Issue 44 B [PDF]

Zitiervorschau

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A Bustle & Sew Publication Copyright © Bustle & Sew Limited 2014 The right of Helen Dickson to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, without the prior written permission of the author, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser. Every effort has been made to ensure that all the information in this book is accurate. However, due to differing conditions, tools and individual skills, the publisher cannot be responsible for any injuries, losses and other damages that may result from the use of the information in this book.

First published 2014 by: Bustle & Sew Coombe Leigh Chillington Kingsbridge Devon TQ7 2LE UK www.bustleandsew.com

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Welcome …… September brings the turning of the year as the seasons change once more and we enjoy that magical time when late summer fades gently into the autumn. There’s a change in the atmosphere, as we wake to a feeling of crispness in the air, an the light seems somehow clearer and sharper. There are rosehips in the hedgerows and the swallows’ time with us is nearly over as they begin to flock together for their journey to the south. But as well as a time of ending, September is a time for new beginnings as we cast off our summertime sloth and discover a renewed enthusiasm for stitching, crafting and creating. This month you’ll find your magazine has some new goodies to enjoy as my daughter Rosie has joined Bustle & Sew HQ bringing with her lots of ideas to make it more than just a sewing mag. I’m particularly looking forward to trying my hand at Cinnamon and Nutella Muffins from Rachel at Sunday Baking (page 21) - definitely a case of “Do more of what makes you happy” - this month’s hoop art on page 7. One aspect of life that never changes - for me any way - is that September is the time when I first start to plan my Christmas projects. The last two patterns in this month’s issue are the first of my new designs for Christmas 2014 and I do hope you’ll like them. But Christmas is still a long way off and hopefully there’ll be lots more warm and sunny weather to enjoy before then - so don’t forget to take your stitching outside while you still can! Back next time with some warm and woolly projects for you. Until then happy stitching!

Helen xx

October issue published Thursday 26 September.

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When you’re having trouble getting your needle to come up in just the right spot – for example when working extremely small stitches or when the canvas is already quite crowded and you can’t see well or stitch without catching other threads accidentally insert the needle in from the front of your work so you can see exactly where you’re putting it and wiggle it around for a moment. Then take it back out again without making a stitch. When you remove it the hole you’ve made will stay open long enough for you to take the needle round to the back again and push it up through the hole easily in the exact right spot.

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Contents September’s Stitching Tip

Page 4

Look! Washi Tape Flags

Page 22

September Almanac

Page 6

September House Pin Cushion

Page 23

What Makes You Happy Hoop

Page 7

Poetry Corner

Page 29

A Nice Cup of Tea

Page 9

American Quilting: Blocks & Bees Page 30

Sleepy Fox Tea Cosy

Page 11

Look! Mouse Celebration Cake

Page 32

Zip it Up!

Page 14

Winter Penguin Softie

Page 33

Favourite Five - Teapots

Page 16

Sewing with Metallic Threads

Page 36

Appley Dappley Cushion Cover

Page 17

Woodland Friends Hoops

Page 37

By Candlelight

Page 19

Tutti Fruity Shopping Choices

Page 40

Star Baker

Page 20

September’s Favourite Blogs

Page 42

Cinnamon & Nutella Muffins

Page 21

Templates

Page 43

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September brings the turning of the year once more as summer draws to a close and autumn is just around the corner. The children return to school and life takes on a new tempo after the fun and frivolity of the summer holidays. The word comes from the Latin and its use in English dates back to the 14th century. In the USA is preferred and this term appears in 16th century texts in the longer phrase “fall of the leaf” which was eventually shortened to fall.

to pick them late in the season - the final date for picking is Michaelmas, 29 September because after this time the Devil will have spoiled them. Michaelmas itself is the feast day of St Michael and All Angels and is one of the four days on which quarterly rents are paid. There is an old tradition of serving goose for dinner at Michaelmas which may have its roots in the practice of giving one’s landlord such a bird as a gift. It was also thought that eating goose on Michaelmas Day would bring financial prosperity in the year ahead. The geese were fattened for the table by allowing them to glean fallen grain on the stubble fields after the harvest.

The most important event in September is of course the gathering of the harvest, and Harvest Festival services are held in churches across the country. There are many different historic rituals to accompany the final act of finishing the grain harvest. It was common for the cutting of the last sheaf to be accompanied by a triumphant shout, known as “Crying the Neck” and in many areas it would then be crafted into a doll known as a Kern Doll or Harvest Queen. This has been revived in recent times in the craft of making corn dollies. As well as cultivated crops there is a natural harvest in the hedgerows at this time of year. Blackberries are tasty and abundant, but it’s considered to be extremely bad luck

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What Makes You Happy I don’t know for certain - but I suspect if you’re reading this then you are probably just like me - and an afternoon spent with your sewing machine and some lovely fabric, or hoop and floss is definitely one of the things that makes you happy! This design would make a great addition to any workroom wall, or a gift for a similarly-minded friend. Simple applique, machine and hand stitching all

Ÿ Bondaweb

Materials

Ÿ Temporary fabric marker

Ÿ 12” square light pink check background fabric (I used part of an Ikea tea towel!)

