APR/MAY 2019

your heart in your hands

a u s t r a l i a n

SEW
MAKE
, CREATE

IT S A
HOOT!
A SWEET FAMILY
OF OWLS QUILT

EMBROIDERY
Geometric Cats
QUILT
Sweet Bows & Yo-Yos
SOFTIES
Cheeky Monkeys
HOME DÉCOR
Cuddly Floor Pillow
KNITTING
Cosy Dotted socks

MACRAMÉ
Boho Wallhanging
No. 189 (Vol. 20.02) NEW-SEASON
AU $9.95* NZ $12.20*
(Both incl. GST) YARNS FOR
Autumn &
Winter 2019

PATCHWORK • APPLIQUÉ • EMBROIDERY • CROCHET • KNITTING • TOYMAKING

 OUR PROJECTS
THIS ISSUE

26 38
2019 BOM – Part 2 Sweet Bows
Aldershot Meadows

46 52
Geometric Cats Bonnie Macramé
Wallhanging

4 Homespun
 64 72
Socks with Dots Monkey Business

84 92
Madama Butterfly Owl Be Watching
– Part 2 Yoooooo

100 108 114

Hibiscus Colourful Sticks and
Days Floor Pillow Spots

Homespun 5
 CONTENTS
April - May 2019
g
Making
26 2019 BLOCK
B OF THE
MONT TH – Part 2
Aldershot Meadows
Sharon Burgess
38 PATCHWORK
Sweet Bows
Debby Dewhurst
46 EMBROIDERY
Geometric Cats
Bobby Watts
52 MACRAMÉ
Bonnie Macramé
Wallhanging
Catherine Boys
& Nikki Stokes
64 KNITTING
Socks with Dots
Debra Kinsey
72 SOFTIE
Monkey Business
Fiona Tully
84 DOLL MAKING
Madama Butterfly
– part 2 108 SEWING Sharing
Anne Oliver Colourful Floor Pillow 20 SELVEDGE
92 PATCHWORK Judy Gauthier Meet Louise Newton your heart in yoour hands
APR/MAY 2019
a u s t r a l i a n

Owl Be Watching Yooooo 114 PATCHWORK of Lou Stitches and

SEW

Renette Opperman Sticks and Spots see her happy floral ,

MAKE
CREATE

IT S A
100 PATCHWORK Joanne Farmery stitcheries HOOT!
A SWEET FAMILY

Hibiscus Days OF OWLS QUILT

Jennyy Eddlin S
Sourcing EMBROIDERY
Geometric Cats
QUILT

10 BEST OF THE BEST

Sweet Bows & Yo-Yos
SOFTIES
Cheeky Monkeys

FROM PINTEREST:
HOME DÉCOR
Cuddly Floor Pillow
KNITTING
Cosy Dotted socks
Pretty pineapples
10 PIN INTEREST
MACRAMÉ

Lots of interesting Boho Wallhanging

No 189 NEW-SEASON
YARNS FOR
Autumn &

things to see and do Winter 2019

PATCHWORK • APPLIQUÉ • EMBROIDERY • CROCHET • KNITTING • TOYMAKING

36 A COMFY IDEA
Get started on your
winter rug knitting SUBSCRIBING
124 MARKET PLACE DON’T MISS
Take a look at new THIS MONTH’S
products in the market SPECIAL OFFER
125 ON THE ROAD
130 STOCKISTS
130 NEXT ISSUE
A sneak peek at what
you will find in the next
16
issue – on sale June

Homespun 7
 L O CK
B THE
OF NTH
MO

PART 2

BLOCK OF
THE MONTH

ALDERSHOT
MEADOWS
In this issue we share the instructions for the
next instalment in the gorgeous Aldershot
Meadows quilt – four Circle Star Blocks. These
blocks feature in the corners of the third border.
Like the centre star, you will need to take care to
fussy cut the fabrics to re-create the stars just as
Sharon has made them, making a lovely secondary
design effect. You have the next two months
to complete Part 2 – enjoy the journey as your
meadow blooms and grows.
Sharon Burgess, Lilabelle Lane Creations – Email: sharon@lilabellelanecreations.com,
Instagram: @lilabellelane

Linda Cotton, Ladybug Quilting – Phone: 0417 557 708, Email: ladybugquilting@bigpond.com

26 Homespun
Homespun 27
 L O CK OUR FABRICS
B THE This quilt uses a large variety of print and solid fabrics selected by
OF NTH Sharon from the Wild Bloom by Bari J, Les Petits by Amy Sinibaldi,
MO Capsules – Lower the Volume, Capsules – Raise the Volume and
Pure Elements ranges from Art Gallery Fabrics, distributed in
Australia by Melbourne Fabric. To mimic Sharon’s fabric use, you
need to purchase sufficient Fabric H – Still Life Crisp – to have
four full rows of printed motifs available for fussy cutting.

FABRIC KEY

A B C D E F
Clear Reflections Simple Growth Fresh Miniature Twinkling Tune Petits Checks Midnight Petits Strokes Midnight
(CAP-V-2000) (CAP-V-2003) (CAP-V-2005) (CAP-RV-8002) (LEP-912) (LEP-811)

G H I J K L
Flower Shower Intense Still Life Crisp Everlasting Blooms Citrus Flowerfield Sunrise Corsage Charm Aqua Summer Bouquet Clear
(WBL-12030) (WBL-12039) – see note (WBL-12037) (WBL-12035) (WBL-12039) (WBL-12032)

M N O P Q R
Lively Rosebud Burst Corsage Charm Pink Summer Bouquet Pond Lively Rosebuds Crystal Flowerfield Sunset Everlasting Blooms Berry
(WBL-12033) (WBL-12034) (WBL-22032) (WBL-22033) (WBL-22035) (WBL-22037)

S T U V W X
Petits Strokes Sun Cross and Stitch Raspberry Magnolia Study Zest Sashiko Florette Teal Cross and Stitch Candy Magnolia Study Fresh
(LEP-813) (WBL-12031) (WBL-12036) (WBL-12038) (WBL-22031) (WBL-22036)

Y Z AA BB CC DD
Sashiko Florette Coral Still Life Sweet Petits Strokes Coral Petits Checks Coral Pure Elements Caviar Pure Elements Cozumel Blue
(WBL-22038) (WBL-22039) (LEP-810) (LEP-911) (PE-413) (PE-402)

EE FF GG HH II JJ KK
Pure Elements Grapefruit Pure Elements Raspberry Pure Elements Lemonade Pure Elements Warm Pure Elements Honeydew Pure Elements Coral Reef Pure Elements Festival
(PE-450) Rose (PE-439) (PE-416) Wave (PE-464) (PE-446) (PE-438) Fuschia (PE-404)

28 Homespun
 Block 1

Finished quilt size:

203cm (80in) square
Note: Refer to the Fabric Key for the
specific fabrics used in this project. Seam
allowances of 1⁄4in are used throughout
for the piecing. Instructions are given for
working from the printed Pattern Sheet in
the magazine, but you can download the
digital patterns from www.homespun.net.
au and print them out instead.
cut four sets of eight diamonds from
Fabric G. Sharon found that this
fabric provided lots of scope for
creating interesting fussy cut
patterns because some of the motifs
have been printed in reverse.
4 In blocks 1 and 2, Sharon cut eight
diamonds with exactly the same
printed motif in each one.

CIRCLE STAR BLOCKS

5 In blocks 3 and 4, Sharon utilised
parts of the printed design that
featured motifs that were printed in

1 This instalment of our Block of the

Month provides instructions for
making the Circle Star blocks that are
reverse: she cut four diamonds with
the motif printed in one direction
and four diamonds with the same
Block 2

used in the corners of Border 3. The motif printed in reverse. This

fabrics for these blocks are fussy cut.
These blocks are being made out of
the ordinary sequence for this project
to ensure that you will have sufficient
fabric to be able to choose motifs to
fussy cut. The fabric that remains
after these blocks have been made
will be returned to the ‘general usage’
group and will be available for making
Border 2 in the next instalment of the
instructions.
allowed her to create a kaleidoscope
effect in these blocks.
6 To prepare each shape, lay the
fabric right side down. Centre a
paper shape on the wrong side of it.
Run a thin smear of water-soluble
fabric glue along the outer edge of the
paper shape, one side at a time. Fold
the seam allowance over the edge of
the paper.

2 If you’re not using pre-cut papers,

trace the eight-point star diamond
and the circle wedge shapes from the
Pattern Sheet on to template plastic
using a permanent-marking pen. Cut
them out just inside the traced lines.
Use them to traced 32 diamonds and
32 wedge shapes on stiff paper and
7 Lay out the eight diamonds for a
star. Match two adjacent diamonds
right sides together and edges
aligned. Beginning with a knot
concealed in the seam allowance,
whip stitch them together along one
edge with small, fine stitches that
catch only the very edge of the fabrics
and don’t penetrate the papers.
Block 3
This Block of the Month project is being
published over six issues of Homespun,
from issue 20.1 (Feb/Mar 2019) to
issue 20.6 (Dec 2019/Jan 2020).
The list of materials required appeared

8
cut them out on the lines. Then join pairs of diamonds in the Feb/Mar issue.
Contact our subscriptions department
together to create half-stars.
on 1300 303 414 to order a subscription
STARS Finally, sew the two halves together
to the printed magazine, or log on

3 Refer to Sharon’s Tips for Fussy

Cutting published in Part 1 of the
instructions for this project and fussy
to complete the star.

9 Repeat Steps 7 and 8 to make four

stars. Return the Fabric G that you
to Zinio or the Apple/Google Play
newsstands to get the issues digitally.

Homespun 29
 L O CK
B THE
OF NTH
MO
Block 4
have left over after fussy cutting to
the pile of ‘general use fabrics’.
WEDGES
10 Cut 32 wedge shapes from
Fabric F. Sharon chose to
fussy cut these shapes so that there
was a black line down the centre
of every wedge.
11 To prepare these shapes,
start by glue basting the two
SHARON’S TIPS
FOR USING A
FUSSY CUTTING
MIRROR When you’re
working with a print that is
symmetrical or that includes motifs
printed in reverse, use a fussy
cutting mirror to audition your cuts.
Simply position the mirror over a
motif on the fabric to see how a
completed block will look before
you even cut into your fabric.
30 Homespun
Step 14
straight edges. This will ensure
that you don’t end up with
any ‘tails’ poking out the back of
15 Fold a square in half
horizontally and vertically and
press lightly to create creases. Apply
your circle in the next step. Then a few small dots of appliqué glue to
glue baste the curved edge: make
tiny pleats in the seam allowance
as you wrap it over the edge of the
the seam allowance around the outer
edge on the wrong side of a star
circle. Centre the circle on the
paper, creating a smooth curve square, aligning two star points with
around the top of the shape. the vertical crease and two with the
12 Whip stitch a wedge between
each pair of diamonds in your
horizontal crease. Appliqué it in place
around the outer edge of the circle.
blocks. Fold the diamonds as needed
so that you can align the point at
the bottom of the wedge with the
16 Turn the block over so that the
wrong side is facing up. Very
carefully cut away the background
intersection between the diamonds. fabric from behind the circle about
13 Press the blocks gently. ⁄2in inside the line of appliqué
1
Remove the papers behind stitches. This will help reduce bulk
the diamonds. Leave the papers in your quilt.
behind the wedges for the time
being. Return the leftover Fabric F
to the general use fabrics.
17 Remove the papers from
behind the wedge shapes.
Press the block. Trim it to measure
10in square with the circle centred.
COMPLETING THE BLOCKS
14 The pieced star circles are 18 Repeat Steps 15-17 for all
four Circle Star blocks.
appliquéd onto 11in squares
of Fabric CC, which you cut and
put aside in Part 1 of this project.
19 Put these four blocks aside
until they are required.
Retrieve those squares now. Step photos courtesy of Sharon
 JE CT
PRO

01

SWEET
BOWS
There are no curved seams to
piece in this pretty quilt using
soft pastels and yo-yos; simply
follow the instructions to create
quarter-circle Wedge blocks ready
to appliqué and add some yo-yos
to make pretty bows.
Debby Dewhurst, dandddewhurst@bigpond.com

