd rounds (in progress)
3rd round bobbles (in progress) Reverse side of rug
4th round – Pick up the background
yarn through a sp, ch2 (counts as first
tr) in the sp after the first bobble, 1tr in
the next sp before the next bobble, 1tr
in the next 5sp (before and after each
bobble), ch3 in the corner, 1tr in next
8sp, ch3 in the corner, rep to end, the
last tr is the first tr of side 1, sl st to
complete the round ... 8tr each side.
5th round – Ch2 (counts as first tr), 1tr
in each st, (2tr, ch3, 2tr) in the corner
sp, rep for each side, complete the first
side with tr sts, sl st to complete the
round. Pull the yarn through the st, Centre area of rug
don’t cut off ... 12 tr each side.
6th round – Attach the next bobble
colour in any corner sp. In the first st,
SUE’S YARN TIPS
This is a great project for using up
leftover balls of yarn in your stash.
As long as they’re the correct ply,
it’s fine to mix brands and to use
more than nine colours for the
bobbles if you wish. Or you can
coordinate the bobble colours
with your other furnishings.

SUE’S EDGING TIP

Bobble stitch makes an excellent
edging for a rug because it sits
perfectly flat and doesn’t curl.

2nd round completed 6th round bobbles (in progress)

Homespun 53
 T
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03
BOLSTER
Two strands of yarn are used
together throughout.
Using the background colour, ch54,
sl st into the first ch to make a circle
without twisting the chain ... 54ch.
1st round – Ch2 (counts as first tr),
1tr in each st, sl st into first st to
complete the round ... 54tr.
2nd-7th rounds – Rep 1st round.
Pull the yarn through the sl st, don’t
cut off ... 54tr each round.
8th round – Attach the first bobble
colour in any st, in next st, 2dtr tog,
ch1, sl st into next st, 2dtr tog, ch1, sl
st, rep to end, sl st into the first sl st to
complete the round. Cut off the yarn
and weave in the ends ... 27 bobbles.
9th round – Pick up the background
yarn through a sp on one side of a
bobble, ch2 (counts as first tr), 1tr in
the sp each side of every bobble, sl st
into the first st to complete the round
... 54 tr.
10th round – Ch2 (counts as first tr),
1tr in every st, sl st into first st to
complete the round ... 54 tr.
11th round – Attach the next bobble
colour in any st, in next st, 2dtr tog,
ch1, sl st into next st, 2dtr tog, ch1,
sl st into next st, rep to end, sl st into
the first sl st to complete the round.
Cut off the yarn and weave in the ends
... 27 bobbles.
12th-38th rounds – Rep the 9th,
10th and 11th rounds, changing colours
for every bobble round. I finished with
a repeat of the first and second colours
I used.
39th-45th rounds – Rep 1st-7th
rounds. Cut off the background yarn
at the end of the 45th round and
weave in the end ... 54tr each round.
54 Homespun
Drawstrings
Make two. The drawstrings have
a dc ring on both ends.
Using two strands of background
yarn, ch5, sl st into the first ch to
make a circle.
1st round – Ch1 (counts as first dc),
9dc into the circle, sl st into the first
ch to complete the round ... 10dc.
Ch72 to make a long drawstring.
For the second ring, work 10dc into
the second ch from the hook, sl st to
complete the round. Fasten off, cut
the yarn and weave in the ends.
Finishing
Thread a drawstring through the last
row of trebles at each end of the bolster.
Pull up one drawstring to gather the
end in tight and tie it in a bow. Insert
the bolster cushion, pull up the second
drawstring and tie it in a bow to finish.
For contact details for Sue Pinner,
of Susan Pinner Granny Squares, turn to
Stockists at the back of the magazine.
Bolster end with drawstring
Getting to know …
SUE PINNER
How many crocheted works do you do
each year? Too many to count.
Is there a particular style of project you
prefer to do? If I’m selling the designs –
colourful and in the round. But if it’s just for
me – very modern, more subtle, with lots
of holes (unfortunately not so popular!).
How old were you when you first
crocheted – and who taught you how?
I was somewhere around nine or 10 years
old – and I learnt from a friend’s granny.
Did you instantly love it or did it take some
practice? Took a few years. My first blanket
was when I was about 14 years old.
Do you accumulate crochet ideas faster
than you can make them? Do you have
them scribbled down in an ‘ideas’ book
somewhere? Oh yes! I wake up every
morning with new ideas. I’ve just sorted
more than 12 Ikea bags full of samples.
I have notebooks and sketch pads, too,
but mostly ideas are in sample form.
When and where do you like to crochet
most? First thing I do when I wake, and
I often fall asleep mid-stitch at night.
Does your style of project vary greatly
or do you think you have an identifiable
‘look’ to your projects? I don’t think I have
a particular style, but I’ve been told that I do
and that my work is recognisable.
What do you do with your finished projects
– are they gifts for friends and family or
do you sell them? Some of them go as gifts,
but I do have a house full of crochet.
Do you like to work in perfect silence
or do you love music playing or the
television on in the background? The TV
or radio is always on in the background.
What three pieces of music would you
choose to listen to while you work?
• Anything classical
• Film soundtracks
• Anything from the ’50s.
And three TV shows/movies?
• Both the Marigold Hotel films
• NCIS
• DIY, interior and gardening programs.
 Se
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About a Boy About a Girl ContrucƟon Trucks Quilt Kit

This quilt is based on the panel by Anni Downs. This quilt is based on the panel by Anni Downs. This modern looking quilt is single bed size
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 What a cute idea!
A SNAPPY LITTLE TOTE
Minki Kim puts a new focus on bag style by adding a stitched camera as a motif. Using mixed fabrics (linen for the
bag itself, floral cotton for the straps and fine checks for the camera body), she filled in the spaces created by
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Homespun 57
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PRO

04

WHISPERED
BEAUTY
Hush, hush – Leanne Milsom is
about to share her secrets for
creating this soft and romantic
Tilda-fabric quilt, complete with
off-centre bird embroidery.
Too beautiful for words. Sigh!

58 Homespun
Homespun 59
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PRO

04

Materials Q 50cm (5⁄8yd) pink stripe Q No 9 embroidery needle Green (580), Light
Q 28 assorted fat quarters print fabric (binding) Q DMC Stranded Turquoise (598), Medium
of print fabric – see Note Q 3.5m (37⁄8yd) backing Embroidery Cotton in Cranberry (602), Medium
(patchwork) fabric Medium Coral (350), Light Orange Spice (721),
Q 40cm (1⁄2yd) cream Q Batting at least 185 Brown (434), Very Light Medium Light Topaz
handkerchief linen x 170cm (72 x 67in) Brown (435), Medium (725), Dark Coffee Brown
(embroidery background) Q 45cm (1⁄2yd) fusible Shell Grey (452), Very (801), Light Beige Brown
Q 10cm (1⁄8yd) dark lightweight batting Light Avocado Green (841), Dark Antique
pink micro dot fabric such as Pellon (471), Ultra Light Avocado Blue (930) and Medium
(embroidery frame) Q 0.1 brown pigment pen Green (472), Dark Moss Antique Blue (931)

60 Homespun www.homespun.net.au/homespun-patterns
Q DMC Variegated Stranded
Embroidery Cotton in
Variegated Baby Pink
(48) and Variegated Khaki
Green (94)
Q Rotary cutter, ruler and mat
Q Sewing machine with
1
⁄4in foot
Q General sewing supplies
Stitches used: Backstitch,
detached chain (lazy daisy)
stitch, French knot, running
stitch, satin stitch
Finished size: 166 x 154cm
(651⁄2 x 601⁄2in)
Finished block size: 5in
Note: Read all the instructions
before starting the project. It is
recommended that fabrics be
100% cotton, pre-washed and
well ironed. Requirements are
based on fabric and batting
107cm (42in) wide. Leanne
used Tilda fabrics for her quilt.
Seam allowances of 1⁄4in are
used throughout. Two strands
of embroidery cotton are used
throughout, except where
stated otherwise. Instructions
are given for using the printed
pattern in the magazine, but you
can also download the pattern
from www.homespun.net.au
and print it out.

Preparation and cutting or brightly lit window behind the

1 From each of the 28 assorted

fat quarters, cut:
design makes it easier to see
through the fabric.
• One strip, 31⁄2in across the (21in)
width of the fabric and crosscut
five squares, 31⁄2in, making a total
7 Trace three each of the daisy
and rose designs from the
Pattern Sheet onto the centre
of 140 squares – 138 are required of the six 41⁄2in linen squares.
(block centres)
• Six strips, 11⁄2in across the width
of the fabric and from each one,
8 Fuse the lightweight batting
to the wrong side of the traced
linen rectangle and squares.
crosscut two strips, 11⁄2 x 31⁄2in and
two strips, 11⁄2 x 51⁄2in, making Embroidery
a total of 168 sets of four – 144
are required (block frames). 9 Before you start the embroidery,
it’s a good idea to sew a narrow

2 From the cream handkerchief

linen, cut:
• One rectangle, 141⁄2 x 19in
(embroidery background)
• Six squares, 41⁄2in (embroidered
block centres).
These shapes have been cut
oversize and will be trimmed
after the embroidery has been
completed.
3 From the dark pink micro dot
fabric, cut:
• Two strips, 11⁄2in across the width
of the fabric. From each strip, cut
one strip, 11⁄2 x 18in and one strip,
11⁄2 x 151⁄2in (embroidery frame).
zigzag stitch around the edge of
the linen-batting pieces to prevent
them fraying while you stitch.
10 Referring to the Stitchery
Guide on page 62, embroider
the designs on the large rectangle
and six small squares. Note that
the snail eye is worked in one
strand of thread only. The running-
stitch borders around the six
LEANNE’S FABRIC-
embroidered squares are best
worked just inside the seams
after the patchwork frames are
CHOOSING TIP When
choosing your fabric assortment for
this project, select your main fabric first
added in Step 16. then pick fabrics that complement each
other to go with it. For example, if you
11 Trim the large embroidered
rectangle to 18 x 131⁄2in, decide that blues and yellows would be
nice, start with a print you like in one

4 From the pink stripe

print fabric, cut:
• Seven strips, 21⁄2in across the
keeping the design centred. Trim
the small squares to 31⁄2in, keeping
the designs centred.
shade of blue, add some others in lighter
or darker blues and then choose some
different yellow prints to go with them.
width of the fabric (binding).

5 From the fusible lightweight

batting, cut:
• One rectangle, 141⁄2 x 19in
• Six squares, 41⁄2in.
12 To complete the large
embroidered rectangle, ready
for incorporating in the patchwork,
LEANNE’S LAYOUT
TIPS Once you’ve laid out all your
sew a 11⁄2 x 18in dark pink micro blocks, take a photo to see if you like
their placement. Also, leave the room
dot print strip to the left and right
for a little while and come back and

6 Trace the large embroidery

design from the Pattern Sheet
onto the 141⁄2 x 19in rectangle of
cream handkerchief linen using
the brown 0.1 micron pigment
pen. Keep the lines very fine so
they are completely covered by
edges and press the seams
outwards. Then sew the 11⁄2 x 151⁄2in
strips to the top and bottom edges
look at your layout again afresh. You
might like to move a few blocks around.
Try to spread your colours evenly
and press the seams outwards. throughout the quilt, because you don’t
want one section of the quilt to have
13 Put the six embroidered
squares with 138 of the
assorted 31⁄2in squares that you cut
all the darker blocks, for instance.

the stitching. Putting a lightbox in Step 1 to make a total of 144.

Homespun 61
 STITCHERY GUIDE
Bird Design area Thread Stitch

Body Very Light Brown (435) Backstitch

Eye Dark Coffee Brown (801) French knot

Legs Dark Coffee Brown (801) Backstitch

Beak Medium Orange Spice (721) Backstitch

Branch Light Beige Brown (841) Backstitch

Detached chain
Leaves Variegated Khaki Green (94)
(lazy daisy) stitch

Birdhouse Outline Dark Antique Blue (930) Backstitch

Roof filling Medium Antique Blue (931) Running stitch

Round opening Medium Antique Blue (931) Backstitch

Pole Very Light Brown (435) Backstitch

Vine stem Very Light Avocado Green (471) Backstitch

Detached chain
Vine leaves Very Light Avocado Green (471)
(lazy daisy) stitch

Blossoms Medium Cranberry (602) Satin stitch

Garden Daisy stems and leaves Dark Moss Green (580) Backstitch

Daisy centres Medium Light Topaz (725) Satin stitch

Light Turquoise (598) or Medium

Daisy petals Backstitch
Cranberry (602)

Rose petals Variegated Baby Pink (48) Backstitch

Rose stems and leaves Ultra Light Avocado Green (472) Backstitch

Mini blossoms Medium Coral (350) Satin stitch

Blossom stems and leaves Ultra Light Avocado Green (472) Backstitch

Snail body Very Light Brown (435) Backstitch

Snail shell Light Brown (434) Backstitch

Backstitch with
Eyes Very Light Brown (435)
French knot

62 Homespun
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 STITCHERY GUIDE cont ...
Daisy
squares
Rose squares
See below
Rose square
Assembly
14 For each of the 138
assorted fabric squares
and six embroidered linen
squares, you need one set of four
framing strips – two 11⁄2 x 31⁄2in
and two 11⁄2 x 51⁄2in strips – all
cut from the same fabric. You
might want to pair squares and
frames that go together in your
eyes before you start sewing,
or just put them in piles and let
them go together randomly as
you wish.
15 Referring to Diagram 1, sew
a 11⁄2 x 31⁄2in strip to the left
and right edges of a centre square
and press the seams outwards.
Then sew a 11⁄2 x 51⁄2in strip to the
top and bottom edges and press
the seams outwards.
16 Repeat Step 15 until you
have made a total of 144
framed square blocks, including
the six embroidered ones. They
should measure 51⁄2in square,
raw edge to raw edge.
17 Work the running-stitch
borders of the six small
embroidered block centres in
Variegated Baby Pink (48) just
inside the seams of the
patchwork frames.
64 Homespun
Design area Thread Stitch
Daisy petals Variegated Baby Pink (48) Backstitch
Daisy centre Medium Shell Grey (452) Satin stitch
Rose petals Variegated Baby Pink (48) Backstitch
Step 17 Step 18
18 The quilt is constructed in
five sections as shown in
the Quilt Layout Diagram. Spend
some time rearranging the blocks
in the layout until you’re happy
with the placement of the colours.
Next, rotate the blocks so that
short frame strips are next to long
frame strips on all sides, as shown
in the photograph, as this will
make it easier to sew and press Diagram 1
the seams.
19 When all the blocks are
arranged and turned
correctly, Leanne recommends
numbering them to make sure
you sew them together in the
correct order. Write numbers
on small pieces of paper and
pin them to the squares.
20 Join the blocks of the
top section into rows,
pressing all the seams of the
odd rows to the left and even
rows to the right so the seams
nest in the next step.
21 Join the first seven rows
together in order and press
the seams downwards.
22 Next, sew the four rows
of seven blocks together,
pressing the seams in alternating
directions as before, and join Quilt Layout Diagram
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www.faeriesinmygarden.com.au

LEANNES’ EFFICIENCY
TIP Try chain piecing your strips when
sewing them to the centre squares. By doing
this, it will save you lots of time and thread.
Getting to know …
LEANNE MILSOM
How did you start your sewing career? I started
out by making my own clothes, then I got married
and had children and loved making clothes for
them. I also sewed my own home furnishings. As
the boys got older, they outgrew the homemade-
clothes phase; it was then I moved onto quilting.
What would you do without sewing? I really
wouldn’t know what to do with myself if I didn’t
66 Homespun
them together. Sew this unit to
the left edge of the embroidered
panel and press the seam
towards the frame strip.
23 Join the four rows of two
blocks together and sew
this unit to the right edge of the
embroidered panel, pressing the
seam towards the frame strip.
24 Sew the top section of the
quilt to the panel with the
embroidered rectangle and press
the seam downwards.
25 Finally, repeat Steps 20-21
to join the last two rows
– each with 12 blocks – together
and add this unit to the bottom
edge to complete the assembly
of the quilt top. Press the final
seams upwards.
Finishing
26 Cut the backing fabric
into two equal lengths,
remove the selvedges, and sew
the pieces side by side. Press
the seam open. The quilt top,
batting and backing are ready
to take to a long-arm quilter
as they are.
27 If you’re doing the quilting
yourself, smooth the
backing fabric on the floor, right
side down, and secure it with
masking tape. Lay the batting on
have sewing to do. It’s become such a big part
of my life. I do love gardening, so I think I’d
probably be pottering outside more.
What are the stitching tools that you simply
couldn’t live without? My sewing machine
is my most important tool. It works just as hard
as I do. I also couldn’t live without my rotary
cutter. I don’t think there is anything much
better than a perfectly cut triangle!
Do you relish the time you spend in your
workroom/studio? I do look forward to the
time I spend in my sewing room. I have a great
routine for any spare time and I can usually
achieve what I set out to do.
What is it that you love about it most?
I always enjoy being surrounded by all my
lovely fabrics and my designs.
What would you like to change about your
work space? I’m a bit of a hoarder, so I guess
you could say that my sewing space is a bit
cluttered. I tend to work on more than one
project at a time, so my work space is very
busy. I’d like it to be a bit tidier.
top, ensuring it is smooth. After
pressing the quilt top, lay it on top
of the batting, right side facing
up. Baste the three layers together
with thread or safety pins.
28 Quilt as desired. Leanne’s
quilt was machine quilted
with a floral all-over design by
Patchworks Plus.
29 Trim the excess batting
and backing fabric 1⁄4in
outside the raw edges of the quilt.
30 Cut the ends of the 21⁄2in
pink stripe binding strips
at a 45-degree angle. Join the
strips end to end to make one
length and press the seams open.
Fold the strip in half, long edges
matching and wrong sides
together, and press.
31 With raw edges together,
stitch the binding to the
edge of the quilt with a 1⁄4in seam,
mitring the corners as you go and
referring to the Binding Diagrams
on page 82 for details.
32 Turn the binding over and
stitch it by hand to the
back of the quilt. Label and date
your quilt.
For contact details for Leanne
Milsom or Patchworks Plus, turn
to the Stockists pages at the back
of the magazine.
How many different crafts do you do? I mainly
focus on doing quilting and stitchery; they’re
my favourite crafts. I also do a little bit of cross
stitch from time to time.
What’s your favourite – and why? Stitchery is
my favourite craft, mostly because I love to have
a hand project on the go. I can take it with me
when I’m out and I can sit and stitch in the
evenings while watching tele. I love to stitch
designs that have been inspired by my garden.
Do you take your stitching with you on
holidays? Yes, because you never know when
you’ll get the chance to stitch. Last year, on
holidays in the USA, I sat by the pool and did
some stitching – it was perfect. Then, of course,
you have those long plane rides; stitching
is great to do to make the time go faster.
Have you got lots of projects waiting to be done?
My list is getting longer by the day. As soon as
I get an idea, I put it down on paper, then, when
the time is right, I start working on it.
If you had one secret sewing wish, what would
it be? I’d wish for more time to sew.
876 Lorimer Street, Port Melbourne 3207
Phone: 03 8671 0000 www.elizabethmachines.com.au
 T
JEC
PRO

05
EDGY ERROL
He’s cool, he’s cocky – and he’s got just
enough swagger to be named after a movie
great. Our modern mouse has ’tude, and
no lesser rodent’s getting a look-in. He’s
earned his yellow and white stripes!