Ÿ Embroidery foot for sewing machine

Method

Ÿ Scraps of lime green dotty fabric for sewing machine and blue floral fabrics for fabric and heart

Ÿ Transfer the design to the centre of your fabric using the method of your choice. The pattern is given full size and also reversed to help you do this.

Ÿ DMC stranded cotton floss in colours 154, 335, 597, 602, 718, 726, 907 and 3849

Ÿ Using the reversed template trace off the shapes for the sewing machine, heart and fabric to the paper side of the Bondaweb and cut out roughly. Fuse to the reverse of your printed

Ÿ Small (approx ¼”) white button Ÿ Black and a light coloured thread

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fabric and cut out along lines. Peel off paper backing, position shapes on design using your transfer lines as a guide and press into place with a hot iron.

stitch worked lengthways when this is complete. Ÿ The letters for the word “HAPPY” are made up of a mixture of French knots, running stitch and chain stitch as follows:

Ÿ Draw the fold lines on the fabric with your temporary marker pen.

From the bottom upwards:

Method Ÿ Fit embroidery foot to your sewing

French knot 718

machine and drop the feed dogs. templates usinginthe pieces out allblack Cut With thread your needle which and actualinsize. provided are a lighter colour your bobbin (to have both black gives a very solid Ÿ harsh line) go around the edges of your applique shapes twice. Don’t be too neat, you want a sort of scribbled effect. Stitch folds in fabric in the same way and erase temporary lines. Ÿ Now draw in the markings on your sewing machine with your temporary pen using the templates as a guide. Stitch design according to stitch guide above using two strands of floss throughout. Ÿ The sewing machine table is worked in satin stitch with a line of running

French knot 907 Straight stitch 726 French knot 597 Two chain stitches 154 French knot 597 Please note, I have given the floss colours I used and that worked well with my fabric. You may need to alter and adapt these if you are using different colours - just remember to keep a good balance between pale and darker, warm and cooler colours when you are choosing your flosses.

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A Nice Cup of Tea Enjoying a nice cuppa - the quintessentially English solution to any problem is to put the kettle on. Who can forget those photos of bombed-out evacuees sitting amid the rubble, cuppa in hand during WW2. But the history of tea goes back much, much further than that …… Legend credits the Chinese Emperor Shen Nung (28th century BC) with the discovery of tea. He had observed that boiling water before drinking it seemed to protect people from disease so always insisted on this. One day, whilst travelling, he stopped for a rest and his servants gathered branches from a nearby evergreen bush to build a fire to boil his water. A passing breeze blew some leaves from the bush into the boiling pot, and soon a delightful aroma arose. Intrigued the emperor drank some of the brew, and finding it delicious ordered his servants to gather leaves from the bush to take back to his palace.

Tea was also popular in the American Colonies. So much so that when King George III decided to use tea as a source of revenue and raise the import tax on tea sent to the Colonies, the independentminded Americans rebelled. The Boston Tea Party of 1773 when colonists dressed in Native American clothing dumped a cargo of tea into Boston Harbour is one of the events that launched the fight for independence. Anna, Duchess of Bedford (1783-1857) is credited with introducing afternoon tea in England. In those days people used to eat a large, heavy breakfast, a late dinner or supper and not a great deal in between. Towards the middle of each afternoon Anna used to feel a “sinking feeling” which she remedied by dining in her boudoir on tea, cakes and biscuits at around four o’clock in the afternoon. Soon others followed her example and in just a few years the custom of “taking tea” in the afternoon had become well established. At first it was limited to the wealthy upperclasses, but eventually became so popular that tea shops and tea rooms began to open to cater to the general public.

News of this discovery quickly spread throughout the land and soon everyone in China was drinking tea. Gradually over time the knowledge and love of tea spread to other parts of the Orient, and then westwards with the first Portuguese and Dutch traders. Tea first reached England in around 1660 and was served first in public coffee houses and outdoor tea gardens, then later in people’s homes. It was very expensive - hence the invention of the lockable tea caddy to prevent your servants from trying your precious leaves.

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By the turn of the century tea-time had acquired the formal etiquette we are familiar with today. The tea service was silver or china whilst fine linens were used for napkins and tea cloths. The tea itself was from India or Ceylon (now Sri Lanka), then parts of the British Empire. And with the tea you were served plates of dainty sandwiches, scones with jam and/or clotted cream, cinnamon toast and other such delicious foods. Yum! The United States can also claim two very important contributions to the world of tea drinking, both dating to the early 20th century. In 1904 visitors to the Louisiana Purchase Exposition in St Louis were overwhelmed by the heat and not at all enthusiastic about the hot beverage

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offered by Indian tea growers. An Englishman named Richard Blechynden, who represented these growers, tried pouring tea over ice to try to tempt these visitors. The result was, of course, iced tea, which now accounts for 80% of tea drunk in the USA. The other contribution was the idea of an American tea merchant named Thomas Sullivan who began to provide samples to his customers in small silk pouches. These customers soon discovered that the pouches could be put directly (and very conveniently) into their teapots, and soon orders were pouring in for tea packaged in “those little bags.” Before long, teabags had become the most popular method of packaging tea dunked in a mug and enjoyed by millions worldwide!

