A needle pulling thread — fall 2016 by Апрелина Иванова

A NEEDLE PULLING THREAD

QUILT SEW KNIT CROCHET CROSS STITCH EMBROIDER HOOK RUGS

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EXPLORING

8 QUILTING

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Life

goes

better with

needlework!

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ditor's letter

We are makers. We thrive best with fibres running through our nimble fingers for hours at length. Every breath a stitch, every creative idea is born from the heart and springboards with enthusiasm. We are quilters, knitters, embroiderers and most commonly learn our craft from our grandmothers, mothers and friends. Loving a craft is more than just engaging in it, it’s about power, the power to make things as we imagine them and to develop skills to see them through, all which boosts confidence and fosters the freedom to express ourselves. Furthermore the act of engaging in needlework becomes a safe haven and a chance to play like children engaged in playtime. This is so important to me. I was very young when I started to make things. The need to alter clothes started as young as 12, when my mom was still at work, I’d use the sewing machine to alter the style of my clothes to my shape and liking. Furthermore, I loved the idea of making clothes myself. To be a maker is a little like being a magician… making something useful, beautiful and essential out of very little. I love the moment I say “TA-DA!” when I finish a sweater, a quilt, or a dress. It’s a moment that affirms my power as a maker. Over the years, I’ve learned that altering patterns of any kind isn’t that hard and putting a little more thought into how I’ll go about it can be so rewarding. If I’m stuck, I consult with other makers who will surely light my way. This interaction creates a sense of friendship and a sense of being

part of the community of makers. Likewise when I attend a craft show, be it a knitting or quilting show, I can feel the electricity in the air emitting from like-minded makers excited by colour, fibres, and textures. What a rush! Another electrifying moment happened this summer when mom and I pooled together our skills to make two baby quilts for two young women in the family expecting their first baby. The moment they saw the quilt that was expressly made for them a wave of emotion overwhelmed them. These quilts were made for them and with them in mind, from choosing the fabrics, the patterns, the colourways and every seam stitched to harness good vibes. That’s power - the power to move people. This issue is chock-full of projects to ignite your creativity, they are suggestions borne out of the imagination of the participating makers. Make them so they reflect your most creative desires.

Life goes better with needlework!

er i ot r e p er

In today’s readymade world let us not lose our power to make things.

Cheerfully,

What will you make today? A NEEDLE PULLING THREAD

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2016

FALL

CONTENTS

24 36 72

76 4

A NEEDLE PULLING THREAD

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10 Cheryl Stranges

in every issue

fibre art The Artsy Chair

16 Lynn Swanson

quilting Fallen Leaves Bed Scarf

3 6 6 8

20 Donna Housley & Cathy McLean quilting Autumn Comfort Decorative Cushions

24 Brampton Sew N Serge Doreen G. Teasdale quilting I Love to Quilt

28 Jackie White

quilting Kids Lap Quilt with Feet Warmer

The latest in needlework books

75 Knitting

Standard Abbreviations & Terms

98 Business Directory

special features

32 Country Concessions Carol Mason

quilting Lonesome Pine Wallhanging

36 Christine Baker

quilting Sunflower Fields Forever

46 74

42 That Sewing Place Liana Kirkey

sewing Greetings for an Autumn Cushion Wrap and Maple Leaf Coasters

Editor’s Letter Mark Your Calendars! Advertiser Index Hooked on Books

Artist Review 15 Cathy Climpson

Lucy Garvin Small Batch Ice Dyeing Marnie J. Parkin Circular Sock Knitting Machine

Chloe 91 Karen Miller Twisted 96 Monika Kinner-Whalen Prairie City

54 Cynthia MacDougall knit together Mystic Knitting

58 Charles Voth

knitting Knitting with Charles Voth

66 Denise Powell

knitting Leaves in the Wind Hat

70 Jacqueline Grice

knitting Swiss Cheese Shrug

72 Red Heart, Nancy J. Thomas knitting Wavy Treasures Throw

76 Ruth I. Forbes

crochet Afghan for Aunt Joyce

80 Joanne Gatenby

cross stitch Jasperware Wedgewood Nativity Ornaments

84 Maria Gollek

cross stitch Fall in my Heart

88 Christine Baker

wool appliqué Harvest Time Mason Jar Cosy

92 Kim Beamish

pulled thread One Pretty Doily

94 Judith Marquis

smocking My Little Acorn Napkin Ring

91 A NEEDLE PULLING THREAD

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MARK YOUR CALENDARS!

To list your event in this space please call 1.866.969.2678. October 14-16, 2016 Haus of Stitches Knitting Retreat! St. Peter’s Abbey, Muenster, Saskatchewan Join us in this peaceful, cozy atmosphere for a relaxing weekend of knitting. Share enthusiasm with other knitters, be inspired, discover new techniques, get fresh ideas and knit, knit, knit! Forms and details at www.hausofstitches.ca or call 1.800.344.6024. Saturday October 15, 2016, 9am to 4:30pm Woodstock Fleece Festival The Woodstock Fairgrounds, 875 Nellis St, Woodstock, Ontario N4S 4C6 Our annual event invites fibre artists and others to join together in an atmosphere of appreciation, learning and camaraderie. T he show incorporates workshops and demonstrations from top instructors. Exhibition booths sell everything from raw fibre to quality finished goods. It is also a great place to have lunch!! We showcase spinning, weaving, rughooking, felting, & knitting with natural fibres. Workshop pre-registration is available on our website. In addition, we offer on-going demonstrations and live fibre animal displays. Admission: Adults: $8; 15 & under: Free. For more info visit www.fleecefestival.com or contact Catherine Stark at 519.458.8631. October 21-23, 2016 Northumberland Quilt Guild Sew Much Fun at the Lodge Pictou Lodge Beach Resort, 172 Lodge Road, PO Box 1539, Pictou, Nova Scotia B0K 1H0 Come join us for a weekend of workshops, good food, good laughs, good shopping and fellowship on the beautiful shores of the Northumberland Strait in Pictou, N. S. Cost $450 for members and $495 for non-members. For more info: www.northumberlandquiltguild.ca October 27-29, 2016 Creativ Festival The International Centre, Toronto, Ontario Since 1988, Creativ Festival is Canada’s largest diy consumer show dedicated to the creative arts of sewing, knitting, beading, spinning, weaving, felting, quilting, crocheting, stitching, scrapbooking, crafting and other fibre, textile, needle and paper arts. Offering up-close-andpersonal hands-on instruction at conference classes and an exhibit hall bursting with creativity. Whether newbie or seasoned pro, join others who share your creative passions at this exceptional interactive experience like no other where you can discover, learn, try and buy! For more info: www.csnf.com or 1.855.723.1156. November 10-12, 2016 The Annual Oshawa Fibre Art Show Centennial Albert United Church, 19 Rosehill Blvd (corner of Bond St W), Oshawa, Ontario L1G 5G5 Over 100 original fibre art creations will be on display and most will be available for purchase. The artwork is created by several Ontario fibre artists. Show includes a boutique of gifts and a supply shop for fibre art creators. Musical entertainment. 10am-5pm daily, up to 9pm on November 11th. Admission is $5.00 per person, and students get in free! Refreshments will be for sale throughout the show. For further Information visit www.annualoshawafibreartshow.com. Any questions, please email Marilyn Whitbread at Elegant.Silks@sympatico.ca.

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April 8-9, 2017 Reflections of Georgian Bay Quilt Show Presented by Georgian Bay Quilters’ Guild Tiny Township Community Centre, 91 Concession Road 8 East, Tiny, Ontario L0L 2J0 Sat: 10am-5pm, Sun: 10am - 4pm. Admission is $5 and men are our guests. Quilted exhibits, vendors, tea room, door prizes, demonstrations. Plenty of free parking, handicap access. The location will be well signed. For more information email us at GeorgianBayQuiltersGuild@gmail.com or online at www.gbqg.ca or on Facebook. Show Guide Unlimited, the 2016 edition of the Ontario Show Directory is now available! An extensive listing of the years best shows including art and craft (juried and non-juried), needlework, woodworking, festivals and bazaars throughout Ontario; also craft show tips, etiquette and useful planning calendar; available at $24.99 plus $5.00 S&H. For more info or to order online visit www.ontarioshowguide.com, or call 1.800.671.2272.

Advertiser Index 97 99 98 53 23 31 97 87 100 97 97 69 53 97 86 45 27 07 02 53 79 97 97 23 57 23 87

BF Designs Brother Business Directory Canadian Guild of Knitters Canadian Quilters' Association CreativFestival Crochet Designs by NanaRuth Embroidery Association of Canada Gütermann Creativ Harebrained Happenings Haus of Stitches Irish Tourism KNITmuch Lowery Workstands MarNic Designs Mary Maxim Northcott Fabrics Ontario Hooking Craft Guild PFAFF QUILTsocial Red Heart Rypan Designs The Bead Gauge The Needlework Pages Unique Knitting & Crochet Woodstock Fleece Festival X's & Oh's

PUBLISHER, EDITOR-IN-CHIEF, ART DIRECTOR Carla A. Canonico carla@ANPTmag.com PUBLISHER, ADVERTISING SALES John De Fusco john@ANPTmag.com PHOTOGRAPHERS John De Fusco, Carla A. Canonico QUILTING CONTRIBUTOR Elaine Theriault KNITTING CONTRIBUTOR Cynthia MacDougall cynthia@ANPTmag.com PROOFREADER Erica Killins

BEADING EDITOR Brenda Franklin brenda@ANPTmag.com GRAPHICS ASSISTANT Sondra Armas

Website : www.ANPTmag.com Toll Free: 1.866.969.2678 SUBSCRIPTIONS

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In Canada: A Needle Pulling Thread Subscriber Services 1025 Rouge Valley Dr Pickering, ON L1V 4N8

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A Needle Pulling Thread (ISSN 1715-4650) is a quarterly publication. Subscribe online, by phone, or by mail.

Subscription rates for 4 quarterly issues: PRINT: Canada : CAD$29.95/year USA : USD$29.95/year. DIGITAL: Canada : CAD$19.95/year USA : USD$16.95/year. PRINT + DIGITAL : Canada : CAD$35.90/year USA : USD$35.90/year. Applicable taxes extra. For back issues please visit our web site or call us for availability. Also available on iTunes and Google Play.

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If you are interested in carrying A Needle Pulling Thread in your store, please call 1.866.969.2678 or email john@ANPTmag.com.

EDITORIAL

Designers and other contributors who would like to be considered for future issues please email Carla with a brief description of your work and your proposed project for the magazine.

SPECIAL THANKS TO

All the contributors, The Foglia Family, The Miles Family, Rosalie I. Tennison, Alessia and Adriano, mom. A Needle Pulling Thread® is a registered trademark. No part of this publication may be reproduced without written permission from the publisher. ©2016 A Needle Pulling Thread. All rights reserved. Volume 11 Issue 3. All designs, patterns, and information in this magazine are for private, non-commercial use only, and are copyrighted material owned by their respective creators or owners. Made possible with the support of the Ontario Media Development Corporation.

We acknowledge the financial support of the Government of Canada through the Canada Periodical Fund (CPF) for our publishing activities.

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hooked on books

Celebrate Canada

Cable Left, Cable Right

Judith Durant

The newest book from Nellie and Christine features two quilts and smaller projects such as an apron, wall hanging and tote bag made using Northcott’s Oh Canada line of fabric. Full colour, easy to understand instructions!

A popular design element in many of today's garments and home dec items, as well as an iconic part of many different knitting traditions, cables add drama and texture to knitted fabric. Cable Left, Cable Right takes the mystery out of how to create and design them, for all levels of knitting skill. From standard ropes to squiggles and complex pretzels, cables bring life to any project.

One skein of cuddly yarn is all you need to create each of these sweet wearables, blankets, toys, and accessories for the little ones in your life. This blockbuster collection of 101 projects features practical and fun gifts for babies and toddlers, as well as perfect patterns for crocheting a family heirloom.

24 Pages, ISBN 978-0-9735183-3-7 Upper Canada Quilt Works Publishing available at quilt shops or online at www.uppercanadaquiltworks.com or as a ebook on Craftsy

Sew Home Make your home look like a million bucks with home design expert Erin Schlosser. With 31 decor projects to complement any style, this collection includes functional projects to cover your windows and walls, plus DIY bed linens, throw pillows, and the perfect accessories for every room in your home. From working with cording and zippers to sewing a blind hem, you’ll learn it all–including how to choose home decor fabric, needles, and thread. Pull it all together with basic elements of design and decorating that will transform your abode into a sacred space. 146 pages, ISBN 978-1-61745-158-4 Stashbooks ctpub.com

A NEEDLE PULLING THREAD

216 Pages, ISBN 978-1-61212-516-9 Story Publishing www.thomasallen.ca

Sew Illustrated 35 Charming Fabric & Thread Designs

Erin Schlosser

Crochet One-Skein Wonders® for Babies

Nellie Holmes and Christine Baker

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fall 2016

Minki Kim and Kristin Esser

Fill your home with small works of art that embody the simple life. Start with 16 useful handmade gifts in the popular Zakka design style, then add adorable motifs pulled from everyday life. 35 charming designs are printed on iron-on transfer paper–have fun sketching them with bits of fabric and freemotion stitching. Customize a variety of bags, a fabric basket, a makeup roll, coasters, and more. You can even use images pulled from a photograph, a rubber stamp, or a child’s drawing! 122 pages, ISBN 978-1-61745-178-2 Stashbooks ctpub.com

288 Pages, ISBN 978-1-61212-576-3 Storey Publishing www.thomasallen.ca

A New Spin on Drunkard's Path 12 Innovative Projects • Deceptively Simple Techniques John Kubiniec

Think you’ve seen all you can make with the Drunkard’s Path block? Think again! Open your eyes to a new take on curved piecing with quilting teacher John Kubiniec. Go beyond the basics with 12 innovative projects based on a classic pattern. Discover how using pre-pieced units like rail fences, half-square triangles, and sixteen-patches can completely change up the Drunkard’s Path look. Take it a step further with creative sashings and add-ons to alter the finished layout. The end result looks complex but is actually easy to sew! 82 pages, ISBN 978-1-61745-301-4 Stashbooks ctpub.com

hooked on books

Intentional Piecing

New Heights in Knitting

Refined Knits

Amy Friend

Andrea Jurgrau

Jennifer Wood

Let's get fussy about fabric! Fabric choice can make or break a quilt design, and quilters are always looking for ways to spotlight their favorites. Fabric has an uncanny ability to transform a project, evoke a mood and deliver a whole, new level of satisfaction to today's quilter.

Set against the backdrop of the world's tallest peaks, New Heights in Lace Knitting shows how to stitch a beautiful collection of lace shawls and accessories. Load your pack (or your knitting bag) with the right supplies before heading out on this trek into lace knitting. Andrea Jurgrau sets you out on a journey of 17 lace projects by detailing exactly what you need, setting you up for a successful finished project each time.

Knitted lace and cables can be incredibly beautiful on their own, but there is something graceful, even magical, about combining the two. Jennifer Wood's designs unite classic and modern styling with beautifully detailed patterns for a contemporary, romantic feel.

Learn to focus on precise, mindful work and have fun with fussy cutting with Intentional Piecing: From Fussy Cutting to Foundation Piecing, by awardwinning quilter Amy Friend. Amy establishes how to make the fabric the start of every quilt in spirited, modern projects you'll use every day.

Beads are tastefully and lightly sprinkled in some projects, and a double yarn-over ground is featured in many of them.

Refined Knits offers garments and accessories to reproduce using timeless techniques. The results are sure to impress. The 18 projects are divided into three chapters, with a variety of captivating projects: enduring cables, timeless lace, and elegant aran lace.

160 Pages, ISBN 978-1-940655-1-85 Lucky Spool www.thomasallen.ca

144 pages, ISBN 978-1-63250-231-5 Interweave Books Interweave.com

Make Table Runners 10 Delicious Quilts to Sew

Make Precut Quilts 10 Dazzling Projects to Sew

Make Baby Quilts 10 Adorable Projects to Sew

A runner for every table

Precut projects from favorite designs Quilting with precuts is easy, fast, and fun! Feature your favorite fabric collection in these 10 precutfriendly designs using charm packs, layers cakes, and jelly roll strips. The versatile patterns from top designers work with a variety of prints and solids, and beginner and intermediate quilters will love the bright and friendly designs. This value-packed booklet features 5 layer-cake patterns and 5 for charm squares and precut strips–perfect for anyone who wants to jump straight into sewing!

The cutest baby quilts you'll ever see Jump right in and get sewing! With this value-packed booklet of 10 baby quilt patterns from top designers, you’ll find a perfect style for every baby. Cute and fun appliqué patterns are mixed in with bright and cheerful patchwork, with designs ranging from traditional to modern. And with clear instructions, illustrations, and how-to photos, even beginner quilters will be whipping out these quilts in no time at all. Never wonder what to make for that new baby again!

42 pages, ISBN 978-1-61745-488-2 Stashbooks ctpub.com

42 pages, ISBN 978-1-61745-490-5 Stashbooks ctpub.com

Favorite Designers

Dress up your table with 10 colorful table runners from top designers! Whether you prefer appliqué or patchwork, traditional or modern, fancy floral or geometric designs, you’re sure to find something you’ll love. And with table toppers quick enough to make in a weekend, you can switch up your decor any time you feel like it. This value-packed booklet is sure to become your new go-to for gifts, seasonal decoration, and quick, fun projects to use up your stash! 34 pages, ISBN 978-1-61745-486-8 Stashbooks ctpub.com

Favorite Designers

160 pages, ISBN 978-1-63250-068-7 Interweave Books Interweave.com

Favorite Designers

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The

rtsy

Chair

In this article, we’re exploring some very exciting techniques for texturing. This chair ensemble can be used for any season of the year. Batik fabrics work very well. The colours seem to blend very well with yarns. However, you may choose to use any type of print or solid. There are no restrictions. Many of the projects you have seen over the last few issues can be redirected into many ideas. For instance, the seat cushion with less In-R-Form batting could also be done as a matching placemat to your chair set. The layout order of the embellished blocks can be changed. The yarn could be substituted by ribbon, or an assortment of trims. The idea is to experiment. The techniques can be applied to any project for home decorating, fashion or quilting. Another creative idea is to explore the textures into a much larger wall hanging stretched over canvas. These techniques aren’t difficult to do, and if you have normal household drinking straws, you can create a one of a kind block for quilts, pillows, artistic wall art.

back and seat cushion

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fibre art

Remember you aren’t limited to just the kitchen décor with this. This project can be put in a family room on a very simple chair, or add it to a corner in a bedroom. If you have a simple piece of artwork, to display on the wall nearby as an accent, the corner of the room will look very artsy. My mom, an artist who started painting later in life, did a very modern acrylic painting in these colours, so this is what I’ll be displaying at home with this chair set. Another idea is to explore quilting on another level. There are many ways to finish your quilts, free-motion stitching, channel quilting, decorative stitches, embroideries, handstitches, and handstitches done in software. The quilting technique for this project was a very large omni-motion stitch. The In-R-Form is quite thick and soft, it’s wonderful for quilting. The omni-motion stitch is what sporadically quilted the layers of these pieces together. Add some buttons and beads and you have some very unique pieces. As mentioned in previous articles, it’s important to remember that a mix of assorted fabrics gives you surface interest, and in this case linens, cottons, Dupioni silk have been used.