Conception: Charlotte Rion/Photography: Pierre Nicou/Groupe Marie Claire/Picture Media

«The public has always expected me
to be a playboy, and a decent chap
never lets his public down."– Errol Flynn
 T
JEC
PRO
05
Materials
Q Panda Magnum 8 ply
100g balls: one ball each
of Aqua (1007), Inca
Gold (336), White (301),
Fuchsia (381) and a
small amount of Black
(318) for embroidery
Q One pair of 3.00mm
(UK 11) knitting needles
– see Note
Q Fibre fill and wool needle
Body
Make two alike.
Using 3.00mm needles and
Aqua, cast on 22 sts.
Knit 1 row.
Work in stocking st (beg
with a purl row), inc one st
at each end of next 2 rows,
then in every foll alt row
twice ... 30 sts.
Work 13 rows without further
shaping.
Beg stripe patt –
Working in stocking st stripes
of 6 rows Inca Gold and 4
rows White, work 10 rows.
Keeping stripe patt correct,
dec one st at each end of
next row, then in every foll
alt row until 10 sts rem.
Work 1 row. Cast off.
Head
Using 3.00mm needles and
White, cast on 20 sts.
Stitches used: Padded
satin stitch, satin stitch
Finished size:
35cm (14in) approx.
Note: Read all the instructions
before starting the project.
This is an easy skill level
project. Use only the yarns
specified. Other yarns are
likely to produce different
Work 4 rows stocking st,
beg with a knit row.
Beg shaping –
Cast on 5 sts at beg of next
2 rows, then 4 sts at beg of foll
2 rows, then 3 sts at beg of foll
2 rows, then 2 sts at beg of foll
2 rows ... 48 sts.
Inc one st at each end of next
row, then in foll alt row once
... 52 sts.
Work 5 rows.
Dec one st at each end of next
2 rows ... 48 sts.
Divide for upper head –
Next row: Cast off 2 sts, K22
incl st already on right needle
after casting off, turn.
Cont on these 22 sts for right
side of head.
Next row: Purl.
Next row: Cast off 3 sts,
knit to last 2 sts, K2tog ...
18 sts.
Next row: Purl.
results. Quantities are
approximate as they can vary
between knitters. This toy
is worked on smaller needles
than usually recommended
for this yarn. There is no direct
US equivalent for 3.00mm
knitting needles. No tension
is specified as correct tension
is not essential for this toy.
Next row: Cast off 4 sts,
knit to last 2 sts, K2tog.
Next row: P2tog, purl to end.
Cast off rem 12 sts.
With right side facing, join
White to rem sts, knit to end.
Cont on these 24 sts for left
side of head.
Next row: Cast off 2 sts,
purl to end.
Next row: K2tog, knit to
end ... 21 sts.
Next row: Cast off 3 sts,
purl to end.
Next row: K2tog, knit to end.
Next row: Cast off 4 sts,
purl to last 2 sts, P2tog.
Cast off rem 12 sts.
Feet and legs
Make two alike.
Using 3.00mm needles and
White, cast on 24 sts.
Work 8 rows stocking st,
beg with a knit row.
www.homespun.net.au/homespun-patterns
Abbreviations
alt = alternate; beg = begin/
ning; cont = continue; dec
= decrease; foll = following;
inc = increase; K = knit; P
= purl; patt = pattern; psso
= pass slipped st over; rem
= remain/der; rep = repeat;
sl = slip; st/s = stitch/es;
stocking st = knit right side
rows, purl wrong side rows;
tog = together
Beg feet shaping –
1st row: K10, sl 1, K1, psso,
K2tog, knit to end ... 22 sts.
2nd, 4th and 6th rows:
Purl.
3rd row: K9, sl 1, K1, psso,
K2tog, knit to end ... 20 sts.
5th row: K8, sl 1, K1, psso,
K2tog, knit to end ... 18 sts.
7th row: K7, sl 1, K1, psso,
K2tog, knit to end ... 16 sts.
8th row: Purl.
Beg leg –
Change to Aqua for rem.
Work 46 rows in stocking st,
without further shaping.
Cast off.
Hands and arms
Make two alike.
Using 3.00mm needles and
White, cast on 20 sts.
Work 6 rows stocking st beg
with a knit row.
Beg hand shaping –
1st row: K8, sl 1, K1, psso,
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2nd, 4th and 6th rows:
Purl.
3rd row: K7, sl 1, K1, psso,
K2tog, knit to end ... 16 sts.
5th row: K6, sl 1, K1, psso,
K2tog, knit to end ... 14 sts.
7th row: K5, sl 1, K1, psso,
K2tog, knit to end ... 12 sts.
8th row: Purl.
Beg arm and stripe patt –
Work in stocking st stripes
of 6 rows Inca Gold and 4
rows White for rem.
Work 30 rows, without
further shaping.
Beg upper arm shaping –
Keeping stripe patt correct,
dec one st at each end of
next row, then in every foll
alt row until 2 sts rem.
Next row: P2.
Next row: K2tog.
Fasten off.
Inner ears
Make two alike.
Using 3.00mm needles and
Fuchsia, cast on 7 sts.
Knit 1 row.
Inc one st at each end of
next 4 rows, then in foll alt
row once ... 17 sts.
Work 9 rows.
Dec one st at each end
of next row.
Work 1 row.
Dec one st at each end
of next 4 rows.
Cast off rem 7 sts.
Outer ears
Make two alike.
Using White, work as for
Inner Ears.
Join the arms to the
body, noting that the top
of the arm forms part of
the neck. Join the hand
and arm seams, filling
them with fibre fill as you
go. With the sides of the
body together, join the
side seams. Join the legs
to the bottom of the body,
noting that the leg seams
are placed at the back.
Join the underneath of the
foot and leg, filling them
as you go. Stuff the body
and close the opening. Join
the shaped head seam,
leaving the cast-on neck
edge open, and fill the
head with fibre fill. Join the
head to the body. Place
the inner and outer ears
together in pairs and sew
them together around all
the edges. Fold each of the
ears lengthways with the
Fuchsia side facing inwards
and catch the side edges
together at the cast-on
edge. Placing this point
on the head, sew the ears
in position as pictured.
Using Black, embroider
the eyes in padded satin
stitch. Then satin stitch the
nose in Fuchsia as pictured.
For the tail, make a 20cm
(8in) twisted cord using
White. To do this, cut four
lengths of yarn, 65cm (26in)
and refer to the diagram
above. Knot the end and
attach it to the back of the
mouse to finish.

72 Homespun
The Pixie Party Bag
Coloured with pencil and fabric medium, or simply stitched,
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This cute stitchery is available as a pre-printed panel with
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PIXIE PARTY BAG Order and pay online or send your

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 Welcome to my
WORKROOM
Pretty in pink, good and girly and flushed with
flowers might be unmissable first impressions
in SANDRA PAUL’s crafting corner, but make
no mistake – this room is made of sterner stuff,
with its owner’s vigilant eye ever turned
on practicalities. By Susan Hurley

J
ust as she can take balls of
yarn and transform them into
kaleidoscopic masterpieces,
Sandra Paul took an ordinary
ex-council house in Bedfordshire, UK,
and fashioned it into a crafty haven,
dovetailing the necessities of family
living with her aesthetic desires. And
nowhere is her sleight of hand more
apparent than in her studio space, where
she can let her decorative hair down and
really roll into her individual style.
This is, after all, a room for her alone
– where the living needs of her husband
and daughter play second fiddle to her
creativity. And the space is all the richer
for it – a mix of ultra-feminine (Cath
Kidston flowery fabrics and injections
of sugary pink), rainbow riches (multi-
coloured crochet and baskets of colourful
yarns) and practicality (plenty of
shelving, with neat fabric stacks and
floor-to-ceiling boxed storage). It’s the
dream setup for any stitcher.
There was a little bit of cunning-type
craftiness in getting this room to
where Sandra wanted it to be. She
admits to commandeering the spare
bedroom in a passively stealthy way.
“It took a few years of me slowly
spreading and claiming more and
more corners of the room before I got
the whole place to myself,” she says.
“But now it’s my own little sanctuary.”
And having hoodwinked the family
into relinquishing this square-footage

74 Homespun
SANDRA’S CRAFT
CURRICULUM
What she creates: Crochet, knitting
and sewing.
What her starting point was: “It all
just started as a hobby and grew from
there. I began blogging because I’d
enjoyed others and wanted to be part
of that world. Once I started sharing
things on the blog, people asked me
if I’d make my patterns available, so
I thought, why not?”
What her business entails: “It’s about
designing the patterns for me. It’s like
a little puzzle to work out – I’ve had the
idea, now can I turn it into a real thing?”
What her favourite crafts are: “Tough
to answer, because I enjoy them all
for different reasons. Crochet is just
so exciting, and little ideas for new
projects or colour combinations fire
off in my brain while I’m hooking away.
Sewing I love but it takes a little more
thought. Knitting I find much more
relaxing and soothing, so I like that at
the end of the day. If pushed, I’d stick
with that order – crochet, then sewing,
then knitting.”
What she likes to experiment with:
“I’ve never tried free-form versions of
crafts, but I do experiment quite a bit.
One of my favourite things is to just
sit and play with the hook and yarn to
try things out. I also like the idea of
making things that aren’t traditionally
crocheted – things that have been
inspired by knitting or maybe quilting.”
What her motivation is: “It just feels
like such a natural thing for me to do.
I used to always be drawing and making
things when I was a child and so when
I started knitting and getting back
into crafts again as an adult, it felt
like coming home. I love the way you
can make it as simple and relaxing or
as complicated and brain-stretching
as you want. Plus, you can’t beat the
satisfaction you get when you’ve
completed a handmade project.”

Homespun 75
 (the smallest of the home’s bedrooms
– just 2 x 3 metres), Sandra concedes
that she’s still up to her old tricks.
“I tend to spread myself far and wide
about the place. I seem to have yarn
stashed in various places about the
house. There are quite a few things
hanging around in the living room,
because I’ll always craft in there at
some point during the day, and then
a basket with whatever I need travels
around the house with me, too.”
But that, to be fair, is about as
decoratively demonic as Sandra goes.
She was positively saintly when it
came to furnishing the rest of the
house, resisting the temptation to
inflict her feminine ways on spouse
and child. “I had to think about things
that appeal to all of us, so that did
change things a little bit,” she says.
“My husband is very good, though,
and happy to leave it all to me. But,
76 Homespun
still, in the craft room, I could totally
please myself with the styling.”
Being trained in graphic design,
Sandra is all too aware of the need
for appropriate aesthetics and
surrounding yourself with a style that
not only matches your taste but is
conducive to creative output. “I’ve
come to realise that it’s massively
important for me,” she says. “After
my daughter was born and I started
spending more time at home, looking
at the same things day in and day out,
I realised what a difference it made.
Even just tidying away the family
clutter makes me feel so much
better immediately. So having pretty
things around that make me happy
is essential, I think.”
And that essential style is a
wondrous mix of sweetly feminine
and robustly practical. Consider the
movable, tiered Ikea trolley, for
 example – stacked with girly boxes though, which seemed like a good
with floral lids. Or the full-blown-rose idea at the time, as it opened into the
fabric singing against minimalist space and created a big chunk of
white walls. The cane chair that shade. Of course, then winter took
was chosen for comfort alone but hold, and I really wished I had the door
is enriched with granny-square back, so that will need rehanging!”
gorgeousnesss, and the entirely ‘Modern country farmhouse’ is how
practical floor lamp that has been Sandra describes her studio, before
craft-bombed, its stand’s wool remembering that it’s also “fairly
covering colour matching the feminine and girly”. Oh, and then
crocheted potholders above. The floral there’s her other addendum: “… but
storage boxes, all packed with craft with extra freshness and quirky
clutter and neat, neat, neat as a pin. brightness thrown in. And also a bit
A knitting-needle vessel with its own retro. Maybe I ought to just say
crocheted jumper. And on and on, till eclectic … I always seem to be a bit
you get a room that every crafter in of a magpie and take bits from lots
the world would envy. of other styles.” Pretty fine nest-
“I absolutely love it. It’s so great feathering, all up.
to have the desk right next to the
window and have lots of lovely shelves. To find out more about Sandra Paul and
And the chair area looks so inviting. her creativity, visit her Cherry Heart
We did decide to take the door off, website at www.cherryheart.co.uk.
A FEW OF MY
FAVOURITE THINGS
MY ONE BLANK WALL – I really like
the fact that I managed to leave one
blank wall in the room. There’s a small
space, by the side of the chair that’s
clear, apart from one tiny hook. It’s
great to keep changing what I hang
there, and it makes a nice plain
backdrop for photos, too.
THE IKEA TROLLEY – The small aqua
trolley from Ikea is fantastically useful.
It looks really pretty, it stores loads of
stuff and it’s on wheels, so I can move
it round by the desk when I’m sewing
or use it as a laptop stand for podcasts
and then just wheel it back out of the
way afterwards. I love things that are
pretty and practical.
MY PINK NOTICEBOARD – I love it!
Generally, noticeboards are such plain,
dull and ugly things, so I couldn’t
possibly let one go into the craft room
without sprucing it up a bit. And I really
like how this turned out.
THAT LAMPSHADE – The lampshade
on the desk really makes me chuckle.
The pattern on it is raised and has a
furriness to it, so it’s very tactile and
completely reminds me of that ’70s
flock wallpaper that used to be really
popular in Indian restaurants. It’s my
Indian restaurant lampshade!
AND THE HEART-SHAPED PINS –
I bought my wooden, heart-shaped
pins from Amazon. They were quite
expensive but worth it, I think, as they
look so pretty, and I love it when I have
something new I can pin so I can use
another one. They make pinning fun.

Homespun 77
78 Homespun
 PRO
JEC
T
06

,
JONAH S WHALE
Dawn Hay designed this playful quilt for a child
named Jonah. It had to be a whale, of course, but
this spurting, smirking humpback’s not so intent
on swallowing the lad as swaddling him in
a storybook tale of the sea.