Sleepy Fox Tea Cosy In September as the leaves begin to change colour, almost imperceptibly at first, my thoughts turn away from the beach towards the woods… and so the idea for my Sleepy Fox Tea Cosy was born on one of these long woodland walks. This cosy uses really easy machine applique, and I’ve included instructions for measuring your teapot so you can make your cosy the perfect size. The instructions are for a cosy measuring 9” across the

Materials Ÿ Two 12” squares of green mediumweight fabric for the exterior Ÿ Two 12” squares of medium or quilting weight fabric for the lining I used a pre-quilted fabric for my cosy, but you can add a batting layer or even use old woollen blanket pieces that have been well washed and shrunk if you prefer.

Ÿ 8” square cream felt Ÿ ½” black, brown or dark grey button for nose Ÿ Bondaweb Ÿ Black and a lighter coloured thread for your machine, Ÿ Embroidery foot Ÿ Temporary fabric marker pen

Ÿ 12” square fox coloured wool blend felt or woollen fabric (pre-wash if you’re worried about shrinkage)

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Next measure over the top of your teapot. Start at the table on one side, pull your tape measure up and over the lid and down to It’s easy to change the dimensions. If you the table on the other side. Again divide are making for a different sized pot, then your result by two, but this time add 3” please follow the directions below to (your pot will need room to breathe!) ? determine the size of your cosy…

Measuring your Pot

First measure your teapot’s circumferenc e by wrapping a tape measure around the entire pot,handle and spout included. Divide this figure in half to determine the width of each flat piece, and then add on Use these measurements to create the 1½” for seam allowances and ease. template for your sleepy fox tea cosy - in this example it will measure 11 ½” wide x 11” tall to the top of the roof.

Method Exterior

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Ÿ Using the template provided (actual size to make my cosy) cut out two exterior pieces from your green fabric. Place one to the side for now.

Ÿ Cut the ear exterior and inners and stitch together in the same way. Line up the bottom edge with the edge of your cosy at the top of the fox’s head and pin into place pointing inwards (5).

Ÿ Trace the fox shapes onto the paper side of your Bondaweb. (1) Fuse to your felt and cut out using long smooth strokes. Allow extra for the pieces to overlap one another (2) Ÿ Position the pieces on your tea cosy front using the templates as a guide. The cream cheeks are at the bottom, then the head, body and finally the tail tip. (3) When you’re happy with the positioning press into place with a hot iron, using a piece of cotton cloth to protect your work.

Ÿ Place on a clean flat surface and position the second exterior piece on top, face down. Stitch all around the curved edge with a ½” seam allowance. Clip curve.

Interior Ÿ If using pre-quilted fabric simply cut two pieces ¼” smaller than the template all the way round. Place right sides together and stitch round curved edge with a ½” seam allowance, leaving a gap at the top for turning.

Ÿ With your temporary fabric marker pen draw in eyes and curve of the tail.

Ÿ Turn right side out and push down inside exteriors (these are still right side together). Stitch all the way around the top edge with a ½” seam allowance. Trim wadding away from seam. Turn through gap and top stitch gap closed.

Ÿ Fit the embroidery foot to your sewing machine and with black thread in your needle and a light colour in your bobbin stitch around the edge of the pieces using the photo as a guide. (Using black in both needle and bobbin makes a very harsh line). Don’t try to be too neat, you’re aiming for a sort of scribbled effect. Stitch the eyes in the same way. (4)

Ÿ Push interior up inside exterior and press. Topstitch around bottom edge to secure. Ÿ Stitch button to fox’s nose. Finished.

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rows of interlocking teeth that would latch together with the help of a slider. His design was the first fastener to resemble what we now know as a zipper. Sundback's first customer was the US army that used these fasteners in their clothing and battle gears during World War I. At first the soldiers didn't know how the fasteners worked and so they came with "Using instructions." The invention of the modern zip fastener or zipper was a long process involving several different people. It began in the mid-19th century when the inventor Elias Howe developed a device with the zippy (sorry!) name of the "Automatic Continuous Clothing Closure." It was intended to be used in a similar way to the modern zipper, but it worked differently, having individual clasps that had to be joined manually before it could be pulled shut with a string. This device was never adopted commercially, possibly because Howe didn't seriously try to market it - he was busy promoting his other invention, the sewing machine! It wasn't until the 1890's that Whitcomb Judson marketed a "Clasp Locker" which was a sort of hook-and-eye shoe fastener for shoes. Judson founded the Universal Fastener Company to produce his new device which debuted without much success at the 1893 World Fair in Chicago. The modern zipper was eventually developed in 1913 by Gideon Sundback, who worked at the Universal Fastener Company in Hoboken, New Jersey. He received a patent for his "Separable Fastener" in 1917. Sundback's design increased the number of fastening elements to 10 per inch and included two

The name "Zipper" was coined by B F Goodrich who ordered 150,000 of these for his new product - rubber galoshes (rubber boots). With Sundback's fasteners these galoshes could be fastened with a single zip of hand and from its sound zzzip, the name zip was coined. From boots zippers moved on to fasten tobacco pouches but that the extent of their use until 1930 when a sales campaign featuring children's clothing with zippers launched the zipper into the garment industry. The campaign promoted the zipper as a self-reliant aid for making kids independent in wearing their dresses. Meanwhile the zip industry also pushed a concept called "gaposis" - an imaginary complaint caused by ill-fitting clothes which let light and air (and eyes) in on the body underneath. Zips were promoted as the cure for this supposedly unsightly condition. In 1937, the zipper beat the button in popularity in the "Battle of the Fly" when French fashion designers started to use zippers in men's trousers. At the same time Esquire magazine declared the zipper as "Newest tailoring idea for men." After a long and rocky start the zipper was here to stay!