38 Homespun
Homespun 39
 J ECT
PRO
01
MATERIALS
Q 3.2m (3 ⁄8yd) solid white
3
fabric (block backgrounds)
Q Assorted floral print fabrics
in pink, blue, green, yellow
and mauve to total about
4.5m (47⁄8yd). Raid your stash.
If purchasing fabric, 30cm
(3⁄8yd) cuts work well. You
could also use layer cakes
(for the blocks) and charm
squares (for the yo-yos)
40 Homespun
Q 60cm (5⁄8yd) pink and white
stripe print fabric (binding)
– see Debby’s Binding Tip
Q 3.3m (35⁄8yd) backing fabric
Q Batting at least 185 x
160cm (73 x 63in)
Q Threads to match the floral
print fabrics
Q Off-white silk thread (yo-yos)
Q Cardboard, paper, pencil
and glue (templates)
Q Compass (optional)
Q Spray starch and paintbrush
Q Rotary cutter, ruler and mat
Q Sewing machine with 1⁄4in foot
Q General sewing supplies
Finished size:
170 x 145cm (67 x 57in)
Finished block size:
43⁄4in square
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 107cm
(42in) wide. Seam allowances
of 1⁄4in are used throughout.
Instructions are provided for
using the printed Pattern
Sheet in the magazine, but you
can also download the digital
patterns from www.homespun.
net.au and print them out.
Diagram 1
PREPARATION AND CUTTING
1 Use a compass to draw three
circles on the cardboard: one with a
radius of 41⁄2in (diameter 9in), one with
a radius of 4in (diameter 8in) and one
with a radius of 11⁄2in (diameter 3in)
and cut them out. Alternatively, trace
the three circles from the Pattern
Sheet onto paper. Cut them out
roughly and glue them to cardboard.
Once the glue has dried, cut the
circles out on the traced lines.
2 From the solid white fabric, cut:
• 11 strips, 101⁄2in across the width
of the fabric. Crosscut them to yield 42
squares, 101⁄2in (block backgrounds).
3 Trace around the 9in circle
template on the wrong side of the
assorted floral print fabrics 36 times.
Cut each circle out on the traced line.
4 Trace around the 3in circle
template on the wrong side of the
assorted floral print fabrics 72 times.
Cut each circle out on the traced line.
BLOCKS
5 Work a line of running stitch about
1
⁄4in inside the raw edge of a 9in
circle of floral print fabric, leaving
long thread tails at the beginning and
end. Lay the fabric circle face down,
and centre the 8in cardboard circle
on top of it. Pull up the thread to
gather the seam allowance over to
the back evenly and firmly, as shown
in Diagram 1. Knot the ends of the
thread together.
6 Spray some starch onto a saucer.
Use a paintbrush to apply the
starch around the folded edge of the
fabric. Using an iron, press the shape
well on both sides. Gently remove the
thread and template and press again.
7 Repeat Steps 5 and 6 to prepare
all 36 of the large floral circles.
8 Fold each circle from Step 7 in
half horizontally along the grain
line. Press lightly to crease it. Then
fold each circle in half vertically
and press again.
Step 10
9 Repeat Step 8 to fold and press
each of the 101⁄2in squares of white
fabric horizontally and vertically.
10 Centre each floral circle on a
white square – both fabrics
facing right side up. Match the
creases to ensure that the circle
is centred. Pin the circle in place.
11 You will have six white
squares left over. Cut them
along the creases to yield four
squares, 51⁄4in from each large
square – 24 small squares in all. Step 14
They are used as filler blocks
around the outer edge of the quilt.
12 Appliqué each circle to the
white background using thread
to match the colour of the circle fabric.
As you approach each crease, work
several tiny backstitches to secure the
stitching. After you’ve stitched over
the crease, work several more tiny
backstitches. These will prevent the
stitching from coming undone when
you cut the square+circle in Step 14.
Step 15
13 Fold each appliquéd square
in half in each direction, as
before, and re-press the creases.
DEBBY’S BINDING
14 Cut each appliquéd square in
half in each direction along the
creases. This will yield a total of 144
TIP Most striped fabrics have
the stripes printed parallel to the
selvedges, down the length of the
quarter-circle Wedge blocks. fabric. If you like the look of a
15 Turn the Wedge blocks over so
that their wrong side is facing
binding with the stripes on the
diagonal but don’t want to fuss
with piecing and cutting bias
up. Use a sharp pair of scissors to
carefully cut away the white fabric
behind the appliquéd circle about
strips, look for a fabric that has
stripes printed on the diagonal.
They’re uncommon but you
1
⁄4in inside the stitching. Debby should be able to find one in time.
recommends tucking the 8in circle With this kind of pattern, you only
template between the circle and need to cut your binding strips
the background fabric before cutting
to help ensure that only the white
across the width of the fabric in
the usual manner. Too easy!
fabric will be cut and the circle
will remain intact.
Homespun 41

T
JEC
PRO
01
ASSEMBLY
16 Lay out the Wedge blocks and
the 51⁄4in squares of white fabric
on a design wall or the floor in 14 rows
of 12 blocks/squares each. Every
alternate block should be rotated 90
degrees. Each block should have a
block made with the same floral print
fabric above or in the row below it,
one block to its left or right
to achieve the effect of bows. Refer to
the photo of Debby’s quilt to achieve
the correct block arrangement.
17 Move the pairs of matching
blocks around until you have
an array of colours and prints in your
layout that you like. Take a photo of
the layout to refer to as you sew the
blocks together.
18 Sew the blocks in each row
together. Press seams towards
the block that has white fabric
adjacent to the seam. Then join
the rows together.
2¼in
2¼in
2¼in
Diagram 2
42 Homespun
QUILTING
19 Remove the selvedges from the
backing fabric and cut it into
two equal lengths. Sew the pieces
together side by side with a 1⁄2in
seam and press the seam open.
20 The quilt top, backing and
batting are ready for a long-
arm quilting machine as they are. If
you’re doing the quilting by hand or
on a domestic machine, refer to Step
14 on page 118 to layer and baste the
quilt layers.
21 Quilt as desired. Debby’s quilt
was professionally machine
quilted by Therese Aiken of Love
That Fabric. She worked an edge-to-
edge design featuring swirls and
leaves on the quilt in white thread.
22 Trim the excess backing fabric
and batting 1⁄4in outside the
edge of the quilt.
BINDING
23 Debby used fabric cut on the bias
to bind her quilt as she wanted
the stripes to lie diagonally. If you’re not
using a striped fabric or if you prefer the
stripes to lie perpendicular to the edge
of the quilt, cut:
• Seven strips, 21⁄2in across the width
of the fabric you’ve chosen for the
binding. Refer to Steps 17-19 on page
118 to trim and bind your quilt using
these strips. Skip Steps 24-28 and
continue from Step 29 (Yo-yos).
24 If you wish to mimic the
binding on Debby’s quilt, from
the pink stripe print fabric, cut:
• Two squares, 20in.
25 Cut each square from corner to
corner across the diagonal. Pin
what was the bottom edge of the
square to what was the top edge of
Diagram 3
the square, right sides together; take
time to align the stripes on the two
triangles, then sew them together.
Press this seam open. Cut 21⁄4in strips
across the width of the four-sided
shape you’ve made. See Diagram 2.
Take care as you’re now cutting on
the bias grain. Then repeat this step
with the second 20in square, ensuring
that you cut the square in the same
direction as the first one so that the
stripes lie in the same direction.
26 Join these strips together to
make one long strip, matching
the stripe pattern at the joins. Fold
the binding in half, wrong sides
together and long edges matching,
and press.
27 With raw edges together, sew
the binding to the edge of the
quilt with a 1⁄4in seam allowance,
mitring the corners as you go and
referring to the Binding Diagrams
on page 120 for details.
28 Turn the binding over and
hand stitch the folded edge
to the back of the quilt. Label and
date your quilt.
YO-YOS
29 Fold over a scant 1⁄4in around
the edge of each 3in fabric
circle, wrong sides together. Knot one
end of a length of silk thread, then
use it to sew a line of running stitch
around the edge close to the fold.
Cut the thread, leaving a long tail.
30 Pull the thread to gather the
circle of fabric into a little
puff and close the hole as much
as possible. Secure the gathers by
working some tiny backstitches
with the thread tail, then tie it off
with a knot to secure. Refer to
 daughter was three. Now she makes her own
beautiful quilts and patterns too.
How often do you get to stitch? Most days
I have a time for stitching, even if it’s only
some knitting after dinner.
How many projects have you tackled over
the years? Too many to count, though I’ve
probably made at least two quilts a year as
well as lots of smaller stitched, crocheted
and knitted items too.
Do your friends and relatives expect
handmade gifts from you, and if so, is that
a joy or a burden? I’m not sure they expect
Step 32 them, but I do love making special things

Getting to know … for special people. Especially for the little

Step 33
Diagram 3. Even out the gathers
and flatten the yo-yos with the hole
in the centre on one side.
DEBBY DEWHURST
Where do you live and work? I live in leafy
Macarthur, south-west of Sydney, NSW. We
are still in the family home but now that the
children have their own homes, I have an
ex-bedroom all to myself. I could stay in
there all day surrounded by beautiful
fabrics, colourful yarn and lots of books and
magazines, and a gorgeous garden outside
my window. It’s all the inspiration I need.
When did you first become interested in
stitching? I started making my own clothes as
a teenager, then branched into soft furnishings
once I left home. I made my first quilt when my
people in our family.
Is your style ever-evolving or do you like
to stick with your tried-and-true designs?
My style is ‘pretty’ so as long as my
favourite fabric designers keep bringing
out beautifully drawn florals in gorgeous
colourways, it’s easy to stick to this style!
What inspires your designing? Inspiring
displays of pretty floral fabrics – that’s
where my inspiration comes from.
What items can't you live without in your
craft room? Baskets of squishy balls of
cotton or wool in my favourite colours, and
my 2m-long table that can fit large quilts or
crochet blankets and still have room for a
book and a cuppa and usually a snoring kitty.

31 Pin a yo-yo where two Wedge

blocks made from the same
fabric meet, with the gathered side
facing up.

32 To sew the yo-yos in place, start

with a knotted length of silk
thread about 14in long. Working
underneath the gathered part of the
yo-yo, take the thread down from the
quilt top, into the batting and back up
through a valley in the gathers. Take a
tiny stitch. Go back under the centre
of the yo-yo, through the quilt top and
batting and come up in a valley in the
gathers on the opposite side of the
hole in the yo-yo. Make another tiny
stitch. Pull these stitches firmly to
anchor the yo-yo to the quilt top.

33 Take the needle down into

the batting again and out to
the edge of the yo-yo. Appliqué the
outer edge of the yo-yo in place,
smoothing the gathers at the edge as
you go to make the yo-yo lovely and
round. Your stitches should only
penetrate the quilt top and batting,
and not be visible on the back of
the quilt.

44 Homespun
 JE CT
PRO

02

Geometric
CATS
Bobbie has designed simple yet impressive
geometrical patterns on these four cat
hoops. Whether you are a crazy cat lady,
or not, you should enjoy these designs.
Bobbie Watts, Bobbie Watts Textile Designs –
Email: rawatts@internode.on.net

46 Homespun
Homespun 47
 J ECT
PRO

02

48 Homespun
MATERIALS
Q 30cm (3⁄8yd) white
cotton/linen blend fabric
(background)
Q DMC Stranded Embroidery
Cotton – Very Dark
Cranberry (600), Medium
Yellow (743), Dark
Cornflour Blue (792),
Mediterranean Sea (4022 –
variegated)
Q DMC Perle No 12 – Black
(310)
Q Anchor Stranded
Embroidery Cotton in 1315
(variegated)
Q Clear monofilament thread
Q Size 24 chenille needle
Q 15cm (6in) embroidery
hoop
Q Fine-pointed pen or
preferred fabric marker
Q Thin batting and stiff acid-
free cardboard
Q Four frames with openings
14 x 9cm (51⁄2 x 31⁄2in)
Q General sewing supplies
Stitches used: Couching,
French knot, seed stitch,
straight stitch
Finished size: 22.5 x 17cm
(83⁄4 x 63⁄4in) framed
Note: Read all the instructions
before starting the project.
One strand of thread is used
throughout, unless stated
otherwise. Instructions are
given for tracing the designs
from the printed Pattern Sheet
in the magazine, but you
can download them from the
website, www.homespun.net.au,
and print them out instead.

workroom windows, which does prove to be
quite distracting at times but is also a great
source of design inspiration.
How did your love of embroidery begin?
Fortunately I had a mother who was a
beautiful embroiderer, and I went to school
that had a craft room and a teacher who was
more inspirational than practical.
What are the embroidery tools that you
couldn’t live without? That would be my
camera and my computer as I use those to
create my designs.
How many different crafts do you do?
I describe myself as a textile designer because
my designs encompass embroidery, jewellery,
so there is a danger of them getting stale. It
can be quite refreshing to move on to other
designs and then return to the original.
If you had one secret sewing wish, what
would it be? There is not a lot to wish for
when you do what you love every day – and
get paid for it! I think that I am very lucky.
Do your friends and relatives always expect
handmade gifts from you and if so, is that a
joy or a burden? Occasionally I will give a
handmade gift, usually to family — they seem
to like it. I am also pretty busy with design
commitments and some designs take a long
time to complete.
How has your style evolved over the past

Getting to know … drawing, mixed media and fibre arts.

BOBBIE WATTS
Where do you live and work? I live in the
beautiful state of Tasmania. I am lucky
enough to have river and sea views from my
Which is your favourite? It took me a while to
discover that designing is my thing – I love
the scope to explore themes and ideas.
Have you got lots of projects waiting to be
started? I usually work on three or four
projects at a time. Some projects take a while
years? I am told I have a distinctive style.
I am an embroiderer at heart but I love
designing anything, from wire work,
jewellery and painted backgrounds to
most types of embroidery.
Is embroidery your career or a hobby?
Luckily for me, both.

PREPARATION

1 From the white linen/cotton

fabric, cut:
that is removed by heat to do this.
Whatever marker you use, keep the
lines very fine so that the stitching
6 When the embroidery is complete,
put the fabric face down on a
clean, thick towel and press it gently
• Four squares, 26cm (101⁄4in). completely covers them. from the back to avoid flattening

2 Trace an embroidery design

from the Pattern Sheet onto the
centre of each square of fabric.
3 If you wish, put the fabric in an
embroidery hoop to prevent it
puckering as you stitch the design.
the stitches.

Bobbie used a fabric-marking pen
FINISHING
However, don’t leave it in the hoop
between stitching sessions as this
can cause creases that are very
7 To frame your stitcheries, trim the
acid-free cardboard to match the
size of the backing board in your
difficult to remove.

EMBROIDERY
4 To begin each design, use one
strand of Black (310) and clear
monofilament thread to couch the
outline of the cat using the size 24
chenille needle. Then straight stitch
the interior triangles in Black (310).
FRAMING TIP
For a step-by-step tutorial on
framing embroidery projects,
illustrated with close-up photos,
see the feature on pages 72–74 of
the Dec 2018/Jan 2019 issue (Vol

Diagram 1
5 Embroider the rest of each design
following the Stitchery Guide on
page 50.
19 No 12) of Homespun.