Homespun 79
 T
JEC
PRO
06
Materials
Q Nine fat quarters of
assorted green, blue and
grey tone-on-tone print
fabrics (background)
Q 40cm (1⁄2yd) solid white
fabric (background)
Q Fat quarter grey tone-on-
tone print fabric (whale)
Q Fat eighth light blue print
fabric (fish)
Q Fat quarter mustard
tone-on-tone print fabric
(sea grass stalks)
Q 25cm (3⁄8yd) teal tone-
on-tone print fabric
(sea grass leaves)
80 Homespun
Q Scraps of two grey and Q Rotary cutter, ruler and be 100% cotton, pre-washed
one yellow tone-on-tone cutting mat and well ironed. Requirements
print fabrics (whale’s eye Q Sewing machine with are based on fabric 107cm
and splashes, and sun) 1
⁄4in foot (42in) wide. The embroidery
Q 1.7m (17⁄8yd) dark grey Q General sewing supplies is worked with two strands
tone-on-tone print fabric of thread except where noted.
(border) Stitches used: The appliqué method used is
Q 55cm (5⁄8yd) grey stripe Backstitch, blanket stitch fusible-web blanket stitched
print fabric (binding) by hand, but the instructions
Q 3.2m (31⁄2yd) backing Finished size: can be readily adapted to the
fabric 149cm (581⁄2in) square appliqué method of your choice.
Q Batting at least 165cm Instructions are given for using
(65in) square Note: Read all the instructions the printed Pattern Sheet in the
Q Stranded embroidery before starting the project. A magazine, but, as an alternative,
floss to complement seam allowance of 1⁄4in is used you can download the digital
the appliqué fabrics throughout for the piecing. It patterns from www.homespun.
Q Fusible web is recommended that fabrics net.au and print them out.
www.homespun.net.au/homespun-patterns
Background Assembly Diagram
Cutting
1 From each of the nine assorted fat
quarters for the background, cut:
• Two strips, 61⁄2in across the 21in width
of the fabric.
2 From the solid white fabric, cut:
• Two strips, 61⁄2in across the width
of the fabric. Crosscut them to yield
eight squares, 61⁄2in.
3 From the dark grey tone-on-tone
print fabric, cut:
• Four strips, 51⁄2in down the length
of the fabric.
4 From the grey stripe print fabric, cut:
• Seven strips, 21⁄2in across the
width of the fabric (binding).
Assemble the background
5 The background is made from eight
rows of fabric. Each row has two 61⁄2in
strips cut in Step 1 and a 61⁄2in white
square cut in Step 2. The first, third, fifth
and seventh rows have the white square
on the right end of the row; the second,
fourth, sixth and eighth rows have the
white square on the left end of the row.
6 Referring to the photograph and the
Background Assembly Diagram, lay
out your fabrics in eight rows. You will appliqué shapes makes the finished
have a strip of each of two different fabrics
left over. They aren’t used in this project.
Play with the arrangement of the fabrics
quilt less stiff. Even if you decide not
to bother for most of the shapes, it’s
important that you do this for the body
until you have a layout that you like. of the whale, given its size.
7 Sew the strips and square in each
row together. Press. Measure the
length of your rows. They will vary if
11 Select the fabrics for each shape
and fuse the appropriate web shape
to the wrong side of the chosen fabric.
the fat quarters you cut them from were Cut each shape out carefully on the line.
slightly different widths. Trim all the
strips to the same length as the shortest
row, trimming from the end of the strip
12 Remove the backing paper from
the shapes. Position them on the
pieced background, referring to the
that doesn’t have the white square. photographs as a guide. When you’re
8 Sew the rows together. Press. happy with the arrangement, press
the shapes firmly with an iron to fuse
them in place.
Appliqué
9 Trace each appliqué shape from the
Pattern Sheet onto the paper side of
the fusible web, leaving about 1⁄2in
between them. The shapes have been
printed in reverse for your convenience.
10 Cut out the shapes outside the
traced lines and then cut out the
centres of the larger shapes, leaving
about 1⁄4in of fusible web inside the
traced lines. See Diagram 1. Reducing
the amount of fusible web behind the Diagram 1
Homespun 81

Getting to know …
DAWN HAY
You came up with this whale design for a little
boy called Jonah, didn’t you? Yes, a dear friend
had a gorgeous little boy named Jonah, and I
wanted to make him a quilt with a whale on it.
Did it take you long to do the design – and how
did you go about it? I drew a picture of it and
Step 14
13 Work blanket stitch around
all raw edges of the appliqué
shapes using threads to match
or complement your chosen
appliqué fabrics.
14 Use a fine chalk pencil or
fabric-marking pen to copy the
whale’s smile from the Pattern Sheet
onto the appliquéd fabric. Also draw
three straight lines for the rays of the
sun. Work two adjacent lines of
backstitch by hand on these lines in
threads of appropriate colours or do
as Dawn did and embroider them by
machine using a short zigzag stitch.
Binding diagram
Rule a line along the
45-degree fold
Mitring corners
82 Homespun
then let the fabrics ‘talk’ to me to develop the
rest of the design.
Is your work space perfect for your needs?
Yes and no. I would love a more organised studio,
but the room I have works at the moment, and I
can still spread out around the house once my
children are in bed.
Did this quilt work out just the way you wanted
it or are there things you’d change? I wouldn’t
change a thing. I believe things happen for a
reason and quilts become the way they ought
to be. I usually will not quilt a quilt until I’m
happy with it. But I do unpick or change colours
around until it pleases my eye.
Have you always sewn? Yes, for as long as I can
remember. I started quilting at 14, with a hand
sewn Grandmothers Garden quilt. It progressed
to more elaborate designs in my 20s and just
hasn’t stopped. It isn’t an addiction so much
as a therapy!
Is this your full-time occupation? No. My full
time occupation is wife/mother and grandmother
Finishing
15 Measure your quilt vertically
through the centre. Trim two
of the dark grey strips to this length.
Sew them to the left and right edges
of the quilt. Press.
16 Measure your quilt horizontally
through the centre. Trim the
remaining two dark grey strips to this
length. Sew them to the top and bottom
edges of the quilt. Press.
17 Cut the backing fabric in half.
Remove the selvedges and sew
the two pieces together, side by side
with a 1⁄2in seam allowance. Press the
seam open. The quilt top, backing
fabric and batting are now ready to
take to a long-arm quilter.
18 If you’re doing the quilting
yourself, smooth out the backing
fabric on a large table or the floor, right
side down, and secure it with masking
tape. Lay the batting on top, ensuring
it is smooth and free from wrinkles.
After pressing the quilt top, lay it on
top of the batting and baste or pin the
three layers together.
19 Quilt as desired. Dawn quilted
gentle wavy lines by machine
40cm (16in)
– that’s why I mentioned the therapy (see above).
My sewing keeps me sane and my fingers busy.
Would you mind boasting a bit about the
accolades you’ve received for your work?
The kind words from recipients is enough. That
makes my heart sing and dance. And I’ve had
several quilts and quilty items published.
What are you most proud of? My girls’ two
quilts on their beds and the enthusiasm they
show when they are sewing their own quilts.
Does this business keep you very busy?
Yes it can. I quilt for others on my domestic
long arm and I can do two or three a week.
What’s next on the agenda? I want to make
a few girly girl quilts but also finish my hand
pieced Rose Star quilt.
If you could have three sewing/craft wishes,
what would they be?
• To visit the USA and do some workshops
at a craft fair like Paducah or Houston.
• To own a computerised long-arm machine.
• To have a few extra hours a day to sew.
horizontally across her quilt, stitching
over the appliqué shapes. Curves
as shallow as these could be stitched
with a walking foot, making them
an excellent choice if you’re not
confident about free-motion quilting.
20 Trim the excess batting and
backing fabric 1⁄4in outside the
raw edge of the quilt.
21 Cut the ends of the 21⁄2in grey
stripe print strips for the
binding at a 45-degree angle. Join
the strips to make one long length,
trim the seams and press them open.
Fold the long strip in half, wrong sides
together and long edges matching,
and press. With raw edges together,
sew the binding strip to the edge of
the quilt using a 1⁄4in seam, mitring
the corners as you go and referring
to the Binding Diagrams below
for details.
22 Turn the binding over and
stitch it by hand to the back
of the quilt. Label and date your quilt.
For contact details for Dawn Hay, of
Dawn Hay Designs, turn to Stockists
at the back of the magazine.
Join the ends by
matching the fold
line and the drawn
line and sewing
them together. Trim
the seam, press it
open and refold the
binding, then finish
sewing it to the quilt.
 Coleambally Stitch in Time
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 T
JEC
PRO

07

SMELL
THE ROSES
Florist bouquets are assembled with
precision and adorned with flouncy ribbons
and bows. Sue Belleli’s equally glorious bag
of blooms is a patchwork of roses improvised
from upcycled scrap fabrics and trimmed
with handsome ticking.

86 Homespun
Homespun 87
 T
JEC
PRO

07
Materials
Q 40cm (1⁄2yd) ticking
fabric (bag trim and
handles) – see Note
Q Scraps of assorted print
and plain fabrics in
coordinating colours
(front and back bag
panels)
Q 40cm (1⁄2yd) neutral
print fabric (lining)
Q 40cm (1⁄2yd) stripe print
fabric (lining trim and
inside pocket)
Q 50cm (1⁄2yd) cotton
fabric (stabiliser)
Q 50cm (1⁄2yd) thin batting
Q 1.2m (11⁄4yd) of 15mm
(5⁄8in) wide cotton tape
– see Upcycling Tip
and Step 6
Q Rotary cutter, ruler
and mat
Q Sewing machine with
walking foot; free-motion/
darning foot (optional)
– see Steps 9-10
Q General sewing supplies

Finished size: 39 x 33cm

(15 x 13in) plus handles

Note: Read all the instructions

before starting the project.
The main panels of this bag
are made improvisationally and
quilted as you go, so each bag
will be unique, depending on
the size of the fabric pieces you
use and the order in which you
add them. It is recommended
that fabric be 100% cotton,
pre-washed and well ironed.
(Ticking is a heavyweight cotton
fabric, most commonly used for
upholstery.) Requirements are
based on fabrics and batting
107cm (42in) wide. Seam
allowances of 1⁄4in are used for
the patchwork and 1⁄2in are used
from Step 17 onwards for the
Bag front bag construction.

88 Homespun www.homespun.net.au/homespun-patterns
Step 10

SUE’S UPCYCLING TIPS When you buy jelly

rolls, consider saving the cotton tape that’s wrapped around
them. It can be useful for sewing. I used it to line the handles
of this bag, saving me having to buy extra material. For the
stabilising layer of fabric, you can use practically any cotton
at all, because it won’t be seen in the finished bag: calico,
old sheeting, bits left over from other projects and so forth.

Bag back panel

Cutting side down on the table and lay a – the panels are in portrait orientation.)

1 From the ticking fabric, cut:

• Two strips, 31⁄4in across the
width of the fabric and from each
one, crosscut one 31⁄4 x 24in strip
(handle) and one 31⁄4 x 14in strip
(bag top trim)
• One strip, 43⁄4in across the width
of the fabric and crosscut two strips,
43⁄4 x 14in (bag bottom trim).
batting rectangle on top of it. Tack
the two layers together to keep them
from shifting.
8 Choose a feature fabric from your
assortment of fabric scraps – it
can be a rectangle, square or irregular
shape if you wish. Sue chose a rose
print on a green background for her
bag and cut it to 51⁄2 x 7in. Pin the
If you haven’t used a walking foot in
Step 9, attach it to your machine now.
Sew a 1⁄4in seam down the matching
edges through all four layers – the
two patches, the batting and the
underlying stabiliser fabric. (The step
photo shows a different colourway.)
Flip the second patch over onto the
batting, so that it is right side up

2 From the neutral print fabric, cut:

• Two rectangles, 13 x 14in
(lining).
patch of feature fabric right side
up in the middle of the batting;
Sue placed hers a little off-centre.
and quilt it as before.

11 Choose a patch from a third

fabric; it needs to have one

3 From the stripe print fabric, cut:

• Two strips, 5 x 14in (lining trim)
• One rectangle, 71⁄4 x 61⁄2in (inside
pocket).
9 Quilt this patch using
coordinating thread. If you’re
going to quilt in straight lines or
edge as long as the edge/s that you’ll
be joining it to. Place it right side
down over the first two, aligning the
gentle curves, it is recommended edges in a different direction this

4 From the cotton fabric, cut;

• Two rectangles, 16 x 14in
(stabiliser).
that you use a walking foot for the
quilting. Alternatively, attach a free-
motion/darning foot to your machine,
time. Sew along the edge and flip
the third patch over as before. Quilt
again, but this time, perhaps alter the

5 From the batting, cut:

• Two rectangles, 14 x 16in.
and free-motion quilt. Sue quilted
her bag panels with straight lines
direction of the lines to mix things up.

12 Continue adding fabric patches

6 From the cotton tape, cut:

• Two lengths, 24in.
spaced at irregular intervals.

10 Choose a patch from another

fabric. It needs to have one
Bag panels edge at least as long as an edge of
in each direction until the
batting-stabiliser rectangle is covered
to the side edges and with no more
than 2in uncovered at the top and

7 This bag doesn’t have a true front

and back – the photos are labelled
that way merely to distinguish one
from the other. To begin, place one of
the stabiliser fabric rectangles right
the first patch. Lay it face down over
the first patch with one pair of edges
aligned. (If you are working with
directional prints, make sure you
have them all facing the same way
bottom edges. (This doesn’t need
to be exact as the ticking strips will
cover the top and bottom areas.)
Refer to Sue’s ‘Improv’ Piecing Tip
so the patches don’t need to become

Homespun 89
 increasingly larger as you build
outwards from the first one. You
don’t have to work in a set order
while constructing these panels
– it depends on how large your
fabric patches are and the finished
look you want. Refer to Diagram 1
for some ideas. Don’t worry if
some pieces overhang the side
edges – just trim them even with
the edge of the stabiliser fabric
before moving on to Step 13.
13 Measure 21⁄2in down from
the top edge of the panel
and rule a horizontal line right
across it. Measure 21⁄2in up from
the bottom edge and rule a
horizontal line right across it.
14 With right sides together, pin
a 31⁄4 x 14in strip of ticking
to the panel with the upper edge
of the ticking fabric along the ruled
line, as shown in Diagram 2. Sew
a 1⁄4in seam, fold the ticking up and
Diagram 1 press – it should extend about 1⁄4in
above the batting-stabiliser layer.
21⁄2in
15 With right sides together, pin
a 43⁄4 x 14in strip of ticking
so that one long edge lies along the
bottom line on the panel, as shown
in Diagram 3. Sew a 1⁄4in seam and
fold the ticking downwards. Press.
It should extend about 13⁄4in below
the panel.
21⁄2in
Diagram 2 16 Repeat Steps 7-15 to make
a second bag panel.
Assembly
17 Use a 1⁄2in seam for the
remaining steps, except
where otherwise stated. With
Diagram 3
3in
Diagram 4 Diagram 5
90 Homespun
right sides together and the
ticking seams matching, pin
the bag front and back panels
together. Sew the two side seams
and press them open. Sew the
seam across the base of the bag.
18 Pull the front and back
panels apart. Flatten the
side seam so it matches the
bottom seam, forming a triangle.
Sew across 3in from the point,
as shown in Diagram 4. Repeat
with the other bottom corner.
Trim the surplus fabric 1⁄2in from
the stitching.
19 Fold the 3 x 24in handle
strips in half, wrong sides
together and long edges matching,
and press lightly to mark the
centre. Open them out and fold
the raw edges in to the centre
crease, wrong sides together.
Press. Centre a length of cotton
tape along the middle of each
handle strip over the raw edges
and pin. Sew close to both long
edges of the tapes to complete
the handles. See Diagram 5.
20 Turn the bag right side out.
Measure 3in in from each
side seam on the top edge of the
bag and pin mark. With right
sides together and raw edges
level, pin the ends of the handle
strips inside the pins, as shown
in Diagram 6. The handles should
be hanging down the outside of
the bag front and back. After
checking that the handles aren’t
twisted, sew them in place with
1
⁄4in seam allowance.
Available from Spotlight and all leading craft stockist.
Stockist: Spotlight, Independent Patchworking and Craft Stores
Wholesale enquiries: SSS, Kaisercraft, Macs Crafts, Trendy Trims and Flip la K
 and wanted to make something really pretty
that I would actually use. My home is more
contemporary in style, so a cushion wasn’t an
option, hence the bag was born.
Have you always sewn? Absolutely. I received
a toy sewing machine that actually sewed when
I was about eight, and I made dolls’ clothes and
mini quilts for my dolls. My first real sewing
machine was a Bernina for my 18th birthday,
and I still used that until a few years ago, when
I bought my new Bernina QE440.
snapped up, so it encouraged me to design
more. That, to me, is a huge accolade to now
be a ‘designer’. This is my fourth design to
be published, and I have also started selling
some patterns on Etsy.
What are you most proud of? My first-ever quilt.
It’s so badly made compared to how I make a
quilt now, but I love it. I didn’t have a pattern,
just a picture of a quilt I liked on a calendar,
which I used as a guide. I hadn’t heard of rotary
cutters; I just used scissors. My pinwheels did

Getting to know …
SUE BELLELI
Do you make lots of bags? No, I’ve only made
a few. But once I had the hang of the basics,
I decided to try my own style.
What other sorts of projects do you work on?
I mostly make baby and lap quilts, but I also like
to make cushion covers and wallhangings.
What’s your favourite element of this project?
The free-spirited way in which I made it. I had
a lot of fun playing with the placement of the
fabrics. I often start a new project with no real
idea of how it will finish up – that’s half the fun
of designing your own projects.
Did you come up with this design as a means
to use up some leftover fabrics? Yes, I had
some treasured scraps from a recent sampler-
style quilt in the lovely ‘Barefoot Roses’ range
Is this your full-time occupation – if not,
what else do you do? No, this is my part-time
passion, my down time. I work as a new business
manager for a high-performing boutique real
estate agency in Adelaide and often work
evenings and weekends.
How does stitching at home compare with
9-5 in an office? I’m not a big TV watcher, so
a couple of nights a week I lock myself away
and sew, but if I’m watching a movie, I’m still
doing a stitchery or something by hand, like
knitting. When I’m home alone, I like to put on
a nice scented candle, play some music and get
completely lost in my sewing room.
What accolades you have received for your
work? I have not entered any quilt competitions,
so I don’t have any of those accolades to speak
of. But I only started designing a year or so ago,
and the first project I offered to a magazine
(Flying Colours, Homespun April 2014) was
not have points, and my seams were all a bit off.
Does your crafting keep you very busy?
I don’t ever like to sit idle, so, yes, if I’m not
working, babysitting my grandies or walking
my dogs, then I’m sewing.
What’s next on the agenda? More designing.
I’d love to get a Sweet Sixteen quilting machine
so I can make bigger quilts, too. I make them but
send them off to be quilted, as I struggle with
anything too big. I’m having a practice with
feathers and so on, rather than just stipple.
If you could have three sewing/craft wishes,
what would they be?
(1) To have a proper studio to sew in – I’m in
a spare room. It’s lovely but a bit crowded.
(2) To do more designing, and have my own
pattern line.
(3) I’ve always thought it would be nice to have
a pretty little quilt shop (with a tearoom),
somewhere in the country.