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Zip it up!

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Top Five Teapots

Rose & Bee Four Cup Teapot Emma Bridgewater Pottery www.emmabridgewater.co.uk

We like a nice cup of tea in the morning… and at any time of day with these gorgeous teapots! Sophie Teapot Vintage, Greengate www.occa-home.co.uk

Folklore Enamel Tea/Coffee Pot, Cloth-Ears.co.uk www.cloth-ears.co.uk

Small Teapot by Pip Studio Hintons Home

Enamel Teapot Falcon Enamelware

www.hintonshome.com

www.falconenamelware.com

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Appley Dappley Cushion Cover This is a quick, easy and fun machine applique design inspired by the apples falling from the trees in my garden in the autumn … Choose some of your most favourite and funkiest red and green fabrics to create a cheerful seasonal design. I turned my panel into a cushion cover - but it would look great on the wall too, perhaps with the names of some varieties of apple embroidered beneath each one… Ÿ Very small amount of dark brown felt for apple pips and stems.

Materials Ÿ One 16” square piece of natural coloured medium weight fabric

Ÿ 3 ½” square cream fabric for inside of one apple

Ÿ Two 12” x 16” rectangles of the same fabric

Ÿ Black and cream thread for your sewing machine

Ÿ Scraps of red or red-mix fabric for the apples. You’ll need enough for 9 apples, each measuring 3 ½” across.

Ÿ Bondaweb

Ÿ Scraps of green fabric for the leaves - each leaf measures 1 ½” long x ¾” wide.

Ÿ Embroidery foot for your sewing machine.

Ÿ Temporary fabric marker

Ÿ 16” square cushion pad

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the bobbin (black in both makes a very harsh, dark line) go around the edges twice and indicate shading at side of apple (1) for every apple except the sixth.

Method Front Panel Ÿ Fold your 16” square of fabric into thre each way and press lightly (not too firmly as you want the creases to press out at the end). Open it out so you have a 3 x 3 grid. This will be your guide for positioning your apples.

Ÿ Cut out, position and fuse the cream inner of apple six in the same way. With your temporary fabric marker pen draw in the lines for pip and core and then stitch over them with black thread. Position and applique pips - fiddly but worth doing. Finally change thread in needle to cream and stitch around apple inside once (2).

Ÿ Using the template provided trace 9 apple shapes onto the paper side of your Bondaweb. Cut out roughly and fuse to the reverse of your apple fabric. Cut out shapes, peel off paper backing and position (but don’t secure just yet).

Ÿ Remove marker lines and press on reverse.

Ÿ Repeat with leaves and stalks (note the Assemble Cover sixth apple - the leaf and stalk are Ÿ Hem one long edge on each of your reversed). Position the outer apples rectangles. Place your front panel right slightly towards the inside of their sie up on a clean flat surface, then place squares to allow for your ¼” seam your back panels right side down on top, allowance. When you’re happy with the lining up the sides so they overlap in the colour combinations and positioning of centre. Stitch around edges. Clip your shapes, press to fuse in place using corners and finish seams. a hot iron to protect your work. Ÿ Turn right side out and press. Insesrt Ÿ Fit the embroidery foot to your sewing pad. Finished. machine and drop the feed dogs. With black thread in the needle and cream in 18

By Candlelight … During September the seemingly never-ending days of summer give way to a change in the air. The days shorten rapidly and it’s time to have your chimney swept, check your log supply and bring out candles to lend a mellow glow to evenings increasingly spent indoors again. The soft light of a candle brings beauty to a room and is flattering to the skin, but its romantic connotations are not without risks. “Choose neither women nor linen by candlelight” runs the old country wisdom - to which list I would definitely add floss colours! But did you know that if you place new candles in the freezer for a few hours they’ll burn for longer? And another good tip is to dip the end of your candle into very hot water to soften it before putting it into your candlestick - heating it with a match marks it black. If the holder is too loose, then wrap the end of your candle in adhesive tape. To remove wax drips from metal candlesticks simply place them in the freezer for an hour or two and you’ll find the wax will peel away easily. Use a hairdryer to melt away any remaining wax. For china candlesticks, remove the excess with a blunt knife then place in the microwave on full power for a minute or two (be sure to keep a close eye on them) to soften the remaining wax which you can then rub off easily with your fingertips.