Homespun 49
 STITCHERY GUIDE

Star cat Design area Thread Stitch

Alternate inner Very Dark Cranberry (600)

French knot
triangles – two strands

Stars Very Dark Cranberry (600) Straight stitch

Looking right cat

Interior triangles Dark Cornflour Blue (792)
French knot
style 1 – two strands

Interior triangles
Anchor 1315 (variegated) Seed stitch
style 2

Interior triangles
Anchor 1315 (variegated) Parallel straight stitches
style 3

Interior triangles
Anchor 1315 (variegated) Radiating straight stitches
style 4

Looking left cat

Interior triangles Medium Yellow (743)
French knot
style 1 – two strands

Interior triangles
Medium Yellow (743) Radiating straight stitches
style 2

Interior triangles
Anchor 1315 (variegated) Parallel straight stitches
style 3

50 Homespun
 STITCHERY GUIDE
Cat from the back
rames (about 2mm (1⁄16in) smaller than
the frame opening).
8 Cut rectangles of batting the same
size as the cardboard and glue them
to the cardboard to pad the stitcheries.
9 Put each stitchery face down on a
clean surface and centre the padded
cardboard over the design with the
batting side facing down. Trim the
background fabric so that it overhangs
Design area Thread Stitch
Interior triangles Mediterranean Sea
Seed stitch
style 1 (4022 – variegated)
Interior triangles Mediterranean Sea
Radiating straight stitches
style 2 (4022 – variegated)
the outside the edge of the cardboard correctly centred on the board before
by no more than 7cm (23⁄4in). continuing. Fold in the corners neatly
10 Referring to Diagram 1, use long
lengths of strong thread to lace
and lace the remaining two sides
around the cardboard firmly as before.
opposite sides of the background fabric
around the cardboard. Pull the thread
firmly to tension the fabric slightly, but
12 Discard any glass supplied
with the frame, then insert
the laced stitchery in the frame and
not so much that it bends the cardboard. replace the backing board. Fold down
11 When the first two sides are
laced, check that the design is
the clips to secure it in place, hang
it and enjoy!
A new stitchery quilt featuring all things
bright and beautiful, all quaint and
whimsical too. Stitch your way through
the country village with a comprehensive
paper or pre-printed fabric pattern! The
fabric pattern is printed in colour on high
quality Kona Bay cotton.
Paper pattern: $27
Fabric pattern: $80
Ordering: Check out the website, and
pay online. Alternatively, send your
cheque/money order to Smee Designs at
40 Larnook Cres, Aspendale VIC 3195.
(Don’t forget to add $6 P&H.)
www.smeedesigns.com
Homespun 51
52 Homespun
 PRO
JECT

03

Bonnie
Macramé
WALLHANGING
This easy step-by-step macramé
wallhanging will teach you some basic
knots and how to transform them into
a creative piece of BOHO home décor.
Catherine Boys & Nikki Stokes, Knot Knitting –
Website: www.knotknitting.com.au,
Instagram: @knotknitting, Facebook @knotknitting

Homespun 53
 J ECT
PRO
03
Diagonal Clove Hitch Knot
MATERIALS
Q 100m (110yd) of 5mm
(1⁄4in) cotton rope or
string – available from
www.knotknitting.com.au
Q 50cm (20in) piece of
dowel or a suitable piece
of driftwood
Finished size:
50 x 85cm (20 x 331⁄2in)
1 Cut eight cords, 3m
2 Using a lark's head knot,
Step 2 – attach 24 cords to the stick
3 Now that you have
Step 3, Row 1 – square knot
54 Homespun
1
4 5
1 4
1
23 4 23
Square Knot
KNOTTING
(31⁄3yd) and 16 cords,
2.5m (23⁄4yd).
tie the eight 3m (31⁄3yd)
cords to the centre of your
stick. Then using the 2.5m
(23⁄4yd) cords, lark's head
knot eight either side of
your centre cords.
24 cords on the stick,
begin row 1.
Row 1 – Begin with a
full row of square knots
across all cords (12 square
knots in total).
Row 2 – Leaving out the
first two cords, continue
row 2 with alternating
1
2
6
Lark's Head Knot
4 1 4 1
23 23
square knots until you decreasing the total
have two remaining cords
at the end of the row (11
square knots in total).
number of square knots
by one for each row. For
example, at the end of row
Row 3 – Leaving another
two cords out from the
start of row 3, continue
4 you should have nine
square knots, row 5 eight
square knots and so on
to alternate square knots until row 12 finishes with
across and leave another one square knot. You
two cords at the end (10 should now have created
square knots in total). a V-shape of alternate
Row 4–12 – Repeat row 3,
square knots.
CATHERINE’S TIPS FOR MACRAMÉ
Just have a go! Contact us to see if we can find an artist
in your area running workshops, or jump on YouTube for
some amazing videos to follow.
 J ECT
PRO

03 4 Line up the V with two it to the stick with a lark's

rows of diagonal clove
hitch knots. Using the very
end cord as your leader, tie
diagonal clove hitch knots
to the centre of your V,
6 Cut 40 lengths, 80cm
using every cord as you
work downwards. Repeat
using the outside cord from
the other side until you
meet in the centre. Join in
the middle using a clove
hitch knot. Repeat with
another row from each side.
head knot to create a
second layer.
(30in) and attach them
to the 2m (21⁄4yd) cord
from Step 5, with lark's
head knots, creating the
second layer. This looks
best when the whole
layer is covered.
7 Add some square
knots, plaits, spirals
etc to create your
Step 5 – attach with a lark's head knot

5 Cut a length of cord,

2m (21⁄4yd) , and attach
individual design to
finish your piece.

home-based warehouse (our landfill.) After attempting to dye

garage) and in our living rooms
surrounded by our families. Wanting
to spend more time at home with
our families and our love of craft
and fashion led us to this business.
What business were you in
together prior to this? We first
started in business 20 years ago
in a retail fashion store. We still
run this business.
When did you first decide to sell
macramé cords? We were
cotton and finding it was not the
most enjoyable thing to do, we
knew there would be others also
wanting to make colour macramé
or crochet without the effort
involved in dyeing it.
What skills do you individually
bring to Knot Knitting? Being Step 5 – ready for the second layer
an ex-florist and crochet addict,
Catherine brings the creative
hands and mind to Knot Knitting,
while Nikki’s strength is in

Getting to know … introduced to macramé two years

CATHERINE
& NIKKI
Where do you live and work?
We live in Geraldton, Western
Australia. My sister, Nikki Stokes
(above right), and I run our
business, Knot Knitting, as a
ago and instantly fell in love with
the craft. After doing pieces for
ourselves, we were asked by
friends to teach them. We found
it hard to source good-quality
cotton cord and we especially
wanted to introduce some colour
and a recycled product. (Think of
all that fabric that ends up in
website design and running the
finances of the business.
What types of macramé are your
favourite? We love it all, but it is our
dream for everyone in Australia to
have a piece of amazing macramé
art on a wall in their home.
What other creative pursuits
do you both like? Crochet and
weaving.
Step 6

Step 3, Row 2 Step 3, Row 12 Step 4 Step 4, repeated

56 Homespun
 JE CT
PRO

04

SOCKS
WITH
DOTS
Try your hand at simple
colourwork knitting with these
smart socks and keep your
toes cosy during winter!
Debra Kinsey – Debra Kinsey Knits
Website: debrakinseyknits.com, Instagram: @debkknits,
Facebook: Debra Kinsey Knits, Email: debrak@bigpond.net.au

64 Homespun
Homespun 65
 J ECT
PRO
04
KNITTING
NOTES
These socks require
intermediate knitting skills.
They are worked in the
round on double-pointed
needles from the cuff down
with a heel flap construction.
Simple colourwork in striped
bands is featured on the leg
and toe. The toe seam is
closed using Kitchener stitch
– How To at the end of the
instructions.
66 Homespun
MATERIALS Q Yarn needle and stitch- of C2 and 100-115m (110-
Q Patons Patonyle Merino markers (as desired) 127yd) of C3.
4 ply 50g: one ball of
Sand (1003) for Colour Finished sizes: ABBREVIATIONS
1 (C1) and one ball of There are three sizes: small beg = begin, beginning;
Dark Grey (1005) for (medium-large) cont = continue; dec
Colour 2 (C2) Leg length from ankle: = decrease, decreased,
Q Malabrigo Sock 100g: one approx 18cm (7in) decreasing; K = knit;
skein of Ravelry Red (611) Foot length: approx 21 (23-25) K2tog = knit 2 sts together;
for Colour 3 (C3) cm [8¼ (9-9¾)in] P2tog = purl 2 sts together;
Q One set each 2.25mm [UK P = purl; rem = remainder,
13/US 1] and 2.5mm [UK Note: A pair of socks uses remains, remaining; rep =
13/US 1] double-pointed approx 115-135m (127-149yd) repeat; sl = slip; ssk = slip
knitting needles of C1, 145-180m (160-198yd) next 2 sts knitways one at a
time to right-hand needle,
insert left needle into front
of these 2 slipped sts from
left to right and knit them
together to decrease one st;
stocking st = knit every
round; st, sts = stitches;
tog = together; wyib =
with yarn in back; wyif
= with yarn in front
TENSION
The tension required is
35 sts and 46 rows to
10cm (4in) over stocking
st using 2.25mm needles,
worked in rounds.
Take the time to check your
tension carefully as the
finished measurements and
yarn usage may vary if your
tension is not as stated.
CUFF
Note: It is recommended
to use the long-tail cast
on as this method gives
a little elasticity to the
cast-on edge and it also
means the right side of
your work is facing for
the first round. The leg
is worked on the larger
double-pointed needles to
allow for the firmer tension
of the colourwork pattern.
If your colourwork is pulling
in too much, try working
the colourwork rounds with
2.75mm needles. It will be
necessary to wet-block
your socks on completion
to smooth out the
colourwork sections.
Using 2.5mm double-
pointed needles, C1 and
the long-tail method, cast
on 64 (72-80) sts loosely.
Divide sts between 3
needles.
Taking care not to twist
the cast-on edge, join to
work in rounds. Place a
marker on the needle to
indicate the beg of rounds.
1st round – * K2, P2, rep
from * to end.
Rep 1st round until the
cuff measures 3cm (1¼in)
from beg.
Knit 1 round.
BEGIN COLOURWORK
PATTERN
Note: When working
stranded colourwork, do
not weave in colours but
strand loosely across
the wrong side of the
work. Always carry the
background colour above
the colour used for the
circle in the centre. To
prevent strands from
pulling in too tightly,
stretch sts out slightly on
the needle in the right hand
as yarn is stranded across
the wrong side of the work.
Band A:
1st, 2nd, 3rd and 4th
rounds – Using C2, knit.
5th round – * K3 C2, K2
C1, K3 C2, rep from * to end.
6th round – * K2 C2, K4
C1, K2 C2, rep from * to end.
7th and 8th rounds –
* K1 C2, K6 C1, K1 C2, rep
from * to end.
9th round – As 6th round.
10th round – As 5th round.
11th, 12th, 13th and 14th
rounds – Using C2, knit.
These 14 rounds form
the basic pattern for the
colourwork bands.
Band B:
Work 14 rounds as for Band
A, using C3 in place of C2
and C1 in the same place.
Band C:
Work 14 rounds as for Band
A, using C1 in place of C2
and C2 in place of C1.
Band D:
Work 14 rounds as for Band
A, using C2 in the same
place and C3 in place of C1.
Band E:
Work rounds 1 to 13
inclusive as for Band A,
using C1 in place of C2
and C3 in place of C1.
Change to 2.25mm double-
pointed needles and break
off C2 and C3.
14th round – Using C1, knit.
This completes the
colourwork section on
the leg.
DIVIDE FOR
HEEL FLAP
Set-up row: Using C1,
knit across first 16 (18-20)
sts of the round, then slip
the last 16 (18-20) sts of the
round onto the end of the
same needle. Cont in rows
on these 32 (36-40) sts for
heel flap. The rem 32 (36-
40) sts are for the instep.
Divide the instep sts onto
2 needles and leave while
the heel flap is worked.
WORK HEEL FLAP
Change to C3.
1st row (wrong side) –
P32 (36-40), turn.
2nd row – Sl 1 purlways
wyib, K31 (35-39), turn.
3rd row – Sl 1 purlways
wyif, P31 (35-39), turn.
Rep 2nd and 3rd rows
another 13 (14-15) times …
29 (31-33) rows of C3 in all.
WORK HEEL FLAP
TURNINGS
Cont using C3 and shape
heel as follows:
1st row – Sl 1 purlways
wyib, K18 (22-26), ssk, K1,
turn and leave the rem sts
unworked for now.
2nd row – P8 (12-16),
P2tog, P1, turn and leave the
rem sts unworked for now.
3rd row – K9 (13-17), ssk,
K1, turn.
4th row – P10 (14-18),
P2tog, P1, turn.
5th row – K11 (15-19), ssk,
K1, turn.
6th row – P12 (16-20),
P2tog, P1, turn.
7th row – K13 (17-21),
ssk, K1, turn.
8th row – P14 (18-22),
P2tog, P1, turn.
9th row – K15 (19-23), ssk,
K1, turn.
10th row – P16 (20-24),
P2tog, P1, turn.
11th row – K17 (21-25),
ssk, K1, turn.
12th row – Sl 1 purlways
wyif, P17 (21-25), P2tog, P1,
working across the rem 20
(24-28) sts of heel.
Break off C3. Change to C2.
13th row – K10 (12-14),
completing the heel and
working to beg of the
rounds as before.
Slip all instep sts onto
one needle.
BEGIN FOOT
Cont using C2 and work
foot as follows:
Set-up round
1st needle: Using the free
needle, knit the first 10 (12-
14) sts of the round. Using
the same needle, knit up 16
(17-18) sts along the first
side edge of the heel,
working under both loops
of the st.
2nd needle: Using another
needle, knit across 32 (36-
40) sts from the instep.
3rd needle: Using another
needle, knit up 16 (17-18)
sts along the other side of
the heel, working under
both loops of the st, then
using the same needle, knit
the last K10 (12-14) sts of
the round … 26 (29-32) sts
on 1st needle; 32 (36-40) sts
on 2nd needle; 26 (29-32)
sts on 3rd needle.
SHAPE GUSSET
1st round – Knit to last 2
sts on the 1st needle, ssk;
knit across the sts on the
2nd needle; K2tog, then
knit to the end of the 3rd
needle … one st dec on 1st
and 3rd needles.
2nd round – Knit to the
last 4 sts on the 1st needle,
K2tog, K2; knit across the
sts on the 2nd needle; K2,
ssk, knit to the end of the
3rd needle … one st dec
Homespun 67
 SHAPE FOR TOE
1st round – Knit to the last
T
JEC 3 sts on the 1st needle,
PRO