3in 3in

1in

Diagram 6 Diagram 7

21 With right sides

together, sew the
striped lining trim strips
to the top edge of the two
lining rectangles using
a 1⁄4in seam allowance.
Press the seams.
will be the top edge of
the pocket.
rectangle so that its top
edge is about 1in below
23 Turn the other long
edge under by 1⁄4in,
press and stitch close to
the seam between the
lining fabric and the
stripe strip you sewed
the fold. Now fold the to it in Step 21. Top
pocket strip in half, right stitch down the sides

22 To make the
pocket, fold under
a 1⁄2in hem on one long
sides together and short
edges matching. Sew the
seam along the raw edge.
and across the bottom,
reversing at the top
edges for strength. This
edge of the pocket See Diagram 7. Turn the creates a pocket with
rectangle. Press. Then pocket right side out and two openings.
fold it under by another
1
⁄2in and press. Stitch
close to the fold. This
press.

24 Pin the pocket

to one lining
25 Repeat Steps 17-18
to assemble the
lining and box the Handle showing tape side

92 Homespun
We’re not just a teddy bear shop! Pay us a
visit and check out our large range of eclectic
patchwork fabric including panels and pre-cut
kits. If you’re looking at branching out we stock
an extensive range of yarn, fur fabric and kits
for your creative needs. Regular classes and
project based workshops led by local, interstate
and internationally recognised artists. Basic
patchwork and crochet classes and bear making
classes suitable for all levels from beginner to
the more advanced. We also stock an extensive
range of soft toys and collectables.

226 Scarborough Beach Road

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P. 08 9201 1011
E. sales@teddytree.com.au
Open. Tues - Fri 9.30am - 5pm,
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www.teddytree.com.au
 corners, but this time,
leave a 3in opening in 27 Turn the bag right
side out through

Quilts, quilts the bottom seam for

turning.

26 With the lining

bag still wrong
the opening in the lining,
finger press the opening
seam and stitch it closed
securely by hand or

and more quilts side facing out, slide the

outer bag inside it. The
lining and the outer bag
machine.

28 Push the lining

should be right sides
Two exhibitions, one location – together and the handles
should be sandwiched
The National Wool Museum between the layers.
Match the side seams,
24 October -13 December 2015 then sew right around
the top edge of the bag,
stitching across the end
of each handle strip
twice for extra strength
and durability.
2012 Expressions Winner - OUT THERE by Carolyn Sullivan
inside the bag and
press it with the lining
rolled slightly to the
inside. Top stitch around
the upper edge of the bag
to finish. Now, can you
stop at one?
For contact details for Sue
Belleli, of Quilted Hugs by
Sue, turn to Stockists at the
back of the magazine.

Art Quilt Australia 2015:

Showcasing the finest contemporary
Australian art quilts. Featuring:
Expressions: The Wool Quilt Prize:
Encouraging excellence and promoting
the use of wool in contemporary art quilt
making.

Australia Wide Four:

Demonstrating the scope and variety of art SUE’S ‘IMPROV’ PIECING TIP You
can join a number of smaller pieces of different fabrics
quilt making within the strict dimensions of
to make a larger one before adding it to the main panels
40cm x 40cm. as this helps to keep the design balanced. Otherwise,
the pieces get larger and larger as you build the design
outwards from the middle.
Presented in partnership with
Ozquilt Network Inc. SUE’S FABRIC-MIXING TIPS Choose
(www.ozquiltnetwork.org.au) two or three fabrics as feature prints and select other
pieces from your stash to coordinate with them in colour
or theme. For this bag, I concentrated on bright pink and
green prints, mainly florals. Pieces can be any size from
26 Moorabool St, Geelong 2in square up, but the feature pieces should at least fat-
eighth size so you can cut a few patches from each one.
T 03 5272 4701
www.nwm.vic.gov.au

94 Homespun
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 T
JEC
PRO

08

SPRING
CAROUSEL
To welcome the warmer weather, with
its brand-new buds and full-blown blooms,
Vicki Knight lavishes her design with stylised
flowers and brightly coloured geometrics.
A seasonal celebration of a quilt!

96 Homespun
Homespun 97
 T
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08

Materials Q 12 lengths of ricrac in Finished size: to your 2 x 42in strips and

Q 2.4m (25⁄8yd) mottled blue assorted colours and 155cm (61in) square trim them to the correct size.
print fabric – see Note widths; each length The appliqué method used is
(sashing and borders) needs to be at least 30cm Finished block size: predominantly fusible web
Q 1.3m (11⁄2yd) yellow spot (3⁄8yd) (flower centres) 6in square with hand blanket stitch,
print fabric (blocks) Q Stranded embroidery but you could adapt it to the
Q Large assortment of fabric cottons to match the Note: Read all the instructions method of your choice. Two
scraps – about 1.5m appliqué fabrics before starting the project. It strands of embroidery cotton
(13⁄4yd) in total (blocks Q Invisible monofilament is recommended that fabrics are used throughout. Seam
and appliqué) thread (optional) – see be 100% cotton, pre-washed allowances of 1⁄4in are used
Q 55cm (5⁄8yd) red print Vicki’s Stem Tip and well ironed. Requirements for the piecing. Instructions
fabric (binding) Q Fusible web are based on fabric 107cm are given for using the printed
Q 3.5m (37⁄8yd) backing Q Thin card (42in) wide. Vicki’s blue print Pattern Sheet in the magazine,
fabric Q Compass and HB pencil fabric was 45in wide, enabling but you can also download
Q Batting at least 175cm Q Rotary cutter, ruler her to cut strips 441⁄2in long for the digital pattern from
(69in) square and mat the first border. If your fabric www.homespun.net.au and
Q 4.5m (5yd) of 1cm (3⁄8in) Q Sewing machine with 1⁄4in, is only 42in wide, cut 2in strips print it out.
wide green ricrac darning and walking feet from leftover fabric at the side
(flower stems) Q General sewing supplies of the large squares, join them

98 Homespun
www.homespun.net.au/homespun-patterns
Preparation and cutting • 13⁄4in (31⁄2in circle) and label it 1a

1 From the mottled blue print

fabric, cut:
• Two squares, 321⁄4in and cut them
once on the diagonal to yield four
large half-square triangles (corner
setting triangles)
• Two strips, 2in x 441⁄2in (first border)
– see Note
• Two strips, 2in x 411⁄2in (first border)
• Five strips, 11⁄2 x 411⁄2in (sashing)
• Five strips, 11⁄2in across the width
of the fabric and crosscut 30 strips,
11⁄2 x 61⁄2in (sashing).
2 From the yellow spot print fabric,
cut:
• 21 strips, 11⁄2in across the width
of the fabric and crosscut 576
squares, 11⁄2in (blocks)
• Six strips, 21⁄2in across the width
of the fabric and crosscut 144
rectangles, 11⁄2 x 21⁄2in (blocks).
• 13⁄8in (23⁄4in circle) and label it 1b
• 11⁄2in (3in circle) and label it 2a
• 11⁄8in (21⁄4in circle) and label it 2b
• 13⁄8in (23⁄4in circle) and label it 3a
• 1in (2in circle) and label it 3b.
8 Cut the six circles out carefully
on the lines. Put circles 1b, 2b
and 3b aside for now.
9 Select several fabrics for the flower
centres. (Vicki used yellows for hers.)
Trace a total of four 1a, eight 2a and
eight 3a circles on the wrong side of
the fabrics. Cut them out on the lines,
Rolling Stone block
keeping them in groups with their
template to identify them.
10 Work a line of running stitch
inside the edge of each circle,
leaving long thread tails – that is,
don’t start or end with a knot or
backstitch.

3 From the large assortment of

scrap fabrics, cut:
• 180 squares, 21⁄2in (blocks)
• 144 rectangles, 11⁄2 x 21⁄2in (blocks).
11 Put a 1a fabric circle, right
side down, on the ironing
board. Centre the 1b circle template
on the wrong side of it, pull the thread
tails to gather the fabric around the

4 From the red print fabric, cut:

• Seven strips, 21⁄2in across the
width of the fabric (binding).
5 Trace a total of 72 large petals,
48 small petals, eight large leaves,
16 medium leaves and 16 small leaves
from the Pattern Sheet onto the paper
side of the fusible web, leaving a little
space between the shapes. If you
trace the petals in sets of six and
the leaves in pairs, it will make it
easier to fuse them to fabrics in
groups for each flower.
template firmly and knot the ends.
See Diagram 1. Press the circle well
from both sides with the template
Steps 17-18
still inside, then flip the template
out. (You might have to loosen the
stitching a little.) Repeat this step
with the other 1a circles. 14 Select five 21⁄2in squares and
four 11⁄2 x 21⁄2in rectangles from
12 Repeat Step 11 using the 2a
fabric circles and 2b template
and the 3a fabric circles and 3b
your assortment of scraps for the first
block. Vicki used a different fabric for
each square and rectangle to
template. You should now have accentuate the scrappy look.
20 flower centres.

Rolling Stone blocks

15 Join a 11⁄2 x 21⁄2in yellow spot
rectangle to each of the

6 Cut the shapes out (in groups if you

wish) and fuse them to the wrong
side of the fabrics you’ve chosen for
the flower petals and leaves – each
flower has six matching petals and
a pair of matching leaves.
13 The following steps are for
constructing one Rolling Stone
block. You can work through all the
steps for each block, or repeat each
step 36 times to construct all the
assorted fabric rectangles along
one long edge and press.
16 Rule a diagonal pencil line
from corner to corner on the
wrong side of 16 11⁄2in yellow spot
print squares.

7 Use the compass to draw circles with

the following radii onto thin card:
blocks in a production-line sequence
if you prefer.
17 Pin marked yellow 11⁄2in squares
to diagonally opposite corners
of a coloured 21⁄2in square, right sides
together, as shown. Stitch on the
drawn lines, trim the seams to 1⁄4in and
press the corner triangles outwards.

18 Repeat Step 17 on the

remaining two corners of
the coloured square to make a
square-in-a-square unit.

19 Repeat Steps 17-18 to make

three more square-in-a-square
units for the corners of the block.
Diagram 1

Homespun 99
 T
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08

Diagram 2
Centre line

Diagram 3

20 Referring to Diagram 2, lay

out the units in three rows of
three with the remaining coloured
24 Sew the assembled rows and
sashing strips together and
press the seams towards the
121⁄2in
10in

10in

21⁄2in square in the centre. Join the sashing. Your quilt should now
51⁄2in

51⁄2in

units in rows, pressing the seams
41⁄4in 41⁄4in 41⁄4in 41⁄4in
of the top and bottom rows in one
Diagram 4 direction and the middle row in the
opposite direction. Then join the
rows, nesting the seams so they
match, and press. Your Rolling Stone
block should measure 61⁄2in square
from raw edge to raw edge.
measure 411⁄2in square from raw
edge to raw edge.
25 Join the 2 x 411⁄2in strips of
blue mottled fabric to the left
and right edges of the centre panel
and press the seams towards the
border. Then sew the 2 x 441⁄2in blue
mottled strips to the top and bottom

21 Make a total of 36 Rolling

Stone blocks.
Centre panel
22 On a large table or a design
wall, lay out the Rolling Stone
blocks in six rows of six. Add a 11⁄2 x
61⁄2in mottled blue print sashing strip
between the blocks in each row. Add
edges and press as before. Your quilt
should now measure 441⁄2in square
from raw edge to raw edge.
Corner triangles
26 From the green ricrac, cut:
• Four lengths, 121⁄2in
• Eight lengths, 10in
• Eight lengths, 51⁄2in (flower stems).

VICKI’S CUTTING TIP

When cutting your fabric, always cut
a 11⁄2 x 411⁄2in sashing strip between
the rows, as shown in Diagram 3.
Move the blocks around until you are
27 Referring to Diagram 4, mark
five points across the long
bias edge of the four corner triangles
the larger pieces first and then cut the
smaller ones from the fabric that is left.
happy with the distribution of colours. for the flower stem positions.
By doing the cutting in this order, you’ll
avoid finding that the fabric you have
left is too small for the big pieces.
23 Join the blocks and short
sashing strips in each row
together. Press the seams towards
28 Pin a 121⁄2in length of green
ricrac at the centre point of a
corner triangle, perpendicular to the
the sashing, then put the rows back bias edge, then pin a 10in length at
in the layout as you go. the marks either side of it, and a

100 Homespun
Hettie’s Patch
Stocking Tilda Fabrics

Patchwork & Quilting

Fabric & Supplies
294 Port Road
HINDMARSH SA 5007
Phone: (08) 8346 0548
hettiespatch.com