If you accidentally drip wax on your carpets then let it harden. Gently scrape off what you can without damaging the pile. Then set your iron to warm and blot the rest of the wax through absorbent kitchen paper and keep changing it until all traces of the wax have vanished. As you might expect from something that’s been around for perhaps as long as 5,000 years, there are many superstitions surrounding the humble candle. is to assist an evil person, while then the enterprise isn’t worth your labour or expenditure. To is to be wasteful or extravagant - or to stay up late and get up early!

How far that little candle throws its beams! So shines a good deed in a naughty world.” William Shakespeare “The Merchant of Venice” 1596

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Katie Alice Vintage Baking Pudding Bowl, Creative Tops Ltd (www.creative-tops.com)

Greengate Amy Tin Flour Shaker, Love From Rosie (www.lovefromrosie.co.uk)

Star Baker

Katie Alice Cottage Flower Whisk, Creative Tops Ltd (www.creative-tops.com)

Cook up a storm in your kitchen!

Rose Pink Kitchen Scales, House Envy (www.house-envy.co.uk)

Botanical Measuring Cups, dotcomgiftshop (www.dotcomgiftshop.com)

Candy Stripe Baking Cups, Berry Red (www.berryred.co.uk)

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Dreamers Tea Towel, Iapetus (www.iapetus.co.uk)

Cinammon & Nutella Muffins

Ingredients 150g unsalted butter, softened to room temperature 200g granulated sugar 2 large eggs 2 teaspoons vanilla extract 240g milk 420g white whole wheat flour 3 teaspoons baking powder 1 teaspoon ground cinnamon ½ teaspoon ground nutmeg 1 teaspoon salt 12 teaspoons Nutella

Method Ÿ Preheat the oven to 220C Ÿ Spray a muffin tin with cake release spray and set aside (You can use muffin cases if you prefer) Ÿ Using an electric mixer cream the butter and sugar together on a medium speed Ÿ Slowly mix in the egg, vanilla extract and milk Ÿ Stir in the flour, baking powder, cinnamon, nutmeg, and salt.

Ÿ Spoon 1 heaped tablespoon of muffin mix into each muffin hole in the tray. Layer with 1 tsp Nutella in the centre and then top with another teaspoon of muffin mix. Ÿ Bake at 220 C for 5 minutes Ÿ Leave the muffins in the oven and reduce the oven to 180C. Bake for a further 13-15 minutes until a skewer inserted into the middle comes out clean. Ÿ Allow the muffins to cool for about 5 minutes. Ÿ While the muffins are cooling, make the sugar coating

Ingredients for the sugar coating Ÿ 50g granulated sugar Ÿ 2 tsp ground cinnamon Ÿ 3 tbsp butter

Method Ÿ Melt the butter for about 30 seconds in the microwave (until fully melted) Ÿ In a separate small bowl, stir together the sugar and cinnamon 21

Ÿ Dip the top of each muffin into the melted butter and dip into the sugar mixture make sure each muffin is well coated. Ÿ Leave to cool on a cooling rack.

Sunday Baking http://www.sund aybaking.co.uk/ Rachel started her blog back in 2013 after she posted some photos of cakes she made for a friend who suggested she started a blog… “The aim of Sunday Baking is to prove to everyone that anyone can bake. Nothing on my blog is too complicated and I try to break it down as simply as I can so anyone can follow the recipe. I want to share my passion with everyone!”

Look! a lovely idea ------------------

Washi Tape Flags

Pretty up your parcels with these delightful washi tape flags. So quick and easy to make, your parcels will be looking lovely in next to no time! Image: www.abouthenicethings.blogspot.com.es

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September House Pin Cushion If you’re like me and always mislaying all those vital pieces of sewing equipment you need to make the perfect project - or nothing is ever to hand when you need it - then you’ll love this little cottage pin cushion. In fact to call it a pin cushion is misleading as it’s so much more than that with space to store needles, scissors and tape measure too. Measures 6” x 5 ½” x 3 ¾” Ÿ Two ¼” buttons

Materials

Ÿ 2 sheets (A4 or Letter size) of light weight cardstock

Ÿ 12” x 18” medium weight pink check fabric Ÿ 6” square wide blue stripe fabric

Ÿ Beach pebbles/rice/polybeads to weight base

Ÿ 6” square Provence Rose fabric

Ÿ Toy stuffing

Ÿ Scraps of coloured fabric for applique

Ÿ Bondaweb Ÿ Black and cream thread

Ÿ 9” square green felt Ÿ Stranded cotton floss in blue, dark brown, pink, red and green

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Ÿ Temporary fabric marker pen Ÿ Embroidery foot for your sewing machine.

Ÿ To prevent fraying machine zig zag stitch along all the raw edges of the pink check pieces. Use cream thread this stitching will be covered when you join the pieces together.

Method Ÿ From your pink check fabric cut out: Two 3 ½” x 5 ½” rectangles (front and back of cottage) Two cottage sides (see templates for measurements) Two 3 ½” x 4” rectangles for side pockets

Ÿ Using the templates (actual size) trace the applique shapes onto the paper side of your Bondaweb. Cut out roughly and then fuse to the reverse of your fabric scraps. Cut out and then position on your rectangles using the templates and photographs as a guide. Fuse into place when you’re happy with the positioning.