04
on 1st and 3rd needles.
3rd round – Knit across
the sts on the 1st needle;
knit across the sts on the
2nd needle; knit across the
sts on the 3rd needle.
Rep 2nd and 3rd rounds
until 16 (18, 20) sts rem on
1st and 3rd needles.
Cont straight without
further dec until foot
measures 11 (12-13)cm [41⁄4
(43⁄4-5)in] from the side of
the heel (where sts were
knitted up).
Note: The foot length may
be varied at this point.
Band F:
Change to 2.5mm double-
pointed needles.
Work 14 rounds as for Band
A, using C3 in place of C2
and C2 in place of C1.
Break off C2 and C3.
Change to C1 and 2.25mm
double-pointed needles
for rem.
Knit 4 rounds.
K2tog, K1; K1, ssk, knit to
the last 3 sts on the 2nd
needle, K2tog, K1; K1, ssk,
knit to the end of the 3rd
needle … one st dec on 1st
needle; 2 sts dec on 2nd
needle; one st dec on 3rd
needle.
2nd round – Knit across
all sts to the end.
Rep 1st and 2nd rounds
another 4 (5-7) times, then
1st round once … 10 (11-
11) sts on 1st needle; 20
(22-22) sts on 2nd
needle; 10 (11-11)
sts on 3rd needle.
Rep 1st round only
until 6 (7-7) sts
rem on the 1st and
3rd needles and 12
(14-14) sts rem on the
2nd needle.
Next round – Knit 6 (7-7)
sts on 1st needle, then slip
6 (7-7) sts on 3rd needle sts together to close the The process is to seam
onto the end of the 1st toe, using Kitchener stitch. together two edges to
needle … 12 (14-14) sts on Weave in all ends neatly. create a barely visible
each of 2 needles. Wet block your socks on seam. It’s generally done
Break off C1, leaving a completion to smooth out with two edges of live
50cm (20in) end. the colourwork sections. stitches (meaning they’re
Grafting* is used to close still on the needles), but
FINISHING two ‘live’ sections can also be done with a
Using the attached end together, it can also be cast on edge grafted to
and the yarn needle, graft* called Kitchener stitch. a live edge.

How to
KITCHENER
STITCH
Hold the two knitting needles with wrong
sides together so that needle with the
50cm (20in) end attached is at the back
and the end is on the right-hand side.
Thread the end onto a yarn needle. You will
work across the sts from right to left. Take
care that the yarn is pulled firmly (but not
tightly) through the sts and make sure the
yarn goes under the knitting needles when
working from one needle to the other.
Insert the yarn needle purlways (as if to
purl) through the first st on the front
knitting needle and leave it on the knitting
needle. Then insert the yarn needle
knitways (as if to knit) through the first
st on the back knitting needle and leave
it on the knitting needle.
Now continue as follows:
1. Insert the yarn needle knitways through
the first st on the front knitting needle and
slide the st off the knitting needle; insert
the yarn needle purlways through the next
st on the front knitting needle and leave
this st on the knitting needle.
2. Insert the yarn needle purlways through
the first st on the back knitting needle and
slide it off the knitting needle; insert the
yarn needle knitways through the next st
on the back knitting needle and leave this
st on the knitting needle.
3. Repeat steps 1 and 2 until there is one st
left on both needles. Take care at this
point that the sts don’t accidently slip off
the end of the knitting needle.
4. Insert the yarn needle knitways through
the last st on the front knitting needle and
slide the st off the knitting needle; insert
the yarn needle purlways through the last
st on the back knitting needle and slide
the st off the knitting needle.
5. Insert the yarn needle back into the sock
through to the wrong side and weave in the
end securely for 3cm (11⁄4in).

68 Homespun
 JE CT
PRO

05

72 Homespun
 MONKEY
BUSINESS
Squiggle and Pip
are cheeky
brothers. They s
p
days copying eac end their
h other – and
everyone around
them!
Fiona Tully, Two
Brown Birds –
Blog: www.twob
rownbirds.typepa
d.com

Homespun 73
 J ECT
PRO

05

MATERIALS
To make two monkeys
and two bananas
Q 40 x 90cm (16 x 36in) each
of wool felt in two different
shades of mid/dark brown
(bodies)
Q 10cm (4in) square of light
pink wool felt (inner ears
and cheeks)
Q 10 x 25cm (4 x 10in) tan
wool felt (faces)
Q 5cm (2in) square of black
wool felt (noses)
Q 15 x 30cm (6 x 12in) cream
wool felt (bananas)
Q 20 x 80cm (8 x 32in) yellow
print fabric (banana skins)
Q Two pairs of buttons,
diameter 15mm (5⁄8in) in
colours to coordinate with
the overall fabrics
Q 40 x 60cm (16 x 24in)
each of four print fabrics
(overalls outer and lining)
Q Four 10mm (3⁄8in) black
shank buttons (eyes)
Q Crochet cotton to
coordinate with the
brown wool felts
Q Black stranded embroidery
floss
Q Machine-sewing thread
to match the fabrics
Q Stiff paper for patterns
Q Tracing paper
Q Fibre fill
Q Long doll needle
Q Chopstick or turning tool
Q Sharp 4B pencil

74 Homespun
Q Water- or air-erasable
fabric-marking pen
Q Rotary cutter, ruler
and mat
Q Sewing machine
Q General sewing supplies
Hand stitches used:
Backstitch, ladder stitch
Finished sizes:
Monkeys: 38cm (15in);
bananas: 11cm (41⁄4in)
Note: Read all the instructions
before starting the project.
Materials are sufficient for both
monkeys and two bananas.
Seam allowances of 1⁄4in are
used throughout, unless
otherwise stated. Use a smaller
than usual stitch length for the
softie construction for stronger,
smoother seams and work several
backstitches at the beginning and
end of seams to prevent them
unravelling when the shapes are
turned right way out. Two strands
of embroidery thread are used
throughout. These toys are not
suitable for very young children as
they contain small parts (buttons)
that could work loose and become
a choking hazard. If you want to
make the toys for a young child,
embroider the eyes and hand
stitch the overalls together at the
shoulders. Felt has no true right
and wrong side, but sometimes,
one side appears smoother than
the other. In these instructions,
the ‘right’ side is the one that
faces outwards in the finished
project – the embroidered face,
for example. Instructions are
provided for using the printed
Pattern Sheet in the magazine, but
you can also download the digital
patterns from www.homespun.net.
au and print them out.

PREPARATION AND CUTTING

1 The instructions have been

written to make one monkey and
10 From the yellow print fabric, cut:
• Six banana skin shapes.

one banana. Simply repeat them MONKEY ASSEMBLY

(using different felt and fabrics for
the monkey) to make a second set. 11 Trace the markings for the
monkey’s eyes, nose and mouth

2 Trace all the shapes for the

monkey, overalls and banana from
the Pattern Sheet onto stiff paper,
including the labels and markings,
and cut them out carefully.
on to tracing paper. Pin the tracing
paper onto the tan felt face shape. Use
a sharp 4B pencil to pierce the tracing
paper at the marks for the eyes, the
corners of the nose and in several

3 Fold one of the pieces of mid/dark

brown felt in half. Pin the patterns
for the head, body, arm, leg, outer ear
and tail to it and cut the shapes out
along the edges of the patterns. Unpin
the patterns for the leg, arm and outer
ear, pin them to the remaining felt
and cut them out again so you have
four of each of these shapes.
places along the lines for the mouth,
leaving tiny pencil dots on the felt.
Remove the tracing paper, join the
dots for mouth to complete the vertical
and curved horizontal lines.
12 Pin the cheeks to the face
and topstitch just inside their
edges by machine, using thread
to match the pink felt.

4 From the tan felt, cut:

• One face. 13 Pin each pink inner ear on a
brown outer ear, straight edges

5 From the pink felt, cut:

• Two cheeks
matching. Topstitch just inside the
curved edge of the inner ears.
• Two inner ears.

6 From the black felt, cut:

• One nose.
14 Thread a needle with black
embroidery floss and knot the
ends together. Backstitch the lines for

7 Fold one of the print fabrics for

the outer overalls in half, right
sides together. Pin the pattern to the
fabric and cut the shapes out around
the edge of the pattern through both
layers of fabric (overalls back). Unpin
the pattern, fold the strap under
along the dotted line and pin it to
the doubled fabric again. Cut a
second pair of shapes, this time
with shorter straps (overalls front).
the mouth. Pin the nose in position
and whip stitch it to the face using
the same thread. Stitch two black
buttons securely in place where you
marked the eye positions.
15 Pin the face to one of the head
shapes, right side facing up.
Topstitch just inside the edge of the
face using thread to match the tan felt.
16 With right sides together, pin
this head shape to a body

8 Repeat Step 7 with the fabric for

the overalls lining. Also cut a pair of
pocket shapes from the lining fabric.
shape at the neck edges. Machine
stitch across them to make the front
of the monkey. Repeat this step with

9 From the cream felt, cut:

• Three banana fruit shapes.
the other head and body shape to
make the back. Press the seams open.

Homespun 75
 Diagram 1
17 With right sides together,
pin the front and back
heads+bodies together, matching all
the edges. Machine stitch around the
body and head, leaving an opening
where marked on the pattern. Clip the
seam allowance around the curves
and turn the body right side out.
18 Stuff the head and body firmly
with fibre fill, turn the raw
edges in and ladder stitch the
opening closed.
19 Match the legs in pairs, right
sides together, and machine
stitch around them, leaving the
opening marked on the pattern. Clip
the seam allowance at the curves,
then turn the legs right side out.
Use a chopstick or similar tool to
push the seams out gently.
FIONA’S TURNING
TIP Turning small toy parts
can be difficult. Here’s how I do
it. You need a narrow wooden
skewer and a clean drinking
straw, fat enough for the skewer
to easily fit inside (such as a
thickshake straw). Trim the seam
allowance to 1⁄8in and slide the
straw inside the shape as far as
it will go. Push the flat, blunt end
of the skewer against the fabric
at the end of the straw and
wiggle the skewer inside the
straw, taking the fabric with it.
Continue to wiggle the skewer
through the straw until the piece
is magically turned right way out!
76 Homespun
20 Stuff each leg firmly with
fibre fill, turn the raw edges
inwards and whipstitch them
closed. Ladder stitch the legs to the
body where marked on the pattern.
21 Repeat Steps 19 and 20 with
the arms.
22 Thread a long doll needle with
a length of brown crochet
thread and make a knot in the end.
Pin the arms to the body in the
positions indicated on the pattern.
23 Referring to Diagram 1, insert
the needle into the body
underneath one of the arms, come
out at the other side of the body and
go through the other arm. Insert the
needle back into that arm about 1⁄4in
from the exit point, go through the
arm, body and other arm. Repeat
this process several times back and
forward through the arms and body
until the arms are well secured.
Fasten off the thread under one arm.
24 Match each brown outer ear
that has had an inner ear
appliquéd to it with one that hasn’t,
right sides together (that is, with the
inner ear out of sight, between the
two outer ears), and pin. Machine
stitch around the curved edges,
leaving the straight edge open. Clip
the seam allowance around the curves
and turn the ears right side out.
25 Turn in the raw edges of the
openings, pin the ears on the
side of the head and ladder stitch
them in place.
26 Match the two tail shapes,
right sides together. Stitch the
curved edge, leaving the short straight
edge open. Clip the seam allowance
 J ECT
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05
around the curves and turn the tail
right side out. Stuff the tail firmly.

27 Turn in the raw edges of the

opening, pin the tail on the
right side of the body, over the side
seam, and ladder stitch it in place.

OVERALLS
28 Match the two overalls front
shapes (with shorter straps),
right sides together, and pin, then
stitch, the centre front seam. Press it
open. Repeat this step with the two
overalls back shapes.

29 Match the overalls front and

back, right sides together. Align
and pin the edges of the inner leg seam,
matching the centre front and back
seams at the crotch. Stitch, starting at
one ankle, going up to the crotch and
back down to the other ankle.

30 Now stitch the outer leg

seams. Refer to the pattern:
on the left edge of the overalls, do
not sew between the armhole and
the mark; just stitch from the mark
down to the ankle. This leaves a
longer ‘armhole’ that accommodates
both the arm and the tail. On the from the armhole to the ankle on the 1in from the centre back seam,
right edge, sew the seam from the left edge – the opposite of what you stitch along the neckline, up around
armhole down to the ankle. did with the outer overalls. one long strap, down around the

31 Repeat Steps 28 and 29 with

the shapes cut for the overalls
lining. Then repeat Step 30 to sew
the outer leg seams on the lining but
this time, stitch from the mark down
to the ankle on the right edge and
32 Turn the outer overalls right
side out. Leave the lining
wrong side out. Place the outer
overalls inside the lining, right sides
together and seams and edges
matching, and pin. Starting about
armhole, around a shorter strap,
around the front neckline and the
other shorter strap, around the other
longer armhole/tail opening, second
long strap and back up towards the
centre back, stopping 1in from the

Overalls

78 Homespun
 centre back seam, so there’s an
opening of 2in. Clip the seam
allowance around the curves and
trim the corners of the straps.

33 Turn the overalls right side out

through the opening, pushing
the legs of the lining into the outer legs
and using a chopstick or turning tool
to gently push out the seams in the
straps. Slip stitch the opening closed
at the centre back and press. Topstitch A B C D E F
close to the edge all the way around.

34 Turn under 1⁄4in hems at the

lower edges of the outer legs
and the linings and pin them together
with the folded edges level. Topstitch
close to the edges.

35 Mark a vertical buttonhole at

the end of both long straps the
correct length for the buttons you’re
Diagram 2
using. Stitch them and then cut
them open.