HUSQVARNA VIKING® DESIGNER EPIC™ sewing and embroidery machine

HUSQVARNA VIKING® provided the following sewing machine and products to make the sample: HUSQVARNA VIKING® DESIGNER EPIC™ sewing and embroidery machine PREMIER+™ ULTRA software The design is by HUSQVARNA VIKING® Vintage Postcards Collection #270. INSPIRA® Stabilizers INSPIRA® Machine Needles INSPIRA® Scissors Robison-Anton® Embroidery Threads Sulky Threads® Hoops

Watch for future kitchen accessories to include sewing machine cover, and artistic wall hanging. Watch for quilting, machine embroidery, serging, felting, specialty feet and stitches and of course software to be included in all of these future creations. Then adjust the patterns to your desired sizes, adjust the shapes if you like, and most of all explore!

Stitched decorative leaves

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instructions

skill level intermediate finished measurements chair back 13” x 14” [33 x 35.5cm] chair seat cushion 12½” x 16” [32 x 40.5cm]

Preparation steps 1. Prewash your fabrics if desired. 2. Measure the intended chair, or create a size that can be used for a multitude of chair sizes. 3. Creating your pattern using INSPIRA® Tear N’ Wash stabilizer with graph is always great if you need a pattern guide. Adjust your pattern according to the size of your chair. 4. All of the finished measurements of the blocks lettered from A-G are the measurements after the techniques were completed and then cut to size as a finished block. So the starting measurements would vary depending on the size of your embroideries selected, the size of the chair, and ease of fabric using the specialty techniques. Some techniques take more fabric.

materials fabric • 39” [1m] cotton fabric • 20” [50cm] Dupioni silk • 4 – 5 assorted cotton fat quarters including batik • 20” [50cm] linen fabric for embroidery portion sewing feet used • embroidery foot • S foot • seam allowance guide foot • general sewing foot • clear Topstitching foot with guide • 2-3mm embellishment foot • beading foot, medium and large size cutting tools • rotary cutter • cutting mat • INSPIRA® Scissors embroidery requirements • embroidery software or built in machine embroidery designs Husqvarna Viking ®Vintage Postcards Collection #270 needles • New INSPIRA® microtex needle size 90 • New INSPIRA® embroidery needle size 80 or 90 threads • 40wt Robison-Anton®rayon thread for machine embroidery and zig zag sewing • Sulky ®cotton blendables 30wt for construction • All-purpose thread for construction chair back and seat cushion requirements linen fabric for machine embroidery cut to hoop size selected stabilizers • INSPIRA® Stabilizer Cut Away for machine embroidery and yarn embellishment • INSPIRA® In-R-Form for each cushion • 1 piece of INSPIRA® Stabilizer Fast & Easy Tear Away for decorative stitches • INSPIRA® Fabric Magic for straw texturing • INSPIRA® Tear N’ Wash stabilizer with graph for making patterns other • hoop, standard 360 x 200mm • extension table for your sewing machine • assorted trims • stiletto for point turning pillow corners • marking tools • Singer Steam Press • wool yarn pieces for embellishment • assorted buttons and beads • 1¼” x 14” trim • 1” x 22” ribbon for ties • drinking straws 3 – 4 standard

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Chair seat cushion Note: The front and back of this seat cushion are different. The front is using an assortment of blocks using texturing techniques. The back is one large batik piece to co-ordinate with front. 1. Prepare fabric as follows: • 2 printed cotton fat quarters for texturing (center block) • 1 printed cotton fat quarter cut to finished seat cushion size • 2 Inspira® Fabric Magic pieces • 2 pieces Inspira In-R-Form pieces cut to your finished seat cushion size if different from sample measurements. • Dupioni silk for yarn textured pieces Sizes of technique blocks cut to size after the techniques have been completed.

Letters A to G A – Yarn texture on silk 5¼” x 5¼” B – Straw texture on cotton 5¼” x 5½” C – Yarn texture on Silk 5¼” x 3½” D – Straw texture on cotton 8¼”x 13½” E – Yarn texture on Silk 2¼” x 4½” F – Straw texture on cotton 4½” x 7” G – Yarn texture on Silk 4½” x 5” Note: It’s important to remember that if you have a sewing advisor on your sewing machine, please set it to woven medium for embellishment then change it to woven heavy for piecing. 2. Thread your sewing machine with cotton thread for construction. Or rayon thread for machine embroidery. For chair back cut as follows • Cut 1 cotton Piece Front 14” x 14” • Cut 1 cotton Piece Back 14” x 14” • Cut 2 pieces INSPIRA® In-R-Form 14” x 14” Machine embroidery block 1. Hoop your INSPIRA® Cut Away stabilizer and linen. 2. Load your desired embroidery design, in this case the HUSQVARNA VIKING® Vintage Postcards Collection #270 or choose to pick a built-in design. Always look at your embroideries and decide which suits the plan. 3. Thread your machine with 40 wt embroidery thread and 60 wt bobbin thread. 4. Explore the placement of your embroidery. 5. Cut this embroidered block to desired size after it is completed. This block was cut 5” x 13”. The embroidered block was cut larger to have enough room to fold the upper and lower edge under approximately ½” to the wrong side and press. Placement of the embroidery is personal choice onto the cotton batik. 6. Using a straight stitch, stitch the embroidered section in to position along the upper and lower edge using an edge stitching foot with a guide.

7. The additional decorative leaf stitches were stitched after the embroidery placement was complete. 8. Using an omni-motion decorative stitch and the S foot, stitch a single stitch sporadically on the surface of your batik fabric, to quilt the front and In-R-Form together. Or the Omnimotion decorative stitch can also be done on the single fabric top layer with stabilizer behind it. Then the In-RForm can be added later. 9. Embellish with a piece of trim placed vertically on your fabric. Stitch trim into position. 10. Fold each piece of 22” ribbon in half and place at the top of your chair back. Measure in approximately 3” from each outer edge. Pin the ribbon in place and stitch. Remember that the design of the chair will dictate the type of ribbon tie closure at the top. Some chairs have thin bars, some thicker top bars, and some no bars at all. 11. Place your fabric layers accordingly. Right sides together of front and back pieces and In-R-Form. Place them right sides together, and stitch around all 4 sides leaving a 5” opening on the side seam. Turn right side out. Place a second piece of In-R-Form inside the opening to increase the thickness of the project and stitch opening closed. 12. Add buttons and beads and tie onto your favourite chair. Straw embellished pieces 1. Select a zig zag stitch length 7mm and stitch width 7mm. 2. Thread your machine with 40 wt rayon embroidery thread and 60wt bobbin thread. 3. Cut your batik cotton to approximately 11” x 21”. The size depends entirely on personal preference for the amount of blocks you would like to do. 4. Using a marking tool, mark 1” lines vertically onto the fabric. Place the largest beading foot onto the machine. There is quite a large tunnel on the underside. If you don’t have this option, sew the buttons on by hand.

blocks stitched

ribbon and trim placement

finished back

Lines marked on fabric

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5. Mark lines on a piece of Fabric Magic and cut 2” larger on the lengths and widths of the fabric, approximately 13” x 23”. 6. Place the Fabric Magic piece under the cotton batik piece. 7. Take the drinking straw and place it underneath the fabric magic, approximately under the line marked, because the straw is soft, it’s very versatile to stitch over. 8. Use the zig zag to stitch from the top of the fabric to the bottom. While stitching the straw can slide down and when near the end, the straw comes out. 9. Place the straw under the second marked line and under the tunnel of the beading foot and stitch the second line. Continue until all of the marked lines are stitched. 10. When all of the lines are stitched, use a steam press to steam or hover above the fabric with a burst of steam. The fabric will begin to scrunch in along the tubular lines of stitching. This is such a great technique because the outcome can be different each time depending on the stitches with which you’re experimenting, such as the size of the straw and the distance of the lines marked. Try different mediums like fine bamboo skewers, or anything else you can think of that’s fairly pliable to stitch over. Experiment and have fun. 11. Cut these pieces to desired size blocks.

Experiment with straws and no lines

Before steaming the texture

Steamed texture

Cheryl Stranges

Product & Event Specialist, Husqvarna Viking husqvarnaviking.com seecherylsew.blogspot.com

Auditioning blocks

Blocks stitched

Yarn embellished pieces 1. Place a piece of cut away or tear away stabilizer the same size as the silk fabric and cotton fabric piece underneath. Choose a thread colour to compliment the yarn strands. For the sample a 40 wt embroidery rayon was used with a 60 wt bobbin thread. 2. Place a 2-3mm embellishment foot on your machine. Choose a zig zag stitch with a width and a length to accommodate the thickness of the yarn. Lines can be marked on the fabric using a marking tool. Explore stitching the yarn on the fabric with curves, straight lines, or with the yarn strands close or far from each other. Stitch each strand from top to bottom until the fabric piece is filled. 3. Cut the fabric into the block sizes, it isn’t necessary to remove the stabilizer. Piecing the seat cushion 1. Thread your machine with cotton or all-purpose thread for both stitching and bobbin thread. New microtex needle works well for the textured pieces. 2. Use either the seam allowance guide foot or piecing foot to stitch each row of the blocks together. 3. Stitch each of the rows together following the letters in the diagram. Square off any blocks that need cleaning up along the unfinished edges. 4. Because some of the textured pieces do have a tendency to stretch a little, stay stitch around the outer edges of the very flexible pieces. This may affect the measurements slightly. Fit your blocks accordingly. 5. Trim the seat cushion to size and place the In-R-Form piece underneath the front piece. Stitch the In-R-Form to the front piece around the outer edges. 6. Place the back piece, cut to the same size as the top piece, right sides together to the front and stitch around outer edges using a straight stitch leaving a 5” opening on the back edge. 7. Turn right side out adding an additional piece of In-R-Form inside the seat cushion. 8. Stitch the opening closed. Instruction photos by Cheryl Stranges

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r t i s t eview

Cathy Climpson

I took a workshop with Jennifer Day in Santa Fe, New Mexico in September 2015. We had to submit a picture to her for our piece. Our dog Chloe had passed away and I wanted to do a picture of her. The picture was enlarged and printed on cotton then layered with canvas, then batting, and lastly cotton backing. I used Mara threads to stitch out over the picture with all layers. The hardest challenge was to match all the multiple shades of the colours

Chloe

used in the piece. The other challenge was to get the direction of stitches correctly, as in getting the stitches to mimic the hairs on the dog’s jaw, for example. I finished the background at home. Chloe was accepted into the Quilt Canada show that took place in June 2016. – Cathy climpson@rogers.com Photos by Cathy Climpson

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Fallen Leaves bed scarf

Bed Scarf designed and stitched by Lynn Swanson

Digital cutting, appliqué & machine quilting using your embroidery machine

Photos by Lynn Swanson A NEEDLE PULLING THREAD

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quilting

Brother THE Dream Machine XV8500D Embroidery, Sewing, Quilting, & Crafting

This bed scarf is a fantastic way to add some life and creativity to a modern, sparse bedroom. I just love the colour and warmth it brings. It fits perfectly with the décor without adding clutter. This bed scarf was created using the advanced features of THE Dream Machine (Brother Innov-is) and the ScanNCut. It’s designed to fit a king-size bed with no overhang, or a queensize bed with overhang.

skill level Intermediate finished measurement 75” x 27” [190.5 x 68.5cm] cutting and sewing time 6 – 8 hours materials fabric • 10 – 10” x 10” [25.5 x 25.5cm] assorted coloured fabric squares for leaves (batiks or solids) • 70” x 20” [178 x 51cm] background fabric • 82” x 30” [208 x 76cm] backing fabric • 82” x 30” [208 x 76cm] quilt batting • assorted fabric scraps to create a stripped border 180” x 1½” [457 x 4cm] (perimeter of background fabric) for sashing • 190” x 3½” [482.6 x 8.5cm] same colour as background fabric for outside borders • 200” x 2½” [508 x 6.5cm] for binding (perimeter of finished top) • 2 packs of Brother Iron-On Fabric Appliqué Sheets (part#CASTBL1) notions • assorted thread for piecing, appliqué and quilting • pins • rotary cutter and cutting mat • marking tools • ruler • iron and ironing board

Brother ScanNCut CM650W

equipment • Brother’s THE Dream Machine XV8500D • Brother ScanNCut CM650W • J foot • MuVit Digital Dual Feed Foot • Stitch-in-the-Ditch Foot (part# SA191) • Embroidery Foot • Brother ScanNCut Digital Cutter, Standard Mat, Standard Cut Blade, Pen Holder and erasable black drawing pen pattern notes • All seams are ¼”

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instructions

Cutting Background fabric • 1 piece of background fabric 70” x 20” Leaf fabric • For each leaf, 2 squares of fabric 10” x 10” in coordinating colours (10 total) Strip sashing • strips from assorted fabric scraps that coordinate with leaf fabric (variety of lengths (1½”– 3” x 1½”) Outside borders • 2 strips 72” x 3½” • 2 strips 25” x 3½” Binding • 2½” strip x total perimeter of bed scarf [74½” x 26½”] + 4” Making the leaf shapes Preparing fabric for cutting on the Brother ScanNCut 1. Adhere a piece of Brother Iron-On Fabric Appliqué Sheet to the back of each piece of leaf fabric. 2. Follow manufacturers’ instructions. Selecting, sizing and saving appliqué leaf shapes on the Brother ScanNCut 1. From the built-in patterns on the ScanNCut, select leaf design AR-024. 2. Rotate design 60 degrees. 3. Change leaf size to Height 8.62” x Width 10.00”. 4. Press OK twice. 5. Save in machine memory and note location. Cutting appliqué shapes Note: Before cutting fabric on the Brother ScanNCut, test cut on a scrap of fabric you plan to cut for the leaves to ensure blade is set to correct cutting depth. 1. Place 10” square of leaf fabric on the Brother ScanNCut mat. 2. Recall saved leaf design. 3. Load mat into ScanNCut. 4. Press mat scan icon. 5. Ensure the design is placed on the fabric as desired; adjust position if required. 6. Press OK. 7. Press Cut. 8. Remove cut leaf shape from mat and place on rotary cutting mat. 9. Using a rotary cutter, slice leaf in half down the center.

Placing leaf fabric on the ScanNCut mat.

From scrap fabric, stitch 3 or 4 strips together to form pieced strata.

10. Repeat for all leaves. 11. Swap leaf halves with alternating colours to create a pleasing look. 12. Lightly press each leaf half to background fabric.

Outside border 1. Attach long outside borders to each side of background fabric. 2. Attach short side borders to each end of the background fabric.

Assembling the Bed Scarf Layout and Appliqué 1. Determine final layout once all your leaves are cut. 2. Iron each leaf onto background fabric. 3. Select stitch 3-04; W 3.5; L 4.5 – Blanket Stitch. 4. Stitch appliqué leaf to background fabric. 5. Thread machine with coordinating or contrasting thread. 6. Stitch around the outside of each leaf. 7. Select stitch 3-18; W 2.5; L 5.0 – Stem Stitch. 8. Stitch over the center of the leaf where the two fabrics join together.

Getting ready to quilt 1. Create a quilt sandwich with top quilt batting and batting fabric. 2. Use basting spray or pins to keep the sandwich together.

Creating and attaching the strip sashing 1. From scrap fabric, stitch 3 or 4 strips together to form pieced strata. 2. With rotary cutter and ruler, measure and cut strips into 1½” pieces. 3. Join 1½” pieces together to form a strip long enough for the perimeter of the background piece. 4. Attach sashing to each long side of the background fabric. 5. Attach sashing to each short side the background fabric.

Scan quilt design and quilt on THE Dream Machine using Design Centre 1. Prepare THE Dream Machine with embroidery arm and scanning mat. 2. Place leaf drawn on ScanNCut on THE Dream Machine scanning mat. 3. Scan design. 4. Modify drawing if required in Design Centre. 5. In Preview, select Triple Stitch. 6. Save as an Embroidery file. 7. Attach Embroidery Foot.

Preparing quilt embroidery design on the Brother ScanNCut 1. Replace the cutting blade in the Brother ScanNCut with a black drawing pen. 2. Recall saved leaf design. 3. Reduce size of leaf design to 7½” x 4½”. 4. Place piece of paper on the Brother ScanNCut mat. 5. Press Draw. 6. Remove leaf drawing from mat.

Instruction photos by Lynn Swanson A NEEDLE PULLING THREAD

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The blade on the front of the Stitch-in-the-Ditch foot separates the seam so stitching can be placed right in the seam line. The MuVit Digital Dual Feed Foot ensures all three layers of quilt sandwich are evenly fed through the machine.

8. Thread machine with desired quilting thread. 9. Hoop bed scarf and position embroidery file (leaf quilt design) where desired. 10. Embroider quilt design randomly around bed scarf between appliquéd leaves. 11. Once quilt designs have been stitched, remove Embroidery Foot and Embroidery arm. 12. Attach MuVit Digital Dual Feed Foot and Stitch-in-the-Ditch Foot. 13. Stitch in the ditch between the sashing and the background. 14. Position front blade of Stitch-in-the-Ditch foot in the seam line stitch. 15. Activate the Guideline Marker Position Laser Light and align it with your seam. 1. Place raw edge of binding to raw edge of bed scarf and stitch right sides together. 2. Fold binding over to back of bed scarf; pin or clip in place. 3. On the front of the bed scarf, stitch to attach the bed scarf.

Lynn Swanson Brother Educator Western Canada www.brother.ca

Close up of the leaf appliqué.

P lace the bed scarf on your bed and welcome the beauty of fallen leaves! A NEEDLE PULLING THREAD

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Autumn

Comfort decorative cushions

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A pair of cushions in beautiful autumn colours will make your home a comfy cosy place to relax after a busy day of sewing.

quilting

skill level easy finished measurements 14” x 14” [36 x 36cm] materials fabric • Fabric 1 – 30” [75cm] cotton • Fabric 2 – 12” [30cm] cotton • 16” x 32” [40.5 x 81.5cm] quilt batting • 16” x 32” [40.5 x 81.5cm] Sulky Soft’n Sheer Extra • 2 – invisible zippers 22” [55cm] • 2 – 14” square pillow forms required notions • Sew Easy 90˚ triangle ruler • quilting ruler 6” x 24” • 45mm cutter and/or 18mm cutter recommended notions • stitch ripper • Kai scissors 4½” • glass head pins • Gütermann Cotton or All-purpose thread • 30 wt Sulky Cotton Blendables thread • Universal needle size 80/12 • Quilting needle size 90/14 • Sulky KK2000 Temporary Adhesive • Clever Clips

Instructions Cutting (for 2 pillows) Fabric 1 Cut 6 – 1¾” x WOF (pillow top) Cut 2 – 5” x 16” (upper back) Cut 2 – 12” x 16” (lower back) Fabric 2 Cut 6 – 1¾” x WOF (pillow top) Cushion Front (make 2) Machine Set up Sewing Foot: regular sewing foot or ¼” foot Thread: cotton or all-purpose thread top and bobbin Needle: Universal size 80/12 Seam Allowance: ¼” 1. Using 1¾” strips sew a strip of Fabric 1 and 2 together on long edge. Repeat with remaining strips. Press seams open. 2. Place strips with right sides together matching Fabric 1 to Fabric 2. Sew along both long edges. Repeat with remaining strip pairs. 3. Lay one set of strips on cutting board. Line up the 90˚ triangle ruler with the 27∕₈” line along the bottom seam and the top point of the triangle on the top edge of the strip. Cut the first triangle as in Photo 1.