Ÿ Turn over ¼” twice along one of the shorter sides of your pocket rectangles, press and machine stitch. This will be the finished, top edge of your side pockets.

Ÿ Draw in the washing line with your temporary fabric marker pen.

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Ÿ Fit the embroidery foot to your sewing machine and drop the feed dogs. Ÿ With black thread in your needle and cream in the bobbin stitch twice around the edge of each shape in a sort of scribbled fashion (not too neat!). Stitch the washing line and work crosses over the windows (see photographs for guide) to represent panes.

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Ÿ With your temporary fabric marker pen draw in the rambling rose and apples on the tree. Using two strands of floss work the rose stem in dark brown back stitch, the leaves in green straight stitch and the roses are pink french knots. The apples on the tree are red satin stitch. Ÿ Remove marker pen lines and press on reverse. Sew buttons on doors.

wrong sides together and use two strands of blue embroidery floss. Work half cross stitch in one direction, then back again the other way to complete the stitch and make a nice strong seam. Attach base in the same way.

Ÿ Place the side pockets on top of the house sides aligning bases and machine stitch down sides and along base. You’re now going to assemble the bottom part of the house. You need to cut walls and base from card. This will give the walls some strength and rigidity - ensuring that they will be slightly curvy when you stuff the house, but not too rounded.

Ÿ Push cardboard rectangle into the base, add a little stuffing, then your pebbles/rice/polybeads if using. Stuff the house lightly. Ÿ Push the card shapes down the sides of the house between the fabric and stuffing making sure you push them right down into the corners. The stuffing will hold them in place.

Ÿ From your card cut the same shapes you did for the pink check fabric, but 1/4” smaller all the way round. Also cut a 5” x 3” rectangle for the base. Ÿ Cut a 5 ½” x 3 ½” rectangle from your green felt.

Ÿ Put your house to one side while you work on the roof.

Ÿ Stitch the four house pieces together along their side seams. Work with

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Ÿ Cut a 2” x 3” rectangle of pink check fabric. Fold the sides to the centre lengthways and then again to cover raw edges. Fold in half crossways and press - this will be your chimney. Ÿ Cut two 3” x 5 ½” rectangles from your blue stripe fabric and two 3” x 5 ½” rectangles from your Provence Rose fabric. Ÿ Place one blue stripe and one Provence Rose rectangle right sides together. Machine zigzag stitch around 2 short and one long sides, then work cross stitch over the top. This will be the lifting flap of your roof. Ÿ Cut a 2 ½” x 3” rectangle from your green felt (use pinking shears if you have them for a decorative finish). Ÿ Take the other rectangle of blue stripe fabric and machine zig zag around two short and one long edge in the same way. Attach the green felt to the centre of this rectangle by machining down the centre (1). Ÿ Place the two pieces together - the roof bottom with the needle book attached

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and the top roof flap and machine along the unfinished long edge. Then zigzag along this edge for extra strength and to prevent fraying. Ÿ Take the second Provence Rose rectangle and machine zig zag all around the edges. This is the back of the roof. Ÿ Place the roof front and back together and insert the chimney at the top edge. Machine stitch all the way along the top edge, then finish with a decorative cross stitch as before. Ÿ Finally attach your roof to the bottom part of your house using cross stitch and two strands of blue floss as before. Finish stuffing as you go - your house should be quite firmly stuffed and make sure all your pieces of card are properly pushed down before you close the final seam. Ÿ Your house is now complete.

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Last Days of Summer ….. ‘Tis the last rose of summer Left blooming alone; All her lovely companions Are faded and gone; No flower of her kindred, No rosebud is nigh, To reflect back her blushes,, To give sigh for sigh.

Thomas Moore “The Last Rose of Summer.”

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A Little History of American Quilting Part Two: Blocks and Bees Last time we left our little history of quilting at an exciting time as we briefly visited the Boston Tea Party. We learned that at this time taxes were so punitive that a length of fabric in the Colonies cost around four times as much as it did in England and that an additional tax had to be paid by anyone using a spinning wheel or loom at home. Clearly this was a bad thing in most ways, but the cost and scarcity of fabric was a massively important factor in developing the skills of patchwork design.

This was all very well, but it wasn’t always practical or even possible to sit around sewing little pieces onto the edges of large quilt tops to form pretty patterns. And so the idea was born of creating the quilt top not piece by piece in its entirety, but rather in smaller, easily managed, lap-sized blocks which were pieced separately and then joined together to form the quilt top. From these two innovations - the idea of patchwork patterns and building your quilt from blocks - came the single most important characteristic of American patchwork; a design created within a single block which is repeated to make an overall pattern in the quilt top. The first, and simplest, of these blocks were either created from four or nine patches - such as Checkerboard …