36 Match the two pocket shapes,

right sides together, and stitch
around them, leaving an opening at
the top, as shown on the pattern. Clip
the corners and curves and turn the
pocket right side out, pushing the
seam out gently. Slip stitch the
opening closed neatly and press the
pocket well. Topstitch across the
top straight edge of the pocket.
the left and middle shapes, right
sides together, and machine stitch
the BC edge, backstitching at the
beginning and end of the seam.
41 Match the third shape to
the middle one, right sides
together, and stitch the DE edge.
Match the first and third shapes, right
sides together, and stitch the AF
edge, leaving a 1in opening in the

37 Pin the pocket to the front of

the overalls where marked
on the pattern. Topstitch it in place
around the side and bottom edges
through all layers.
middle of this seam. Clip the seam
allowances, then turn the banana right
side out through the opening. Stuff it
firmly. Turn in the raw edges of the
opening and ladder stitch it closed.

38 Put the overalls on the monkey.

Bring the longer back straps
over to the front and lap them over
the shorter front straps. Mark the
positions for the buttons on the
shorter straps. Turn up the legs of the
overalls by about 1in to form cuffs
and pin them in place.
42 Match the yellow print fabric
banana-skin shapes in three
pairs, right sides together. Stitch
around the shapes, leaving a 1in
opening. Clip the seam allowances,
then turn each shape right side out.
Turn the raw edges of the openings
in and slip stitch them closed.

39 Remove the overalls from the

monkey. Hand stitch the buttons
to the shorter straps where marked. Sew
some invisible hand stitches from the
inside of the cuffs through to the leg of
the overalls to keep them in place. Press
the overalls once more before putting
them back on the monkey and fastening
the straps to finish.
BANANA
43 Lay out the three skin shapes
as you did the felt ones.
Repeat Steps 41 and 42 to join them
together, but this time ladder stitch
by hand and only stitch about two-
thirds of the way up each side.
Backstitch to secure the stitches.
44 Push the felt banana into
the skin. Fold the top part
of each skin shape down. Ladder
stitch the skin to the fruit along these

Bananas
40 Lay out the three felt shapes
cut for the banana side by
side, as shown in Diagram 2. Match
folded edges on the skin. This will
keep the fruit in place and keep
the peel open.

80 Homespun
 JE CT
PRO

06

The world’s most famous love story …

Madama
BUTTERFLY
The hours that are required to create this
stunning doll, designed by Anne Oliver,
will be well rewarded with the final
outcome – or is that the final curtain?
Anne Oliver, Lolli and Grace – Website: www.lolliandgrace.com,
Instagram: @lolliandgrace, Facebook: Lolli and Grace

84 Homespun
 PART 2
ght you Part 1
Last issue we brou
to make this
of the instructions
that you have
stunning doll. Now
dy, we share
made the doll's bo
e to create her
the instructions her
underclothes,
kimono, ohashori,
obi and hair comb.

Homespun 85
 J ECT
PRO

06

MATERIALS
For clothing
Q 60cm (3⁄4yd) pink floral
print satin fabric (kimono)
Q 40cm (1⁄2yd) solid white
satin fabric (kimono lining)
Q 10cm (1⁄8yd) pink tone-on-
tone cotton print fabric
(undercollar)
Q 20cm (1⁄4yd) thin white
cotton fabric (undercollar
bodice)
Q 30cm (3⁄8yd) dark pink print
cotton fabric (underskirt)
Q 20cm (1⁄4yd) blue tone-on-
tone print satin fabric (obi)
Q 10cm (1⁄8yd) buckram or
heavyweight interfacing (obi)
Q DMC stranded embroidery
floss in Blanc (White)
Q 60cm (3⁄4yd) pink ribbon,
15mm (5⁄8in) wide (obiage)
Q 1.1m (11⁄4yd) red cord,
diameter 3mm (1⁄8in)
(obijime)
Q Fray Check
Q Air-soluble/disappearing
fabric-marking pen

86 Homespun
Q Stiff paper or card stock
Q Lightweight cardboard (such
as a cereal box)
Q White glue
Q Three or four small pink
paper or silk flowers – often
used for scrapbooking
Q Surgical forceps
Diagram 1
KIMONO
48 Trace all the patterns
for the doll’s clothing
onto stiff paper or card
stock. Cut the shapes out.
49 From the pink floral
print satin fabric, cut:
• Two rectangles, 19 x 5in
(kimono front)
• One rectangle, 19 x 6in
(kimono back)
• Two rectangles, 22 x 5in
(sleeves)
• One rectangle, 11⁄2 x
101⁄2in (collar).
50 Layer the two 19 x
5in rectangles on top
of each other, wrong sides
together. Lay the pattern
for the kimono front on top
of them, trace around the
pattern, pin the two layers
Q Size 26 chenille needle
Q Hot glue gun
Q Sewing machine
Q General sewing
supplies
Finished size:
45.5cm (18in) tall
of fabric together and then
cut the shapes out of fabric.
51 Fold the 19 x 6in
rectangle in half,
wrong sides together and
long edges matching. Lay
the pattern for the kimono
back on top with one long
edge matching the fold.
Trace around the other
edges of the pattern, pin
the layers of fabric together,
then cut the shape out.
52 Fold the 22 x 5in
rectangles in half,
wrong sides together and
short edges matching. Lay
the pattern for the sleeve
on top of them, in turn,
with the marked edge
matching the fold. Trace,
pin and then cut as before.
Note: Read all the instructions stitching unless otherwise
before starting the project. noted. Instructions are given
Requirements are based on for using the printed Pattern
fabrics 107cm (42in) wide. Sheet in the magazine, but
Use a 1⁄4in seam allowance you can also download
when making the doll’s the digital patterns from
clothing. Use two strands of www.homespun.net.au and
embroidery floss for the hand print them out.
53 Match one of the
kimono front shapes
with the kimono back,
right sides together and
long side edges and
shoulder edges matching.
Sew the shoulder seam.
Repeat to sew the shoulder
seam on the second kimono
front shape, as shown in
Diagram 1.
54 Open out the
kimono, with its
right side facing up. Centre
one of the sleeves on top of
it, right sides together. Sew
the short straight edge of
the arm opening to the
kimono, as shown in
Diagram 2. Repeat to sew
the second sleeve to the Diagram 2 – only one kimono front
other edge of the kimono. shape is shown to improve clarity
Homespun 87
 side of the kimono, as shown in
2¼in 2¼in
Diagram 3. Clip the seam allowance
around the curves. Repeat to sew the
second sleeve and the other side of
the kimono.

56 Turn the kimono right side out

and press all the seams so that
they lie flat. Turn under a 3⁄8in hem
around each wrist edge and hand
sew it in place with thread to match
the fabric.

57 Lay the white satin for the

kimono lining out flat. On the
kimono, measure up 12in from the
bottom edge and pin mark. Lay the
kimono, right side down, on the
lining with the pin mark matching
Diagram 3 the top edge of the lining.

58 Pin the kimono and lining

together, then cut the lining
immediately adjacent to the edge of Step 58 (topstitching yet to be completed)
the kimono. Sew the kimono and
lining together. Clip the seam
allowance around the curves. Turn
the kimono right side out and press
it flat. Topstitch 1⁄8in away from the
seam all the way around the edge
of the kimono/lining.

COLLAR AND TIES

59 Fold the rectangle cut for the
collar in half, wrong sides
together and long edges matching.
Press. Unfold. Turn under 1⁄8in on each
long edge. Press. Turn under one short
edge of the rectangle by 1⁄4in and press.
Refold, wrong sides together and long
edges matching.
Step 57
60 Push the raw edge of the
kimono neckline up into the
long fold on the collar, as shown in
Step 61

Diagram 4. Stitch the long edges of kimono with a disappearing marker

the collar to the kimono by hand on 11⁄2in above the top edge of the lining.
both the front and back.

61 On the left edge of the kimono

front (meaning ‘left’ from the
doll’s point of view once she is
wearing the kimono), stitch a 36in
length of Blanc (White), using all six
63 Bring the kimono fabric and
the top edge of the lining up to
this line and pin it in place. Hand
stitch them in place.
UNDERCOLLAR

Diagram 4
strands, just under the end of the
collar. Tie a knot in the thread after
attaching it to the kimono. Sew an
64 Trace around the patterns for
the undercollar bodice front
and back on the thin white cotton

55 Fold the kimono along the

shoulder seams, right sides
together. Match the edges and pin
them together. Beginning 21⁄4in down
from the folded edge at the top of a
sleeve, sew all the way around the
sleeve, under the arm and down the
identical tie where the top of the
lining is on the inside of the kimono.
fabric. Flip the pattern for the front
over and trace one shape in reverse.
Cut the shapes out on the lines.
OHASHORI
62 To make the fold at the
waistline – the ohashori –
65 Join the two front shapes to the
back shape, right sides together,
and sew the shoulder seam (as you did
draw a line on the wrong side of the with the kimono shapes in Step 53).

88 Homespun

Getting to know …
ANNE OLIVER
Describe the space that you create in.
I’m lucky enough to have a dedicated room
for my work space. And even though it’s just
inside our front door, I can just close the
Step 84 French doors to my room and pretend it’s
all neat and organised in there.
What are the prerequisites for your
designing and sewing space – and the
absolute “no-no’s”. I must have a really bright,
light space and my reading glasses. As far as
“no-no’s” … food and drink never come into
my room. That would make me too nervous!
You create lots more than dolls, don’t you?
What are your favourite stitching projects?
While I love designing dolls, I also really enjoy
designing and stitching hand-embroidery
patterns. I like that they can be simple and
quick or more challenging and adventuresome.
And an embroidery project travels really well
– it’s easy to just pop everything in a bag and
take it with you. But dolls can be so unique
and whimsical and they give me an excuse to
pick out fun fabrics.
Step 85
82 Wrap the underskirt around the
doll with the opening at the
centre back. Wrap the ties around
the waist several times and tie them
together at the back.
83 Put the kimono on the doll,
again wrapping the left edge
over the right. Wrap the upper tie
around the body and tie at the back.
Place the lower tie under the fold in
the kimono to hold the fold in place
around the hips. Tie it under the fold
at the back.
84 Position the larger obi
rectangle from Step 76
vertically on the doll’s back with the
seam side facing out and pin it in
place at the neck. Wrap the smaller
obi rectangle around the doll’s waist
and tie it in place at the back over
the vertical rectangle. Tuck the ties
Step 86 inside the obi.
90 Homespun
Do you fall in love with your creations as
you make them? Oh yes, I do! I know a
design is really good when I’m just as excited
about it as I’m putting in the final stitches
as I was when I started it.
What are the elements on your projects
that unmistakably identify them as yours?
Lots of colour, and colour combinations that
really grab you.
How does a 9-5 office job compare to the
joy of creating your stitched projects?
A 9-5 sounds like torture, honestly. However,
I have worked an actual 9-5 job, but I was
incredibly lucky that it was at an amazing,
small but very unique craft store where I
had the privilege of designing the sample
projects in order to sell all of the supplies.
That definitely was not torture! I loved every
minute of all the years I worked there.
Were you professionally trained in stitching
and craft or are you self-taught? Self-taught
all the way. And it’s so much easier now than
it was when I started (thank you, internet).
Are you someone who needs to work on
several projects at once or do you prefer to
see one project through before starting
another? I feel less stressed when I concentrate
on one project at a time. I think if I worked on
multiple projects, none of them would ever
actually get finished and I would feel scattered
in a million directions all of the time.
Are there any more stitching skills you
still have to learn or do you think you
have mastered them all? There are always
more skills to learn – more fun ways to
create doll-scale-sized clothes or more
fun embroidery stitches to master. I hope
I never feel like I’ve mastered it all because
that’s when I stop improving.
85 Tie the pink ribbon around
the obi, with the bow a little
left of centre. Tie the red cord
around the obi with the decorative
knot in the centre front. Tuck the
ends of the ribbon and cord into the
obi at the back.
86 Fold down the vertical
rectangle, roll under the short
end and pin or stitch it in place.
87 Hot glue the hair comb to the
doll’s hair, directly in front
of the large bun. Pin the bundle of
flowers slightly in front of the comb,
then hand stitch it to the head with
black thread.
88 If you wish, you can mount
your doll. Anne inserted the
pointed end of a 101⁄4in length of
dowel into the base of the doll’s body
and the other end into a hole drilled
in a wooden base.
92 Homespun
 PRO
JECT

07

OWL BE
WATCHING
YOOOOOO!
With their haunting night calls
, silent flight,
extraordinary hearing and dead
ly eyesight,
owls are known in different cu
ltures as symbols
of magic, wisdom and mystery
. In South Africa,
where Renette lives, they are m
ostly associated
with superstition and in many
African folktales
are seen as purveyors of evil. H
owever, this
family of four is really quite sw
eet!
Renette Opperman, renette.op
perman2@gmail.com

Homespun 93
 J ECT
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07
MATERIALS
Q 35cm ( ⁄8yd) cream
3
tone-on-tone print fabric
(appliqué background)
Q Scraps in assorted colours
(appliqué and block frames)
Q 30cm (3⁄8yd) yellow mottled
print fabric (sashings and
Border 1)
Q 90cm (1yd) brown print
fabric (Border 2 and binding)
94 Homespun
Q 1.8m (2yd) backing fabric
Q Batting at least 125cm
(49in) square
Q Fusible web
Q Stranded embroidery floss
to match or coordinate
with the appliqué fabrics
Q Embroidery needle (hand
appliqué)
Q Assorted novelty buttons
(appliqué embellishments)
Q Clear monofilament
thread and machine
quilting threads to
match the cream and
brown print fabrics
(machine quilting)
Q Rotary cutter, ruler and mat
Q Sewing machine with 1⁄4in,
free-motion and walking
feet
Q General sewing supplies
Finished size:
88 x 75.5cm (343⁄4 x 293⁄4in)
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 107cm
(42in) wide. Instructions are
provided for fusible-web
appliqué blanket stitched
by hand. However, the quilt
lends itself to a variety of
other appliqué methods –
adapt the instructions to
suit your preferred approach.
Seam allowances of 1⁄4in
are used throughout for
the patchwork. The project
is constructed using a quilt-
as-you go method so it’s
very achievable on a domestic
machine. Instructions are
provided for using the
printed Pattern Sheet in
the magazine, but you
can also download the
digital patterns from
www.homespun.net.au
and print them out.