Photo 1

4. Flip strips over. Line up the 90˚ triangle ruler with the 27∕₈” line along the bottom seam and the edge of the ruler against the edge that you just cut. Cut the second triangle. Note: This only requires 1 cut for this and remaining triangles. Repeat across strip. Total: 11 or 12 triangles from each WOF strip sets. 5. Using a stitch ripper remove the 4 or 5 stitches at the top point of the triangles. Open the triangle up to create a square. Press center seam open. 6. 14” x 14” pillow top requires 16 – 3½” squares. Create different looks by arranging squares in different configurations. When you are pleased with the look start sewing the squares together into 4 rows of 4 squares, pressing seams open as you go. 7. Sew the rows together. TIP If your sewing machine has a needle down feature, it’s helpful to use it when approaching the heavy intersections. It gives a chance to stop and make sure all fabric are lying flat and going under the foot smoothly. 8. Repeat for 2nd pillow top. Quilting Machine set up Sewing Foot: Regular Sewing foot or Open Toe foot Thread: Sulky 30wt Cotton Blendable thread top and bobbin Needle: Quilting size 90/14 1. Cut 2 pieces of batting and 2 pieces of Sulky Soft’n Sheer Extra 16” x 16”. Fuse Soft’n Sheer Extra to the back of the batting. Use KK2000 to adhere batting to back of pillow top. 2. Quilt the top by stitch in the ditch, all over free motion or echo quilt along the seam lines of the design. 3. Trim top to 14½” x 14½”. 4. Repeat for 2nd pillow top. Cushion Back (make 2) Machine set up Sewing Foot: Invisible Zipper foot Thread: Cotton or All-purpose thread top and bobbin Needle: Universal size 80/12 1. Press under ½” seam allowance on one 16” edge of both upper and lower pieces. 2. Open zipper and right sides together; line up teeth of zipper with the fold letting about 1” of the zipper hang off the edge of the upper back. Hold in place with Clever Clips.

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3. Using an invisible zipper foot; start at the top with the teeth of the zipper going through the groove in the bottom of the zipper foot; stitch close to zipper teeth. Stitch across entire back. 4. Line up the teeth on the other side of the zipper with the seam allowance fold on the back bottom. Hold in place with Clever Clips. 5. Using an invisible zipper foot; start at the top with the teeth of the zipper going through the groove in the bottom of the zipper foot; stitch close to zipper teeth. Stitch across entire back. 6. Close zipper to make sure the teeth do not catch in the fabric. Partially open zipper.

finishing Machine set up Sewing Foot: Regular Sewing foot or ¼” foot Thread: Cotton or All purpose thread top and bobbin Needle: Universal size 80/12 Seam Allowance: ¼” 1. Lay pillow back right side up on cutting mat. Center pillow front right side together on pillow back (back is cut slightly bigger than front) and pin in place. Make sure the zipper is partially open. 2. Stitch around all 4 sides of pillow going slowly and reinforcing stitching across the zipper. Trim seams and clip corners. 3. Turn right-side out and press. Insert a 14” pillow form.

Sew Easy Triangle Ruler, 90°, 7½" x 15½"; a handy tool for your patchwork design needs

Donna Housley & Cathy McClean www.hakidd.com

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Saturday Oct 15th 9am - 4:30pm save the date!

9 listings 9 reviews 9 events 9 new products 9 free patterns 9 blogs more!

Knitting weaving felting spinning

r ug hooking

the

Contact:

a d n fi shop! l a c o l

WOODSTOCK FLEECE FESTIVAL

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www.TheNeedleworkPages.com

WOODSTOC K

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marketplace Admission $8

15 & Under are

FREE

live fibre animal displays

Workshops!

Catherine Stark 519.458.8631 fleecefestival@silomail.com

pages

Woodstock Fairgrounds | 875 Nellis Street | Woodstock, Ontario N4S 4C6

June 14-17 The International Centre, Toronto

app store: quilt canada

Experience the Best Quilting in Canada!

canadianquilters association cqaacc canadian_quilters

Join us for quilting fun at Canada’s premier national quilt event and help us celebrate Canada’s 150th anniversary! s National Juried Show s Workshops s Lectures s Merchant Mall s Daily Demos s Free Parking s Canada’s Largest Quilting Bee

@cqaquiltcanada

Join the 2017 team!

Volunteers urgently needed for the following roles: ¸ National Juried Show Coordinator ¸ Signage Coordinator ¸ Volunteer Recruitment & Scheduling Coordinator ¸ Quilt Hanging & Concurrent Shows Coordinator

Interested? Contact CQA/ACC Conference Coordinator, Liz Thompson: cqacoordinator@gmail.com for more information and job descriptions of volunteer positions

2016 National Juried Show Viewers’ Choice Evelyn Jago, Celestial Light

For more information visit:

www.canadianquilter.com

Canadian Quilters’ Association/Association canadienne de la courtepointe

See you there! A NEEDLE PULLING THREAD

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Love

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Q uilt

fall 2016

quilting

skill level intermediate

instructions

finished measurements 35½” x 44” [90 x 112cm] materials fabric • WOF x 12” [WOF x 30cm] background fabric (beige tone on tone or white fabric) for embroidery blocks, cut into three 10” x 10” squares • WOF x 10” [WOF x 25cm] each of 2 co-ordinating colours for quilted blocks • WOF x 24” [WOF x 60cm] for inner sashing • WOF x 24” [WOF x 60cm] for large border • WOF x 16” [WOF x 40cm] for binding, cut into five 2½” strips by width of fabric • 39” x 20” [100 x 51cm] of tear away stabilizer • WOF x 51” [WOF x 130cm] for backing • 38” x 48” [97 x 122cm] for batting notions • selection of decorative threads 40WT • sewing thread in a neutral colour for your chosen fabrics • bobbin thread • 6” x 24” ruler • rotary cutter • cutting mat • marking tools • fusible web for fabric • sharp small scissors to cut out appliqué pieces feet/machine accessories suggestions • extension table • Dual Feed foot with Stitch in the Ditch Plate • ¼” foot with guide • embroidery unit & hoop to fit 200mm x 200mm design

Triangle B

Triangle C

Assembling the pieced blocks 1. Using the fabric for the quilted blocks, cut the following from both fabrics: 6 blocks each 2¼” square – piece three sets of four patch blocks alternating the colours in the block, as in Block A in the Diagram. 2. From both fabrics, cut 3 blocks each 3³∕₈” – then sub cut into 2 triangles, sew the long edge of the triangle to Block A, alternating colours, as in Triangle B in Diagram. 3. From both fabrics, cut 3 blocks each 45∕₈” – then sub cut into 2 triangles. Sew the long edge of the triangle to Block A, which now includes Triangle B, alternating colours, as in Triangle C in Diagram. Square the block to 7¼”. 4. From both fabrics, cut 3 blocks each 6½” – then sub cut into 2 triangles. Sew the long edge of the triangle to Block A, which now includes Triangle B & C, alternating colours, as in Triangle D in Diagram. 5. Square the blocks to 10” then sew the three blocks together. Press. The blocks should measure 10” x 29”. Embroidering the 3 blocks Note: If you have a sewing machine other than the Husqvarna Viking Designer Diamond Deluxe and the Husqvarna Viking Premier plus software to create the following designs, you’ll need to get creative to embroider and embellish your blocks as desired. You may want to use appliqué or use the built-in stitches on your sewing machine. Skip to step 7, when you’re finished embellishing your blocks. 1. Hoop the stabilizer in a hoop that will accommodate a design 200mm x 200mm. 2. Place the 10” x 10” square of the background fabric on top of the hoop ensuring that it is square to the hoop. 3. Press the fusible web to the appliqué fabric; the outer border fabric was used for the sample. 4. Load the first design, the “I” design, stitch out colour 1, and then switch to colour 2 and the design will stop when you’re to place the fabric for the appliqué “I”, continue to embroider the design. 5. Repeat for the Heart square. 6. On the Quilt embroider square ensure that you hoop your fabric square and the design will stitch out on point – Do not rotate the design. 7. Trim all three embroidered blocks to 8¼” square.

Block A Triangle D

What wouldn't we do for the love of quilting?

What bet ter way to express it than in a quilt? A NEEDLE PULLING THREAD

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Assembling the top 1. From the inner sashing fabric, cut two pieces 8¼” x 3¼” join the “I” “heart” and “quilted” block together. 2. From the inner sashing fabric, cut three pieces 29” x 3¼”, join the two pieces to either side of the assembled blocks from above, then join the pieced block to the completed section from above, choose the side to which you’d like to join it to. Attach the last 29” x 3¼” to the other edge. Check your quilt measurements before cutting to ensure your quilt matches the instructions. 3. From the inner sashing fabric, cut two pieces 26” x 3¼”, join to top and bottom. Press. Check the quilt measurements before cutting to ensure your quilt matches the instructions. Final border 1. From the large border fabric, cut two strips 5½” x 34¾”, sew to the two sides, press. Check quilt measurements before cutting to ensure the quilt matches the instructions. 2. From the large border fabric, cut two strips 5½” x 36” and sew to the top and bottom press. Check quilt measurements before cutting to ensure the quilt matches the instructions. Layering the quilt 1. Press the backing fabric, lay the batting on the backing, and use your preferred method to baste the quilt, attach your walking foot and then stitch in the ditch and quilt the border as desired. 2. Do a three step zig zag around the outer edge of the quilt, then trim the excess batting and backing using a rotary cutter and ruler. 3. Bind quilt as preferred.

Brampton Sew N Serge 289 Rutherford Rd. S. Unit #7 Brampton, Ontario L6W 3R9 905.874.1564 www.sewnserge.com

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GRAPHITE GRAPHITE GRAPHITE

Stonehenge

GradationsGradations Strips Strips Gradations Strips Width size may vary slightly.

Width size may vary slightly.

Stonehenge Stonehenge Stonehenge

Gradations Gradations Gradations Tiles Tiles Tiles

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Kids Lap Quilt with feet warmer!

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quilting

skill level intermediate

5. Make 4.

finished measurements 40” x 60” [101.5 x 152cm]

Yellow Block Cut from yellow fabric: A. four 3½” x 12½” B. eight 2½” x 4½ C. four 5½” x 12½”

materials fabric From Northcott Fabrics ColorWorks Premium Solid Collection • 5⁄8yd of each solid blue, yellow, green, and pink • 11⁄4yd for multi-coloured fabric • 2yds backing (blue) and back of foot block • 2yds batting

1. Sew B and G to narrow ends of H, putting B at the top, sew to the right side of A. 2. Sew C to the right side of the ABHG block. 3. Sew D and F to the narrow ends of I. 4. Sew DIF to the right side of the ABHGC block. 5. Sew E to the right side of block. Press.

From multi-coloured fabric: D. Cut four 4½” x 8½”

Pink Block Cut from pink fabric: A. eight 2” x 12½” B. four 2” x 5½” C. four 3 ½” x 7½” D. four 1½” x 12½” E. four 2” x 3½” F. four 5½” square

other • rotary cutter and mat • ruler • thread to match

From multi-coloured fabric: G. four 5½” x 6” H. four 3½” x 4”

Note: Make 4 blocks from each of 4 different patterns. One of the blocks will be used on the back to keep your feet warm.

Blue Block Cut from blue fabric: A. eight 2” x 12½” B. eight 2½” x 4½” C. four 3½” x 12½” D. four 3” x 4½” E. four 2½” x 5½”

Sew two B rectangles to the narrow ends of D rectangle. Sew A to the left side of BDB and C to the right side of BDB. Press. Make 4 Green Block Cut from green fabric, four of each letter: A. 2½” x 12½” rectangles B. 2½” x 3½” rectangles C. 3½” x 12½” rectangles D. 3” x 8½” rectangles E. 2” x 12½” rectangles F. 1½” x 3” rectangles G. 3½” x 6½” rectangles

From multi-coloured fabric: F. four 4½” x 8” G. four 2½” x 3½”

A E

From multi-coloured fabric: H. 3 ½” x 4 ½” rectangles I. 3” x 3 ½” rectangles

H 1. Sew E and G together along narrow edge, sew B to G on opposite side. Press. 2. Sew A to the top of EGB and C to the bottom of EGB. Press. 3. Sew D and F together along long side, then sew B to opposite side of F. 4. Sew the second A piece to the bottom of DFB. Sew DFB to the bottom of C block. Press.

D C E

I F

A E

C D

Sewing 1. Sew B on the right hand side of G, and F along the left hand 5½” side of G. 2. Sew an A to top and bottom of FGB block. 3. Sew E on the left side of H, and C on the right side of the H block along the 3½” side. 4. Sew a D to the bottom of EHC block. 5. Sew EHC block to the bottom of A. Press. 6. Make 4. Arrange according to the diagram. Borders 1. Cut 2½” x WOF from multi colored fabric. Sew to top and bottom of quilt. Sew to sides of quilt. 2. Quilt and bind as preferred.

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Foot warmer on back

Foot warmer on back 1. Take the remaining 12½”block and lay a piece of batting on wrong side and quilt. 2. Cut 2 strips WOF from the multi colored fabric 2½” wide. Put borders onto the quilted block. With a piece of backing fabric 16½” square lay RST on top of quilted block, sew around edges, leaving an opening to turn. Turn right sides out and slip stitch opening closed. 3. Turn quilt over to back, and 2” up from bottom of quilt and centered in middle from sides of quilt, bring the pocket in about 2” so that it leaves a gap allowing feet to slip into it. 4. Sew by hand the foot warmer pocket on the back leaving the top open. 5. Take small stitches to ensure it is strong, or sew by machine.

Jackie White

jacwhite@amtelecom.net jabotquilt.blogspot.ca/ twitter.com/jackiewhite121

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Kids Lap Quilt with feet warmer!

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Lonesome Pine

Wallhanging

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quilting

skill level intermediate finished measurements 24” x 29” [61 x 73.5cm] materials fabric Note: batiks were used in this sample because its mottled look added texture to the elements. • 19” x 15” [48.5 x 38cm] dark blue for the sky • 14 strips each measuring 2½” x 14” [6.5 x 35.5cm] of different shades dark to light orange, yellow and beige fabrics for the moon • 13 strips each measuring 2½” x 19” [6.5 x 48.5cm] of different shades of dark and light green and brown fabrics for the ground • 3 strips each measuring 1½” x 42” [4 x 107cm] of orange fabric for inner border • 3 strips each measuring 2½” x 42” [6.5 x 107cm] of dark blue like the sky fabric for outer border • 3 strips each measuring 2¼” x 42” [5.5 x 107cm] of dark blue like the sky fabric for binding • For the tree cut 3 different shades of green cut into the following pieces: »» 2” x 1¾” – medium green »» 2½” x 1½” – light green »» 2” x 3” – medium green »» 2¼” x 3½”– medium green »» 2¼” x 4” – dark green »» 2¼” x 5” – dark green »» 3” x 6½” – dark green »» 2¼” x 1” – brown for trunk other • thread • rotary cutter • seam ripper • small to medium cutting mat • paper scissors • template plastic – 3” x 12” • 12” Add-a-Quarter Ruler • glue pen • pins • pencil • adhesive tape • small iron and pad • Border Creek Station Foundation Paper

Instructions

General instructions for paper piecing 1. Start with the moon and the lightest colour. Paper piece as above until all 14 colours are applied from light yellow to dark red at the bottom and then trim the foundation paper. The trimmed piece should measure approximately 13½” wide x 10 ¾” tall (this includes the ¼” seam allowance). 2. Working on the ‘ground’ next, tape the two foundation paper pieces together at the marked ‘JOIN’ line. Simply line up the two lines marked with the word join, one on top of the other and tape them in place. Paper piece from top to bottom, going from the light to dark colours. Trim the foundation paper. 3. Paper piece the tree from top 1 to bottom 8. 4. Center the moon in the sky and sew ¼” seam to join and then add grass to the bottom of moon and sky. 5. Add fusible web to the back of the tree. Cut the tree out and raw edge appliqué over the moon and the grass. 6. Add inner and outer border. 7. Bind and quilt as desired.

Designed, pieced and quilted by Carol Mason CDA Country Concessions 1 Dufferin Street Cookstown, Ontario L0L 1L0 705.458.4546 www.countryconcessions.com

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Lonesome Pine

1 2

Wallhanging templates

3 4 MOON

5 6 7 8 9 10 11 12 13 14

Fold

SKY 181⁄2" x 14"

A NEEDLE PULLING THREAD

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TOP 1 2 1

5 6

JOIN

2 3 TREE 4

7 8 9

10 11

12 13 TOP

FOREGROUND

1 2 3 JOIN

4 5 6 7 8 9 10 11 12 13 A NEEDLE PULLING THREAD

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Fields

UNFLOWER

These photos help with fabric selection, perspective, and detail of incorporating a flower in a quilt.

Stepping outside of the box Lately I’ve been drawn to more “artistic” quilting and I’d like to dabble in it from time to time. So when I saw Northcott's Artisan Spirit Shimmer “striped” fabric, it really jumped off the screen and spoke to me. The “Sunglow” and “Autumn” colourways were lovely (as were all of the rest) and something about them made me think of sunflowers. So I looked online for some photos to use as inspiration.

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F orever

Using photos for quilting inspiration The sunflower photos I found helped me to narrow down my selection of fabrics to ones that were brown, gold and green. But I still wasn’t sure which striped fabric I wanted to use for the background. Sometimes it’s best to actually see the fabrics in person so that you can audition them with your other fabrics!! We’ll use the sunflower photos for quilting inspiration!

quilting

skill level advanced finished measurements 110" x 118" [279 x 299cm] materials fabric • 9 fat quarters of gold/yellow fabrics: • Sandscapes • Artisan Shimmer • Toscana • 6 fat quarters of green fabrics: • Sandscapes • Artisan Shimmer • Toscana • 2 fat quarters of brown fabrics: • Artisan Shimmer • 39” [1m] background fabric • 2.2yds [2m] – fusible web • backing 50” x 60” [127 x 152cm] • batting 50” x 60” [127 x 152cm]

Instructions

Tracing the leaf shapes

Petal shapes ready to iron to the fabrics

Tracing out the fusible appliqué petals There are five slightly different sized petals to trace each 18 times out of nine different gold/yellow fabrics. Trace out a total of 90 flower petals on the WonderUnder. The two brown fabrics will be used for the centers of the three flowers. To make the tracing easier, cut the Wonder-Under into 9” x 9” pieces each. Then trace the five petals onto each piece and iron that whole piece onto the back of the fabric.

petal templates (actual size)

Petal shapes fused to the gold fabrics

Don’t worry too much about following the lines exactly. After all, the sunflowers that grow in nature don’t have petals that are all exactly the same shape and size.

Using fusible appliqué to make an art quilt Fuse the Wonder-Under to the backs of each of the gold fabrics. The WonderUnder directions say to use a dry, hot iron and to press for 5-8 seconds. Make sure to read the manufacturers directions on whatever fusible web you decide to use. Once the fusible web is fused to the back of each fabric, cut all of the shapes. This is a great job to do while you’re watching TV – just make sure you have a garbage can beside you. Plastic dollar store bins to store all the cut pieces are great for sewing rooms. Instruction photos by Christine Baker A NEEDLE PULLING THREAD

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Place a large circle onto the silicone sheet right side up and then arrange some of the larger petals around the edge, tucking them under the circle about ½”. Add a second layer of petals on top of the first, again tucking the ends under the circle. Moving it to the ironing board Once the sunflower is to your liking, move the silicone pressing sheet (slowly) to the ironing board. You can assemble it on the ironing board to begin with, but I wanted a larger flat area where I could see it better.