Once the colonial woman could afford to waste just a little fabric, she began to cut up her carefully hoarded resources into attractive shapes to create patterns in her quilts rather than just a sea of irregular shapes in her These early examples were also used and practical, but not always very attractive, crazy recycled so that almost none have survived. quilts. We only know what they look likes as their 30

patterns were named and loved and passed When she became engaged she invited her down through generations of quilters until the friends and family to a party to quilt these tops present day. and plan a special bride quilt that they’d all work on together. This quilt would have been Of course making the tops was just part of the appliqued with hearts and lovers knots and all quilt and just as important was the process of other sorts of good luck symbols. making the fabric and batting “sandwich” and quilting the layers together. For women in These quilts really meant something to their isolated rural communities the quilting party makers as marriage wasn’t just a dream for was an occasion of great importance. Life colonial girls, but a necessity. Not to marry was too hard and filled with work to be done would have been considered a disaster - girls to allow much spare time for socialising and planned and prayed for it and certainly people often only left their homes for church wouldn’t have tempted fate by sewing these or if there was a communal job of work to be lovers’ symbols onto their quilts before they done, such as barn raisings or harvest time. were “entitled” to do so. On these occasions the colonial woman would Next month the final instalment: have dressed in probably her oldest clothes, Superstition and Status arrived at day break, cooked for a large number of people and gone to bed totally exhausted. But the quilting bee gave these women a chance to dress up a little, spend the day with her friends and work at something not only useful, but attractive and long-lasting too. It’s easy to imagine how looked forward to these quilting bees would have been. Women were isolated with only men and children for company throughout the long cold winter months and the chance to meet with her friends for a day of congenial activity, with lots of gossip must have been very eagerly anticipated. Children were taught to sew very early and by the time she was old enough to be married an girl was expected to have finished a dozen quilt tops for her hope chest.

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Look!

Turn your cake into a celebration with these cute little mice and their pretty cake bunting.

a lovely idea ---------------------

Celebration Cake Bunting

Image: http://bustleandsew.com/tutorials/never-trust-amouse/

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Winter Penguin Softie Everybody loves a penguin at Christmas time - their wobbly gait and plump bodies make them an irresistible addition to our seasonal decorations. This little fellow measures just over 6” tall and is wearing a very cosy scarf and hat cut from an old woollen jumper. He’s weighted with a beach pebble to make sure he doesn’t wobble and fall down. The construction of this softie is really easy - but you do need to follow the instructions carefully as there are darts as well as seams to stitch.

Materials Ÿ 8” square black or charcoal grey wool blend felt Ÿ 6” square cream or white felt Ÿ Scraps of golden felt Ÿ Two small black spherical beads Ÿ Two ½” black buttons Ÿ Stranded cotton floss in black, cream, pale pink and gold

Ÿ 4” cut from bottom of sleeve of old jumper (for his hat) Ÿ 14” x 2” strip of old jumper for scarf Ÿ Toy stuffing Ÿ 3” square lightweight card (eg from cereal packet) Ÿ Cream and black thread for stitching darts Ÿ Pebble/polybeads/rice to weight base (optional)

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Notes

Method

Seam allowances are less than ¼” and

Ÿ Cut all pieces as shown on the full size templates.

Method are included in templates.

Ÿ Stitch darts indicated on construction diagram above.

Darts arealljoined withusing right sides together the templates pieces out Cut and a short stab stitch using all-purpose which are provided actual size. thread. Alternatively you can machine Ÿ the darts. sew

Ÿ Join upper and lower beak pieces with gold floss matching B to B and stuff lightly.

Body seams are joined with wrong sides together. With two strands of floss work half cross stitch in one direction then return in the other direction to complete the stitch. This makes a nice strong decorative seam.

Ÿ Join head pieces from A to B with cream floss, then insert gusset joining from C towards B with black floss. It won’t quite reach B, there is a small space for you to insert the beak and stitch into place. Stuff head lightly

Stuff with small pieces of stuffing pushing firmly into small places (do not over stuff or this will distort the shape).

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Ÿ Join body sides at back from F to E and then insert chest piece - all with black floss.

Ÿ Sew eyes into place (test positioning with glass-headed pins first) and add a few small stitches in pink floss for cheeks.

Ÿ Join head and body pieces at neck. Finish stuffing head and stuff body, inserting pebble towards base.

Ÿ Gather top of your sleeve piece for top of hat and attach pompom. Turn up cuff for bottom of hat, place on head and secure with a few invisible stitches.

Ÿ Attach felt base, slipping cardboard circle inside before closing seam. Ÿ Stitch feet to base.

Ÿ Wrap and tie scarf around neck to cover seam. FINISHED!

Some seasonal vintage loveliness for you…

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Using Metallic Threads As I begin my Christmas designs, I face once again the challenge of working with metallic threads. Here’s some tips to make this a little easier …