CUTTING them in numerical order in the centre

1 From the cream tone-on-tone

print fabric, cut:
• One strip, 12in across the width of
the fabric. From it, cut four rectangles,
12 x 10in (appliqué background).
These rectangles have been cut
oversized and will be trimmed after
the appliqué has been completed.
of each of the 12 x 10in rectangles
of cream print fabric in turn. Bear
in mind that these rectangles will
be trimmed to 101⁄2 x 8in after the
appliqué has been completed, so you
need to ensure that the appliqué
shapes are well inside the outer raw
edges. Once you’re happy with the

2 From the assorted fabric scraps, cut:

• Eight rectangles, 13⁄4 x 113⁄4in
• Eight rectangles, 13⁄4 x 91⁄4in
(block frames).
arrangement of shapes for each owl,
fuse the shapes in place.
10 Blanket stitch around the raw
edges of each shape using one

3 From the yellow mottled print

fabric, cut:
• Seven strips, 11⁄4in across the width
of the fabric (sashings and Border 1).
strand of embroidery floss. Renette
likes to stitch with floss that matches
medium- and dark-value appliqué
fabrics. For light-value appliqué

4 From the brown print fabric, cut:

• Four strips, 6in across the width
of the fabric (Border 2)
fabrics, she finds that using floss that
is darker than the fabric helps to give
them definition and stand out from
• Four strips, 21⁄4in across the width the cream background fabric.
of the fabric (binding).

5 From the backing fabric, cut:

• Four rectangles, 14 x 111⁄2in
(framed blocks)
• Four strips, 7in across the width
of the fabric (Border 2)
• Seven strips, 2in across the width
of the fabric (sashings and Border 1)
• One strip, 6in across the width of
the fabric (hanging sleeve).
11 Finish each block by stem
stitching the details (as
indicated by dotted lines on the
patterns), using two strands of floss.
For Grandpa, stitch the frame of
the glasses and the seam down the
centre of his waistcoat. For Grandma,
stitch eyebrows. For Olivia, stitch
eyelashes. For Oliver, stitch hair and
the seam down the centre of his shirt.

6 From the batting, cut:

• Four rectangles, 14 x 111⁄2in BLOCK FRAMES
(framed blocks)
• Four strips, 7 x 40in (Border 2). 12 Press the blocks, then trim
them to 101⁄2 x 8in with the
appliqué designs centred. Diagram 1
APPLIQUÉ

7 Trace all the appliqué shapes

needed for each block from the
Pattern Sheet onto the paper side of
the fusible web, leaving at least 1⁄2in
between them. Cut them out roughly
outside the traced lines.
13 For each appliqué block,
choose two 13⁄4 x 113⁄4in
rectangles and two 13⁄4 x 91⁄4in
rectangles cut from assorted print
fabrics in Step 3.
RENETTE’S
EMBELLISHMENT
14 To add the rectangles to the
blocks, start by pinning a 13⁄4 x
TIP Have fun embellishing your
wallhanging. I used charms and

8 Fuse the shapes to the wrong side

of the fabrics you have chosen for
them. Cut the shapes out accurately
on the lines. Put the four flower
shapes aside for the time being.
113⁄4in rectangle to the left edge of the
block; it will overhang the bottom
edge of the block. Sew it in place
buttons. You could also add
ribbons, braids and laces. Another
option it to make Suffolk puffs
using a partial seam; that is, only and stitch them to the blocks
instead of the appliquéd flowers.
stitch about three-quarters of the way

9 Peel the backing paper off the

remaining shapes and position
down the edge of the rectangle before
stopping. Press the seam outwards.

Homespun 95
 15 Pin, then sew a 13⁄4 x 91⁄4in
rectangle to the top edge of the
block. Press as before. Pin, then sew
the other 13⁄4 x 113⁄4in rectangle to the
right edge of the block and press. Pin
then sew the other 13⁄4 x 91⁄2in rectangle
to the bottom edge of the block.
16 Complete the block frame by
pinning the bottom part of the
rectangle from Step 14 to the edge of
the block and the bottom frame
rectangle. Stitch this part of the seam
and press as before. Your framed
blocks should measure 13 x 101⁄2in
from raw edge to raw edge.
Wrong side of Grandpa block
Diagram 2
RENETTE’S
APPLIQUÉ TIP
Fuse the shapes for the owls’
eyes and blanket stitch them
before fusing the assembled eye
to the quilt. This will reduce the
number of layers of fabric that
you need to stitch through as you
appliqué each block.
96 Homespun
17 Repeat Steps 9 and 10 to fuse the
four flowers to the block frames
and blanket stitch them in place.
QUILTING
18 Each framed block and
border strip now needs to
be sandwiched and basted in
preparation for quilting as you go.
They are joined together after the
quilting has been completed.
19 Start by pressing each
block well. Lay a 14 x 111⁄2in
rectangle of backing fabric cut for
the blocks right side down. Lay a
rectangle of batting cut the same
size on top of it. Then centre a
completed block on top, right side
facing up. Pin the layers together.
20 Attach a walking foot to your
machine and thread it with
clear monofilament thread in the
upper machine and thread to match
the backing fabric in the bobbin.
Practise your stitching on a scrap
sandwich of fabric and batting – you
may need to loosen the tension.
21 Once you’re satisfied with the
quality of the stitching, stitch
in the ditch of the frame around the
appliquéd block centres. Switch to a
free-motion foot and outline the owl.
Change the thread in the upper
machine to one that matches the
cream background fabric, then work
a meander on the cream fabric.
22 Repeat Steps 19-21 with each
of the remaining three blocks.
Trim the backing fabric and batting
even with the edges of the framed
blocks, making sure that the blocks
are all the same size.
23 Now repeat the process
described in Steps 19-21 to
layer, quilt and trim the four strips
cut for Border 2. Renette free-motion
quilted a meander pattern in brown
thread to match the border fabric.
ASSEMBLY
24 Lay the quilted Grandpa Owl
block face down. Rotate the
block 90 degrees so that it is in
‘landscape’ orientation with
Grandpa’s head to the right, as
shown in Diagram 2. Fold a 2in strip
of backing fabric in half, wrong sides
together and long edges matching,
and press. Pin the raw edges of the
strip to the top raw edge of the
backing fabric behind the block; the
left edge of the strip should overhang
the left edge of the block by a little
and the right edge will overhang the
right edge of the block quite a lot.
25 Turn the block over. On the front,
pin a 11⁄4in strip of mottled yellow
fabric, right side facing the block, along
the same edge that you pinned the
backing strip to and with the edges
overhanging the block in the same
way. This edge of the block should now
be sandwiched between the folded
strip of backing fabric on the back and
the mottled yellow sashing strip on the
front. Stitch along this edge of the
block using a 1⁄4in seam.
26 Trim the backing and yellow
strips even with the ends of
the block. Press the seams towards
the strips.
27 Pin the raw edge of the yellow
sashing on the front of the
block to the left edge of the Grandma

Getting to know …
RENETTE OPPERMAN
Where do you live? My husband, Danie,
and I live and work on our cattle farm in the
northern part of rural South Africa near the
small holiday town of Bela-Bela. The area
where we live is typical African bushveldt
and is well known worldwide among the
bird watching community for the largely
diverse birdlife found here.
When did you start creating and what did
you make? I have been a creative person
since I can remember. Both my grannies
loved needlecraft and my dad painted,
sculpted and played various musical
instruments. I guess I have creativity in
my genes! I embroidered my first little
apron when I was about five years old –
of course with granny supervising!
What other crafts do you like to do? Over
the years I have tried my hand at painting,
crocheting, cross stitch, blackwork,
restoring vintage furniture, patchwork and
quilting. I absolutely love quilting and all
things vintage. Quilting is the perfect way
to create something with an air of
yesteryear. Everything about it thrills me
– the feel of the fabric, the smell and the
way the colours complement each other.
Do you have a dedicated space to sew?
My workspace consists of my dining room
table. It is a bit cramped but my son got
married in 2017, so I am in the process of
moving into his old room, where there will
be more room for my ever-expanding stash!
What is your favourite technique? My
favourite quilting technique is appliqué
done by hand, as well as paper piecing.
Since I worked as a private dental
practitioner for nearly 18 years, I do not
find it difficult to work with mirror images.
I am retired now and have the luxury of
having more time for my favourite hobby.
Previously I even made time for my
creative pursuits between seeing patients.
What does your craft mean to you? My
quilting craft means a lot to me. It gives me a
sense of achievement and gives me something
to look forward to every day. My daughter
taught me: “A creative adult is a child that
survived.” I guess I am still a child that loves
to create something beautiful to cherish.
98 Homespun
Measure this distance and add ½in
Diagram 3
Owl block, right sides together. Sew
through all the layers – the yellow
strip, the appliquéd block, the batting
and the backing fabric – using a 1⁄4in
seam. Take care to keep the folded
strip on the back of the Grandpa
Owl block out of this seam. Press.
28 Turn the blocks over so that
the backing is right side up.
Pin the folded strip of backing fabric
33
over the seam line you sewed in Step
27. Hand stitch it in place using
thread to match the backing fabric.
29 Repeat Steps 24-28 to join
the Olivia and Oliver blocks
together in the same way. Then
repeat them to join the two pairs of
blocks together to complete the
centre of the quilt.
34
30 The side borders are added
in exactly the same manner.
Begin by measuring the length of the
35
quilt vertically through the centre and
trimming two of the quilted border
strips to this length. You may also wish
to trim their width: Renette trimmed
her borders to 4in. Repeat Steps 24-28
to join the borders to the quilt centre
with a folded backing strip on the back
and a 11⁄4in yellow strip on the front.
31 To add the top and bottom
borders, begin by measuring the
width of the quilt horizontally through
36
the centre. Trim the remaining two
quilted border strips to this length.
And, again, trim their width to match
the side border strips if you wish.
32 The sashing strip used on the
front of the quilt to join these
border strips needs to be pieced
from yellow and brown print fabrics.
Measure the distance from the
seamline between the brown left
37
border strip and the yellow sashing
to the seamline between the brown
right border strip and the yellow
38
sashing, as shown in Diagram 3.
Add 1⁄2in to this measurement. Trim
the two remaining 11⁄4in strips of
yellow mottled fabric to this length.
From brown print fabric, cut four
rectangles: they need to be the
width of the left border strip+1⁄4in and
11⁄4in high. Join one of these brown
rectangles to the left and right ends
of the trimmed yellow strips.
Repeat Steps 24-28 to join
these borders to the quilt
centre, taking care to match the
seams in the brown+yellow sashing
strip on the front of the quilt with the
seams between the left and right
border strips and the yellow sashings.
FINISHING
Use a long quilter’s ruler and
rotary cutter to square the corners
of the quilt and straighten the edges.
Trim the 6in strip cut for the
hanging sleeve so that it is just
a little shorter than the width of the
quilt. Turn under a 1⁄2in hem on each
short edge of the strip and stitch
them in place. Fold the strip in half,
wrong sides together and long edges
matching. Match the long raw edges
to the top edge of the quilt on the
back and baste the layers together
using a 1⁄8in seam.
Join the binding strips with
diagonal seams to make one
length. Trim the seams to 1⁄4in and press
them open. Fold the binding in half,
wrong sides together and long edges
matching, and press. Refer to Steps 17-
19 on page 118 to bind the quilt. You will
be catching the raw edges of the
hanging sleeve in this seam when you
sew along the top edge of the quilt.
Pin the bottom edge of sleeve to
the backing fabric maintaining
a little fullness in it to allow a rod to be
inserted into it. Slip stitch along the
folded edge, working these stitches
through the backing fabric only.
Attach novelty buttons
and charms to the owl
blocks to finish.
 J ECT
PRO

08

Hibiscus Days
Get scrappy and happy with vibrant batik
fabrics. This lap-sized quilt is inspired by the
meeting of rainforest and reef in Far North
Queensland and the beautiful hibiscus and
frangipani that abound in the area.