The flower centers Large assembled sunflower

Using a hot, dry iron, press around the edge of the brown circle to fuse the petals to the flower center. It doesn’t matter that the tips of the petals hang over the edge of the silicone sheet, because it's about pressing near the center of the circle to fuse all of the pieces together. Once the fabric has cooled, the entire flower can be pulled off of the silicone sheet.

The first layer of sunflower petals on the silicone pressing sheet

Layout of sunflowers

Assembling my fusible appliqué sunflowers Now that all of the petals are cut, pull the fabric off the backs of each of the pieces. This should be fairly easy, but if you’re having trouble, just score the paper with a pin to give you something to grab on to. I used two plates from my cupboard as the template for the sunflower centers: 8” and 10½” in diameter. I traced their outlines onto the fusible web and then fused these circles onto the back of each of the brown Artisan Spirit Shimmer fabrics.

Second layer of petals

Using the silicone pressing sheet Assemble the sunflowers on top of the silicone pressing sheet. The beauty of using one of these sheets is that you can assemble parts of your appliqué design separately and then press the assembled unit to the background later. This lets you fuse small pieces together to make a larger unit, or as in my case, fuse together an image that has lots of parts before its fused to the background. Peeling off the sunflower

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Trace a 6” circle for a third sunflower center. Repeat the above process with the smaller brown circles to assemble two more fusible appliqué sunflowers. Adding scrappy borders I wanted the stems and leaves of the sunflowers to extend off of the background onto the border, cut the background 40” x 32”. Add a scrappy border around the background using 4½” wide strips cut from all of the gold/yellow fabrics. Cut two or three strips from each fabric ranging in size from 4” to 12” long. Sew them together end to end randomly to make one long strip. Cut two borders from this strip each 32” long. Sew one to each of the two shorter sides of the background fabric. Once these borders are sewn on, measure the width of the quilt and cut two more borders that same measurement and sew to the top and bottom of the quilt. Fuse all of the elements onto the background and start quilting.

Adding stems and leaves To make the stems cut a piece of fusible web 6” x 22” and fuse it to the back of one of the darker green fabrics. Cut two strips 1¼” x 22” and one 1” x 22”. Peel the backing off of these strips and position them under the sunflower heads. Trace the large leaf shape onto the fusible web and then trace another in reverse and fuse these to two of the green fabrics. Do the same with the smaller leaf shape except trace it twice and then three times in reverse to make a total of five small leaves. Fuse onto the assorted green fabrics. Arrange the leaves on the stems in a pleasing arrangement.

Positioning the flowers, leaves and stems on the background

Mounted on the long arm quilting machine

Making a pressing board Now I needed to fuse all of these pieces onto the background. For this step I have a handy portable ironing board that I made years ago. The base of the pressing board is a piece of wood that was from our old kitchen cabinets but a piece of plywood about 18” x 24” would work just as well. I layered a few pieces of Mylar batting on top and then covered them with a piece of fabric on top. All of these layers were brought to the back of the board and then secured with a staple gun, stretching them to make the front smooth. It’s a great tool to have because you can just slide it under the background fabric and iron right where you are (the floor in my case) and you don’t need to move everything to the regular ironing board. Use a hot, dry iron, fuse all of these elements to the background fabric. Trim the stem ends that were hanging over the edge of the border.

Sliding the pressing board under the quilt top

Once everything is fused to the background you can try out some new designs for free motion quilting the sunflower quilt. Let’s start machine quilting! Now that the design is all fused to the background, my next step is to decide on how to secure all of the appliqué pieces. When I was starting the project, I had in mind that I would do decorative stitching around each of the petals and then do some machine quilting, but now that I see how many petals there are I’ve decided to secure and quilt in one step by doing a bunch of free motion quilting designs all over the piece.

Border quilting design

Close up of sunflower quilting design

The piece measures 41” x 49” so I’ve made a backing that is 50” x 60” and have mounted it onto the rollers on my long arm quilting machine. I’ve pulled out all of the gold, green and brown threads that I have on hand – it looks like almost all of them will work!!

My homemade pressing board

Since the background fabric has such distinct vertical lines, I decided to extend those lines out into the border using my machine quilting.

Flower center quilting shown from the back of the quilt A NEEDLE PULLING THREAD

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As you can see, I carried the vertical quilting lines out to the side borders as well. I used a darker thread to quilt along the lines of the background fabric and then used a gold thread to machine quilt all of the flower petals. I quilted around each of the petals twice and then did a vein up the middle of each petal. The flower centers were quilted with a pebble design using brown thread. I maybe should have picked a different shade of brown because the design is much easier to see from the back of the quilt! For each of the leaves I used green thread and quilted around the edge twice before quilting the veins of the leaf. The larger leaves had much more intricate quilting than the smaller leaves just because of the space limitations. Each of the flower stems was outlined with machine quilting and then a swirl design was quilted down the length.

Since I have a lot of green fabric left over I decided to use it to make a scrappy binding for my quilt. I always cut my binding strips 2½” wide, so I cut a couple strips off of each of my green fat quarters. Cut the binding strips and sew these together randomly end to end using a mitered join. This is the way I make all of my binding regardless of the size or type of quilt.

Hand stitch the bottom edge of the hanging sleeve and add a label (although I’m REALLY bad at completing THAT step). Once all of this is done, your masterpiece is ready to adorn one of your walls! Not too shabby if I do say so myself!! Thanks for following along in my journey in making this art quilt. I hope that you’ve been inspired to make your own art quilt.

Making the hanging sleeve You can either have one sleeve that runs the entire width of the quilt or you can have a split sleeve – basically two separate sleeves with a small space in between. For this quilt I made a split sleeve. Measure the width of the quilt and determine how long the sleeve needs to be. Cut the fabric for the sleeve about 1” shorter than the width of the quilt. To make the split sleeve cut this fabric strip in half.

Assorted 2½” binding strips

To make a 4” wide sleeve you need a fabric strip that’s about 8½” wide. Fold over about ½” on both short ends of the hanging sleeve and press. Then fold this over again and press a second time to enclose the raw edges inside the fold. Topstitch the two ends of the sleeve and then press the sleeve in half lengthwise with wrong sides together. Small leaf and stem quilting design close up

Large leaf quilting design

I took the quilt off of the quilting frame and trimmed the excess batting and backing from the quilt. Here are some great tips for making scrappy binding and hanging sleeves for your quilt.

Sewing the binding strips together with a mitred join

Sewing on the binding Sew the binding as you usually would, but you need to pay extra attention when sewing the top edge of the quilt to make sure that the raw edges of the binding, quilt and hanging sleeve are all aligned. Sew through all of these layers using a generous ¼” seam (almost 3⁄8” wide). 2 bindings that divide quilters into 2 groups The last step is to fold binding to the back of the quilt and to hand stitch in place. This is one step that really divides quilters into two groups – the ones who HATE hand sewing binding and the ones who LOVE it. Personally, I’m in the second group and rarely finish my binding by machine quilting. But there are lots of great tutorials online for machine sewing a binding. I recently learned how to do magic binding and it's AMAZING!!

A pile of scrappy binding

Sewing on the binding using a generous ¼” seam

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Fields

UNFLOWER

F orever templates

large leaf

small leaf

Enlarge to 150% to get actual size

Christine Baker

PO Box 64 Brockville, Ontario K6V 5T7 613.342.1042 www.fairfieldroaddesigns.com www.uppercanadaquiltworks.com

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G reetings!

For an autumn cushion wrap

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maple leaf coasters

sewing

Here's a project that you can make quickly to prepare for your autumn events, get-togethers and Thanksgiving decor. Using the Brother ScanNCut, it won't take long. Add your own personal touch by adding more machine embroidery or free motion work to the shapes and greetings.

autumn cushion wrap skill level easy finished measurement wrap 10” x 28” [25.5 x 71cm] materials fabric • 10” x 28” + 4” [25.5 x 71 + 10cm] solid coloured fabric • assorted fabric scraps in fall colours • 12” x 30” [30.5 x 76cm] lining fabric to match the solid fabric • 50” x 50” [127 x 127cm] Terial Magic™ notions • sewing and decorative threads • 3 decorator buttons, about 1” diameter • marking tools • 14” x 21” [35.5 x 53.5cm] decorator cushion equipment • Brother ScanNCut CM650W • Brother ScanNCut Digital Cutter, Standard Mat, Standard Cut Blade • Brother® Scan N Cut Canvas • Brother® sewing machine with buttonhole attachment and button sewing foot • Brother® Iron-On Fabric Appliqué Contact Sheet pattern notes • If you're going to use a different shape and size cushion add 4" to the length of fabric required to wrap around the cushion.

Instructions

Making the leaf shapes Preparing fabric for cutting on the Brother ScanNCut 1. Follow manufacturers’ instructions. Apply Terial Magic to fabrics scraps. Allow to dry and iron smooth. 2. Fuse Iron-On Fabric Appliqué Contact Sheet to back side of fabric scraps. 3. Affix fabric to Standard Cutting Mat, insert Standard Blade, and LOAD mat. Test cut to determine correct blade depth setting. Using the Brother ScanNCut 1. Open ScanNCut Canvas on your computer and create your autumn greeting such as Grateful, Peace, Give Thanks, Thankful, etc. With the greeting selected, touch the DIVIDE tool to separate the letters. Play. Arrange each letter pleasingly, allowing them to overlap slightly. When satisfied, SELECT ALL and WELD. Download the cut file to a USB stick and recall the design in your ScanNCut. 2. Cut out the sentiment and set aside. 3. Touch HOME, and OK to delete all patterns. 4. Using some of the remaining fabrics, cut out three or five leaves from the ScanNCut built-in selection; sized appropriately for your cushion. Set these aside. Sewing and finishing the cushion wrap 1. At the sewing machine, seam one long edge of the fabric used to wrap the cushion to one long edge of the lining fabric, right sides together. Repeat for the other long edge; the lining fabric will appear to be too wide. 2. Turn right-side out and press, allowing the lining fabric to wrap around the edge of the front panel, forming a contrasting border. Topstitch if desired. 3. Tuck short ends inside tube, press, then topstitch each edge closed. 4. Stitch 3 buttons in place, evenly spaced apart and ½” up along one short edge; stitch the 3 corresponding buttonholes along the opposite end, placing them so that the cushion wrap fits snugly around cushion. 5. Unfold cushion wrap and, on flat surface, arrange sentiments and leaves as desired, fusing firmly into place. 6. The sentiments and leaves may be left as they are, but to add more interest to your cushion, stitch vein lines onto leaves, use machine embroidery and free motion quilting. Use echo quilting around the words and shapes. The ScanNCut helps you cut your shapes in a snap, giving you more time to embroider these shapes and sentiments. 7. Wrap the completed panel around cushion and button closed.

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maple leaf coasters finished measurement 41/4” x 41/4” [11 x 11cm]

2autumn leaf.pes

materials fabric • assorted fabric scraps in fall colours • vinyl, leather or suede in assorted fabric scraps in fall colours • Terial Magic™ notions • decorative threads • marking tools to guide embroidery work equipment • Brother ScanNCut CM650W • Brother ScanNCut Digital Cutter, Standard Mat, Standard Cut Blade • Brother® ScanNCut Canvas • sewing machine

Instructions

maple leaf template actual size

Liana Kirkey

That Sewing Place

Newmarket, Ontario L3X 1X3 905.715.7725 www.thatsewingplace.ca

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Making the leaf shapes 1. Apply Terial Magic™ to fabric and allow to dry; press lightly (interface frayable fabrics). 2. Place provided maple leaf drawing under plastic cover of ScanNCut Scanning Mat, LOAD mat and touch SCAN TO CUT DATA. Scan image and allow to process, then isolate leaf and SAVE TO MACHINE. 3. Affix vinyl to ScanNCut Standard Cutting Mat and LOAD mat. Test cut to determine correct blade depth setting. 4. Retrieve design. On the ScanNCut, increase the quantity of shapes desired and add a ¼” seam allowance. Touch SET, AUTO ARRANGE, and then select the first (top) option to arrange the cuts most efficiently. Cut the leaves from the vinyl. Remove from mat and set aside. 5. Touch HOME, OK to delete all patterns. 6. Affix pre-treated fabric to ScanNCut Standard Cutting Mat and LOAD mat. Test cut to determine correct blade depth setting. 7. Retrieve design again; increase the number to same quantity as before; do not add a seam allowance this time. Touch SET, AUTO ARRANGE, and then select the first (top) option to arrange the cuts most efficiently. Cut the leaves; remove from mat and set aside Finishing the maple leafs 1. Layer the fabric leaf cutouts over the vinyl cutouts; stitch each set together either by stitching veins in the leaves, or by appliquéing the perimeter of the smaller leaf. Note: Advanced option for Quattro or THE Dream Machine users with scanning capability: place coaster layers on hooped tearaway; scan, and position included design on screen image; stitch. 2. Repeat for each coaster.

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Quick, Cool & Colourful

Small Batch Ice Dyeing I took a dye class through my local school board and was hooked. Playing with various techniques at home, I discovered that dyeing yardage in an apartment is a challenge, that fat quarters are more suitable to my circumstances and style of working and that Shibori and ice dyeing are my favourite techniques. As much as I love the watercolour effects of ice dyeing, I wanted more control over colour placement. The solution was to use single ice cubes for small batch dyeing. The resulting fabrics are quick to make, colourful and each is original.

ice dyeing

Scrunch

1. Soak a fat quarter in the soda ash solution. 2. Squeeze out excess liquid and scrunch the fabric to fit into the bottom of a bowl. The fabric will be used as a tray liner to catch excess dye. Photo 1 Hint: These fabrics are great to use as is or overdyed using one of the other techniques.

materials • Procion MX dye powders in 5 assorted colours (red, blue, yellow, green and purple work well to start) • Soda Ash • Synthrapol • 60” [1.5m] good quality white or unbleached cotton fabric • 2-3 trays of ice cubes (a mix of regular and shaped can be fun) • ¼ and 1⁄8 tsp measuring spoons -orplastic spoons* • container for washing spoons* • bucket for soda ash solution* • plastic bowls or pans* • colanders, strainers or racks to fit inside bowls* • dust mask • rubber gloves • plastic tablecloth • plastic to cover bowls • old tea towels* • elastics & plastic clothespins • 2 junk CDs • jean thread • hand sewing needle

*Safety First - Once items are used for dyeing they cannot be used for food.

When working with soda ash • ALWAYS wear a mask and gloves when mixing the solution • ALWAYS wear gloves when working with the soda ash solution

When working with dye powders • ALWAYS wear a mask and gloves • work away from food preparation areas and clear the workspace • turn off overhead fans and avoid drafts • lay a damp towel(s) on your work surface to catch any stray powder • immediately place used spoons in a water filled container • replace lid on the dye jar as soon as you’re finished using it Preparation 1. Scour fabric by washing in hot water and Synthrapol and hang to dry. 2. Trim any loose threads and press to remove excess wrinkles. 3. Cut fabric into 6 fat quarters, approximately 18” x 21”. 4. Mix the soda ash solution following manufacturer’s instructions. Once the fabric has been prepped, soak it in the solution for 15-30 minutes prior to dyeing.

Fabric used as tray liner, scrunch method

Scrunch samples

skill level advanced

Note: Once mixed, the soda ash solution can be covered and kept for your next dye session. 5. Cover the work surface with a plastic tablecloth. 6. Dampen tea towel(s) and place on the plastic covered work surface. 7. Place the colanders/strainers/racks in bowls or trays. 8. Fill a container with water to clean the spoons.

Instruction photos by Lucy Garvin A NEEDLE PULLING THREAD

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CD Resist

1. Fold a fat quarter into thirds. Photo 2 2. Fold fabric into thirds again. Photo 3 3. Sandwich fabric between 2 CDs. Photo 4 4. Fold top right and bottom left corners into the middle. Tightly wrap the bundle with an elastic band. Photo 5 Repeat for other side. 5. Soak in soda ash solution, squeeze out excess liquid and place on rack. 6. Lay 5 ice cubes on fabric. 7. Place tiny amounts of dye powder on each ice cube. Photo 6 You can mix colours on each ice cube (i.e. turquoise & golden yellow; violet, raspberry & lime) or use single colours. 8. Cover and set aside. Hint: Tight wrapping gives the most defined patterns. Looser wrapping gives a softer image.

Fold fabric in thirds

Fold fabric in thirds again

CD Resist samples

Sandwich fabric between

Wrapping the bundle

Place tiny amounts of dye powder on each ice cube

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Folded Fabric 1. Fold fat quarter in half lengthwise top to bottom. Photo 7 2. Fold fabric in half - right to left. Photo 8 3. Fold top right corner down to form a 45˚ angle. Photo 9 4. Bring bottom right corner over to left side Photo 10 5. Bring top left corner down to meet the bottom edge. Photo 11 6. Use clothespins to hold the folds in place while soaking in the soda ash solution. Photo 12 7. Remove clothespins, squeeze out excess liquid and place on rack. Adjust folds. 8. Lay 6-8 ice cubes on fabric. 9. Place tiny amounts of dye powder on each ice cube. Photo 13 10. As the ice cubes melt, the dye dissolves and wicks into the fabric. Photo 14 11. Cover and set aside. Hint: Don’t be afraid to play with the folds. Add extra folds, fold the fabric into thirds rather than quarters, try Mandala folds or tie dye folds for different patterns. Vary the ice cube placement for different effects.

Fold fabric in half

Fold fabric in half again

Form a 45˚ angle

Fold right side in

Fold left side down

Dye powder on each ice cube

Dye wicks into fabric as ice cubes melt

Clothespins hold folds in place while soaking

Folded Fabric Samples

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Jelly Roll

1. Fold fat quarter in half lengthwise. Photo 15 2. Working on one side at a time, fold fabric in half, Photo 16 then in half twice more Photos 17, 18, always working towards the center fold. 3. Turn fabric over and repeat on other side. 4. Roll fabric like a jelly roll. Use elastics to hold roll in place while soaking in the soda ash solution. Photo 19 5. Remove elastics and squeeze out excess liquid. Place on rack and adjust jelly roll. 6. Lay 3–4 ice cubes on top of jelly roll. 7. Place tiny amounts of dye powder on each ice cube. Photo 20 8. Cover and set aside.

Elastic Resist Fold fabric in half

Fold fabric in half

Hint: When you dye this piece on a rack, there will be lots of white space. You’ll get different effects when you dye the fabric bunched side up and bunched side down.

Hint: For more variety, place the jelly roll directly into a small container rather than on a rack. Excess dye collects in the bottom of the container and creates a secondary pattern on the fabric.

Jelly Roll samples

Then in half twice more

Elastics hold jelly roll in place while soaking

Dye powder on each ice cube

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1. Pinch fabric and pull up. Photo 21 2. Tightly wrap an elastic band around the fabric. Photo 22 3. Repeat over the entire fat quarter. Photo 23 4. Soak in soda ash solution and squeeze out excess liquid. 5. Place fabric on a rack -or- directly into a bowl. 6. Lay 6-9 ice cubes on fabric. 7. Place tiny amounts of dye powder on each ice cube. Photo 24 8. Cover and set aside.