Article by Jean Leeming

of sparkle in a project rather than a glare of metal. Metallic threads can enhance Using metallic thread can be frustrating as a design even if it is only a few scattered it splits, frays, tangles and snags. This does stitches over the whole project. not make it the most relaxing experience which is how stitching is supposed to be. Ÿ Using shorter lengths than normal embroidery threads helps. An ideal There are a variety of metallic threads on length for normal thread is eighteen the market from all the major inches so for metallic use twelve or manufacturers of cotton embroidery fifteen inches. threads and it is important to purchase the appropriate type for your project. They are Ÿ Using a needle with a larger eye to packaged in different ways - some are on open the holes of the fabric will bobbins and others in skeins as normal reduce friction. embroidery threads. Not only are you able to buy single stranded thread but there are Ÿ Cross stitches should be worked in some that are in strands or ply so you can two movements up through one hole choose the amount of strands needed. and down the next hole. Why does this thread split, fray, tangle and Ÿ Use a thread conditioner prevents snag? This is because it is a fragile thread fraying and tangling. Use a and prone to friction as it is pulled through proprietary brand or perhaps try the fabric. This weakens the thread causing some beeswax. it to fray and eventually will break. It is important that when stitching a little more There will never be an easy way to stitch with metallic thread but reducing the care is taken. frustration of stitching with it will make Using one strand of embroidery thread and the experience more enjoyable. a length of blending filament helps to strengthen the thread. This also gives a hint http://EzineArticles.com/?expert=Jean_Leeming

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Woodland Friends Christmas Hoops The first part of my series of six little embroidery hoops for the festive season. Inspired by the trend for selfies, the owl, deer and robin have posed for their Christmas pictures! I used 3” hoops, but you could resize the pattern if you wished. The applique’s really easy though the embroidery is probably more for an intermediate level stitcher as I’ve used turkey stitch and chain stitch worked in two colours.

Materials Ÿ 3 x 5” squares of medium weight blue dotty fabric for background Ÿ Scraps of natural coloured fabric for the animal bodies Ÿ Scraps of coloured fabric for the details.

Ÿ Stranded cotton floss in yellow, blue, pink, red, dark brown, black and metallic gold. Also a colour that matches the natural coloured fabric you’re using for their bodies. Ÿ Three x 3” embroidery hoops (optionally painted white) Ÿ Temporary fabric marker pen Ÿ Bondaweb

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Ÿ Using 2 strands of matching floss secure applique shapes to your background fabric with small straight stitches worked at right angles to the edge of the applique shape.

Method Ÿ Transfer the pattern to the centre of the 5” square of background fabric using your preferred method.

Ÿ With your temporary fabric marker pen draw lines for embroidery onto the appliqued fabric (eg decoration on robin’s hat, owl’s beak and deer’s eyes and nose).

Ÿ Using the reversed pattern trace the shapes for applique onto the paper side of your Bondaweb. Cut out roughly then fuse to the reverse of the fabric.

Ÿ Work embroidery details.Use 2 strands of floss throughout.

Ÿ Carefully cut out your applique shapes using long smooth strokes of the scissors. Position shapes onto your background fabric using your transferred pattern as a guide. Allow a little extra where the shapes need to overlap. When you’re happy with the positioning press firmly into position.

Ÿ When your work is finished remove all temporary lines and press lightly on the reverse if necessary (be careful not to flatten your stitches) Ÿ Mount in hoop to display.

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Lemons Tea Towel, Maiden (www.maidenshop.com)

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Linen Cushion, Annabel James (www.annabeljames.co.uk)

Autumn Apples Greetings Cards, Free Spirit Designs (www.freespiritdesigns.co.uk)

Tutti Fruity! Add a touch of tropical to yourhome with these gorgeous accessories… Lili Strawberry Tshirt by Soft Gallery, The Kid Who (www.thekidwho.eu)

Pineapple Lamp, Heico (www.littleville.com.au)

Watermelon Lamp, Heico (www.littleville.com.au)

Pineapple Clutch, Blue Bungalow (www.bluebungalow.com.au)

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And finally…. September’s favourite blogs

Sew Sweet Violet is such a pretty quilting blog, full of delicious eye candy .. http://sewsweetviolet.blogspot.co.uk

I can’t crochet very well, but Lucy’s blog is simply so inspiring, perhaps one day I’ll do better …. http://attic24.typepad.com/

If you’re looking for a little English whimsy, and a lot of vintage goodies, look no further …. http://tedandbunny.blogspot.co.uk/

Indeed, yes I am “Sew in Love” with this blog - Elizabeth’s stitching is amazing! http://sew-in-love.blogspot.co.uk/

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What Makes You Happy Templates are given actual size and reversed. This is to suit your preferred method of transfer and also use the reversed pattern to trace your applique shapes onto the paper side of your Bondaweb.

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Sleepy Fox Tea Cosy The template is given actual size to fit my teapot (see full instructions for measuring your own pot on page 12). It is reversed for tracing onto the paper side of your Bondaweb and I have also included a right way round smaller version for reference when placing your applique shapes.

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The fox template is given reversed for tracing onto Bondaweb and actual size to make my cosy. You will need to join the three parts together and they overlap to make this easier.

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Complete template to use for resizing or as reference when placing your applique pieces.

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Appley Dappley Cushion Cover Pattern on page 11 The template is given actual size

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September House Pin Cushion The transfers are given actual size , but the diagram for the house side is not, it simply illustrates the shape you must cut.

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Penguin Softie The templates are given actual size to make my penguin, but you can enlarge to any size you want. I wouldn’t go too much smaller though as the seams will become rather fiddly.

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Woodland Christmas Friends Hoops The transfers are given actual size to fit 3” hoops and also reversed to fit your preferred method of transfer.

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