Jenny Edlin, quilterjen4@gmail.com

100 Homespun
Homespun 101
 J ECT
PRO
08
MATERIALS
Q Fat quarter bright green/
blue batik (centre block
background)
Q 1.1m (11⁄4yd) light cream
mottled print fabric (Hibiscus
block backgrounds and
Summer Frame blocks)
Q 85cm (7⁄8yd) light teal
mottled print fabric (block
borders and Summer
Frame blocks)
Q 65cm (3⁄4yd) black mottled
print fabric (border)
Q Assorted tropical print
fabrics (fussy cut squares)
102 Homespun
Q 55cm (5⁄8yd) dark teal
mottled print fabric
(Summer Frame blocks)
Q Assorted mottled print
fabrics in tropical colours
(appliquéd flowers and
leaves)
Q 50cm (1⁄2yd) green/
blue mottled print fabric
(binding)
Q 3.2m (31⁄2yd) backing fabric
Q Batting at least 155cm
(60in) square
Q Fusible web
Q Embroidery needle (hand
appliqué)
Q Stranded embroidery floss
to match the appliqué
fabrics
Q Rotary cutter, ruler and mat
Q Sewing machine with 1⁄4in
foot
Q General sewing supplies
Finished size:
138.5cm (541⁄2in) square
Finished block size:
8in square
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 107cm (42in)
wide. Seam allowances of 1⁄4in
are used throughout for the
patchwork. Instructions are
provided for fusible-web appliqué
blanket stitched by hand, but
they can be readily adapted to
suit other appliqué methods.
Instructions are provided for
using the printed Pattern Sheet
in the magazine, but you can also
download the digital patterns
from www.homespun.net.au
and print them out.
CUTTING
1 From the fat quarter of bright
green/blue batik, cut:
• One square 14in (centre block
background). This square has been
cut oversize, and will be trimmed once
the appliqué has been completed.
2 From the light cream mottled print
fabric, cut:
• Two strips, 91⁄2in across the width
of the fabric. Crosscut them to yield
eight squares, 91⁄2in (Hibiscus blocks).
These squares have been cut oversize
and will be trimmed once the
appliqué has been completed
• Six strips, 3in across the width of
the fabric. Crosscut them to yield 80
squares, 3in (Summer Frame blocks).
3 From the light teal mottled print
fabric, cut:
• Six strips, 3in across the width of
the fabric. Crosscut them to yield 80
squares, 3in (Summer Frame blocks)
• Four strips, 11⁄2in across the width
of the fabric. Crosscut them to yield
eight rectangles, 11⁄2 x 61⁄2in and eight
rectangles, 11⁄2 x 81⁄2in (block borders)
• Two strips, 21⁄2in across the width
of the fabric. Crosscut them to yield
two rectangles, 21⁄2 x 121⁄2in and
two rectangles, 21⁄2 x 161⁄2in (centre
block border).
4 From the dark teal mottled print
fabric, cut:
• Six strips, 3in across the width of
the fabric. Crosscut them to yield 80
squares, 3in (Summer Frame blocks).
5 From the assorted tropical print
fabrics, fussy cut:
• Four squares, 61⁄2in
• 20 squares, 41⁄2in.
6 From the black mottled print
fabric, cut:
• Six strips, 31⁄2in across the width
of the fabric (border).
7 From the green/blue mottled
print fabric, cut:
• Six strips, 21⁄2in across the width
of the fabric (binding).
CENTRE BLOCK
8 Trace one large leaf, five small
centre-block hibiscus flowers
and five small hibiscus stamen from
the Pattern Sheet onto the paper
side of the fusible web. They’ve
been printed in reverse for your
convenience. Cut them out roughly
outside the traced lines.
9 Fuse the shapes to the wrong side
of the fabrics you have chosen for
them. Cut the shapes out accurately
on the lines.
10 Peel the backing paper off the
shapes and position them on
the 14in square of bright green/blue
batik cut for the centre block. Bear in
mind that this square will be trimmed
to 121⁄2in after the appliqué has been
completed, so you need to ensure
that the appliqué shapes are all at
least 11⁄4in inside the outer raw edges.
Fuse the shapes in place.
11 Blanket stitch around the raw
edges of each shape using two
strands of embroidery floss to match
Centre Block
the appliqué fabric. Press.
12 Trim the background square
to 121⁄2in keeping the appliqué
design centred.
13 Sew a 21⁄2 x 121⁄2in rectangle of
light teal mottled print fabric to
the left and right edges of the block.
Press seams outwards. Then sew a
21⁄2 x 161⁄2in rectangle to the top and
bottom edges and press as before. Your
centre block should measure 161⁄2in
square from raw edge to raw edge.
Hibiscus Block
HIBISCUS BLOCKS
14 Trace each of the shapes for a
hibiscus block from the Pattern
Sheet eight times onto fusible web.
Cut them out roughly outside the
traced lines. Repeat Step 9.
15 Peel the backing paper off the
shapes for a block and position
them on a 91⁄2in square of light cream
mottled print fabric. Bear in mind
that these squares will be trimmed to
81⁄2in after the appliqué has been
completed, so you need to ensure
that the appliqué shapes are all at
least 3⁄4in inside the outer raw edges.
Feature Print Blocks
Fuse the shapes in place.
16 Repeat Step 11. Trim the block
to measure 81⁄2in square with
the appliqué centred. 19 Sew a 11⁄2 x 81⁄2in rectangle of
the same fabric to the top and
17 Repeat Steps 15 and 16 to
make a total of eight Hibiscus
bottom edges of each of these blocks.
Press seams outwards. Your blocks
blocks.
FEATURE PRINT BLOCKS
should measure 81⁄2in square from
raw edge to raw edge.
SUMMER FRAME BLOCKS
18 Sew a 11⁄2 x 61⁄2in rectangle of
light teal mottled print fabric to
the left and right edges of each of the 20 To make one block, you will need:
• four light cream 3in squares
four 61⁄2in fussy cut tropical print • four light teal 3in squares
squares. Press seams outwards. • four dark teal 3in squares
Homespun 103
 Summer Frame Block
• one 41⁄2in square of a fussy cut
tropical print fabric.
21 Draw a diagonal line from
corner to corner on the wrong
side of the four cream squares and
two of the light teal squares. Pin
these squares, right sides together,
to unmarked squares, as follows:
• match two cream squares with
two (unmarked) light teal squares
• match two cream squares with
two dark teal squares
• match two (marked) light teal
squares with two dark teal squares.
22 Sew a scant 1⁄4in on either
side of the lines drawn on one
square in each pair. Cut the squares
in half on the drawn lines. Open out
the fabrics and press to yield a total
of 12 half-square triangle (HST) units.
Trim them to measure 21⁄2in square
with the seams running from corner
to corner. Refer to Diagram 1.
23 Lay out the HSTs around the
edges of the tropical print
JENNY’S TIPS
When preparing your appliqué
backgrounds, cut them out 2cm
(1in) larger all around, then after
you have stitched your appliqué,
trim the background back to the
correct unfinished size as shown in
instructions. If, like me, you live in
the tropics, prepare one appliqué
block at a time to prevent the
fusible web from lifting away from
the background fabric. I draw them
all, then cut them out and iron
them in place as I need them.
104 Homespun
Summer Frame Block Layout Diagram Quilt Centre Layout Diagram
square, referring to the Summer pairs to the left and right edges of the
Frame Block Layout Diagram to centre block. Press seams inwards.
orient the units correctly.
24 Sew the HST units on the
left and right edges of the
29 Join the Summer Frame blocks
on the left and right edges
of the centre unit together in pairs.
centre square together in pairs. Then sew these pairs to the centre
Then sew these pairs to the left unit. Press seams inwards.
and right edges of the centre
square. Press seams inwards. 30 Join the blocks in the rows
above and below the centre
25 Sew the HST units in the top
and bottom rows together.
Then sew these rows to the top
unit together. Join the rows together
in pairs, then join the pairs of rows
to the top and bottom edges of the
and bottom edges of the block. Your centre unit.
block should measure 81⁄2in square
from raw edge to raw edge. BORDER
26 Repeat Steps 20–26 to
make a total of 20 Summer
Frame blocks.
31 Trim the selvedges off the
six 31⁄2in strips of black print
fabric, then join the strips end to
ASSEMBLY
end to make one long strip.
32 Measure the quilt top vertically
27 Lay out all the blocks for your
quilt, referring to the Quilt
Centre Layout Diagram. Check that
through the centre. Cut two
strips this length from the long strip.
Sew them to the left and right edges
the feature print squares are all of the quilt top. Press seams outwards.
facing the right way up.
28 Sew the Hibiscus blocks on the
left and right edges of the centre
33 Measure the quilt top
horizontally through the centre.
Cut two strips this length from the
block together in pairs. Then sew these remainder of the long strip. Sew them
Diagram 1

Getting to know …
JENNY EDLIN
Tell us about where you live. I live just out of
Cairns in Far North Queensland at Holloways
Beach. My husband and I have been here for
25 years after moving across the ditch from
New Zealand. We love the warm balmy
tropical days and nights, tropical palms and
plants, and walking around the corner to a
palm-fringed beach.
What is your sewing space like? Initially I sewed
on the dining room table, cut out and stored my
fabric in the laundry, and I probably had fabric
stashed in every room of the house. I now sew in
one of my spare bedrooms that I have turned
into a dedicated sewing room. I currently have a
big cutting table and a unit that doubles out on
itself so I can spread and pin up my quilts etc,
ready for quilting. The storage cupboard
contains 12 sliding units/baskets, which my
husband assured me would accommodate over
4000 fat quarters and I was told I would never
fill it up … needless to say, it’s full.
How and when did you start making
patchwork quilts? I never sewed in my life
to the top and bottom edges of the
quilt top. Press seams outwards.
JENNY’S TIP FOR
THE CORNERS
When you have pre-cut all your
fabrics for the Summer Frame
blocks, put them in separate
zip-lock bags so they don’t get
mixed up before you are ready to
make the blocks. This includes
keeping the squares you have
drawn a diagonal line on to make
the HSTs. This comes in very
handy if you are chain piecing
these blocks.
106 Homespun
apart from at high school, where the sewing
teacher in home economics would throw her
arms in the air and tell me how hopeless I was.
I took up patchwork after a trip back to New
Zealand 14 years ago. I was staying with my
husband’s cousin, who is a very talented quilter.
We got flooded in while I was there, so she told
me she thought this was something I could do.
At the time I very much doubted her, although I
had always loved looking at her beautiful books
and quilts, so the seed was sewn. On return to
Australia I went to classes at the local Spotlight
store and then at Cairns Create, where the
teacher was the very talented Frances Leate. I
discovered I had an eye for colour and a vivid
imagination, something I never knew I had, so
I constantly remind people that they all have
a hidden talent to discover.
Do you get involved with your local
communities through sewing and patchwork?
I am usually at Cairns Create every Tuesday
and Wednesday and love helping people to
create, design and make their projects. I love
sharing my skills with any newcomers and
people starting their journey. On alternate
Mondays, along with one of the other sewing
ladies, I travel up to Port Douglas (north of
Cairns) and teach and show the CWA ladies all
things patchwork and craft. I volunteer at the
Cairns Pain Support Group, encouraging them
to sew as a distraction from thinking about
their pain. One day I would love to go out into
some of the remote aboriginal communities and
get involved with showing some of the ladies
some of the things they can create for their
communities. I just love sharing things and
helping people create, and I love passing on
any skills that I can. I generally find quilters are
a special bunch and they will help you and pass
on their knowledge.
How do you stay motivated? What sparks an
idea for a new quilt design? I suffer from a
34 Trace the petals and stamen
for eight small border hibiscus
flowers and four border leaves from
the Pattern Sheet onto the paper side
of the fusible web. Cut them out
roughly outside the traced lines.
Repeat Step 9.
35 Peel the backing paper off the
shapes and position them in
the corners of the black print border,
referring to the photo of Jenny’s quilt
as a guide. Fuse the shapes in place.
Repeat Step 11.
FINISHING
36 Remove the selvedges from the
backing fabric and cut it into
two equal lengths. Sew the pieces
together side by side with a 1⁄2in
number of medical issues that include chronic
pain, so I find sewing keeps me sane and
motivated and gives me a purpose. I also have
the added bonus of living in a tropical paradise,
so just the surrounds of nature and tropical
plants, the reef, rainforest and outback are
always there for lots of ideas. I am always taking
pictures of things that I think would make a
quilt. This can include landscapes, floor tiles,
a tree or plants. I often dream my designs and
have been known to scribble ideas or sketch a
design when I can’t sleep or am even half asleep.
My vivid imagination inspires ideas especially
for children’s quilts and I have so many concepts
and designs that keep me motivated.
Do you make patchwork quilts for your family
and friends? My mother, sisters, nieces,
nephews and cousins have all received quilts
over the past 10 years. My 92-year-old mother
is still in disbelief that I can sew and create and
that I have had more than 50 quilts published in
Australian patchwork magazines over the last
four years. She has collected all the magazines
and loves to keep them on display for visitors.
Do you make any quilts for charity? One of the
highlights of my sewing was making a quilt
based on the Kaikoura earthquake in New
Zealand in 2016 and donating it to the Kaikoura
community. It was such a great feeling handing
it over to the mayor of Kaikoura in 2017. I also
donated a quilt to the Leukaemia Foundation
for a raffle at Airing of the Quilts in Mossman,
north of Port Douglas, in 2018. This is a yearly
event and I plan to donate another this year.
What other interests do you like to make
time for? I love reading when there is time,
but sewing most days doesn’t allow much
reading time. If it is not too hot in the evening
I like to hand stitch, so most of my appliqué
projects are stitched by hand. I need more
hours in the day and more days in the week
to achieve everything I would like to do.
seam and press the seam open.
37 The quilt top, backing and
batting are ready for a long-
arm quilting machine as they are.
If you’re quilting by hand or on a
domestic machine, refer to Step 14
on page 118 to layer and baste the
quilt layers.
38 Quilt as desired. Jenny’s
quilt was professionally
machine quilted by Deborah Verri
of Driftwood Quilting in Cairns,
Queensland. She worked an edge-
to-edge design featuring tropical
flowers and leaves on the quilt in
a variegated cream thread.
39 Refer to Steps 17-19 on page
118 to trim and bind your quilt
using the strips cut in Step 7.
 Design N1 – Thread DMC Coloris 4509 Design N2 – Thread DMC Coloris 4506

S T IT C HERY

Design N3 – Thread DMC Coloris 4510 Design N4 – Thread DMC Coloris 4511

Rosella stitchery finished size: 5” x 6½”.

Pack contains pre-printed stitchery design and 2 fabrics for borders. Thread sold separately.
Designs can be framed, used as wall hangings or incorporated into sewing projects eg. quilts. The pre-printed fabric can
also be coloured using fabric paints in addition to stitchery. Included with the stitchery design are fabrics for ‘framing’
the stitchery, if required. Fabric supplied – inner border: 2” x 45” / outer border: 3” x 45”. Our sample when sewn has inner
border of ½”, outer border 1½”. Each of our samples are stitched using a variegated (multi coloured) thread colour.
Product available at all leading patchwork, craft and needlework stores. batikaustralia.com.au
 Colourful
F L O O R
P I L LO W s e lf d o w n on this
Throw yo u r
c u d d ly fl o o r pillow
wonderfully k y f a b ric and
made fr o m m in
r f a v o u r it e s h ow!
watch you Yarn,lting &
dy G au th ie r, Bungalow Qui
Ju wquilting.com
www.bungalo

Colourful Floor Pillow is from

Sew Cuddly: 12 Plush Minky
Projects for Fun & Fashion –
Tips & Techniques to Conquer
Cuddle by Judy Gauthier.
Republished with permission
from C&T Publishing. Available
in Australia from Search Press.