Getting to know …
VICKI KNIGHT
Did it take long to come up with this Spring
Carousel design? Spring Carousel is made with
a traditional block called Rolling Stone. This
quilt came about when two friends gave me
some of their scraps. All of my friends know that
I love to make scrap quilts; they are my favourite
kind of quilt. I’m often presented with scraps
to ‘do something with’ and I enjoy the challenge
of designing something around the donated
pieces. I had been toying with the idea of using
the Rolling Stone block in a new quilt because
I like the circular pattern that the pieces make.
When I looked at the scraps in front of me,
I thought, ‘What would the block look like if it
was scrappy?’ I tried making a couple of blocks
51⁄2in length to the outer two positions.
The bottom ends of the ricrac should
be level with the edge of the fabric.
Stitch the five lengths in place by
working tiny stitches down the centre
of the ricrac in matching thread.
29 Repeat Step 28 for the other
three triangles.
30 Pin and sew a corner triangle
to the left and right edges of the
centre panel, matching the centre
points; the end of each length of ricrac
will be caught in this seam. Press.
Then sew the remaining triangles to
the top and bottom edges and press.
Appliqué
31 Cut out the petals and leaves
you prepared in Step 6, keeping
them in sets of matching fabrics. Peel
the backing paper from the shapes
before arranging them on the triangles.
You might like to arrange all the flowers
before fusing them so you can balance
their colours over the quilt.
102 Homespun
and decided that I liked what I had done, so
continued on with no fixed idea in mind. As
with most of my quilts, the design just evolved
as I sewed. I love working that way.
What’s your favourite element of this project?
Apart from the Rolling Stone block, which I have
now added to my list of favourite blocks, I really
love the big, bold flowers in the corners of this
quilt. I like my work to be bright and cheerful,
and I think these flowers are very happy; they
make me smile every time I look at them.
Is your work space perfect for your needs?
I count myself lucky to have a sewing room
that is just mine, except for when my daughters
come home to visit and want to get in there, too.
It’s not perfect, no – it’s a bit on the small side,
which means that I’m constantly walking through
the house to my bedroom, quilt in tow, so that
I can spread my quilt on the bed to see how it’s
coming along. I have a step stool at the end
of the bed that I stand on top of so that I can
see the quilt properly. I must admit that there
would be a little bit more space in my sewing
room if I kept it tidy. I’m working on that!
Have you always sewn? I’ve been sewing
for about as long as I can remember. I have
memories of sewing when I was about four or
five. I know that I would have been this age
because I can picture myself sitting and sewing
in a room that was in the house that we lived
in then. I spent a lot of time when I was a child
making dolls’ clothes. Recently, when I was
attempting to clean out my sewing room, I pulled
out my first sewing machine – a little toy Singer.
I had to turn the handle on the wheel to make it
32 Arrange six large petals at the
top of the centre ricrac stem
to form a flower – the petals overlap
a little at their base – and place a
prepared 1b centre circle over the top
to check that it covers the bottom raw
edges of all the petals. Remove the
centre and press the petals to fuse
them in place.
33 Repeat Step 32 with the large
petals and circle 2b on the 10in
stems. Overlap these petals a little
more than you did in Step 32 so that
the flower ends up being a little
smaller than the centre one. Then
repeat Step 32 with the small petals
and circle 3b on the 51⁄2in stems.
34 Using matching embroidery
cotton, blanket stitch around
the outer edges of all the petals. (The
inner edges will be covered by the
flower centres, so you don’t need to
stitch them.)
35 Peel the backing paper from the
sets of leaves. Arrange the large
sew. It did a chain stitch because it didn’t have
a bobbin. I loved sewing on that little machine.
Is this your full-time occupation? Patchwork
is my hobby, my obsession and my therapy.
I love doing what I do but it isn’t my full-time
occupation. I don’t have a business; I do it
because I enjoy it. I work casually at Statewide
Sewing Centre, in Albury [NSW]. We sell
sewing machines and haby. I’m blessed to have
a husband who is happy for me to follow my
own interests and dreams, even when he can’t
understand why I would want to cut up fabric
just to sew it back together again.
What are some of the accolades you have
received for your work? There really isn’t
anything to tell in regard to accolades. I don’t
enter competitions, so have never won anything.
No-one rich and famous has ever bought one
of my quilts, and I keep a fairly low profile, so
a lot of people who know me don’t even know
that I’m a quilter. About the only thing to say
here is that I’ve had a number of my designs
printed in various magazines.
What are you most proud of? I don’t know
if I have anything that I am proud of, as such.
I have fun making my quilts and I like to think
that other people like what I do. Maybe my pride
comes from being able to give the people I love
a handmade gift.
What’s next on the agenda? Next on the agenda
is more patchwork, more quilting. I’d like to
improve my quilting. I think of myself as a
patchworker, not a quilter. The quilting side is
my least-favourite part. I can see many more
scrap quilts in my future.
leaves on the centre flower stem, the
medium leaves on the 10in stems and
the small leaves on the 51⁄2in stems, as
shown in the photograph. Fuse them in
place and blanket stitch around them
with matching embroidery cotton.
36 Pin a 2b fabric circle over the
centre of the flowers on the 10in
stems and work a line of running
stitch just inside the edges with
contrasting embroidery thread to
appliqué them to the quilt.
37 Pin the 1b fabric centres to the
middle flower and the 3b ones
to the small flowers. Before you sew
them in place, carefully tuck a length
of contrasting ricrac under their outer
edge so one side of the scallops can be
seen; tuck the ends under neatly. Work
a line of running stitch just inside the
edge of the circles through all layers
to secure the centres and the ricrac
trim in place.
38 Complete the remaining
appliqué on the other three
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T
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PRO
08
VICKI’S STEM TIP
I used invisible thread to stitch
the ricrac flower stems in place
to give a neater finish.
VICKI’S TRIANGLE
TIP Handle the large corner
triangles with care. The bias edge is
very long and can stretch out of shape
if not handled gently. Generally, I would
appliqué the flowers and leaves to
a background fabric before attaching
it to the rest of the quilt top, but for
this quilt, I stitched the triangles
to the quilt top first, to prevent the
bias edge from stretching with
the handling needed for appliqué.
A delighful 10 month BOM programm
“Gossip in the Garden”, with paper
piecing and appliqué techniques, han nd
and machine stitching. Includes pape ers,
patterns and fabrics for top and binding.
$29.95 per month plus postage.
29 Blackman Place, Port Lincoln SA 5606 p: 08 8682 3636 e: rubyandkate@me.com
Open Monday to Friday 9:30am-5:00pm, Saturday 9:00am-11:30am
104 Homespun
corners of the quilt as described
in Steps 32-37.
Finishing
39 Cut the backing fabric in two
equal lengths, remove the
selvedges and sew the two pieces
together side by side. Press the seam
open. The quilt top, backing and
batting are ready to take to a long-arm
quilter as they are.
40 If you’re doing the quilting
yourself, smooth out the backing
fabric on the floor with right side down
and secure it with masking tape. Lay
the batting on top, ensuring it is free
of wrinkles. After pressing the quilt top,
lay it, right side up, on top of the batting
and baste the three layers together with
safety pins (or thread if hand quilting).
41 Quilt as desired. Vicki used a
walking foot to quilt in the ditch
either side of the first border. Then,
using a free-motion or darning foot, she
quilted freehand flowers in each Rolling
Stone block linked with diagonal lines
to the other blocks. On the corners, she
free-motion quilted either side of the
me
stems and around all the appliquéd
flowers and leaves. She also quilted an
even smaller flower beside each of the
small flowers and finished with a ribbon
design around the outer edge.
42 When the quilting is complete,
trim the backing fabric and
batting 1⁄4in outside the edge of the
quilt top.
43 Cut the ends of the binding strips
you cut in Step 4 at a 45-degree
angle and join them with diagonal
seams to make one long length. Press
the seams open. Fold the strip in half,
wrong sides together and long edges
matching, and press.
44 With raw edges together,
stitch the binding to the edge
of the quilt with a 1⁄4in seam, mitring
the corners as you go and referring to
the Binding Diagrams on page 82 for
details.
45 Turn the binding over and stitch
it by hand to the back of the
quilt. Label and date your quilt.
For contact details for Vicki Knight, turn
to Stockists at the back of the magazine.
““Gossip
in the
Garden”
G
ze: 681⁄2” x 701⁄2”
Siz
www.rubyandkate.com.au
quilting , embroidery & sewing
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usage/high quantity • Compatible
with 12” wide dies • Cuts many
different materials • Includes
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Shop 16 The
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Village G
Green,
22-24 Kenthurst Road, Dural NSW
Phone: 02 9651 2256
Email: info@anniesdesigns.com.au
www.anniesdesigns.com.au
106 Homespun
 PRO
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09

EDUCATING
Robbie & Rita
Tita Leach went all old school for her
cute brother-and-sister student dolls
– berets and books, tunic and ties,
socks and school shoes. If they don’t
qualify as teacher’s pets, they’ll
skate it in as Tita’s pets!

Homespun 107
 T
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09
Materials
Q 1.65m (1 ⁄4yd) Japanese
3
woven cream cotton fabric
– see Note (doll bodies)
Q 1.5m (15⁄8yd) mottled
mustard fabric (hair)
Q 70cm (3⁄4yd) red and beige
check fabric (girl’s blouse)
Q 70cm (3⁄4yd) red and blue
check fabric (boy’s shirt)
108 Homespun
Q 1m (11⁄8yd) dark blue fabric
– see Note (boy’s trousers)
Q 1m (11⁄8yd) blue print fabric
(girl’s tunic)
Q 25cm (1⁄4yd) red print
fabric (ties)
Q 25cm (1⁄4yd) tan velveteen
(girl’s hat)
Q 25cm (1⁄4yd) tan cotton
fabric (girl’s hat lining)
Q 45cm (1⁄2yd) dark blue felt
(shoes and boy’s hatband)
Q 25cm (1⁄4yd) dark blue
velveteen fabric (boy’s
hat crown)
Q 1.2m (11⁄4yd) caramel felt
(satchels)
Q Fibre fill (1kg/35oz)
Q DMC Perlé Cotton No 12
in Ecru
www.homespun.net.au/homespun-patterns
Q DMC Perlé Cotton No 8:
two balls each of Ecru and
Very Dark Salmon (347)
(girl’s and boy’s socks)
Q Top stitching thread in
dark brown, dark blue
and silver/grey
Q Quilting thread in dark
blue and gold
Q A4 sheets of cardboard
Q Fusible web such as
Vliesofix (satchels)
Q One pair of 2.75mm
(UK 12/US 2) knitting
needles (socks)
Q Long doll needle
Q Four 20mm (3⁄4in) silver
vest buckles (shoes)
Q Two 20mm (3⁄4in) bronze
belt buckles (satchels)
Q 50cm (1⁄2yd) of 12mm
(1⁄2in) white elastic
(boy’s trousers)
Q 12mm (1⁄2in) snap
fasteners: six sets each of
red and grey (blouse/shirt)
Q 2m (21⁄8yd) of 24mm (1in)
wide dark blue ribbon
(girl’s hair)
Q Four 10mm (3⁄8in) two-
holed cream buttons
(arm attachment)
Q Two 17mm (5⁄8in)
mustard flower buttons
(hat emblems)
Q Two 15mm (5⁄8in) dark red
heart buttons (mouths)
Q Four 10mm (3⁄8in) dark
brown four-holed
buttons (eyes)
Q Four petite glass beads
in brown (noses)
Q Four 11mm (3⁄8in) black
press studs (girl’s tunic)
Q Two 15mm (5⁄8in) black
press studs (satchels)
Q Two sets of 20mm (3⁄4in)
silver brace clips
Q 1m (11⁄8yd) of 25mm (1in)
wide dark blue grosgrain
ribbon (boy’s braces)
Q Compass
Q Rotary cutter, ruler
and mat
Q Sewing machine
Q General sewing supplies
Finished sizes:
90cm (36in) high
Note: Read all the instructions
before starting the project.
Materials and cutting
instructions are given for
both dolls; their bodies, faces,
socks, shoes, shirt/blouse,
emblems, ties and satchels are
constructed the same way, so
repeat the instructions to make
two. Requirements are based
on felt 90cm (36in) wide and
all other fabrics 107cm (42in)
wide. Tita used Japanese woven
cotton for the bodies for its
strength, but any cream cotton
fabric can be substituted. The
wrong side of the dark blue
trouser fabric is seen when
the cuffs are folded up – Tita’s
fabric is the same on both sides.
Unless stated otherwise, a seam
allowance of 10mm (3⁄8in) is used
throughout and is included in
all the patterns. Transfer all
the pattern markings to the
fabric pieces.

Read this first The patterns for this project couldn’t be accommodated on our Pattern Sheet due to their size so, for this project only,
readers of the print issue of the magazine will need to download the digital patterns from www.homespun.net.au and print them out. These patterns
are available in two places: Web Projects (no registration required) and in Patterns where all the digital patterns are. Cut them out and join the parts
that are on different pages together. If you can’t access the digital patterns, contact us and printed patterns will be mailed to you.

The extra special touch

Tita has gone to extraordinary detail to
• Two bodies
• Four arms
• Four legs.
7 From the blue print fabric, cut:
• Four bodices
• Two rectangles, 22 x 28in (girl’s
create her two dolls. We’ve streamlined the
instructions a little here in the interests
of space, but if you’d like to give your dolls
3 From the mottled mustard
fabric, cut:
• Two strips, 19in across the width
tunic).

8 From the red print fabric, cut:

• Four ties.
ears and underwear – the girl’s bloomers
even have a pocket in them! – you can find
the supplementary instructions with the
patterns on the Homespun website,
of the fabric (girl’s hair).
• Three rectangles, 5 x 26in (boy’s hair). 9 From the tan velveteen, cut:
• Six girl’s hat shapes

at www.homespun.net.au. 4 Fold the red and beige check

fabric in half, selvedges matching.
Pin the paper patterns to it and cut:
• One rectangle, 3 x 16in (girl’s hat).

10 From the tan cotton fabric, cut:

• Six hat shapes (girl’s hat
• One shirt back on the fold lining)
Preparation and cutting • One shirt front • One large circle using the pattern

1 In addition to the patterns printed

out from the Homespun website,
• One sleeve
• One collar
you prepared in Step 1 (boy’s hat
emblem).
use the compass (or a tape measure
and suitable glasses/plates) to prepare
the following paper patterns:
• Two small circles using the
pattern you prepared in Step 1
(hat emblems).
11 From the dark blue felt, cut:
• Eight shoe uppers
• Four shoe soles
• One large circle, 2in radius/4in
diameter (Suffolk puff for hat emblem)
• One medium circle, 13⁄4in radius/
5 Repeat Step 4 to cut all the same
shapes except the small circles
from the red and blue check fabric.
• Four shoe straps
• One rectangle, 3 x 15in (boy’s
hatband).
31⁄2in diameter (girl’s hat puff button)
• One small circle, 11⁄2in radius/3in
diameter (Suffolk puff for hat emblem)
6 Fold the dark blue fabric in half,
selvedges matching and cut:
• Two trouser shapes (boy’s trousers
12 From the dark blue
velveteen fabric, cut:
• One medium circle using the pattern
• Two concentric circles with radii of and lining) from Step 1 (girl’s hat puff button)
21⁄8in and 33⁄4in/41⁄4in and 71⁄2in • One rectangle, 31⁄2 x 231⁄2in • Two extra-large circles using the
diameters (boy’s hat). (trouser waistband) pattern you prepared in Step 1 for the

2 Fold the cream cotton fabric in half,

selvedges matching. Pin the paper
patterns to it and cut:
• One large circle using the
pattern you prepared in Step 1
(girl’s hat emblem).
boy’s hat. Then remove the pattern
from the fabric, cut out the centre
circle from the pattern, keeping the

Homespun 109
 Diagram 1 Diagram 2

outer ring intact. Pin the ring to one of
the fabric circles and cut out the inner
circle; you will have one full circle of
fabric and one ring of fabric (boy’s hat).
Turn under a 1⁄2in hem on the opening
and press.
17 With right sides together, sew
the arms and legs together in
into the arm, through the upper body
and repeat the sequence on the other
arm. Go back and forth through the
arms, buttons and body three times,

13 Cut the caramel felt in half

down the length to yield two
rectangles approximately 18 x 45in.
Cover the wrong side of one rectangle
with fusible web. Peel the backing
paper off the fusible web, lay the
rectangle on top of the other one and
fuse the layers together to make
a thicker fabric. From it, cut:
• Two satchel back/flap shapes
• Two satchel front shapes
• Two buckle straps
• Two gusset strips, 11⁄2 x 153⁄4in
• Two shoulder straps, 11⁄4 x 161⁄2in
(satchels).
pairs, leaving openings as indicated.
Clip the seam allowances at the inner
curves and turn them right sides out.
pulling the thread firmly without
distorting the body, and fasten it
off securely under one arm.
18 Lightly mark the finger
separation lines on each hand
using the pattern as a guide. Machine
Hair and faces
Girl’s hair
stitch on the lines and secure the ends
of the stitching. Stuff the fingers first,
then stuff the arms to the elbow joints.
24 Referring to Diagram 2, lightly
mark the hairline/part on the
front and back of the head. Measure
19 Sew a double row of small
running stitches across the joint
line in Ecru Perlé 12 thread. Pull up
the distance from the seam along one
of the lines over the head and back
round to the starting point. The
the stitching firmly to gather the distance on Tita’s dolls was about
elbow and secure the thread well. 12in.

14 Trace four inner sole shapes

on to cardboard and cut them
20
closed.
Stuff the upper arms firmly.
Ladder stitch the opening 25 Fold one of the rectangles of
mottled mustard fabric in half,
selvedges matching. Use a rotary cutter
out on the line.

Doll body construction

21 Stuff the feet and lower legs
firmly, repeat Step 19 to make
the knee joints, then stuff the upper
to cut every 1in across the fabric to 11⁄2in
from the fold, as shown in Diagram 3.
Repeat for the second rectangle.

15 With right sides together, match

two body shapes and sew
around the edge, leaving the opening
where marked. Clip the seam
allowances at the inner curves and
press the seams open.
legs to within 3⁄4in of the top. Roll the
fabric between your fingers to move
the seams to the centre front and back
of the leg; they should now lie one on
top of the other. Machine sew across
the leg, 1⁄2in from the top edge, to
26 Using gold quilting thread and
leaving tails at both ends, sew
two lines of running stitch, 1⁄4in apart,
near the fold of each rectangle. Pull up
both threads to gather the hair so the
folded edge matches your measurement

16 Turn the body right side out

and stuff it firmly with fibre fill.
secure the filling.

22 Insert the legs in the lower body

opening and ladder stitch both
from Step 24 and tie the ends together.

27 Pin the fold of one hair

sides of the legs to the body. Insert
11⁄2in
more filling as you go so the body is
firm and add further stitching to
completely close the opening.
rectangle on the left line on the
head, with the strands of ‘hair’ lying
over the right half of the head. Use
doubled gold quilting thread to stitch
it in place along the line. Flip the hair

23 Cut a 2m (80in) length of Ecru

Perlé 8 Cotton, thread it in the
doll needle and knot the ends together
so it’s doubled. Check that the arms
and fingers are facing the right way
before attaching the arms. Referring
to Diagram 1, insert the needle on the
inside of one arm and come out the
Diagram 3 other side. Go through a button, back
over so that it lies over the left half
of the head, covering the stitching.
Repeat to sew the other hair rectangle
on the other line.
28 The hair can be cut to the
desired length and styled as you
wish or in two bunches, as Tita did. Cut
the dark blue ribbon in half and use one
length to tie each bunch with a bow.