Elastic Resist sample

Pinch fabric and pull up

Stitch Resist

1. Fold fat quarter in half - top to bottom. 2. Fold fabric in half - right to left. 3. Use a hand running stitch to sew lines approx. ¼”– ½” apart across the fabric. Photo 25 4. Gather threads tightly. Tie pairs of threads using a double knot and cut excess thread. Photo 26 5. Soak in soda ash solution and squeeze out excess liquid. 6. Place on rack and lay 10–12 ice cubes on the fabric. 7. Place tiny amounts of dye powder on each ice cube. Photo 27 8. Cover and set aside.

Sew lines across fabric

Hint: Try mixing regular and shaped ice cubes for different effects. Tightly wrap an elastic band around fabric

Prepared fabric

Gather threads tightly and tie

Dye powder on each ice cube

Stitch Resist samples

Dye powder on each ice cube

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Washing Out

Troubleshooting

1. Leave the fabric undisturbed for a minimum of 6– 8 hours. 2. Fill a bucket or large bowl with hot water and ½ tsp of Synthrapol. 3. Wearing gloves remove the CDs and rinse the fabric under cold running water until the water runs clear. Place fabric in the bucket of hot water. This helps to remove any excess dye prior to the final wash. 4. Rinse the elastic resist and stitch resist pieces under cold running water until the water runs clear. Place fabrics on old towels and blot to remove excess moisture. Remove the elastics. Cut off the knots and remove the threads. Rinse fabrics again and place in the bucket of hot water. 5. Rinse the remaining fabrics and place in the bucket of hot water. Let fabrics soak briefly, and then wash the fabrics in hot water and Synthrapol, following manufacturer’s instructions. Let dry, press and enjoy.

Small, intense spots of colour on the fabric Some of the dye powder fell directly onto the fabric. Photo 28

Dye powder directly on fabric

My piece is too pale

Usually this is a result of not squeezing out the solution well enough or using too many ice cubes. If you were really sparing with the dye, try using a smidge more dye powder next time.

Boring piece or too much white space

Hints for Success 99 For best results, press folds with an iron. 99 Use miniscule amounts of dye powder. A fat quarter uses approximately ¼ tsp of dye powder in total. 99 Use 3-5 colours of dye per fat quarter. 99 Use a clean spoon for each colour. 99 When choosing colours, be aware that using colours opposite each other on the colour wheel will muddy the colours. 99 As tempting as it’s to peek, leave the fabric alone for 6–8 hours to let the ice and dye do their thing.

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It happens. Be aware of ice cube placement as the dye will only wick so far. As a rule of thumb, the thicker the folded fabric, the more white space there will be on one side.

My fabric doesn’t look like the photo

It won’t. Even though I use the same folds for each dye session, each and every fabric is unique and not every fabric will be a masterpiece. If I’m not happy with a piece, I dye it again, cut it up into strips, stamp it, paint it or give it away.

Lucy Garvin

lucygrvn@gmail.com

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4 issues of A Needle Pulling Thread magazine entries into Random Acts of Knitting draws access to the Knitting Accreditation Program PO Box 20262 Barrie, Ontario L4M 6E9 www.cgknitters.ca A NEEDLE PULLING THREAD

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If you've ever been around a four year old, you know they are awed by the mysteries of the world: "Why is the sky blue?" "Why do I have to get dressed?" "Why do you go to work every day?" A few years back my Mom told me, "I don't think you ever outgrew the 'why' phase." When this issue's theme of "Why do we love to ____ (quilt, knit, cross stitch, embroider)" came across my desk, I was all too willing to explain.

( Mystic Knitting)

Cynthia MacDougall Canadian Guild of Knitters PO Box 20262 Barrie, Ontario L4M 6E9 705.722.6495 1.866.245.5648 (CGK–KNIT) www.CGKnitters.ca blog: cgknitters.blogspot.com ravelry name: macknitnow

Knit Together Photos by Cynthia MacDougall

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I am a knitter, so the primary question for me is “Why do you love to knit?” Before I can answer that, I also have to frame that question around “Why do you love to sew, quilt, cross stitch, embroider, spin, and weave?” Once framed, my first answer is portability. By and large, knitting can be tossed in a bag and taken with me wherever I go. I don’t need a frame, or floor stand, or wheel, or loom to accomplish anything I would wish to make. The only restriction is the size of the project itself. Currently, I’m working on two afghan projects. The first was made in four sections, which were quite portable – until they were sewn together in preparation for the knitted border. At this point, its portability was compromised, and, with over 1000 stitches on a single round of the border, I’m understandably reluctant to call this a “travel project” any more.

Knitting also gives the opportunity to showcase cool bags!

Once a blanket project gets big it's not so portable.

( I love to Knit ) Tactility

The second reason I love to knit is its tactility – the very feel of it. Knitting gives me so much control when it comes to the sense of touch. I can have three different projects on the go on any given day, and each one of them will offer a different tactile experience. I can work with a robust wool yarn whose very feel tells of the warmth the garment will offer. Minutes later, I can be working with a soft cotton yarn that will almost be a balm to a summer’s sun burn. Next, I can be working with a fine lace yarn made of fine wool and silk and, while I’m knitting with that, I can imagine the light warmth and drape this wispy knit will offer the wearer. There is comfort, indeed, in the way yarn passes through our fingers.

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Another thing I love about knitting is the construction applications and choices I have over a garment. If a pattern is made in two pieces, I can adjust that with a few pen strokes into a sweater made in the round. If it started out to be a pullover, and I decide I want a cardigan, I can add a steek at the center front and plan button and buttonhole bands. I tend to regard knitting patterns as guidelines and over the years have become quite fearless about making modifications to suit my personal preference. I have even turned a bottom-up sweater pattern into a top-down knit.

Adjusting patterns and patterns alterations

Part of this construction choice includes the way you shape a piece of knitting. It’s not like sewing where you cut the shape from a piece of fabric and then apply different darts, seams, and slashes to give it the necessary three dimensions. With knitting, you knit the darts right in, you shape the shoulders as you go, and you shorten or lengthen as you need, sometimes even measuring as you go! Trust me, I’ve garnered a lot of yarn scraps from shortening sleeves over the years! I also love that knitting has originality; when I do cross stitch or even bobbin lace, I am copying. I use the colours prescribed, and I follow the pattern as it was created. Cross stitch is especially regimented in this way – embroidery has a little more leeway. With knitting, changing something as simple as the color of yarn automatically turns the work into my own unique creation. I can up the unique factor by changing the yarn to one of a different texture – I can use a crepe spun yarn instead of a standard twist yarn which will change the look of the garment instantly. Because I spin, too, I can change the yarn out to a handspun, which will also change almost everything about the garment, from its feel to its appearance. Knitting also offers the freedom to change elements of the pattern. If I don’t like ribbed cuffs, I can change them and make garter stitch cuffs, or even make hems at the cuff line. This freedom to express my own originality in a garment has great appeal, and I encourage any knitter to try it! I even like that knitting gives me options about how I do things. Don’t like a long tail cast on? Do a provisional one. Don’t like knitting that second sock? Make ‘em both at one time! Don’t like the elongated loop that comes from a k1, sl1, psso? OK, use an ssk (slip, slip knit). Is a standard cast off pulling in the top of your shawl? Try one of several other cast offs to get the stretchy bind off of your dream.

For me, k nitting’s allure comes down to por tability, the feel of yarn passing through my fingers, choices, originality, and freedom. I t ’s no wonder that I do this for the love of Knit!

( there is freedom in Knitting ) 56

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knitting with

CHARLES VOTH CHARLES VOTH is a crochet and knitting professional in every sense of the phrase. He designs anything that pops into his mind, and teaches knitting and crochet everywhere. He is also a

As a knitter, it's important to know how to wash your knitted items, you know? The ones you spent a considerable amount of time working on? It's even more important to know how washing will affect your knitting. In the picture below, the 10 stitches to the right are part of a washed swatch and the 10 stitches to the left are part of an unwashed swatch. It really looks like there isn’t a difference, doesn’t it? Using Bamboo Pop as an example, this bamboo viscose yarn really handles being washed very well. Both swatches look practically the same.

technical editor of both crochet and knitting patterns and a blogger for KNITmuch.com We asked him to share a few of his knitting tips, here are 4 essential tips to place in your knitting tool box.

Washed and unwashed Bamboo Pop

ways washing your

In this photo, it’s really easy to see the bamboo viscose strands among the cotton. They provide a lovely sheen and depth to the knit fabric and more strength, and surprising softness to the finished fabric at the same time. When viscose is washed, it doesn’t fray, it doesn’t bloom, and it doesn’t shrink. It’s perfect for a yarn that really suits knitting kids’ clothing.

KNITTING affects your GAUGE Bamboo Pop yarn swatch

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How washing cotton yarn affects gauge I knit 2 swatches with the same number of stitches and rows. One swatch was laundered in hot water with regular detergent with a load of towels and tee-shirts. Then it was in a high heat / thorough dry setting in a gas-heat dryer. The outcome was that the washed swatch changed its row gauge, but not its stitches gauge. Cotton fairly typically pulls up row-wise when washed. Often with gravity, the fibers and stitches relax and the cotton settles back to it’s regular tension. These swatches were both 11 rows to 2” [5cm]; after the wash and dry the row tension changed to 9 rows to 2” [5cm].

Washed and unwashed swatches of Bamboo Pop

One thing that the washing and drying did for this yarn was that it evened out the stitches and the slight changes in tension that happened when I set my knitting down mid-row, to take it up later, or when I was rushing and knit tighter than usual.

How washing animal fiber yarns affects gauge Washing animal fibers in general causes felting or shrinking. Both row and stitches gauges are affected and the knit fabric looses its original shape and drape. To avoid dramatic gauge changes, it’s import to wash animal fiber yarns in cold water with as little agitation as possible. And using a dryer is not at all recommended. Squeezing out the extra water and laying flat to dry is the best course of action.

How washing acrylic affects gauge Washing acrylic and most other manmade yarns in cold water and putting it through a low-heat dryer cycle also evens out tension a little. Acrylic won’t shrink, no matter what you do to it, but heat can alter it, usually for the better if it’s just warm. Warm water or warm air make the acrylic fibers relax. If you’ve knit with a little unevenness and some tension changes, a warm bath is usually enough to even out these small problems. More aggressive measures are needed for curling corners or bound off edges, meaning higher heat. I usually use steam through a linen fabric to keep those problems in check. In general though your row gauge and stitches gauge will not change dramatically when you wash and dry acrylic. Be sure to read the labels of all microfiber, polyester, dacron, nylon, and other viscose yarns before washing by machine or in warm or hot water, just to be sure. The man-made bamboo viscose in Bamboo Pop doesn’t shrink or pill or fray when washed and it helped the cotton retain its stitches gauge. After playing with the washed swatch to stimulate a garment being worn (I put it in my pocket, I stretched it, I used it to clean my glasses, and I used it as a coaster), I got the row gauge back to 10.5 rows per 2” [5cm]. I hope these tips help you with your choices of washing hand-knit fabric. The materials the yarn is made of really can make a difference.

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techniques for knitting with variegated yarn

Method 2: alternating rows with solid and variegated yarns

Bamboo Pop Variegated Yarn is used as a sample for this article.

Many people fall in love with multi-coloured or variegated yarns when they see the skeins or balls on the shelves or in the store bins, or in the online catalogues. All the colour matching and coordinating has been done for you and you don’t have to think about which colour would go with which. Not everyone is comfortable choosing various colours to knit together in the same project, so variegated yarn is the answer. For some however, once they knit the variegated yarn, they’re frustrated with how it looks, particularly when one of the colour seems to collect all in one area of the fabric, and sometimes not in flattering ways. This is called “the pooling effect” and it’s not everyone’s favourite. There are a few ways to avoid pooling and we’ll look at three of them. Method One Use 2 different balls of the same yarn. This is a quite common solution. You knit 2 rows with one ball of yarn. Then you attach another ball of yarn and make sure that you’re at a different spot in the colour sequence and you knit 2 rows with that ball of yarn. Then you simply alter the ball of yarn feeding your knitting every two rows. This is the same strategy knitters use when they mistakenly have a ball of yarn that’s a different dye-lot than the rest, or when sadly, they’ve had to buy that one extra ball just to finish a sleeve or neckline. 60

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Method Two I tried alternating 2 rows of variegated Bamboo Pop with 2 rows of a solid colour as in the photo above. The variegated colourway is Grape Garden, and the solid is called Grape. Also, I tried a textured stitch pattern that isn’t just garter stitch or stockinette stitch. This breaks up the colours very well.

Close up: alternating rows of solid and variegated Bamboo Pop

Above is a close-up of this stitch pattern which as you can see does a nice job at distributing the colours so they look like small bursts of colour that pop. To knit this stitch pattern, following these instructions. Stamen Stitch With solid yarn, cast on an odd number of stitches. Include 2 sts extra, one for each side as selvedge stitches. Rows 1(RS): With multicoloured yarn, sl first st knitwise, knit across. Row 2: Sl first st knitwise, k1, *with yarn at back, sl 1 purlwise, k1; rep from * to last st, k1. Row 3: With solid yarn, sl first st knitwise, knit across. Row 4: Sl first st knitwise, with yarn at back, sl 1 purlwise, *k1, sl 1 purlwise; rep from * to last st, k1.

Using the dye pattern in Bamboo Pop

Method Three Another way to avoid pooling colours with variegated yarn is to find the dye pattern in the yarn and determine how many stitches are used to knit each colour segment. In the above photo, where I laid the yarn out, you can see that the pattern is dark purple, yellow, light purple, yellow, dark purple green, light purple, yellow, and so on. Each colour segment is roughly the same length. When I knit the yarn to the gauge that I wanted, each colour segment took 8 stitches to work, and sometimes 7. I tried to see if the use of 7 stitches was a regular feature of the colour pattern, but it wasn’t, so that little bit of randomness happened during the dyeing process. So I cast on a multiple of 8 stitches. What resulted was this slight zigzag pattern with the 2 purples running diagonally alternating with the green and yellow forming the other part. I think that if I had worked a multiple of 16 sts plus 4, I may have been able to achieve

Find the dye pattern in the yarn and determine how many stitches are used to knit each colour segment.

Full length of colour pattern repeat

columns of purples stacked on top of each other, and columns of green and yellow stripes. There’s no way to be sure but to swatch a lot. As you can see in the picture in the top right corner, about 2 yards of yarn was needed to reach the full colour repeat, which I indicate with the white line. Because I didn’t cast on the number of stitches that it would have taken to use one full colour repeat (which would have been 240 sts), I’m pretty much guaranteed that I won’t get true columns of stitches, but I think by using multiples of 8 in this case, I could have worked out some sort of pattern that would have avoided pooling quite well. If I were going to knit a sweater with 69 sts on the back and 69 sts on the front, I would run a greater risk of developing pooling because the 8 st segment wouldn’t work across 69 sts. So other strategies would be needed to fine tune. I could work intarsia and have 2 balls of yarn twisting

part way across the row. I could knit smaller pieces and seam them together to form the front or back of the sweater. There are many ways to experiment and to get the effect you want and to be happy with your multi-coloured yarn. A fourth method is to crochet with it, as in the picture below! Now I’m just being cheeky, but it does give a different look that distributes the colours well and avoids pooling completely.

A fourth method is to crochet with variegated yarn, it does give a different look that distributes the colours well and avoids pooling completely

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fixes for knitting INTARSIA Lots of knitters avoid intarsia designs because they haven’t been successful in the past, or they just imagine that it’s going to be unimaginably difficult. There’s actually very little that’s difficult to intarsia knitting and there may be a few problems that can easily be avoided or fixed. For this example I’m using the very brilliant and soft Dona yarn from Universal Yarns – it’s a great alternative to acrylic as it’s a superwash merino wool.

Intarsia knitting

Knitting intarsia is basically like finding a knot in your ball of yarn and having to cut that and join a new ball mid row. You knit the last stitch of the first colour, and then you insert the needle in the next stitch, and leaving a substantial tail of yarn, you knit the next stitch with the new colour. On the return row (usually the purl side), you simply lay the yarn you’ve just been knitting with over the ball and yarn of the next colour and pick up the new colour to continue purling across. This creates a half-twist between the yarn strands that closes the gap. Uneven stitches in the rows When you look at the white stitches in the swatch to the left you’ll be able to see about 3 rows where some of the stitches are looser than the average ones elsewhere in the swatch. While this problem of short bursts of loose stitches can happen in any stretch of stockinette stitch, it’s quite common in intarsia knitting.

Intarsia swatch: 3 rows where some of the stitches are looser than the average ones elsewhere in the swatch

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The problem of loose stitches is usually one of the hands playing with the tension of the yarn as you feed the needles. If you tend to look up frequently, set your project aside for moments, reach for your mug of coffee, cup of tea, or glass of wine a lot mid-row, you’re going to get these little blips. In intarsia knitting it tends to happen when you struggle with skeins or bobbins of yarn that are twisted, tangled or simply annoying you. On the purl rows, this does tend to happen a bit more.

To solve the problem of loose stitches while doing intarsia, the trick is to pull from the balls, skeins or bobbins the yarn you’ll need for each section of each colour and have it drape loosely on your lap or a table if you’re at one. Not having to tug at the yarn for any section of the work is key. Also, it’s important to save untwisting yarn and bobbins until the end of rows. Loose colour joins Many people do find that it’s easy to run into loose colour joins when knitting intarsia. In the lower teal section of the swatch 3 rows away from the black, you can see an extra loose stitch. While these are easy enough to avoid, if one sneaks in despite your best efforts, it’s simply a matter of distributing the extra slack by working it through the nearest 4 to 6 neighboring stitches. With the tip of a needle 2 or 3 sizes smaller than the one I was knitting with, I tugged on the right leg of the loose stitch, then on the left leg of its neighbor, then the right leg of the same neighbor and so on. This is the result. I haven’t re-blocked the swatch, but that would finish smoothing everything out. Intarsia stitches looking loose and tight at colour edges Another issue that surfaces in intarsia is the appearance that every other edge stitch in the column next to the other colour looks either looser than the ones in between or tighter. This happens to most knitters. To some it happens on purl rows, to others on knit rows.

Intarsia swatch

It happens to both continental knitters and to English-method knitters. The other thing to do is to tighten the first stitch of each colour when you’ve just switched on the row (check if it’s your knit row or your purl row) and on the last stitch too. It takes some playing around till you’re consistent. You can’t rely on your automatic muscle memory or natural tension to deal with this. It’s a microsecond of stop, think and tug. In the end, it’s worth it when you have a great knit item with lovely edges between colours. Your yarn will affect the look of your intarsia edges. I’ve had the pleasure of swatching with Dona yarn. It’s a DK weight merino wool with this interesting springy twist. This yarn as well as many others yield a stockinette fabric in which the individual stitches look more like check-marks, rather than V’s. This happens in some really springy yarn because of how the twist likes to settle in each loop after you’ve knit a stitch. If you see this check-mark look to your knitting, you’ll most likely find that the fabric is lofty and springy to the touch and there’s a lovely drape that has a bit of substance to it. This check-mark appearance will affect the edges of colourwork in intarsia knitting, but not too seriously. There is no real solution to that other than to change yarn. But I wouldn’t change a thing. I think I’m going to knit a baby boy’s checkerboard top with a chess player symbol in one of the squares.