108 Homespun
 PRO
JECT

09

MATERIALS Q Rotary cutter, ruler

Q 65cm ( ⁄4yd) each of
3
Minky Cuddle fabric in six
different colours (pillow
front) – see note
Q 1.4m (11⁄2yd) Minky
Cuddle in a seventh
colour (pillow back)
Q 1.4 (11⁄2yd) extra-wide
quilter’s cotton or flannel
fabric – see note
Q Self-adhesive water-
soluble stabiliser, such
as Wash-away Stitch
Stabilizer or Sulky Sticky
Fabri-Solvy Stabilizer
(optional)
Q Fibre fill – about 3.5kg
(120oz)
Q Nylon zipper about
96–115cm (38–45in)
long – sometimes sold
as sleeping bag zippers
– see Zipper Tip
Q Fabric-marking pen or
pencil
Q Large sheets of paper
(pattern)
and mat
Q Sewing machine with
walking foot
Q General sewing supplies
Finished size:
132cm long x 114cm wide x
29cm deep (52 x 45 x 11in)
Note: Read all the instructions
before starting the project.
‘Minky’ is a term used for a
soft, fuzzy polyester fabric
created to imitate the look
of mink. Minky Cuddle is
a micro-fibre plush fabric
made by Shannon Fabrics. It
is a heavier and more stable
and durable fabric with less
stretch than many other minky
fabrics. Requirements are
based on Minky Cuddle 142cm
(56in) wide and extra-wide
cotton or flannel fabric 275cm
(108in) wide. Seam allowances
of 1⁄2in are used throughout
unless otherwise noted.

We are delighted to share a project that shows how to sew a

large floor pillow using minky fabrics. The project appears in
Judy’s latest book, which illustrates how to sew with plush
fabrics and faux fur just as easily as any other materials
using her expert tips. Keep velvety fabrics from stretching
and shedding, plus discover how to appliqué, add binding and
insert a zipper as you sew useful, stylish accessories, quilts,
home decor, and cool gifts for kids, all from Minky Cuddle
fabrics. Twelve projects include fashionable animal hats, a
clutch purse, a sleeping bag, and a vintage-inspired fox stole.

Note: Instructions and measurements here are in

Homespun’s house style.

Homespun 109
 5⅝in

JE CT ½in

PRO

09
25¾in

60°

20⅝in ½in

Diagram 1 Diagram 2 Diagram 3

PREPARATION AND CUTTING To cut reverse shapes, flip the self-adhesive water-soluble stabiliser

1 On a large sheet of paper, draw

a four-sided shape with the
pattern over before pinning/taping
it in place.
and stick them on the wrong side of
the fabric shapes, with one long edge
dimensions shown in Diagram 1. (Tape
sheets of paper together if necessary.)
Cut it out accurately on the lines.
3 From three of the assorted Minky
Cuddle fabrics, cut:
• One shape.
matching the raw edge of the fabric.

PILLOW FRONT
2 To use this pattern, pin or tape
it to the wrong side of the
Minky Cuddle and cut the fabric
4 From the remaining three assorted
Minky Cuddle fabrics, cut:
• One reverse shape.
7 Attach a walking foot to your
machine. This will help keep
the fabric shapes from shifting as
out immediately next to the pattern.
5 Use a pencil or fabric-marking pen
to mark the wrong side of each
you sew. Set the stitch length a
little longer than usual.
shape 1⁄2in inside the raw edges in
two corners, as shown in Diagram 2. 8 Match each B shape with a
B-reverse shape, right sides

6 To stabilise the raw edges of the

Minky Cuddle fabric prior to
stitching, either stay stitch 1⁄4in from
the raw edges using a longer-then-
usual stitch or cut 3⁄4in-wide strips of
together. Sew them together down
the longest edge, starting and
stopping 1⁄2in inside the raw edges
at the marks you made in Step 5,
as shown in Diagram 3. Backstitch

Diagram 4

TAJIMA
AUSTRALIA’S
HELPFUL HINT
Excess Solvy can be removed by
hand. To finish it off perfectly, try
using a spray bottle, damp cloth,
cotton bud or a garment steamer.
It is ideal to store Solvy in a
plastic bag to retain moisture.

Tajima Australia is an Australian

distributor of Solvy products.

110 Homespun
 J ECT
PRO
09
at the beginning and end of the
seam to secure the stitching.
9 Match two of the pairs of shapes
and sew them together on one
short edge, ending the seam with
backstitches at the mark – that is,
don’t sew into the seam allowance
on the inner corner. See Diagram 4.
10 Sew the last pair of shapes to
the first two. To do this, match
the final pair, right sides together,
with the first pair. Start stitching
at the centre, on the mark, with
some backstitches to secure the
seam, and sew to the outer edge.
11 Now turn the last pair of
shapes and match its other
short edge with the edge of the
second pair, as shown in Diagram 5.
Again, start stitching at the centre
on the mark with some backstitches
and sew to the outer edge.
ZIPPER TIP
If you’ve bought a zipper that is
longer than one edge of your
pillow, it’s easy to shorten it. Close
the zipper. Mark the length that
you want the zipper to be – start
measuring from the top (zipper
pull) end of the zipper, as you’ll be
trimming off the bottom (zipper
stop) end. Set your machine to
sew a zigzag stitch with a very
wide side-to-side stitch and a very
short stitch length. Centre the
zipper under a standard sewing
machine foot (not the walking foot
you’re using for this project) at the
mark you’ve made on the tape.
Check to see that the zigzag
stitch will completely cross over
the zipper teeth – that is, that the
needle will fall on the tape on each
side of the teeth as it makes each
stitch. Work about 10 stitches
back and forth to create a new
stop for the zipper. Trim the
zipper tape about 1⁄2in below the
bar tack you’ve stitched.
112 Homespun
ASSEMBLY
12 Pin the assembled pillow front
on the wrong side of the Minky
Cuddle you’re using for the pillow
back and use it as a pattern to cut a
single shape for the pillow back.
13 Fold the extra-wide fabric
for the pillow insert in half, right
sides together. Pin the assembled
pillow front to it and use it as a
pattern to cut through both layers
to yield two shapes for the
pillow insert.
14 With the zipper teeth
facing right side up,
lightly mark the left and
right zipper tapes.
15 Lay the left zipper tape face
down along one edge of the
pillow front, matching raw edges.
The zipper should be the same length
as the edge of the pillow. If you need
to shorten the zipper, see the Zipper
Tip. Sew the zipper to the pillow front
Diagram 5
using a 1⁄4in seam. See Diagram 6.
16 Match the pillow front+zipper
with the pillow back, right
sides together; the raw edge of the
right zipper tape should match the
edge of the pillow back. Stitch the
zipper to the pillow back using a
1
⁄4in seam. See Diagram 7. Diagram 6
17 Open the zipper about 5in.
Match the pillow front and back
and stitch around all the edges except
the one with the zipper, as shown in
Diagram 8. Start at one end of the
zippered edge, backstitching to
secure the seam, and finish at the
other end of the zippered edge, again
backstitching. Open the zipper further Pillow
back
and turn the pillow right side out.
Stitch this edge
Diagram 7
FINISHING
18 Match the two shapes cut
for the pillow insert, right
sides together. Sew around all the
edges, leaving a 5in opening. Turn
the insert right side out.
19 Fill the insert with fibre fill
until it is as firm as you wish,
shaping it as you go. Turn in the
raw edges of the opening and blind
stitch it closed. Backstitch Backstitch
20 Open the zipper in the outer
pillow to its full extent. Push
the insert inside, then zip it closed. Diagram 8
Zipper edge
 JE CT
PRO

10

STICKS
AND
SPOTS
If you’re looking for a large
impressive quilt that is quick
and easy to make, this pretty
one will do just the job!
Joanne Farmery – j_farmery@yahoo.co.nz

114 Homespun
Homespun 115
 J ECT
PRO

10

MATERIALS
Q 7m (7 ⁄4yd) green spot print
3
fabric (background)
Q Assorted scraps of print
fabrics to total about 3m
(31⁄2yd) (small sticks)
Q 70cm (3⁄4yd) orange print
fabric (binding)
Q 2.5m (23⁄4yd) extra-wide
backing fabric
Q 60cm (5⁄8yd) each of
four orange print fabrics
(large sticks)
Q Batting at least 245cm
(96in) square
Q Pearl 8 threads in a variety
of colours (hand quilting)
Q Size 9 embroidery needle
(hand quilting)
Q Rotary cutter, ruler and mat
Q Sewing machine with Note: Read all the instructions
1
⁄4in foot before starting the project. It is
Q General sewing recommended that fabrics be
supplies 100% cotton, pre-washed and
well ironed. Requirements are
Finished size: based on fabric 107cm (42in)
223.5cm (88in) square wide except for the extra-wide
backing fabric, which is 275cm
Finished block size: (108in) wide. Seam allowances
28cm (11in) square of 1⁄4in are used throughout.

116 Homespun
 CUTTING
1 From the green spot print fabric,
cut:
• 22 strips, 12in across the width
of the fabric. Crosscut them to yield
64 squares, 12in.
2 From the assorted print fabrics
for the small sticks, cut:
• Strips 11⁄4in wide in a variety of
different lengths up to 16in long.
You will need about 200 in all.
3 From each of the four orange print
fabrics for the large sticks, cut:
• Three strips, 61⁄2in across the width
of the fabric.
4 From the orange print fabric for
the binding, cut:
• Nine strips, 21⁄2in across the width
of the fabric.
BLOCKS
5 Cut one of the 12in squares of
green spot print fabric on an
angle – any angle you wish.
6 Sew the cut edges of the two
green spot patches to the long
edges of one of the 11⁄4in strips cut
from assorted print fabrics. The strip
should be long enough to hang over
the top and bottom edges of the
green fabric. Try to align the green
patches so that when these seams
are sewn, their top and bottom edges
match: they don’t have to be perfectly
aligned, but the closer the better.
7 Make another cut through the
block – it may cut across the first
stick from Step 6 if you wish,
although it doesn’t have to. Joanne
recommends not cutting at perfect
right angles. Repeat Step 6 to insert
another 11⁄4in print strip.
8 Add more strips to the block if you
wish, varying the angles of the cuts
and the fabrics you use for the inserted
sticks. Joanne made some blocks with
only two sticks. The most sticks she
used in a single block was five.
9 Once you’ve finished adding
sticks to the block, trim it to
measure 11in square from raw
edge to raw edge.
10 Repeat Steps 5–9 to make a
total of 64 blocks.
ASSEMBLY
11 Lay out the blocks in eight
rows of eight blocks each.
118 Homespun
When you’re happy with the
arrangement, join the blocks in each
row together. Press seams in alternate
rows in the opposite direction. Then
join the rows together.
12 Join the three 61⁄2in strips cut
from one of the four orange
print fabrics for the large sticks
together end to end to make one long
strip. Repeat with the strips cut from
the other three orange print fabrics.
13 Repeat the processes
described in Steps 6 and 7 to
cut the quilt top as if it were one
Step 5
giant block and insert these large
sticks at various angles. Trim the
quilt top so that it is square.
FINISHING
14 The quilt top, backing and
batting are ready for a long-arm
quilting machine as they are. If you’re
doing the quilting by hand, as Joanne
did, or on a domestic machine, smooth
the backing on the floor or a table,
right side down, and secure it with
masking tape. Lay the batting on top,
ensuring there are no wrinkles. Lay
Step 6
the quilt on top of the batting, right
side facing up. Baste the three layers
together with safety pins (for machine
quilting) or thread (for hand quilting).
15 Quilt as desired. Joanne
echoed quilted in a variety
of Perle 8 threads along the side of
each stick (both small and large),
extending the lines of stitching
across areas of background fabric.
16 Trim the excess backing fabric
and batting 1⁄4in outside the
edge of the quilt.
17 Join the nine 21⁄2in strips of
orange print fabric together
with diagonal seams to make one Step 8
long strip. Trim the seams to 1⁄4in and
press them open. Fold the binding in
half, wrong sides together and long
edges matching, and press.
18 With raw edges together, sew
the binding to the edge of the
quilt with a 1⁄4in seam allowance,
mitring the corners as you go and
referring to the Binding Diagrams
on page 120 for details.
19 Turn the binding over and
hand stitch the folded edge
to the back of the quilt. Label and
date your quilt. Step 15
Homespun 118
 What’s next on the agenda for you and your
quilts? A friend and I have been collecting
used cotton clothing (mainly men’s shirts) and
bed linen, laundering them and cutting the
usable fabric for quilts. They make lovely
delicately coloured and soft quilts.
Do you like to participate in craft shows,
workshops and sewing bees? I love
craft-related events and groups because not
only am I kept up to date with new materials
and techniques, it’s a chance to mix and
mingle with like-minded people.
How long have you been stitching? For as
long as I can remember I have been doing
What has been your greatest crafting
success story? I was delighted to be awarded
first place in the Amateur Traditional category
of the 2011 New Zealand Quilting Symposium
with my hand-pieced and hand-quilted
scrappy Inner City quilt.
Would you love to spend all day, every day,
making quilts, or do you prefer to steal some
stitching time now and again? When I’m in the
design phase of a new quilt I don’t want to walk
away from it. After that I’m inclined to set goals
to achieve each step, for example, to make a
certain number of blocks a day.
What’s the best tip you could pass on to a

Getting to know … different crafts. After discovering quilting in

1986, that has been my main focus, although
in the past few years I’ve moved back to
JOANNE FARMERY knitting a lot too.
beginner? Start with a small project and use
only quality 100% cotton quilting fabrics initially
as they are by far the easiest to work with.
They hold their shape and don’t fray easily.

Binding diagram
Join the ends by
40cm (16in) matching the fold
line and the drawn
line and sewing
them together. Trim
Rule a line along the the seam, press it
45-degree fold open and refold the
binding, then finish
sewing it to the quilt.
Mitring corners

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120 Homespun