110 Homespun
 DMC Mouliné Stranded Cotton
D
T most widely used thread, appreciated by millions of stitchers
The
throughout the world! It is made from the best long staple cotton in
the world, and is mercerised twice to give it exceptional sheen.
Comprised of 6 easily separable strands, you can vary your stitching
C
results, depending on the number of strands used.
DMC Cotton Floss is 100% colorfast and can be washed on a
D
frequent basis, without causing the color to fade. Made in France.
Visit our website to download your
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your
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ph: +61 2 8046 4100 fx: +61 2 8046 4199 email: cservice@leutenegger.com.au web: www.leutenegger.com.au
 31 Pin the folded edges along the
three lines in turn and sew
them in place as for the girl’s hair.
Trim to the desired length.

Faces

32 Mark the positions of the eyes,

nose and mouth. Using doubled
matching thread, sew the dark red
heart button in place for the mouth,
two four-holed dark brown buttons
in place for the eyes and two brown
petite beads in place for the nostrils.
Girl’s face
Shoes and socks
Boy’s hair Socks

29 Fold each of the three mottled

mustard rectangles in half to
measure 5 x 13in. Cut the hair strips
towards the fold as you did in Step 25,
but this time cut every 1⁄2in. Use gold
quilting thread to sew two rows of
running stitch near each folded edge.
33 Using 2.75mm knitting
needles and the Ecru or Very
Dark Salmon (347) Perlé 8 Cotton,
cast on 40 stitches, leaving a 16in
tail of thread. Knit 124 rows of
garter stitch (all rows knit) and then
24 rows of rib (knit one, purl one).

30 Referring to Diagram 4, measure

the three hairline placements at
the top of the forehead and across the
back of the head. Gather the rectangles
to match these measurements and
secure the gathers.
Cast off very loosely and leave an
18in tail of thread.
34 Fold the knitted piece in half
lengthwise and pin the edges
together. Using the tail from the rib
cast-off edge, backstitch the two
edges together. Use the cast-on tail
to gather up the toe of the sock and
secure it well.

35 Make the other sock the same

way and put them on the doll
with the seams at the back of the
legs/soles.
Shoes

36 Match two upper shapes and

pin them together. Machine
stitch with a 1⁄4in seam allowance
from G to H and I to J. Finger press
the seams open.

37 Fold the sole in half lengthwise

and lightly crease the centre
front and back. Pin the sole to the
Boy in his underwear (the underpants instructions
are available on the Homespun website)
Girl’s shoes and socks

TITA’S NEATENING TIP I used French seams

for the tunic so there were no raw edges inside it. To do this,
first sew a very narrow seam with WRONG sides together.
Then, with RIGHT sides together, sew the same seam a
second time with a slightly wider seam allowance. You finish
with a very neat seam that’s in keeping with the traditional
feel of these dolls. Raw edges can also be finished with
zigzag stitch or overlocking to prevent fraying.

Diagram 4

112 Homespun
 T
JEC
PRO

09

upper, matching the creases at the
centre front and back points to the
front and heel seams. Machine or
hand stitch this seam with a 1⁄4in
Shirt/blouse the shoulder seam. Stitch, clip the
42 With right sides together, join
the fronts to the back at the
shoulders and press the seams open.
curves and press.

47 With right sides facing, pin the

seam allowance. Turn the shoe right
side out.
side and sleeve seams together,
43 Match the two collar pieces,
right sides together, and stitch
matching the underarm seams and
ends. Stitch, clip the seam at the

38 Insert a cardboard inner sole

in the shoe. Fold under 1⁄4in
hem around the foot opening and
around the outer curve and straight
ends, leaving the inner curve open.
Clip the points and curved edge and
underarm and press.

48 Turn under a 1⁄4in hem at the

bottom of the sleeves and stitch
sew it in place with small running turn the collar right side out. Press. it in place. Then turn under a 3in hem
stitches in matching thread.

39 Use the pattern as a guide

to mark the buckle position
and sew the centre bar in place
with matching top-stitching thread.
44 Sew a very narrow hem down
both shirt front edges to neaten
them. Fold the front facings back on
and press. Fold the doubled end of the
sleeves to the outside for 11⁄4in to form
false cuffs and sew 1⁄4in from the
the marked fold line, right sides bottom folds.

40 Referring to the pattern,

position the buckle strap
on the shoe, turning it under at
the marked fold line. Lift the strap
up and sew the fold to the shoe,
then fold the strap over the stitching
and thread it through the buckle
to finish.
together. Machine stitch 3⁄8in from the
top edges, trim the points and turn
the facings right side out. Press the
facings in place along the fold lines.
45 Pin one open side of the collar
to the neck edge between the
facings, right sides together, and
stitch it in place. Clip the seam
allowance. Turn under 3⁄8in on the
49 Turn under a very narrow hem
at the bottom edge of the shirt
and machine stitch it in place. Then
press under a 1in hem. Fold the front
facings to the outside at the fold lines
and stitch across them, 1in up from
the bottom (level with the hem fold).
Turn the facing the right way out so
the bottom corner is enclosed. Stitch

41 Repeat Steps 36-40 to make

a second shoe, ensuring that
other collar edge, pin the fold over the
previous seam and slip stitch in place.
around the 1in hem of the shirt.

50 For the girl’s blouse, mark the

you put the buckle and strap on the
correct side to make a left and right
shoe. Fit the shoes on the doll’s feet
over the socks.
46 With right sides facing, pin
the top of the sleeves to the
armholes of the shirt, matching the
five snap placements on both
fronts. Following the manufacturer’s
instructions, fit five red snap fronts on
notches and with the sleeve dot at the right blouse front and five red snap

114 Homespun
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 bases on the blouse left front to
correspond. For the boy’s shirt,
reverse the placement of the grey
snaps so it closes left over right.

51 Put the blouse or shirt on the

doll and fasten the snaps.

Girl’s tunic

52 Match two bodice shapes,

right sides together, and join
the side seams from K to L. Turn it
right side out. Repeat with the other
two shapes (lining) but this time
don’t turn it right side out.

53 Slip the outer bodice inside

the lining so that they’re right
sides together. Pin around the
armholes and square neckline.
Stitch, leaving the top of the shoulder
straps and lower edges of the bodice
open. Clip the curves and into the
corners and turn the bodice right
side out.

54 Fold the ends of the shoulder

straps in by 3⁄8in and ladder
stitch them closed. Press well.
Overlap the front and back straps by
1
⁄2in and sew the 11mm (3⁄8in) black
press studs in place accordingly.
Boy’s trousers
58 Match the trouser shapes, right
sides together and sew from A
63 For the cuffs, turn 1⁄2in to the
outside and press. Then turn
1in to the outside and press again.
to B on both sides. Then pin the inner Slip stitch invisibly along the fold lines

55 Match the 22 x 28in skirt

rectangles right sides together
and sew both shorter edges. Press.
Sew two rows of gathering stitches
1
⁄4in and 3⁄8in from the top edge,
leaving long tails.
leg/crotch seams together, matching
the centre seams, and stitch from C to
to keep the cuffs in place. Put the
trousers on the boy doll.
B and around to D in one seam. Turn
the trousers right side out. Repeat
with the trouser linings, but don’t
64 For the braces, cut the navy
grosgrain ribbon into two equal
lengths. Thread the ends through the
turn them right side out. two front bars of the brace clips and

56 Gather the tunic skirt evenly

to fit the bottom edge of the
bodice. With right sides together and
59 Put the lining inside the
trousers, wrong sides together
and seams and edges matching.
pull 1in of ribbon through. Sew them
in place by hand with matching
quilting cotton.
side seams matching, sew the skirt
and outer bodice together with a 1⁄2in
Machine stitch 1⁄4in from the waist and
leg hem edges through both layers. 65 Referring to Diagram 5, and
with the right side of the clips
seam. Fold under a 1⁄2in hem on the
bodice lining edge and slip stitch
it over the previous seam.
60 Join the short ends of the 31⁄2
x 231⁄2in waistband with a 1⁄2in
seam and press it open. Fold the
facing up, cross the two braces 91⁄2in
from the clips. Sew around the
intersection with quilting thread.

57 1
For the skirt hem, turn under
and press 1⁄2in and then another
1 ⁄4in. Machine stitch the hem in
waistband in half, wrong sides
together and long edges matching,
and press.
66 Clip the brace clips to the front
of the trousers about 11⁄4in each
side of the centre seam. Take the
place. Put the tunic on the girl doll.
61 Pin one raw edge of the
waistband to the outer trousers,
right sides together, and stitch with a
brace ends up the chest and cross to
the back of the doll, thread the ends
through the remaining brace clips
1
⁄2in seam. Fold a 1⁄2in hem on the other and adjust for length. Sew the ends
edge of the waistband, turn it inside in place and clip the back brace clips
and slip stitch it to cover the previous to the trousers about 2in each side
seam, leaving a small opening to of the centre seam.
in
9⁄
1 2

2
9 ⁄1
in

insert the elastic.

62 Cut a 151⁄2in length of 1⁄2in
elastic and thread it through
the waistband casing. Overlap the
ends by 3⁄4in, sew them together
Diagram 5 and slip stitch the opening closed.
Ties
67 With right together, sew the
two shapes for a tie together,
leaving an opening towards the
narrow end for turning. Trim the

116 Homespun

Getting to know …
TITA LEACH
How did you come up with the idea of
schoolchildren dolls? I’ve always enjoyed
designing and making dolls, but it’s been quite
a while since I made any. It was good to have a
break from quilts. I’ve been a Special Education
teacher for 43 years, so making schoolchildren
dolls came pretty naturally.
Diagram 6
corners, turn it right side out and press.
Ladder stitch the opening closed.
68 Put the tie on the doll, tie it and
fold the collar over the top.
Hats
Girl’s hat
69 Stitching only to the marked
points at the top, join the six
hat shapes together, right sides facing.
Repeat with the six hat lining shapes.
70 Using the 31⁄2in dark blue
circle you cut in Step 12,
make a Suffolk Puff, as shown in
Diagram 6. Use the thread ends to
sew it, smooth side up, over the
intersection at the top of the outer hat.
118 Homespun
Did you style them on your own school days?
Partly. Knickers were baggy. We didn’t have
uniforms until secondary/high school. These
are based on private-school uniforms – gymslips,
long trousers, ties and hats. I’ve used a little
poetic licence along the way, though.
You were raised and educated in England,
weren’t you? Yes, from three to five, I went to
a little preparatory school, which still exists. From
five to 11 years old, I was at the village school, next
to the vicarage. And then from 11 to 18, I attended
an extremely innovative Secondary Modern.
Do you think much has changed since then?
Yes. In the early ’50s, the village was much more
isolated. Now, it’s all cars, traffic, electronics,
decent plumbing. In my day, we had wonderful
playgrounds, seasonal games, conkers, marbles,
cat’s cradle, ice slides, two balls, etc. We had
school lunches that were disgusting (no lunch
boxes or drink bottles or sandwiches). We had
a healthy fear/respect for our elders. We had
carbolic soap. The cane was still in effect.
We had sewing and knitting lessons. And we
enjoyed more freedom than children today.
What’s your favourite sort of project to work on?
Anything. Currently, I’m knitting and crocheting as
new little family members are born. As long as it
involves my hands and being creative, it can include
gardening, cooking, painting, drawing, stitching,
knitting, embroidery, design. No limitations.
Boy’s hat emblem
71 Join the short ends of the 3 x 16in
hatband with a 1⁄4in seam and
press it open. Divide the hatband into
six equal sections and mark with pins.
72 Put the lining inside the outer
hat, wrong sides together and
seams matching, and pin. Sew two
rows of gathering stitches through
both layers close to the raw edges.
Gather the hat to fit the hatband.
73 Stitch one side of the hatband
to the hat, matching the pins
with the seams of the hat. Turn under
3
⁄8in on the other edge of the hatband
and sew the folded edge over the
previous seam. Sew two rows of
parallel running stitch around the
What’s the next project you’re planning?
I have six new quilts to design in the coming
weeks. They are in my head, but I need to put
them down on paper and then to take that
next step and actually make them!
What sort of projects do you like to take on
holidays with you, if any? Usually something
small or nothing at all. A holiday is just that.
I take my sketchbook and draw up designs.
Usually, I do knitting or crochet when I am
a passenger in a car, bus or plane.
If you had all the time in the world, what
percentage of it would be taken up with
stitching? Probably 50% of my waking hours.
This is what I currently do. I can’t just sit and
relax – fingers, hands and brain won’t let me.
Are you still participating in craft tours? Yes
– just off to the USA for a quilting tour. And I’m
also hoping to get to Japan soon.
Where’s the next one taking you? USA. Coast
to coast, north to south and all quilting in
between. Museums, quilt shows and shops.
What’s your idea of the perfect crafting
weekend? I run a retreat in July. We have
Christmas dinner, secret Santa gifts and
stitching from 8am-11pm and beyond. We all
share and enjoy each other’s company, jokes
and projects. Bed doesn’t have to be made,
no cooking, no washing up. Sharing of wine
and nibbles over healthy gossips.
hatband with matching quilting
thread.
Boy’s hat
74 With right sides facing, sew the
outer edge of the hat and ring
together. Clip the seam allowance.
Sew a line of gathering stitch around
the edge of the inner ring.
75 With right sides facing, join the
short ends of the 3 x 15in
hatband with a 1⁄2in seam to make
a circle. Press open. Fold the band in
half, wrong sides together and long
edges matching and press.
76 Pull up the gathering stitches
from Step 74 to fit the hatband.
Pin both layers of the hatband to the
 Colourful
Cotton Socks

Life’s too short for

matching socks!
Each sock in the pair is similar
... but a little different.
Each sock is finished off by hand.

Love to Stitch? Be random, be colourful,

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MY MENAGERIE
Block of the Mon
th hat and machine stitch. the seams and clip the
9 blocks mailed
Push the seam up into curves. Turn the satchel
to you monthly
the hat. right side out.
Hat emblem

77 Make two Suffolk

puffs from the
circles you cut in Steps
4, 6 and/or 10. Use the
tails to join a smaller one
to a larger one with the
openings facing up.
81 Pin the ends of
the handle to the
top of the gusset and
machine stitch them in
place over the previous
lines of stitching.
82 Position the front
strap on the flap.

78 Position the
emblem on the
centre of the hat. Put the
Machine stitch the top
end over the previous
line of stitching at the
flower button on top and top of the back and
sew it in place securely machine stitch down
through all the layers, each side, leaving the
TOYTIME CIRCUS including the button, last 1in free. Thread
Block of the Month using matching quilting the pointed end
8 blocks mailed thread. through the top of the
y monthly
to you buckle from the back,
Satchel poke the prong through

79 Machine stitch
1
⁄4in from the edge
of all the satchel
the felt, then thread the
end through the other
side of the buckle to the
components to ensure back.
the felt layers stay
together and to give a
decorative finish.
83 To fasten the flap,
sew a 15mm (5⁄8in)
press stud to the
Machine stitch the two underside of the flap
lines across the back/flap behind the strap and to
intersection. the satchel front.
differ slightly to the
designers original
80 Pin the gusset
strip to the back For contact details for Tita
lilylane.com.au
26 28 Prince St
26-28 St, Rosedale
Rose VIC 3847 P: 03 5199 2777 E: jennifer@lilylane.com.au
and stitch them Leach, of Rickerty Raggs,
www.
www
together. Repeat this turn to Stockists at the back
step for the front. Trim of the magazine.

120 Homespun
 Mastering the Mini - Wholecloth that Is!
by Lisa Calle
Mastering the Mini, Wholecloth That Is provides a full 90 minute course to
help you develep the techniques Lisa has used to create numerous award-
winning quilts. With a design method intended for both longarm and
domestic machines, this tutorial is suitable for confident beginners, as well as
intermediate and expert quilters. Includes bonus features!
t
Feathering & stippling
t
An interview with Lisa
t
A gallery of Lisa’s quilts

More DVD’s by Lisa...

Price: $AU44.00 plus postage
Both are $40- PP

Join up to receive our free e-newsletter on the website to be kept informed of new products and arrivals immediately!
Contact: Tracey Browning | RSD 1028, Kadina SA 5555 | Ph/Fax: (08) 8825 6214 | E: sales@constantinequilts.com

www.constantinequilts.com

We have a high tea service, Patchwork and

Quilting classes, Fabric and Haberdashery, Knitting
and Crochet classes, Wool and Needles etc,
Australian Made gifts, Children’s clothes,
Children’s toys and gifts, Ceramics and Glassware.