Fixed loose stitch

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strategies

KNIT Fair Isle BETTER to

Fair Isle swatch using Dona yarn by Fibra Natura

Knitting with Italian DK weight superwash merino called Dona by Fibra Natura, this week has been a great experience. I love this wool. But to really test it’s worth, I tried it with Fair Isle knitting and made this swatch. And Dona didn’t disappoint. While I was knitting this swatch I recalled and thought of and tried 8 strategies to make my Fair Isle knitting better. To be honest, some of the strategies came to mind after I had almost finished the swatch, as a result of trying to avoid further mistakes.

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Bobbins 2 strategies have to do with bobbins. It’s important not to overload them so that they aren’t too heavy and drag down on your stitches. One reason for bobbins is to avoid the drag that happens when we knit Fair Isle directly from the skeins. The twisted disasters that usually plague the project a few inches below the working row are definitely mitigated by bobbins. If a bobbin is too heavy it’ll do the same thing to the stitches as twisted skeins do: it tightens them up too much. The second reason to use bobbins is that they’re nifty devices to help keep those strands untwisted. At the end of every row, it’s a quick untangle and you are ready to go. This knit Fair Isle swatch is based on an item of Russian embroidery that I saw once. The colours of the embroidery were the traditional red, white, yellow and black of much of 19th century pieces and the theme of roosters and hens figures a lot in folks pieces. I had to change things up and use teal, however (it does happen to be a prevalent colour in my yarn stash). I love how they took a nordic snowflake icon and modified with the roosters. If you look at the cockscomb in the rooster to the right and compare it to its reflection, you’ll see that I have some extra tight stitches in teal that have disappeared into the knit fabric. Unfortunately I was using a mixture of bobbins and some skeins and things got messy and tight and tangled and I didn’t notice what was happening until it was too late. I shouldn’t have avoided having a bobbin for every colour.

Close-up of tight stitch

Technique If you can, take a class in the technique that you don’t usually knit. If you’re a thrower (aka Englishstyle knitter), take a picker (Continental style) class, and vice versa. When you can knit both ways, even if one isn’t your dominant approach, you can carry one or two colours in your dominant yarn feeding hand and one of the contrasting colours in your other hand and knit with both methods simultaneously. This makes for very even tension and small floats across the wrong side.

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Pre-knitting preparation Another strategy is to study your charts carefully. Make notes about how many places you’ll be joining in new bobbins of yarn. Ask yourself if you’ll be carrying a colour across a whole row or if you’ll be adding a new bobbin for each motif or section that needs a flash of a contrast colour. For this chart I had 2 bobbins of teal, 1 of white, and 3 of black. The third black one was used for the feet of the birds and the few “seeds” sprinkled in front of them. I used 1 of each teal to work the side border up to the center of the reflection, where I took up with another bobbin of teal. Keeping track of your stitches and rows Having a row counter is an essential strategy for knitting Fair Isle successfully. There are apps with row counters and clickable ones for your knitting back, and going back to the basics with pen and paper is always good too. A second way to keep track of your progress through a Fair Isle chart is to use a magnetic white board and magnetic strips. You place a copy of the chart on the white board and hold it down with magnetic strips that you move every time you finish a row. This can be done for under $20. For less, you can use whiteout tape or highlighters to draw a line through a completed row. If any of you give this chart a try, I’d love to see a picture of what you knit.

Nordic Rooster fair isle chart

because there is no clinginess or little elasticity, both which contribute to uneven Fair Isle fabric. The last strategy for successful Fair Isle knitting is one that is shared in common with all good knitting. We’ve got to block the fabric that is knit in Fair Isle (or stranded as it’s also known). I think I’m going to take this motif and make a cute little sweater for a baby boy. One of those “be prepared” knitting projects, in case someone needs a gift. No, it’s not for my first grandchild…that’s an event that is still years away.

Materials Using wool is the best choice of yarn for Fair Isle knitting. Traditionally, the yarn used was a fine yarn and the wool had some “tooth”, the term for the grippy texture that does involve an itch factor, but ensures that the colours bond to each other well. Knitting with superwash that’s tightly spun is often frustrating when it comes to stranded colour work because the yarn loops slip away from each other and it’s difficult to get cohesive fabric. I found that the loft and lighter twist of Dona yarn, and especially its ‘springiness’, made it a great yarn for Fair Isle. One thing is for sure, you don’t want to pull tight on the stitches knit with Dona yarn because of its springiness it gets quite thin when over-tightened. Cotton, silk, or acrylic yarn poses problems for Fair Isle knitting

3 colour stranded-knitting swatch

Charles Voth

www.twitter.com/stitchstud www.charlesvothdesigns.ca A NEEDLE PULLING THREAD

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Leaves in the

wind hat

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knitting

skill level intermediate finished measurements sizing fits small to medium adult heads materials yarn • MC: Universal Yarns Deluxe Worsted Superwash 1 ball Oatmeal Heather, col 748 • CC: Universal Yarns Classic Shades 1 ball Sundown, col 706 needles • US7 [4.5mm] 16” [40cm] circular needle or size required to match gauge. • Set of double pointed needles in same size. other • 10 stitch markers, preferably in different colours - loops of scrap yarn work well gauge 18 sts and 24 rows = 4” [10cm], in stocking stitch

When leaves start falling in autumn, you’ll need a hat. If the wind is blowing you can pull this one down right over your ears. The brim is lined for extra warmth; the lining also covers the long floats that occur in the charted section. Two yarns are used in knitting this hat, Universal Yarns Deluxe Worsted Superwash (100% Superwash wool) and Classic Shades (70% acrylic, 30% wool).

Note: The chart section is knitted in stranded knitting, with two colours. There are some long floats in the design. You can catch them up if you want, but it’s not necessary since they will be hidden by the lining.

The Deluxe Worsted Superwash knits

instructions

comes in a huge range of colours so I

Using CC and leaving a tail of about 40” [1m], cast on 90 sts. Join, being careful not to twist. Rnd 1 and 2: Knit in MC. Rnd 3 and 4: Knit in CC. Repeat these four rounds for a total of 30 rounds – you’ll end with two rounds of MC. Using CC, next round: *K8, kfb, rpt from * to end of round (110 sts). Purl one round. Knit one round. Change to MC. Knit one round: Set up markers every 10 sts at the heavier vertical lines on the chart. I used a different colour of marker for each place and noted the colour of the marker on the chart. Since the chart has no repeat, the markers help keep your place. Knit the chart; white squares are the MC, grey are the CC. Knit one round of MC. Knit one round of CC. Purl one round of CC. Drop CC. Next round: Using MC, *k23, k2tog, repeat to end of round (96 sts). Knit 1 round. Next round: *K2tog, k10, rpt from * to end of round (88 sts). Knit 1 round. Next round: *K2tog, k9, rpt from * to end of round (80 sts).

beautifully to gauge. It’s smooth and consistent; I found no knots. This yarn would be happy to use it again in many different types of projects. Since it’s a superwash wool, it would be a good choice for children’s garments where you want both warmth and easy care. As for the Classic Shades yarn I’m not usually a fan of acrylic yarns, but this one is lofty and soft and contains enough wool to provide warmth. The colour I used, Sundown, is stunning and gave exactly the effect I wanted. There are many other lovely colourways that I think would work extremely well in a stranded pattern.

Continue in this way, decreasing 8 sts every other round until 8 sts remain. K2tog four times. Break yarn, leaving a tail to thread through the remaining 4 sts. Pull gently to close center of hat; work in tail. Fold lining to the inside. Use the cast on tail to tack down the lining cast on row. A NEEDLE PULLING THREAD

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top of chart

Leaves in the

wind hat

pattern

Denise Powell

DenisePowellKnits@gmail.com Ravelry: Doctor Knit

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Two Two Knitting Knitting Tours, Tours, Multiple Multiple Departure Departure Dates! Dates!

Choose to discover knitting & craft in the North & Northwest of Ireland Choose to discover knitting & craft in the North & Northwest of Ireland or the South and West of Ireland. Both tours include workshops and craft or the Southbased and West of Ireland. Both tours include workshops and craft sightseeing as well as general sightseeing. based sightseeing as well as general sightseeing.

www.irishtourism.com/knitting www.irishtourism.com/knitting Toll Toll free free 1877 1877 298 298 7205 7205 Local Local || Flexible Flexible || Trustworthy Trustworthy

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When asked what inspired this shrug, I chuckled before answering, wondering about the reaction I was going to get. I'm Swiss and everyone is familiar with Swiss cheese. I thought it would be humorous to design a shrug that mimicked Swiss cheese. As a designer, it's liberating to express the funny side of life now and then. – Jacqueline

knitting

Swiss Cheese Shrug skill level easy

finished measurements wing span 33" depth 28"

materials yarn • 1 skein of KnitswissYarn Lace Collection, 115g, 820yds [900m] needles • US5 [3.75mm] gauge Gauge is not that important and size can be adjusted by adding more cast on stitches at 22 sts per size and follow pattern but you'll have a repeat of 9 / 10 / 11 / 12 for *Pattern* per size.

instructions

Cast on cast on 201 sts. Knit 11 to 15 rows in stockinette sts. Next row: Knit 10sts. *cast off next 5sts, knit 17 including the last sts from cast off* rep *to* eight times, cast off 5sts, knit last 10sts. Next row: Purl but cast on 5 sts where you cast off in the previous row, 201 sts. Knit 12 stockinette rows. Next row: Knit 21 sts, *cast off next 5sts, knit 17 sts (including last cast off sts)* rep *to* 7 more times, cast off 5sts, knit last 21sts. Next Row: Purl and cast on 5 sts over cast off from previous row, 201 sts. Knit 12 stockinette rows. Repeat these 28 rows until you have nine whole rows or desired depth. Knit 11 or 15 rows in stockinette cast off all sts loosely. finishing 1. Soak and block. 2. Once dry, fold in half lengthwise. Now pick up 193 sts, or more if you casted on more sts, on each long side of rectangle and knit in the round for 30 rows. 3. Switch to garter stitch in the round as follows: knit one row, purl one row, knit one row, purl 1 row and so on, until you have about 20g of yarn left cast off loosely. 4. At sleeve openings pick up 68 to 70 sts and knit garter stitch in round as follows: knit one row, purl one row, knit one row, purl one row, for a total of 8 purl rib showing. Work the other sleeve the same.

Jacqueline Grice

KnitswissYarns www.KnitswissYarns.com Ravelry: Knitswiss Hand Dyed Yarns

www.KnitswissYarns.com

passion to create A NEEDLE PULLING THREAD

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on e of th e treas ure s of th e fall s e a s on i s s n u g g li n g u p wi t h a c o s y b la n k e t k n i t t e d b y

you

Wavy

Treasures Throw

Nancy J. Thomas 72

www.redheart.com Photos courtesy of Red Heart A NEEDLE PULLING THREAD

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knitting

skill level easy finished measurements 40" wide x 52" long [103 x 132cm] materials yarn • RED HEART® Boutique Treasure™: 6 balls 1918 Abstract MC 3.5oz [100g], 151yds [138m] • RED HEART® Super Saver®: 1 skein each 256 Carrot A, 656 Real Teal B, 406 Medium Thyme C, 378 Claret D 7oz [198 g], 364 yd [333m] needles • US10½ [6.5mm] circular knitting needles, 36" long other • yarn needle • stitch markers gauge 19 sts = 5" [13cm]; 16 rows = 4.5" [11cm] in Ripple Stripe. Row gauge is not critical for this pattern. However, it’s good to check your gauge. Use any size needle to obtain the gauge. Note: Throw is worked back and forth in rows on circular needles, do not join. Tips & Hints When joining a new ball of yarn or changing colours, leave approximately 6" [15cm] of yarn from the old ball and new ball for weaving in ends in neatly. Weave ends in on the wrong side of the fabric in a zig-zag pattern for a few inches, and then trim off excess. Stitch Patterns Garter Stitch Row 1 (RS): Knit. Row 2 (WS): Knit. Repeat Rows 1-2 for Garter Stitch. Ripple Stripe Row 1 (RS): Knit. Row 2: Purl. Row 3: *[K2tog] 4 times, [yo, k1] 8 times, [k2tog] 4 times; repeat from * to end. Row 4: Knit. Repeat Rows 1-4 for Ripple Stripe.

Instructions

With (A), cast on 154 sts. Knit 4 rows (2 Garter Stitch ridges). Next Row (RS): With MC, k5, place stitch marker, work Row 1 of Ripple Stripe over 144 sts, place second stitch marker, k5. Keeping first and last 5 sts in Garter Stitch (knit every row), work Ripple Stripe over center stitches until 3 repeats have been worked. Next Rows: Change to B and knit 4 rows. Next Rows: Change to MC and work 3 repeats of Ripple Stripe. Next Rows: Change to C and knit 4 rows. Next Rows: Change to MC and work 3 repeats of Ripple Stripe. Next Rows: Change to D and knit 4 rows. Repeat until throw measures about 51" [129 cm] from cast on edge, ending with 4 rows of D and 3 repeats of Ripple Stripe. Next Rows: Change to A and knit 4 rows. Next Row: Bind off 5 sts, *[k2tog, bind off k2tog st] 4 times, [yo, k1, bind off both yo and k1] 8 times, [k2tog, bind off k2tog st] 4 times; repeat from * across row to last 5 sts, bind off remaining sts. finishing Weave in ends.

A Needle Pulling Thread Standard abbreviations & terms alt = alternate approx = approximately beg = begin(ning) BO= bind off CC = contrast colour ch = chain cm = centimetre(s) cn = cable needle CO = cast on cont = continue, continuing dc = double crochet dec = decrease(s), decreasing dpn = double-pointed needle(s) foll = following g = gram(s) inc = increase(s), increasing in(s) = inch(es) k = knit kf&b or kfb = knit into front and back of st (increase) k2tog = knit 2 sts tog (right-leaning decrease) K3tog = knit 3 sts together (double rightleaning decrease) M = marker m = metre(s) M1 = Make 1 stitch: pick up the horizontal strand between 2 stitches from front to back and knit it tbl (lifted increase) MC = main colour mm = millimetre(s) oz = ounce(s) p = purl p2tog = purl 2 sts tog (decrease) patt = pattern pfb = purl into front and back of stitch (increase) pm = place marker psso = pass slipped stitch over RS = right side rem = remain(ing) rep = repeat rev = reverse rnd = round sc = single crochet sl = slip skp = slip one st, knit next st, pass slipped st over knit st (dec) ssk = slip, slip, knit: slip 2 sts knitwise, 1 at a time, insert left-hand needle into front of both sts and knit them tog (left-leaning decrease) Sssk = Slip next three stitches individually, knitwise. Insert tip of left needle from front to back into the fronts of these three stitches and knit them together (double left-leaning decrease) st(s) = stitch(es) St st = stocking stitch tbl = through back loop tog = together tr = treble crochet WS = wrong side yo = yarn over A NEEDLE PULLING THREAD

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Have you heard of a

Circular Sock Knitting Machine? Do you know circular sock knitting machines were manufactured on Davenport Road in Toronto, and also in Georgetown and Montreal in the early 1900s? Can you make a pair of socks in just over one hour? Let me share with you my journey of knitting socks and more on these wonderful antique machines. Being a hand knitter for many years, I purchased a 1925 Auto Knitter Sock Machine from a friend’s mother. This machine was manufactured on Davenport Road in Toronto and sold to my friend’s mother in Montreal and eventually made its way to me in Oakville, where I lived at the time. The machine is a marvelous piece of engineering. I received it in its original packing crate with the Davenport Road, Toronto address printed on the outside in beautiful calligraphy. Also included was the original operating manual, all accessories, a swift, bobbin winder, bobbins, two cylinders (one with 60 needles and the other with 80) and a ribber. What fun it was to open that box! Soon I was on the internet looking for someone else who had one of these machines, and I found a small group of devotees in Rochester, New York. We drove to Rochester for several weekends to master this beautiful antique sock knitting machine.

Erlbacher Gearhart Knitting Machine

Picking up dropped stitches.

It took a while to get the results from it that I wanted, with many moving parts, it was hard to determine if the issue was with the machine or the operator. Now I can make a pair of socks in just over an hour, Kitchener stitch the toe closed and wear my socks that evening. It was then that I was introduced to the Circular Sock Machine Society of America and the many different types of machines available. Soon I was making scarves, socks, and hats and selling them to friends and making gifts for family members.

The original set up bonnet, sets up the first row.

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T h e w e i g ht assis t s w i t h t h e te nsi o n .

Cranking the machine.

Setting up the stitches on the ribber.

Later on I purchased a PT Legare circular sock knitting machine made in Quebec in the early 1900s again with all the accessories. The machines are similar but with variations. They each have their own idiosyncrasies. We traveled to many crank-ins in the United States, thatâ&#x20AC;&#x2122;s what we call a convention, where everyone cranks and learns from each other. We met many people and met a gal from Southampton Ontario at the National Crank-in in Indiana. When we got home we were soon cranking together and sharing our love for these old workhorses. The machines were made and sold as a cottage industry for women to help with family finances. The socks were made to very strict specifications and today we wonder how many women actually made money making their socks. Soon I was on the internet looking for other people with the same interest and found several groups, the circle widened again. I found a company in New Zealand was making new machines and that several people had purchased these machines. Before long my interest became a passion and I discovered I could make beautiful lace and patterned socks, afghans and do flat knitting on the cylinder as well. The only limitation the machine has is the limit of creativity and skill of the operator.

since the 1920s. I had the pleasure of meeting the top circular sock knitting machine artists, including my inspiration Jenny Deters, a pattern designer for these machines. We attended the inaugural crank-in along with 80 others from across the United States and brought the first Erlbacher Gearhart Knitting Machine home to Canada. The difference between the antique and the new one is the difference between an antique car and a new one, each has its own special charm. In October, 2011 we held the First Great Canadian Crank-in at Woodstock, Ontario. Again our circle widened; people throughout Southern and Central Ontario, Indiana, New York, Minnesota, and Illinois were coming to our crank-in. We were so excited. Some of the top crankers attended the event: Frederick Hauck, my first teacher from Rochester, New York who is a fountain of historical knowledge; Georgia Majerus from Minnesota as a trouble shooter; and Mr. PeeWee Erlbacher, who brought his machine from Missouri. Thereâ&#x20AC;&#x2122;s nothing like sitting in a large room with the machines being cranked, soon everyone goes quiet and the machines are all you hear. We had lots of laughs, sharing our joys and frustrations with these machines and making new friendships. We closed our crank-in at the Woodstock Fleece Festival where Mr. Erlbacher introduced his machine to the Canadian fibre artists.