‘Sunnyside’ House
186-188 Princes Highway, Beverley Park NSW 2217
Ph. (02) 9553 7457 www.ameliakates.com.au

/Amelia Kates @ amelia_kates

 NEW BOM
y
Garden Tea Party
Enjoy the
pleasure of teaa
party as you
stitch togetherr
different block k
Woodland patterns of

Park
tea pots. The
PATCHWORK & blocks have
NEEDLECRAFT “Woodland Park” is a beautiful a teapot borderr
c
children’s fabric range designed with real
by Christine Sharp and
Rachael Wright from Kids ‘teabag’ design
Quilts. Five patterns, from and flowers and d
wall hangings to bed quilts, vine complete
have been designed to
accompany the fabric. the quilt final
‘Goodnight Owl’. ‘Nuts borders.
About You’ and ‘Woodland
Park’ are three of the patterns
rranging in price from $15-$30. $44.95 for
Kits are available for each
6 months,
of the designs and details free postage.
can be found on our
website. Fabric is $23/m.

For further information contact: Cath and Pat Guilfoyle

Guilfoyle,
Onpoint Patchwork & Needlecraft, 61a Station St, Waratah NSW 2298
Telephone: 02 4968 0094 Email: shop@onpointpatch.com.au 108 Murray Street, Gawler SA 5118 | Phone/fax: (08) 8522 3246
www.onpointpatckworkandneedlecraft.com Email: sales@kornacraft.com.au | www.kornacraft.com.au

382 Warburton Hwy,

Wandin North VIC 3139
p: (03) 5964 3592
e: sales@cccpatchwork.com.au
www.cccpatchwork.com.au

Stocking a large range of accessories.

Awards in Excellent Service and Support.
HANDI We run a Handi quilter day once every month, to go through
QUILTER techniques, new products and answer your questions.
We also offer customer support 6 days a week in store
DEALER and online training via email and online via cam.
Another cute idea!
A NEW ANGLE ON QUILT DESIGN
Janine Green, from Rainbow Hare, had a brainwave, and we think it’s
a beauty – the one that didn’t get away! She was admiring a friend’s
Drunkard’s-Path quilt and suddenly saw that DP blocks would make
perfect fish shapes. This whimsical quilt design is the result of her
crafty thinking. She added the little figure in the boat just for
fun and to finish off the quilt she was making for her son, who
lives by the sea. You can see more of Janine’s designs by
visiting www.rainbowhare.com or www.etsy.com/uk/
shop/RainbowHare?ref=hdr_shop_menu. Or email
her at rainbowhare@gmail.com.

Homespun 123
 CK
BLOTHE
OF NTH
MO

PART 9
CHINA SHOP
And now to the hero of the piece
– Kaffe Fassett’s abundantly beautiful
central panel of full-blown blooms in a
floral vase, framed by coordinates and
backed with blue-and-white spots. Kathy
Doughty and the designers at Material
Obsession left this focal-point block till
last, to make a celebration of all your
stitching. (Next month is their final
BOM instalment, instructing you on
assembly, quilting and finishing.)

124 Homespun
Homespun 125
 CK
BLOTHE
OF NTH
MO
This Block of the Month project
is being published over 10
issues of Homespun, from
February to November, 2015.
The materials required to make
the complete quilt were
published in February’s issue.
Order back issues from our
subscriptions department or
log onto Zinio or the Apple/
Google Play newsstands to
get them digitally.
Materials
Q Spot in Sky (PWGP070)
fabric (block background)
Q Guinea Flower in Grey
(PWGP059) fabric
remaining from Part 4
(left frame)
Q Antwerp in Soft
(PWGP139) fabric
remaining from Part 4
(tabletop)
Q Lazy Daisy in Blue
(PWBM044) fabric
remaining from
Part 4 (vase)
Q Large assortment of
flower motifs from any
of the remaining fabrics
(flowers)
Q White quilter’s muslin
Q Lightweight fusible
batting such as Pellon
Q Variegated machine-
sewing thread
Q Soluble thread (optional)
Q Flat-head flower pins
Q Quilting gloves
Q Sharp sewing-machine
needle
Q Sewing machine with
darning or free-motion
foot – see Note
Q General sewing supplies
as before
Note: The appliqué method
used for the flowers is raw-edge
free-motion machine stitching.
If it’s a new technique for you,
practise on a smaller sample
piece until you’re comfortable
with the process. Refer to
the photograph as a guide to
selecting motifs for the flowers:
our designers cut several of
the most dramatic ones from
Brassica in Pastel fabric – not
flowers at all! If possible, use
an open-toe or transparent
darning foot for maximum
visibility of the free-motion
appliqué.

1 7 13 26 32

14 19 22
2 8 27 33

3 9 15 23 28 34

4 10 29 35
16 20 24

5 11 17 30 36

6 12 18 21 25 31 37

Quilt Layout Diagram

Preparation and cutting

1 Trace the vase F shape from the
Pattern Sheet onto the matt side of the
freezer paper and cut it out on the line.
3 From the Spot in Sky fabric, cut:
• One square, 24in (background).
of the fabric and crosscut one rectangle,
61⁄2 x 301⁄2in (left side frame).
4 From the Antwerp in Soft
fabric, cut: Background assembly

2 Fuse the freezer-paper template,

shiny side down, on the right side of
the Lazy Daisy in Blue fabric and draw
• One strip, 61⁄2in across the width
of the fabric and crosscut one
rectangle, 61⁄2 x 301⁄2in (tabletop).
6 On the wrong side of the Spot in Sky
background square, mark a pencil
dot 1⁄4in in from the bottom left corner.
around it with the chalk pencil. Cut it
out by eye 1⁄4in outside the drawn line
and remove the freezer paper.
5 From the Guinea Flower in
Grey fabric, cut:
• One strip, 61⁄2in across the width
It should be 1⁄4in up from the bottom
edge and 1⁄4in in from the left edge and
is used for the mitred corner. Turn the

126 Homespun
fabric over and mark it lightly on the
front as well if it’s not visible.
7 With right sides together, pin the
Guinea Flower strip to the left edge
of the background square with the strip
level with the top edge and extending
below the bottom edge. Working with
the Spot in Sky square on top, stitch
the strip in place, stopping at the
marked dot. Don’t trim the surplus
fabric at this stage.
8 Repeat Step 6 to sew the Antwerp
strip to the bottom edge of the Spot
in Sky square with the surplus
extending past the left edge; again,
stop at the marked dot.
9 Lay the square, wrong side up on the
table with the two strips lying flat on
top of each other at one corner. Position
a long quilter’s ruler diagonally across
the square from the top right corner to
the bottom left exactly at the dot. Use a
sharp pencil to rule a line that continues
from the diagonal across the overlapping
ends, as shown in Diagram 1. Rearrange
the strips so the other one is lying on top
and draw the diagonal line on it too.
These lines should be on the wrong side
of both strips.
10 With right sides together, pin the
strips together with the two ruled
lines matching exactly and sew along
the line. Check the other side for
accuracy and open it out to ensure the
mitred border lies flat. If no unpicking
and re-sewing is needed, trim the
surplus strips 1⁄4in from the stitching,
as shown in Diagram 2. Press the seam
open as you press the strips outwards
to complete the background.
Appliqué
11 Finger press the seam allowance
to the wrong side around the
edge of the vase, including the bottom
edge this time. Ensure this edge is
straight. Working from the centre
outwards, pin the vase to the
background with the bottom edge
of the vase about halfway down the
tabletop strip. (This is the only vase
base that isn’t included in the
sashing seams.)
12 Needleturn appliqué the vase
in place around all the edges.
13 Iron the square of lightweight
fusible batting to the wrong side
of the background. Cover it with the
Diagram 1
square of quilter’s muslin on the back
and pin the three layers together with
flat-headed flower pins. You are now
ready to place your flowers.
14 From the various scraps of
cabbage- and floral-print fabrics,
fussy cut large flower motifs, as well as
some part flowers – you’ll need at least
20. Refer to the photograph as a guide.
15 Arrange the flowers in the vase
to make a pleasing display. Note
that they overlap each other and extend
onto the left border/frame. Use a variety
of large- and small-scale motifs, light
and dark values and warm and cool
colours for the best effect. To check the
arrangement, look through a camera
lens or view the panel in a mirror for
a different perspective.
16 When you’re happy with the
arrangement, pin the pieces
in place with flat-headed flower
pins, or refer to the Basting Tip for
another method.
17 Attach the darning foot to your
machine and drop (or cover) the
feed dogs for free-machining. Refer to
your sewing-machine manual if needed.
d l
fo
Diagram 2
Thread variegated machine-sewing
thread in the top of the machine and
white or light-coloured thread in the
bobbin. Make sure you’ve fitted a new,
sharp needle to your machine.
18 Starting in the middle of the
flower arrangement, lower and
raise the needle once manually and use
the top thread to pull the bobbin thread
to the top before starting to stitch. A
short distance from this point, sew
a few stitches together to anchor and
trim the thread ends so they don’t get
caught in the stitching. Avoid sewing
over pins if you can.
19 Put on the quilting gloves to give
you more grip and control. Place
your hands flat on either side of the
immediate area you’re working on
that’s centred under the needle. Start
sewing at a medium pace and slowly
move the fabric under the needle to
‘draw’ with the stitches. Unless you
have a stitch regulator, the stitch length
is determined by the combination of
how quickly you move the fabric with
your hands and how fast the needle
goes up and down – you’re aiming for
fairly even stitch length, but this takes
some practice. Think of the line like
colouring in or doodling and use the
flower motifs themselves as guides –
follow the outlines of petals, add veins
inside larger petals and fill in the
centres with little circles perhaps. Also
ensure that you sew just inside all the
edges of the shapes to secure them
in place and don’t make the stitching
too dense in any one area.
20 Continue some of the lines of
stitching over the vase surface
and out onto the borders, following
Homespun 127
 Step 19

the design lines on the fabrics, so the

three layers are connected beyond the
flowers. Set the block aside until Part 10.

For contact details for Kaffe Fassett,

Kathy Doughty and Material Obsession,
turn to the Stockists pages at the
back of the magazine.

OUR FABRICS:
This quilt contains a variety of large,
splashy floral prints and is made
entirely from Kaffe Fassett
Collective fabric for Westminster,
distributed in Australia by XLN
Fabrics, chosen by Kaffe Fassett and
the Material Obsession design team.

Back view of free-motion stitching

BASTING TIP Another method
to stabilise the flowers and vase for
machine appliqué is machine basting.
Set your sewing machine for the longest
stitch length and put soluble thread in
either the bobbin or top of the machine
(as recommended by the manufacturer).
Machine stitch rows of stitching 2in apart
in both directions to make a grid through
all three layers. When you’ve finished all
the appliqué, refer to the manufacturer’s
instructions for the removal method. Usually
a very light spray of water is sufficient to
dissolve the thread, so don’t sneeze or use
this method in very high humidity.
FREE-MOTION TIPS While
stitching, remember that posture is important.
Try to keep your shoulders relaxed and your
eyes on the fabric more than the needle.
Think about where you are going next while
stitching the design. There’s some hand-foot-
eye coordination needed for this technique
but a bit of practice makes a difference, even
if you’re experienced but haven’t used the
technique recently. If the needle is going too
fast, set the machine speed a bit slower (if
your machine has this facility) or ease up on
the foot pedal. You’re aiming for a comfortable
machine speed for the kind of detailed hand
movements you’re doing so you achieve
a fairly consistent and appropriate stitch
length and smooth, rather than jagged, lines.

128 Homespun
 Join Michelle Marvig on one or more
of these fabulous Quilting Tours

France and the Visit Venice, sail on the 4-star

Eurodam to Dubrovnik, Kotor,

Mediterranean Kerkira, Naples, Rome, Livorno,

Monte Carlo, Barcelona, Avignon.
September 1 to 19, 2016

Visit tempting quilt shops, wonderful

museums and see spectacular scenery
while enjoying the comfort
of your cruise ship.
Extension to the
European Patchwork Meeting
at St Marie aux Mines.
September 17 to 22, 2016

Girls Craft Retreat to Girls Craft Retreat to

Vietnam Bali
visiting
Hoi An 6 nights,
Hanoi 2 nights visiting
and a cruise in Legian 3 nights
Halong Bay and Ubud
2 nights. 6 nights.

February 27 to March 9, 2016 July 14 to 23, 2016

Michelle Marvig will instruct tour members on projects, which include acrylic templates.

LAST CHANCE to book on the Quilting Tour to Japan – November 3 to 20, 2015

Travelrite International Toll

Free 1800 630 343
E: michelle@travelrite.com.au www.travelrite.com.au
ATAS accreditation #A10538
 HOMESPUN PROUDLY PRESENTS

CHINA SHOP
2015 NEW BLOCK OF THE MONTH
CREATED BY KAFFE FASSETT & KATHY DOU
GHTY

Fabric distributed
by XLN Fabrics
02 9621 3066
www.xln.com.au
 AVAILABLE IN COMPLETE KITS
CONTACT A STOCKIST CLOSEST TO YOU.
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Camden Cushlas Village Fabrics
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Need another time - Call 08 8632 3172 or 0417 826 418 or phone 08 8285 4709

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 NEW 2016 diary
when you subscribe
DESIGNER DO’S AND DON’TS FROM THE
WORLD’S TOP STITCHERS

MARCH
FABRIC COLO
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134 Homespun
 6 7
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Phone: 1800 227 072
Email: tmenquiries@tailormadecabinets.com.au
Website: www.tailormadecabinets.com.au
11
CRAFT DEPOT
MARVEL ANT MAN FABRIC RANGE
Fans of Marvel will enjoy this latest addition
to Marvel Heroes. Beautifully detailed
100 per cent cotton and busting with
energy – a must for every super-hero fan!
Phone: (02) 9980 8966
Website: www.craftdepot.com.au
LLOYD CURZON TEXTILES
SHIMMER BY NORTHCOTT STUDIO
A great selection of basics to add
to your stash, Shimmer has a range
of colours to suit any project
colourway or style.
Phone: (08) 8362 2451
Email: admin@lcurzon.com.au
Website: www.lcurzon.com.au
9 10
KORNACRAFT
SEWING CENTRE
ON TRACK CUT AND SEW PILLOWS
A set of six small, bright and colourful
cushions by Jill McDonald for P&B Textiles.
The panel is $15 or panel with backing
fabric $30. Free postage within Australia.
Phone: (08) 8522 3246
Email: sales@kornacraft.com.au
Website: www.kornacraft.com.au
12
BROTHER AUSTRALIA
INNOV-IS NQ3500D
The Innov-is NQ3500D computerised sewing
and embroidery machine is ideal for hobbyists
of all skill levels. Includes 290 built-in sewing
stitches, large workspace and embroidery area.
Phone: 1300 880 297
Email: brothermarketing@brother.com.au
Website: www.brother.com.au
8
PFAFF
PASSPORT BY PFAFF
An ideal compact and portable machine,
the Pfaff Passport 2.0 is the perfect machine
to take to your classes or retreats.
Lightweight, it has over 70 stitches.
Phone: (02) 4337 3737
Email: australia.info@blessingtongroup.com.au
Website: www.pfaff.com\au
CYNTHIA’S ARK
ALWAYS THE SEASON BY FAYE BURGOS
Now in stock at Cynthia’s Ark,
this range is available by the metre
for $24, or you can browse the fabric
bundles on our website.
Phone: (08) 8527 2120
Email: sales@cynthiasark.com.au
Website: www.cynthiasark.com.au
13
MY PATCH FABRICS
FABRIC COLLECTION AND RAINBOW CLUBS
Each month we send you a funky tin full
of a brand-new fabric range or colourway.
This is the perfect way to build up your stash,
and it comes in a new tin each month.
Phone: 0432 517 663
Email: sew@mypatchfabrics.coma.au
Website: www.mypatchfabrics.com.au
Homespun 135
 14 15 16

THE TEDDY TREE AMELIA KATES CLOVER

UNBRIDLED QUILT KITS
From Wilmington Prints, a quilt
for all the horse-lovers out there.
Kit includes all fabrics for quilt top
and binding for $65 plus p&h.
Phone: (08) 9201 1011
Email: sales@teddytree.com.au
Website: www.teddytree.com.au
HEIRLOOM WOOL
Great range of Heirloom wool & colours available.
We stock Heirloom cotton, merino magic, merino
fleck, bamboo/wool, baby wool and patterns.
We also run knitting and crochet classes.
Phone: (02) 9553 7457
Email: sales@ameliakates.com.au
Website: www.ameliakates.com.au
MAGNET PIN CADDY
Gathers and stores pins safely, allowing for
easy pick up, while securing pins in one
direction. Cover included for safe storage
and available in purple, green and pink.
Phone: +81 6 6978 2220
Email: info@clover-mfg.com
Website: www.clover-mfg.com

17 18 19

LILY LANE QUILTING CRAFT DEPOT HANDIQUILTER

JANOME MEMORY
EMORY CRAFT 11000SE SPECIAL
SPECIA EDITION
DREAMTIME FABRIC SEWING AND EMBROIDERY MACHINE HANDIQUILTER INFINITY 26

Stunning colours and designs of
Aboriginal art and Australian animals
and birds. Precut strips available
as Dreamtime Rolls.
Phone: (03) 5199 2777
Email: jennifer@lilylane.com.au
Website: www.lilylane.com.au
Includes the AcuFil Quilting System,
the AcuFil hoop and template, providing
quilting possibilities you’ve never seen
in an embroidery machine. Available for
a special price of $3,999 (RRP $8,999).
Phone: (02) 9980 8966
Website: www.craftdepot.com.au
No other machine is as innovative, powerful,
and feature-rich as the HQ Infinity 26. Whether
you quilt for yourself or others, this machine is
adaptable, intelligent, creative and strong.
Phone: (02) 4337 3737
Email: info@handiquilter.com.au
Website: www.handiquilter.com.au

20 21

RUBY & KATE BROTHER AUSTRALIA

TILDA SPRING LAKE QUILT KIT INNOV-IS NV1800Q

Featuring Tilda’s new Spring Lake range, kit

includes all fabrics for top and binding plus The Innov-is NV1800Q computerised sewing and quilting machine includes
pattern. Approximate size 64in square. $115 290 built-in stitches, Automatic Height Adjuster, large workspace and a range of accessories,
plus p&h, available in store or online. including the wide table for quilting. See your Brother dealer for more information.

Phone: (08) 8682 3636

Email: rubyandkate@me.com Phone: 1300 880 297 Email: brothermarketing@brother.com.au
Website: www.rubyandkate.com.au Website: www.brother.com.au

136 Homespun
THIS MONTH’S
DESIGNERS’ CONTACTS
PROJECT 1: PLAYFUL PUPPIES
Cori Blunt
Chitter Chatter Designs
Phone: +1 801 768 2634
Website: ia Kates 186-188 Princes
www.chitterchatterdesigns.com ighway, Beverley Park,
Email: cori@chitterchatterdesigns.com NSW, 2217. Ph: (02) 9553 7457,
email: sales@ameliakates.com.au,
PROJECT 2: DISHY BIRD website: www.ameliakates.com.
Bobbie Watts
BW Textile Designs
Email: rawatts@internode.on.net
Annie’s Designs The Village
Green, Shop 16/22-24 Kenthurst
Road, Dural, NSW 2158.
Ph: (02) 9651 2256, email: info@
PROJECT 3: BOBBLED DAZZLERS anniesdesigns.com.au, website:
Sue Pinner www.anniesdesigns.com.au.
Susan Pinner Granny Squares Ashford Wheels & Looms
Email: susanpinner@hotmail.com Ph: 1800 653 397, website:
www.ashford.co.nz/yarn.
PROJECT 4: WHISPERED BEAUTY Asia Discovery Tours
Leanne Milsom Suite 1302, Level 13, 370 Pitt
Email: lp.milsom@bigpond.com Street, Sydney, NSW 2000.
Blog: www.lizzie-the-quilter. Ph: (02) 9267 7699, website:
blogspot.com asiadiscoverytours.com.au.
PROJECT 6: JONAH’S WHALE
Australian Country Spinners
Toll Free: 1800 337 032,
ph: (03) 9380 3888, website:
Dawn Hay www.auspinners.com.au.
B
As Sweet as Cinnamon elleli, Sue
Email: dawnhaydesigns@gmail.com – see box at left.
Blog: dawnhaydesigns.blogspot.com Bernina Australia
(Contact address only) Unit 10,
PROJECT 7: SMELL THE ROSES 15 Carrington Road, Castle Hill,
Sue Belleli NSW 2154. Ph: 1800 237 646
Quilted Hugs by Sue or (02) 9899 1188,
Email: sbelleli@bigpond.net.au, email: bernina@bernina.com.au,
sueb@harrispm.com.au website: www.bernina.com.au.
Birch Haberdashery & Craft
PROJECT 8: SPRING CAROUSEL Ph: (03) 9450 8900,
Vicki Knight website: www.birchhaby.com.au.
Email: vickilorraine@hotmail.com
PROJECT 9: EDUCATING
Black Possum Fabrics Shop 1,
197 Myall Street, Tea Gardens,
NSW 2324. Ph: (02) 4997 0866,
ROBBIE & RITA email: blackpossumfabrics@
Tita Leach bigpond.com, website:
Rickerty Raggs
PO Box 916
www.blackpossumfabrics.com.
Blessington Unit 23, 13 Gibbens
Road, West Gosford, NSW 2250.
Wahroonga NSW 2076
Email: tita_leach@yahoo.com.au Ph: (02) 4337 3737, email:
info@blessingtongroup.com.au.
BLOCK OF THE MONTH: Blunt, Cori – see box at left.
Brother Australia Ph: 1300 880
CHINA SHOP
Kaffe Fassett
www.kaffefassett.com
297, website: www.brother.com.au.
C harles Parsons & Co
See Craft Project – Charles
Parsons & Co.
Kathy Doughty Clover Mfg Co., Ltd
Material Obsession Ph: +81 6 6978 2220,
72 Roseby Street email: info@clover-mfg.com,
Drummoyne NSW 2047 website: www.clover-mfg.com.
Ph: (02) 9819 6455 Coleambally Stitch In Time
Email: info@materialobsession.com.au 13 Brolga Place Coleambally
Website: www.materialobsession. NSW 2707. Ph: (02) 6954 4242.
com.au Constantine Quilts
Blog: www.materialobsession.
typepad.com
RSD 1028, Agery via Kadina
SA 5555. Ph: (08) 8825 6214,
email: constantinequilt@internode.
on.net, website: www.
constantinequilts.com.
Country Dawn Quilting &
Patchwork 38 Reyburn House
Lane, Town Basin, Whangarei,
Northland, New Zealand.
Ph: +64 9 438 4856, email:
shop@countrydawnquilting.com,
website: www.countrydawn
quilting.com.
Country Hart Designs
13 Alexander Street, Port Pirie
SA 5540. Ph: (08) 8632 3172,
mobile: 0417 826 418, email:
robyn@countryhart.com.au,
website: www.countryhart.com.au.
CraftAlive 185 Moray Street,
South Melbourne, Vic 3205.
Ph: (03) 9682 5133, email:
info@craftalive.com.au,
website: www.craftalive.com.au.
Craft Depot 2 Railway Street,
Pennant Hills, NSW 2120.
Ph: (02) 9980 8966, email:
mailorders@craftdepot.com.au,
website: www.craftdepot.com.au.
Craft Project – Charles
Parsons & Co Ph: (toll free)
1300 364 422, email: info@
craftproject.com.au, website:
www.craftproject.com.au.
Cynthia’s Ark Email: sales@
cynthiasark.com.au, website:
www.cynthiasark.com.au.
D ewdrop Inn Patchwork
& Craft Shop 2/123 Boat
Harbour Drive, Pialba, Hervey Bay,
Qld 4655. Ph: (07) 4124 9320,
email: sales@dewdropinn.com.au,
website: www.dewdropinn.com.au.
Doughty, Kathy – see box at left.
Dragonfly Fabrics Shop 2-3,
53 Alawa Crescent, Alawa NT
0810. Ph: (08) 8948 0691,
email: dragonfabric@bigpond.com,
website: www.dragonfabric.com.au.
E chidna Sewing Products
Head office Brisbane: 56
Neumann Road, Capalaba Qld 4157.
Ph: (07) 3390 3600, email: sales@
echidnaclub.com.au, website:
www.echidnaclub.com.au
(Townsville store: Ph: (07) 4740 4512,
email: rhonda@echidnaclub.com.au).
Elizabeth Sewing Machines
Melbourne branch: 876 Lorimer
Street, Port Melbourne, Vic 3207.
Ph: (03) 8671 0000, email:
melinfo@elizabethmachines.com.au.
Sydney Branch: 5/165 Rookwood
Road, Yagoona, NSW 2199.
Ph: (02) 9708 5019, email:
sydinfo@elizabethmachines.com.au,
website: www.elizabethmachines.
com.au.
F aeries in My Garden
70 Park Parade, Shorncliffe,
Qld 4017. Ph: (07) 3869 0808,
email: shopatfaeries@
bigpond.com, website:
www.faeriesinmygarden.com.au.
Fassett, Kaffe – see box at left.
Fiskars Australia 39-41 Fennel
Street, Port Melbourne, Vic 3207.
Ph: (03) 8645 2400, email:
Australia@fiskars.com.
Flip la` K PO Box 44, Stroud NSW
2425. Ph: (02) 4992 1631 or 0428 556
688, website: www.fliplak.com.
H ay, Dawn
– see box at left.
Heights Sewing Centre
(Geelong Store)176 Pakington
Street, Geelong West, Vic 3218,
(Werribee Store) 1/63 Synnot Street,
Werribee, Vic 3030. Ph: (Geelong)
(03) 5229 3558, (Werribee)
(03) 8742 6238, email: info@
heightsewing.com.au, website:
www.heightsewing.com.au.
Hettie’s Patch 294 Port Road,
Hindmarsh, SA 5007. Ph: (08) 8346
0548, email: hetties@bigpond.net.au,
website: www.hettiespatch.com.
Husqvarna Viking Sewing
Machines Locked Bag 40,
Gosford NSW 2250.
Ph: (02) 4337 3737, email: info@
blessingtongroup.com.au, website:
www.husqvarnaviking.com/au.
J anome PO Box 1383,
Moorabbin, Vic 3189.Ph: Toll-free
1300 JANOME; Vic (03) 8586 3100;
NSW (02) 9624 1822; WA
(08) 9248 6689; Qld (07) 3256 3477;
SA (08) 8356 7700,
website: www.janome.com.au.
JJ’s Crafts 243 Gloucester Street,
Greenmeadows, Napier, North
Island, New Zealand. Ph: +64 6 844
0680, email: info@jjscrafts.co.nz,
website: jjscrafts.co.nz.
K
night, Vicki
– see box at left.
Kornacraft Sewing Centre
108 Murray Street, Gawler,
SA 5118. Ph: (08) 8522 3246,
email: sales@kornacraft.com.au,
website: www.kornacraft.com.au.
L each, Tita
– see box at left.
Homespun 137
 Leutenegger Level 2, 68-72 
Waterloo Road, Macquarie Park,
NSW 2113, PO Box 1445, Macquarie
Park, NSW 2113. Ph: (02) 8046 4100,
email: cservice@leutenegger.com.au,
website: www.leutenegger.com.au.
Lily Lane 26 Prince Street,
Rosedale Vic 3847.
Ph: (03) 5199 2777,
email: jennifer@lilylane.com.au,
website: www.lilylane.com.au.
Lloyd Curzon Textiles
61 King William Street, Kent Town
SA 5067. Ph: (08) 8362 2451,
fax: (08) 8363 3029,
email: admin@lcurzon.com.au,
website: www.lcurzon.com.au.
Lyn’s Fine Needlework
Unit 2, 9 Seven Hills Road,
Baulkham Hills, NSW 2153.
Ph: (02) 9686 2325, email:
lynsneedlework@aol.com, website:
www.lynsfineneedlework.com.au.
M acs Crafts Wholesalers
and Distributors Unit 6,
30-32 Foundry Road, Seven Hills,
NSW 2147. Ph: (02) 8824 1111, email:
mailorders@macscrafts.com.au.
Material Obsession 72 Roseby
Street, Drummoyne, NSW 2047.
Ph: (02) 9819 6455, email: info@
materialobsession.com.au, website:
www.materialobsession.com.au.
Milsom, Leanne
– see box on page 137.
My Patch Fabrics
42 Wason Street, Milton, NSW 2538.
Ph: (02) 4455 4087, email: sew@
mypatchfabrics.com.au, website:
www.mypatchfabrics.com.au.
NEXT MONTH
DON’T MISS NEXT
MONTH’S IDEAS FEAST
Q QUILTS FROM TOP DESIGNERS
Irene Blanck’s medallion floral (shown),
Jemima Flendt’s modern hearts, Katrina
Hadjimichael’s classic charmer
Q Delicate dandelion embroidery
Q Felt & bamboo bag
Q ‘Symphony of Life’ wallhanging
… and lots more!
NOVEMBER HOMESPUN – ON SALE NOVEMBER 5
138 Homespun
N ational Wool Museum
26 Moorabool Street, Geelong,
Vic 3220. Ph: (03) 5272 4701,
website: nwm.vic.gov.au.
O npoint Patchwork &
Needlecraft 61a Station
Street, Waratah, NSW 2298.
Ph: (02) 4968 0094, email:
shop@onpointpatch.com.au,
website: www.onpointpatchwork
andneedlecraft.com.
P assionately Sewn
Email: passionatelysewn@
gmail.com, website: www.
passionatelysewn.com.au.
Patchwork on Parade
13 Harbour Drive, Gulfview
Heights, SA 5096.
Ph: (08) 8285 4709, email: quilting
@patchworkonparade.com.au,
website: www.patchworkonparade.
com.au.
Patchworks Plus Ph: (03) 6382 3999,
website: patchworksplus.com.au.
Pfaff Sewing Machines
Ph: (02) 4337 3737, email:
info@blessingtongroup.com.au,
website: www.pfaff.com/au.
Pinner, Sue
– see box on page 137.
R ainbow Patchwork
75 Union Street,
South Lismore, NSW 2480.
Ph: (02) 6622 3003. Email:
inforainbowpatchwork.com.au,
website: www.rainbowpatchwork.
com.au.
ruby & kate 29 Blackman Place,
Port Lincoln, South Australia,
5606. Ph: (08) 8682 3636, email:
rubyandkate@me.com, website:
www.rubyandkate.com.au.
S ew Many Stitches Shop 4,
Level 2, 147 Queen Street,
Campbelltown, NSW 2560.
Ph: (02) 4628 4437, email:
sewstitches@bigpond.com.
Singer (Contact address only) Unit
17/167 Prospect Highway, Seven
Hills NSW 2147. Ph: (02) 9620 5922,
email: info@singerco.com.au,
website: www.singerco.com.au.
Smee Designs (Postal address
only) 40 Larnook Crescent,
Aspendale, Vic 3195. Email:
smeedesigns@optusnet.com.au,
website: www.smeedesigns.com.
SSS Sewing & Craft Supplies
Ph: 1300 888 778, website:
www.sewingcraft.com.
Stitches from the Bush
Email: stitchesfromthebush@
bigpond.com, website: www.
stitchesfromthebush.com.au.
T he Country Yard
229 Mangakahia Road,
Maungatapere, Northland, New
Zealand. Ph: +64 9 434 6748, email:
kerryn@thecountryyard.co.nz,
website: www.thecountryyard.co.nz.
The Crewel Gobelin 9 Marian
Street, Killara, NSW 2071. Ph:
(02) 9498 6831, email: enquiries@
thecrewelgobelin.com.au, website:
www.thecrewelgobelin.com.au.
The Patchwork Angel 343 Mons
Road, Forest Glen, Qld 4556.
Ph: (07) 5477 0700, email: info@
patchworkangel.com.au, website:
www.patchworkangel.com.au.
The Patchwork Box PO Box 226,
Bowral NSW 2576. Ph: (02) 4861
2517, email: sales@patchworkbox.
com.au, website: www.
patchworkbox.com.au.
The Quilters Shack 24 Quay
Street, Bundaberg, Qld 4670.
Ph: (07) 4154 4486, email: girls@
thequiltersshack.com, website:
www.thequiltersshack.com.
The Stitcher’s Cupboard
4A/20 Argyle Street, Camden, NSW.
Ph: (02) 4655 8348, email: sales@the
stitcherscupboard.com.au, website:
thestitcherscupboard.com.au.
The Teddy Tree 226 Scarborough
Beach Road, Mt Hawthorn, WA
6016. Ph: (08) 9201 1011,
email: sales@teddytree.com.au,
website: www.teddytree.com.au.
Travelrite International Pty Ltd
Toll free: 1800 630 343, outside
Australia: +61 3 9836 2522, email:
michelle@travelrite.com.au,
website: www.travelrite.com.au.
V SM Australia See Husqvarna
Viking Sewing Machines or
Pfaff Sewing Machines.
W atts, Bobbie
– see box on page 137.
X LN Fabrics Unit 2, 21 Binney
Road, Kings Park NSW 2148,
Ph: (02) 9621 3066, email: info@xln.
com.au, website: www.xln.com.au.
Y arra Valley Quilt Yarn
& Sew 382 Warburton
Highway, Wandin North, Vic 3139.
Ph: (03) 5964 3592, email: sales@
cccpatchwork.com.au, website:
www.cccpatchwork.com.au.
Background fabric: Northcott ‘Whoo Loves You’ 6941-52 in Cheery Brights. Distributed by Lloyd Curzon Textiles.
BERNINA 720

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The all new BERNINA 720 featuring

• BERNINA Hook with 5.5 mm stitch width
• Extended Freearm for big projects
• Total Stitch Control
• BERNINA Adaptive Thread Tension
• And many other features to make your sewing dreams come true.
Toll Free 1800 237 646 • www.bernina.com.au • shop.bernina.com.au