1925 Auto Knitter Sock Machine

I was invited to attend the Woodstock Fleece Festival in 2009 to demonstrate my antique circular sock knitting machine. Young and old were fascinated with it and soon we had a group counting the rows until the fabric came out of the bottom of the cylinder, and with wonder on their faces when I turned the heel, hung the hem, all on the machine and how I removed the sock with scrap yarn. In 2010 while searching the internet, I discovered Erlbacher Gearhart Knitting Machine Company in Cape Girardeau, Missouri. Mr. Erlbacher had received permission from the last relative of the Gearhart knitting family to re-fabricate a 1924 Gearhart knitting machine. My interest was piqued. As I was interested in purchasing one, my husband and I drove to Cape Girardeau to see the unveiling of the first machines made in America

Bobbin winder to wind skeins of yarn

Marnie J. Parkin

knittingbear@rogers.com

Afghan for

Aunt Joyce

Happy memories of my Aunt Joyce holidaying with us at the farm when I was young, fostered the desire to celebrate her 90th birthday last year with a special gift. To pay tribute to one of the most influential people in my early life, I designed this afghan for her. â&#x20AC;&#x201C; Ruth 76

crochet

skill level advanced finished measurements (all measurements are approximate) 54" x 74" [137 x 188cm]

Instructions Motif: Make 35

materials yarn • 8 balls (224g) of knitting worsted weight yarn (Herrschners Worsted was used for sample) • 1 ball each apple, medium pink, yellow, purple, forest • 2 balls white • 3 balls sage crochet hook • 4.50mm and 4.00mm other • scissors • tapestry needle • tape measure gauge Motif measures 10" [25.5cm] square abbreviations ch: chain cnr: corner cnr2: square the corner. Adjust sts (+/-) so the cnr will lie flat dc: double crochet dcpfr: double crochet post front. Dc around specified st from the front e/w: ending with Lsc: long sc. (As sc) Insert hk in st, pull yn up to height of sts on current rd, YOH, fasten off. Lscpfr: Long sc post front. As Lsc, but around the specified st. Rd: round RSF: right side of item is facing you sc: single crochet scpb: single crochet post back. Sc around specified st from the back Ss: slip stitch TBL: through back loop. This is the top loop farthest from you as you work tr: treble crochet Notes: All rounds are worked with RSF. Ch3 for first dc in rd.

Start with magic ring (wrap yarn around two fingers twice leaving a 4” bTg. Rd 1: (Apple) With hk 4.50mm, dc2, ch1 x 8 into the ring, then pull to tighten the ring. Join w/ss. 16 dc in rd. Break yn Rd 2: (Pink) dc3, ch1 in ea ch-1 sp. Join as before. 24 dc in rd. Break yn. Rd 3: (Yellow) *sc2, ch2, sc2 in next ch-1 sp, scpb around centre dc of next dc3 group. Rep from * around. Join. Break yn. Rd 4: (Purple) dc7 in ea ch-2 sp. Join. Break yn. Rd 5: (Apple) Attach yn in sc past any scpb. *Sc7, Lsc in scpb created in Rd 3. Rep from *. Join. Break yn. Rd 6: (White) Attach yn in sc past any Lsc. Sc in join, sc3,*hdc, dc2, tr, ch3, tr in next Lsc, dc2, hdc, sc4, dc in next Lsc, sc4. Rep from * around e/w dc in last Lsc. Rd 7: (White) Dc, with dc2, ch2, dc2 in cnr-sp. Join. Break yn. Rd 8: (apple) Sc, with sc3 in cnr ch2-sp. Join. 21sc each side, not incl sc3 in cnr. Break yn. Rd 9: (forest) Attach yn in centre sc of any cnr. *sc3 in cnr-sc. Sc2TBL, Lsc in next dc in Rd 7, sc17TBL, Lsc in next dc in Rd 7, sc2TBL. Rep from *. Join. Break yn.

Rd 10: (white) Attach yn on any side and *sc to next Forest Lsc. Sc in Forest Lsc, dcpfr in next sc on Rd 8, sc2, sc3 in cnr-sc, sc2, dcpfr around next sc on Rd 8. Rep from *. Join. Break yn. Rd 11: (sage) Attach yn, dcTBL, with dc2, ch1, dc2 in cnr-sc. Join. Rd 12: (sage) Dc, with dc2, ch1, dc2 in corner ch-1 sp. Join. Break yn. Make 35 motifs, alternating purple, pink and yellow in rds 2, 3, 4. Fasten in all ends on the wrong side, arrange squares (5 wide x 7 long) and sew motifs together. Whip stitch is used on sample, taking up back loops only on sides and sewing twice through both loops on corner stitches.

Corner detail

border All rds are RSF. With RSF and hk 4.00, attach sage in any dc. Rd 1: Sc around entire afghan, with dc2tog in spaces of adjacent motifs (this will bring the joined corners up and level with the sides, otherwise there will be a dip here) and dc2, ch1, dc2 in outside cnrsp. Join. Rd 2: Dc, with dc2, ch1, dc2 in each cnr ch1-sp. Join. Rd 3: Ch1, sk next st, *sc in next st, dc in sk st, sk next unworked st. Rep from *, cnr2. Join. Break yn. finishing Fasten in ends neatly on wrong side. Steam lightly to straighten. Do not press.

Photos on this page by Ruth I. Forbes A NEEDLE PULLING THREAD

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Nana Ruth Crochet Nomenclature I have been crocheting and designing in this craft for many years and have found that the traditional method of writing instructions can be very wordy and over-explained. This may be suitable for beginners, but higher skill levels don’t require this much information. My quest with this new method is to make crochet interesting, fun and less complicated for all skill levels. Crochet is done mostly in small steps. My approach to instructions is systematic, that is, I need first to know what stitch I will be making, then second, I need to know the number of those stitches to be made for this step, so that is the way I write it. With the information arranged in this manner, before I know how many of the stitch to make, my yarn and hook are placed strategically to begin. I have found this saves a little time with each step, so that in the end much time is gleaned “many a mickle makes a muckle”. 1. Even work – no increase or decreases Traditional: “Dc in the next 8 sts”. This instructs to make 1 dc in each of the next [8] sts. Nana Ruth method: “Dc8”, which first indicates the name of the stitch and then second how many of these particular stitches to make, 1 in each of the next 8 sts. 2. Beginning of rows/rounds Traditional: “Ch 3, dc in next 5 sts”. The ch 3 (often called the turning chain –TC) is the first st. Nana Ruth method: “Dc6”. At the beginning of a row/rd, I will not address the TC if it is made in the traditional way – in this case ch 3. If the TC is an anomaly – ch 2, ch 4, etc - I will tell you. Note: Traditional TC: 1 for sc, 2 for hdc, 3 for dc, 4 for trc. 3. Multiple stitches in one stitch or space Traditional: “Work 3 dc in next space”. Nana Ruth method: “Dc3 in next space”. 4. Nomenclature of special stitches Traditional: “FPdc around next dc”. Explanation: make a post from the front, in double crochet, around the next double crochet. This does not tell you the name of the stitch until the very end of the step. Nana Ruth method: dcpfr. Explanation: Here again, I tell you the name of the stitch first – double crochet; then how it is made - post/front – make the post from the front; then where it is made – around the next stitch. Note: italics and bold are used to draw attention to special effects of a stitch. 5. Spaces I leave out the space between the stitch and the number of stitches. Example: Ch 3, becomes ch3. Some traditional names are quite suitable. For instance, working 2 or more of the same st together as in sc2tog. This deviates from the traditional method which should be 2sctog but complies with the Nana Ruth method. Spaces or groups of varying stitches that need to be worked into or skipped, or special stitches will be explained in the preliminary notes of any of my patterns that contains them.

Ruth I. Forbes

Crochet Designs by Nana Ruth www.nanaruth.com nanaruthisabell@gmail.com

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Give someone a

ÂŠ 2016 Coats & Clark

16-003

Handmade Hug!

Red Heart supports the Red Cross and so can you! Your Red Heart Cares Blanket can help warm someone in need of comfort and hope.

Find the free knit & crochet patterns at

redheart.com/redcross

#StitchAHug Red Heart yarns, will donate $250,000 to support the American Red Cross, the Canadian Red Cross, and the Mexican Red Cross. The North American Red Cross name, Emblems and copyrighted materials are used with its permission, which in no way constitutes an endorsement, express or implied, of any product, service, company, opinion or political position. The North American Red Cross logo is a registered trademark owned by the North American Red Cross.

Jasperware

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edgewood

nativity ornaments

cross stitch

skill level intermediate stitch count 114W x 69H finished stitch sizing (rounded up) 11ct – 10½”W x 6¼”H [27 x 16cm] 14ct – 8¼”W x 5”H [21 x 13cm] 16ct – 7¼”W x 4½”H [18 x 11cm] materials fabric • 14ct Wedgewood Blue Aida floss All cross-stitching is done with three strands (3X) of DMC White embroidery floss, to provide maximum coverage. Other DMC colours that may be used for outlining: 318, 729 – see Stitching Notes. Stitching Notes: • Work all quarter-stitches as three-quarter stitches as per stitching diagram as there is very little backstitching in this design. Start with a half stitch in the direction indicated by two diagonal symbols. See Diagram 1. Make the quarter stitch last, come up from the corner the third symbol is in, and cross the half-stitch, gently pulling it out of the way and going down the center of the stitch. Do not tighten too much, as this will pucker the stitch, and the edge of the figure will not be smooth. • The outer dash lines are cutting lines only, and are not stitched. • The diamond eyelet stars are worked with 2 strands of DMC white embroidery floss, as per the stitch instructions. • The camel’s tail and reins are backstitched with 2 strands of DMC white embroidery floss. • The wisemen’s crowns and gifts may be outlined with DMC metallic gold and silver threads, or with 2 strands of light grey such as DMC 318 or old gold such as DMC 729. • The outer black backstitch lines on chart that outline the ornament, are worked with a double running stitch instead of backstitching, which facilitates assembly. These stitches are worked with 2 strands of DMC white embroidery floss, using the loop start, see stitch instructions. • Anchor any tails on the right side of the stitching, in the seam-allowances. These seams will be sewn right sides together, so the anchoring threads will be hidden! Reduce the number of tails by using a loop start, when working with 2 strands of floss.

Stitch Instructions

loop start Fold a single strand of floss in half. Feed the cut ends thru the eye of the needle, so the fold or loop is the tail. Come up from the back of the fabric in the first stitching position, do not pull the floss tight. Go down in the next stitch position, and slip the needle thru the loop on the back of the fabric. Gently tighten, to anchor the floss with no tail! Diagram 1 double running stitch This stitch looks like a backstitch when done. It’s slightly firmer, with none of the looping on the back of the fabric. Because of this, it’s a better stitch to use for the outer edges of the ornament, which will be stitched together. To work, see Diagram 2. diamond eyelet Looking at the diamond ‘star’ graph, begin at the top. Work clockwise from the outside edges, into the center of the stitch. Only pull the floss tight when at the outer edge as this will open the center slightly. Tightening while the floss is in the center of the stitch will pull the outer edges in, and distort the stitch. assembly and finishing 1. Cut the stitched ornament out using the grey dash lines on the chart as cutting guides, this includes a ¼” seam allowance all-round the outer edge. Use 2 strands of floss (or 1 strand if using the loop start) connect the edges as follows. 2. Fold the seam allowance to the inside of the ornament, lining up the sides of the center top V. As shown in the Photo 1, anchor the floss at the tip of one side of the V, and connect the two sides by slipping the needle through the double-running stitches on both sides of the V. Pull tight. Be sure the top points are level, and that the stitches are connected evenly without missing any. This will give a thick white border outline on each top section of the ornament.

Designer Jo Gatenby has always loved the look of the white-on-WedgewoodBlue look of Jasperware, and since this year she has explored cross stitched in 3D items such as pillows, snowmen on bells, fascinators, and even miniatures, the idea of a 3D ornament was only fitting. The silhouette concept just lent itself so well to the Jasperware look, she couldn’t resist! These ornaments are entirely hand-finished and very easy to do – even a fairly new stitcher should be able to complete them following the simple instructions provided.

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Jasperware

edgewood

nativity ornaments 3. Work from the tip, down to the main body of the ornament, making sure the top and bottom line up, easing the center to fit if necessary, though it shouldn’t be, as each side of the V should have the same number of stitches. 4. Repeat for all the V seams on either side of the first (center) V seam. 5. When the top is half done, attach a hanging loop to the top center of the ornament anchoring to the seam allowance on the inside, so that the tail of the hanging loop is on the back (inside) of the ornament, and the loop is on the front (outside). 6. Being careful not to catch the hanging loop into any seams, finish the remaining V seams on the top of the ornament. 7. Repeat Steps 1-3 on the bottom of the ornament, stopping halfway (Step 4) to attach a tassel. Stuff the ornament to just below the V lines, then continue closing the bottom seams (don’t catch the tassel in any seams!). Before closing the last bottom V seam, finish firmly stuffing the ornament. 8. Option: wrap 2 small rings with white floss covered with buttonhole stitches and attach to the top and bottom of the ornament so the hanging loop and tassel hang through them, as shown on our cover models. You may want to check that the tassel will fit through the ring before attaching the bottom tassel, as the ring may need to be slipped through the tassel hanging cord before it’s anchored inside the ornament. 9. Stitch the second ornament for a lovely matching set… makes a great gift!

Photo 1 running stitch join

Diagram 1 loop start

Other perspective

Jo Gatenby x-stitch@xs-and-ohs.com model stitchers Ray Skogland and Jo Gatenby

Diagram 2 double-running stitch

Instruction diagrams by Jo Gatenby A NEEDLE PULLING THREAD

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Jasperware W edgewood

CHARTS

nativity ornaments

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Fall in my Heart 84

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Fall in my Heart CHART

cross stitch

From our Spring 2016 issue

From our Summer 2016 issue

Spring in my heart

Summer in my heart

design size 5” x 4¾” [13 x 12cm] stitch count 78w x 73h materials 8” x 8” [20 x 20cm] 28ct white linen mat cutting MarNic Designs

Fall is a season for harvesting great gifts and a season to be grateful for those who paved the way to our modern world.

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Fall in my Heart colour key symbol > M “ @ / B r 0 ! L oe s P 3 v

DMC thread 2 strands white 211 307 310 311 312 322 327 347 400 402 407 413 414 422

symbol

DMC thread 2 strands

% 9 b K p $ 5 ) ¼ w J n t H i

451 535 550 552 554 610 699 722 762 816 823 829 830 832 834

symbol ‰ 6 7 N E { ^ & ( a V U x T A

DMC thread 2 strands 890 895 904 905 906 907 945 947

symbol I < R z # y 1 C

972 3031 3345 3346 3347 3348 3689

DMC thread 2 strands 3773 3776 3781 3801

outlining Mennonite lady buggy quilt house

DMC thread 1 strand 310 3779 3771 890

3806 3807 3818 3826

The Gentle Art – simply shaker – sampler threads #Shaker White

HappyStitching Maria E. Gollek

www.marnicdesigns.com Aspiring to inspire before I expire

MarNic Designs

Inspired by life as it unfolds around me. - Maria Gollek

Counted cross stitch patterns from the beginner to the advanced skill level xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

aspiring to inspire before I expire

www.MarNicDesigns.com 86

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xxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxxx

Membership gives you:

Embroiderers’ Association of Canada, Inc.

Annual Seminar with National and International Teachers Embroidery Canada Magazine published quarterly Correspondence Courses at all Levels Chapter Programmes Extensive Library

Check us out at www.eac.ca Join Us: membership@eac.ca You’ll be glad you did.

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Harvest Time

Mason jar cosy

After a bountiful harvest comes the joyful task of canning fruit and making jams. The Harvest Time jar cosy is ideal for spreading cheer when gift giving.

wool appliqué

skill level experienced beginner finished measurements wrap 4½" x 8½" [11.4 x 21.6cm] tag 3" x 4" [7.6 x 10.1cm] materials wool (sizes after washing or felting) • 4½" x 8½" [11.4 x 21.6cm] cream for backing • 4½" x 8½" [11.4 x 21.6cm] brown for background • 3" x 4" [7.6 x 10.1cm] orange for pumpkin • 3" x 3" [7.6 x 7.6cm] each 2 gold for sunflowers • 2" x 4" [5 x 10.1cm] dark brown for sunflower centers • 3" x 3" [7.6 x 7.6cm] green for leaves and stems • 3" x 3" [7.6 x 7.6cm] red for apple other fabric • 3½" x 5" [8.9 x 12.7cm] brown cotton for tag front • 5" x 12" [12.7 x 30.4cm] plaid cotton for ties • 3½" x 5" [8.9 x 12.7cm] two pieces muslin each for tag back thread & yarn • Valdani 3-strand hand-dyed embroidery floss to match or contrast wools • 12" piece of wool yarn in green other • 3½" x 5" [8.9 x 12.7cm] Fast2fuse heavyweight interfacing • 24 Tiny Raking Leaves buttons by Dress it Up • 3½" x 5" [8.9 x 12.7cm] fusible web • one ½" eyelet and eyelet setting tool • clothes washer and dryer and detergent (needed if wool isn’t already felted) • embroidery needle • freezer paper • iron and ironing surface • Mason jar of choice • mechanical pencil • 505 basting spray • scissors • sewing machine and thread • rotary cutter • rotary cutter ruler and cutting mat

instructions

14. Tear the 5" x 12" fabric into four strips that are 1" x 12". Pull the loose threads from the sides of each strip. Pin these ½" from the top and bottom of each end of the backing wool. Sew these to the backing wool using a sewing machine. 15. Lay the backing on a hard surface with right side down. 16. Lay the appliquéd background on top of the backing with right side up. Use embroidery floss to blanket stitch around the edge of the background through all layers to close the edge and secure the ribbons in place. Hide all knots in between the layers of wool. 17. Wrap your wool appliqué piece around the Mason jar and tie the fabric strips in bows to hold it in place

making the wrap If the wool has already been felted, proceed to step 1. If not, wash all wools in hot water with a small amount of detergent. Rinse in cold then dry in a hot dryer. 1. Cut two ¼" x 3" strips from the green wool (stems). 2. Trace designs onto dull side of the freezer paper leaving at least ¼" between the shapes. Be sure to trace each part of the diagram separately. For example trace the two sides of the pumpkin, then trace the middle, stem and leaf separately. The dotted outlines indicate where the top fabric overlaps the bottom fabric. 3. Cut each of these shapes along the drawn line. making the tag 4. Place the shapes shiny side down on 1. Iron the cotton fabric to the front side the wools. of the Fast2Fuse (the side that does 5. Iron the templates to the wool using a not have the plastic film). warm iron. 2. Trace the tag shape onto the freezer 6. Cut out each shape along the edge of paper, and then iron this onto the the freezer paper templates. front of the tag and cut along the 7. Peel the freezer paper off of the drawn lines. wool shapes. 3. Remove the plastic film on the back of 8. Spray the backs of all of the wool the tag. appliqué pieces using the basting 4. Follow wrap directions to appliqué spray referring to the manufacturer's the apple onto the tag front. instructions. 5. Sew seven leaf buttons to the tag as 9. Using the photograph as a guide, shown in the photograph. place the stems and appliqué shapes 6. Iron the fusible web to the back side onto the background. When pleased of one of the muslin squares, peel off with the placement, press them down the paper backing then iron this to with your hand. the second muslin square. 10. Use the embroidery floss to blanket 7. Iron the fused muslin rectangle to the stitch around the sunflower centers back of the tag and trim the muslin to and pumpkin shape. See Figure 1. match the shape of the tag. Leave the petals of the sunflowers 8. Follow the package directions to put unstitched for a 3D effect. in the eyelet. 11. Use six strands of green embroidery 9. Either use a zig-zag stitch on the floss to back-stitch the pumpkin vine. sewing machine or use a hand whip See Figure 2. stitch to couch the green yarn to the 12. Use a running stitch to sew down the raw edge of the tag, using a matching sunflower stems, the pumpkin stem sewing thread. and the pumpkin leaf. See Figure 3. 13. Sew the Tiny Raking Leaves buttons Blanketstitch Backstitch Running scattered across the bottom of the Stitch wool background as shown in the photograph.

Figure 1

Figure 2

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Figure 3 ●

fall 2016

Leaf Sunflower Trace 2 centers and 2 petals

Pumpkin

Apple and Leaf

Christine Baker

PO Box 64 Brockville, Ontario K6V 5T7 613.342.1042 www.fairfieldroaddesigns.com www.uppercanadaquiltworks.com

Harvest Time Mason jar cosy Appliqué Templates

Designed and made by Christine Baker

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r t i s t eview

Karen Miller

Twisted was the most important piece that I made on my journey to Frame / fraym, my solo show in 2015. Although it was my third study of tree trunks, Twisted was more importantly a successful experiment that opened my pathway to exploring human strength. The piece depicts the red of a clutch of sumac trees. Like my previous pieces, I stripped away every detail of the trees to highlight their trunks, an exercise that I had already come to think of as stripping away the forest to show its bones. Unlike my previous subjects, however, these trunks were not distinct and straight. Instead, they twisted and intertwined. I wanted to emphasize the strength of these irregular trunks with something more than the simple contrast of white on red. So I sculpted them. I had to learn how to draw the two dimensional patterns that would become proportionally accurate three dimensional shapes and how to correctly sequence the sewing, hooking and stuffing to achieve the effect I was looking for. As I worked with the patterns, though, it helped me to feel my way into a new theme that I wanted to explore. It was important to me that the trunks I was trying to make were twisted because they reminded me of the strength that people show when they are faced with the unexpected challenges of life. The trunks in Twisted are stark white, like bones, and they are twisted by the environment they grew in, but they are still strong. After Twisted, I went on to use different techniques to explore these ideas further and more directly, with things like seven foot planks of cherry wood and Styrofoam molds. They were undoubtedly riskier pieces, but it was Twisted that gave me the confidence to try. materials used: acrylic yarn and metallic yarn on rug warp finished measurements: 17” x 32”

Twisted

– Karen

marzipanroad@bell.net www.marzipanroad.com Photo by Karen D. Miller A NEEDLE PULLING THREAD

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ne pretty

doily

ll you need to make pretty things is fabric, a needle, thread and your imagination

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pulled thread

skill level intermediate finished measurements 63⁄8” x 63⁄8” [16.8 x 16.8cm] materials • 12” x 12” [30.5 x 30.5cm] 28ct antique white cashel linen • DMC Pearl Cotton #8, #12 – white • crewel needle • scissors stitches used buttonhole stitch cross stitch ringed back stitch filling diagonal drawn thread filling

Ringed back 1

instructions

1. Use the chart as a guide to complete the cross stitch (over four threads) border using Pearl Cotton #8. 2. Use the stitch guides and Pearl Cotton #12 to place the fillings in each section. Remember to pull stitches but it should not cause the fabric to pucker. 3. Use the back of border stitches to anchor thread for each row and to end threads. 4. Use chart and Pearl Cotton #8 to complete the buttonhole edging. 5. Carefully cut the piece from the fabric and press.

Kim Beamish

craftycreationsbybeamish@hotmail.ca http://craftycreations–beamish.blogspot.ca/

Ringed back 2

Diagonal drawn 1

Diagonal drawn 2

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My Little Acorn napkin ring I love to smock. It involves following a design row by row and discovering how the pleats react to the stitches and the way the colours of the floss make the design work. It’s like a puzzle being revealed right before your eyes stitch by stitch. Sometimes it takes only a wee bit of stitching and the right use of colour to suggest an object and your eye does the rest. Hopefully this is what will happen here for you. The type of smocking employed in this project is called ‘picture’ smocking. The design is for an acorn, a perfect symbol for fall and the cycle of life. Fall is harvest time and a time of thanksgiving for all.

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smocking

skill level easy finished measurements little acorn 3⁄8” x 5⁄8” [1 x 1.5cm] smocked portion of napkin ring 5” [12.5cm] in diameter not stretched

Acorn Chart

materials • ½yd of ribbon, 2½” – 3” wide (wired or not) for each napkin ring • 2 facial tissues • embroidery floss: 1 medium brown, 1 black

→→ bullion knot for stem (black) →→ 7 cable stitches + →→ closed herringbone stitch over 10 pleats form ‘cap’ (black)

needles • 1 embroidery/crewel • 1 milliners’ for bullion knot

→→ 3 rows of 7 cable stitches, stacked + →→ 3 cable stitches + →→ 1 cable stitch for acorn ‘nut’ (brown)

other • sewing thread to match ribbon • pleater or dots • contrasting thread for gathering • sharp craft scissors

instructions

TIP Start at bottom of acorn and work up to make centering easier.

Backsmocking Chart

prepare fabric for smocking 1. Set up pleater with 6 needles only, centered. Thread up needles with contrasting thread. 2. Cut ribbon into 18” lengths. Remove wires from ribbon edges. 3. Pleat, centering the 4 gathering threads in the ribbon. Start by pleating 1 tissue folded in half. Pleat ribbons then second tissue. Tissues will help in keeping ends of ribbon in pleated formation and also prevent unnecessary ravelling of ribbon ends. smocking 1. Back smock wrong side of pleated ribbon with design given. Leave 2 pleats unsmocked at each end of ribbon. 2. Find center on right side. Smock acorn. Use 4 strands of floss for ‘nut’ and 2 for ‘cap’ and ‘stem’. finishing 1. Remove gathering threads and discard tissues. 2. With right sides together join ends of ribbon where back smocking starts. Trim one side of the seam allowance to half width. Fold the longer side of the ribbon seam allowance around the short side. Fold in half again so raw edges are concealed. Pin together and slip stitch in place next to the seam. 3. Turn right sides out and slip around napkin.

→→ 2 step, half space wave →→ outline stitch

→→ stem stitch →→ 2 step, half space wave

Judith Marquis

Amberlane & Amberpetites www.amberlane.ca Judith Marquis is a designer of needlework and smocking. Her company, Amberlane & Amberpetites is celebrating 30 in business this year. If you have any questions about the designs in the article or are interested in learning to smock, please contact Judith. She would love to hear from you. Inquire about kits for the ruffle if you don’t have a pleater or pleating service at hand.

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r t i s t eview

Monika Kinner-Whalen

I have been threadpainting the local prairie since 2009. With my camera in hand, I look for things to stitch. I like openness, and the ability to see far. I try to capture lush, full foregrounds to give a stage to hand stitching that I blend with machine work.

Prairie City

Prairie City was quite unintentional. I was out capturing the evening sun as it glowed through the grasses above the riverbank. The ditches lining the road were in full bloom. Back in my studio as I was going through my photos, I noticed the hint of downtown skyline. I did not realized I photographed it! There was something that struck me about seeing the city like that, right there as part of the prairie landscape. I quite enjoyed the urban/rural combination, and decided it would make an interesting composition. With the initial photo nearby, I put together the basic form of the scene by fusing 4 pieces of fabric onto a canvas to represent the sky, city, field, and foreground. Next, I free-motion machine stitched, building the piece up from back to front. The fence posts were stitched sari silk. Then the entire foreground was filled in by hand with thread and silk. The finished measurement of the piece is 4½” x 14”. Prairie City was juried into the Prairies 2013 exhibition and awarded 1st place Original Surface Design, Best of Category / Needlework, and Viewers’ Choice with the Focus on Fibre Art Association. It’s currently on tour with Dimensions 2015, a juried show of Fine Craft with the Saskatchewan Craft Council. – Monika Saskatoon, Saskatchewan Canada Textile Artist Specializing in Embroidery www.MySweetPrairie.ca facebook.com/MySweetPrairie/ Photo by Monika Kinner–Whalen

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Brenda Franklin 519.638.9958 help@bfdesigns.on.ca

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

Brenda Franklin designs more than just realistic cross stitch. Also available are beaded knits, bead stitch, intarsia and needle felting. Check out www.bfdesigns.on.ca for the complete line of books, patterns and kits.

Harebrained Happenings 416.282.9949 or 416.284.7924 www.harebrainedhappenings.com Harebrained Happenings is the brain-child of two talented ladies who have come together with their love of crafts, and folk art. Our company incorporates the love we have for our pets with design patterns for quilting, tote bags, and wall hangings. Crochet Designs by NanaRuth 416-754-0998 www.NanaRuth.com NEW! Downloadable Book! Main focus is traditional designs in crochet and knit for children. All garments are designed and/ or handmade with discerning attention to comfort and finishing. Baptismal sets, dresses, suits, blankets and shams, cardigans, hats and other items.

Saskatchewan 15 th Saskatchewan

StitchesYE AR! Stitches Conference Conference Pro u d Sp o n so rs

Pro u d Sp o n so rs

S W I S S

D E S I G N

S W I S S

D E S I G N

May 25 - June 3, 2017 St. Peter’s Abbey, Muenster for more information call

1-800-344-6024

626 Main Street 626 Main Street Humboldt Humboldt 306-682-0772 306-682-0772

www.saskstitches.ca

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

The Bead Gauge

Use this unique tool to find the size of your seed beads. Put 10 beads on a needle, slide along the scale, read size at right. Easy to use credit card size plastic card

www.beadgauge.com Phone: 519-956-9632

Lowery Workstands

The Strong Steel Workstands from England

www.workstands.com

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

Fabric and yarn you won’t find just anywhere!

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BUSINESS DIRECTORY

To list your business in this space please call 1.866.969.2678.

Art of Fabric 955 Brock Rd Unit 1B, Pickering, ON L1W 2X9  905.420.1101  artoffabric.ca  shop@artoffabric.ca A creative shop offering quality fabrics, specializing in Canadian designed batiks. Large selection of art supplies for textile arts & the latest notions. Authorized Bernina dealer providing quality service&support. Classroom rental space available. Brenda Franklin Designs 7570 Mapleton SR 18 RR 1, Alma, ON N0B 1A0  519.638.9958  bfdesigns.on.ca  help@bfdesigns.on.ca More than 500 charts available for counted needlework, latch hook rugs, beadwork, beaded knits and knitting patterns. Mail/fax order or ask for our products at your local shop. Contact us for custom designs or needle felted sculpture. Brampton Sew & Serge 289 Rutherford Rd S, Unit 7, Brampton, ON L6W 3R9  905.874.1564  sewnserge.com  monique@bramptonsewnserge.com Welcome to Your One Stop Sewing Centre! We are authorized dealers of Baby Lock, Husqvarna Viking, and Singer sewing machines and sergers. We also offer a full schedule of sewing classes for everyone. Bytowne Threads - Ottawa, ON  1.888.831.4095  bytownethreads.com  mlj@bytownethreads.com Featuring AURIfil® thread from Italy. Extra-long staple Egyptian cotton threads: 12wt, 28wt, 40wt & 50wt - 252 colours. Bobbin threads, black & white: 60 and 80wt. Polyester threads 240 high-sheen colours. Wool threads 180 colours. Country Concessions 1 Dufferin St, Cookstown, ON L0L 1L0  705.458.4546 or toll-free 1.888.834.4407  countryconcessions.com  quilting@countryconcessions.com Visit our lovely and unique quilt shop in the quaint village of Cookstown. We have over 7000 bolts of cotton fabrics plus a wide selection of patterns, books & notions. You will be so glad you came for a visit. Evelyn's Sewing Centre / The Quilt Store 17817 Leslie St, Unit 40, Newmarket, ON L3Y 8C6  905.853.7001 or toll-free 1.888.853.7001  thequiltstore.ca Evelyn's Sewing Centre in Newmarket is your Quilt Store Destination! The staff here at Evelyn's is always on hand to provide Quilt Wisdom, Quilt Inspiration and most of all we pride ourselves as the place to make... All Your Quilt Dreams Come True! Gitta's 271 Lakeshore Rd E, Mississauga, ON L5G 1G8  905.274.7198  gittas.com  questions@gittas.com Gitta's, named after owner Gitta Al-Basi, nestled in the east village of Port Credit, is the place where stitchers meet with their stitching friends, shop for stitching supplies and see the new stitching designs from Europe and the United States. Hardanger House 4708 52 St, PO Box 1223, Stettler, AB T0C 2L0  403.742.2749 or toll-free 1.866.742.2749  tnplisting.com/hardanger-house.html Patterns from Canadian, American and European designers, linen and evenweave fabrics from Zweigart, DMC pearl Cottons, Caron Collection threads, and all the related stitching accessories are kept in stock. Many additional items can be special ordered.

A NEEDLE PULLING THREAD

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fall 2016

Haus of Stitches 626 Main Street, Humboldt, SK S0K 2A0  306.682.0772 or toll-free 1.800.344.6024  hausofstitches.ca Our one of a kind store offers everything you need for sewing, quilting, knitting, rug hooking and needlework. Authorized dealers for Janome and Elna. Impressions Embroidery & Engraving #8-449 Mayor Magrath Dr S, Lethbridge, AB T1J 3L8  403.942.3934  impressionslethbridge.ca  impressions22@shaw.ca Our shop does embroidery and laser engraving. Laser engraving is a beautiful process for fabric, as nothing cuts cleaner and more precisely than a laser. We now carry a nice array of fabric as well to compliment the abilities of the laser. Joyce's Sewing Shop 325 Wortley Rd, London, ON N6C 3R8  519.433.5344  joycessewingshop.com  joycesewingshop@bellnet.ca Our mission is to make sewing fun by providing professional training to teach the benefits of sewing, to provide excellent service and quality products to make your sewing easier and to provide friendly customer service to make you a happy sewer. My Sewing Room 148-8228 MacLeod Trl SE, Calgary, AB T2H 2B8  403.252.3711  mysewingroom.ca  Queenofeverything@mysewingroom.ca Canada's Largest Independently Owned Quilting Store with fabric, patterns, kits, notions, sewing machines and more! My Sewing Room boasts over 10,000 bolts of 100% cotton fabric from designers and manufacturers from around the world.

The Yarn Guy 15 Gower St, Toronto, ON M4B 1E3  416.752.1828 or toll-free 1.800.836.6536  theyarnguy.com  info@sewknit.ca See us on Facebook, follow us on Twitter! Knitting machines, sewing machines, repairs, parts for Passap, Studio, Singer, Silver Reed, Superba, White. Sewing notions and supplies, books, ball yarns, coned yarns, TAMM yarns, Paton's yarns, Bernat yarns, Phentex yarns, Bernat kits & crafts. Sew Fancy Inc. Guelph, ON  519.824.4127  sewfancy.com  sales@sewfancy.com Your Premier Canadian Source for Specialty Sewing Supplies including Smocking, Heirloom Sewing, Goldwork, Silk Ribbon Embroidery, Needle Tatting, Swarovski Crystals, Sashiko, Quilting and more. Visit the website for the latest in sewing supplies. Stitch-It Central 189 Thames Street S, Ingersoll, ON N5C 2T6  519.303.1563  stitchitcentral.ca  sales@stitchitcentral.ca Stitch-It Central is a store to satisfy all your cross stitching needs. We have everything such as notions, books & magazines, project kits, charts, gift collections & certificates, papers & accessories, fabrics and linens, and so much more. That Sewing Place 16610 Bayview Ave #10, Newmarket, ON L3X 1X3  905.715.7725  thatsewingplace.ca  jaret&liana@thatsewingplace.ca Introducing That Sewing Place as your sewing source and Authorized Dealers for Bernina and Brother machines. Jaret & Liana focus on placing your sewing needs first, providing outstanding support, service, and training.

Needles & Knits 15040 Yonge St, Aurora, ON L4G 1M4  905.713.2066  needlesandknits.com Fabulous selection of yarns. Extremely knowledgable and expert help. Cozy and friendly atmosphere. Classes. Guild night every first Tuesday of the month. Tea with Tove, the owner, every Thursday from 6-8pm.

The Stitching Corner #2, 185 First St E, Cochrane, AB T4C 2E9  403.932.3390  stitchingcorner.ca  nygabe@telus.net Your Needlework Shop in Cochrane.

Pine Ridge Knit & Sew 17477 Hwy 2 PO Box 68, Trenton, ON K8V 5R1  613.392.1422  pineridgeknitsew.com  yvette@pineridgeknitsew.com We have knitting machines by Artisan and Silver Reed, embroidery machines by Husqvarna/Viking & White. Sewing notions and supplies, books and software. Hands-on lessons and classes. Wide variety of yarns, threads, dress and pant zippers.

The Stitcher's Muse 99 Commercial Street, Nanaimo, BC V9R 5G3  250.591.6873  thestitchersmuse.com  info@thestitchersmuse.com A divine little shop with supplies for all your hand stitching needs! Friendly, knowledgeable, helpful staff. Cross stitch, canvaswork, needlepoint, embroidery, counted thread, lace making and more. Books, patterns, fabric, threads, tools.

Rosalie I. Tennison, Quilt Appraiser Certified by American Quilters’ Society 2005 Newmarket, ON  905.953.1441  R.Tennison@sympatico.ca What if something happens to your treasured quilt? Do you have written proof of its value for your insurance company? Get an appraisal now.

Ultimate Sewing Centre 191 Bloor St East, Oshawa, ON L1H 3M3  905.436.9193  ultimatesewing.com  ultimatesewing@bellnet.ca For all your sewing needs be sure to call Durham’s largest one stop shop: Janome and Elna Sewing Machines, Sergers, & Embroidery machines, over 3000 bolts of first quality cottons, Floriani Embroidery supplies, the latest notions, books, & patterns, year round classes, and so much more!

Ruby Pearl Quilts 500 King St W, Suite 8, Oshawa, ON L1J 2K9  905.436.3535  rubypearlquilts.com  joy@rubypearlquilts.com We are your full service source of professional quilting equipment, products, & courses. Led by 44 years of sewing experience & more than 20 years of quilting experience, we have the experience necessary to help you push your hobby to the next level! Ruti's Needlebed 10 Thomas St, Mississauga, ON L5M 1Y5  905.821.9370  ruti.ca Mississauga's Finest Quilting and Knitting Store!! Come see our huge selection of yarn, fabric, supplies, sewing machines and knitting machines…a local store for all your quilting, sewing, knitting needs! We offer a wide variety of classes.

Upper Canada Quiltworks PO Box 64, Brockville, ON K6V 5T7  613.345.3956 Fax: 613.342.3327  uppercanadaquiltworks.com Visit us online for a wide selection quilt patterns and books. Techniques include felted wool, fusible appliqué, punchneedle, rag quilting and printing photos on fabric.

Get your game on!

Bring your quilting to a whole new level. Create your own unique quilts, wall hangings, games, cards, placemats and so much more with Brother’s Q-Series sewing and quilting machines, and ScanNCut. Brother’s ScanNCut comes fully loaded with an exciting collection of quilt block patterns so you can design your own one-of-a-kind creations with the push of a button! Now, cut your favourite material into any shape — no matter how intricate — without ever touching bulky design cartridges or even a pair of scissors. Brother’s Q-series sewing and quilting machines and ScanNCut — the only thing limiting your creativity is your imagination.

Create your own magnetic, quilted tic-tac-toe board like the one featured here. See how at brother.ca/tic-tac-toe

NQ900 Stylist - Q-Series sewing & quilting machine. Fall in love with the large workspace and wide table

Visit brother.ca/findadealer to find your closest authorized Brother dealer.

CM650W ScanNCut - scans and cuts appliqué, fabric pieces and quit blocks with ease

brother.ca/inspiration INSPIRING CREATIVITY FOR GENERATIONS Brother and its logo are trademarks of Brother Industries Ltd., Japan. All specifications are subject to change without notice. © 2016 Brother International Corporation (Canada) Ltd. 76758_ANPT_Fall_2016_Ad