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A Bustle & Sew Publication Copyright Š Bustle & Sew Limited 2019 The right of Helen Challenor to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, without the prior written permission of the author, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser. Every effort has been made to ensure that all the information in this book is accurate. However, due to differing conditions, tools and individual skills, the publisher cannot be responsible for any injuries, losses and other damages that may result from the use of the information in this book.
First published 2019 by: Bustle & Sew Station House West Cranmore Somerset BA4 4QP www.bustleandsew.com
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Welcome to the November Magazine Hello everyone! November is upon us now, and it feels like autumn has really arrived - the hour has gone back, the evenings are dark and the mornings chilly - but that’s a good excuse to cosy up indoors with a mug of cocoa and some seasonal stitching (in my opinion at least!). This November is very exciting for us here at Bustle & Sew HQ as we’ve finally - it’s been a long, drawn-out process - moved into our new home aptly named Station House as we’re less than 100 yards from a heritage steam railway station. Daisy and Rufus are enjoying the freedom of their new, rather large, garden and looking forward to discovering lots of new walks in the countryside around us. I hope you’ll find lots to enjoy from nature notes, to poetry, recipes, gardening and of course lots of lovely Bustle & Sew projects too including the last of our giveaways - this month we’ve included our “Deck the Halls” pattern collection - as Christmas is, of course, only just around the corner now. I do hope you’ll enjoy this issue, and if you’re a subscriber then please look out for the December Magazine arriving in your inbox on Thursday 28 November.
Helen xx
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Tips for Stitchers When choosing the right needle for your work, an easy rule of thumb is that the thickness of your needle should match the thickness of your thread. If you’re using stranded embroidery floss, then this can be split. The number of strands of floss you use will depend upon the fineness and detail of the stitching in your project. When you’re deciding how many strands of floss you need (if your pattern doesn’t tell you) then a simple rule is never to use a thread which is thinner than the thread of the material – it will look insignificant and puny against the background. My mum taught me this simple rule of thumb and it works in 99% of cases – the exception being if you’re working very fine detail in a small area of your work.
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Between this month’s covers … Tips for Stitchers
Page 4
Lovely Idea: Burlap Wreath
Page 46
November Almanac
Page 6
Transferring Your Pattern
Page 47
Winter Florals Hoop
Page 8
Poetry Corner
Page 49
A (very) Little Look at Honiton Lace
Page 11
Little Fox Decoration
Page 50
How Different Materials Affect a Pattern
Page 15
England’s Mighty Oaks
Page 52
Top Tips for Etsy Sellers
Page 18
November Pleasures
Page 54
Mistletoe Cushion
Page 19
A (very) Little Look at Embroidery
Page 56
Stir Up Sunday
Page 21
Deck the Halls Pattern Collection
Page 58
Along the Silk Road
Page 23
Natural Remedies
Page 59
Last Show of the Year
Page 26
Embroidery Stitch Guide
Page 60
Lovely Idea: Advent Wreath
Page 27
In the Kitchen: Conversion Tables
Page 61
Leopard Hoop
Page 28
Templates
Page 62
Tastes of the Season: November
Page 30
Dancers in Flight
Page 37
Christmas Joy Hoop
Page 38
A (very) Little Guide to the Thimble
Page 41
The Countryside in November
Page 42
The Silk Road
Page 43
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Stitch Guide (see diagram on previous page) 1. Bullion stitch
5. Flowers are radiating straight stitch
2. French knots (some 2 twist, some single twist so there’s a variation in size)
6. Leaves are stem stitch
3. Back stitch in a
7. All other stems are back stitch
strand of floss
4. Flower centres are a cluster of French knots
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A (very little) look at Honiton Lace
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November sees the start of the busiest time of year for small business owners and online crafters across the globe. Many choose to sell their creations through sites such as Etsy and Folksy – but what should you do to make sure your shop stands out from the crowd this year? Whether you’re just starting out, or have been around for a while, you’re sure to find some useful advice in our top five tips for Etsy (or Folksy) selling success!
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Make your shop a great place to visit. Create an attractive look and feel and make sure your brand identity shines through. If you're new to selling online, then start off with a selection of your best and most popular designs to give your new customers the best possible impression of your brand. You can always increase the number of products you have listed as your shop becomes more established.
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Take a good hard look at your competition. See who else is selling similar products, and check to see how much they're charging - and if they're making sales at those prices. Aim for prices that reflect your time and skills. Remember to include the hidden extras - as well as time taken making each article, and costs of materials, include time taken to photograph and present each listing as well as fees, packaging and other less obvious costs.
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Regularly update your shop. This will encourage your customers to revisit, as new items are automatically added to their feeds. Try to do a little maintenance often - two or three times each week. Re-list any sold items if you have more in stock, keep your descriptions updated and change the photographs for a fresh, exciting feel. Don't forget to market . Remember, your Etsy shop isn't like being on the High Street, there simply isn't any "passing trade." Facebook and Twitter are great ways to spread the word about your shop, as well as curating treasuries and joining Etsy groups.
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Make sure your photography is up to scratch. Attractive, professional-looking images will give your shop an advantage over other sellers. Take your photographs in natural light or against white backgrounds - bright, clear images are most attractive online. Don't be afraid to experiment with props to find the best way to present your products.
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Along the Silk Road ‌ the world’s oldest fabric Silk is one of the oldest known fibres and, according to Chinese legend, was accidentally discovered by Empress Hsi Ling Shi, wife of Emperor Huang Ti (also called the Yellow Emperor). One day when the Empress was sipping her tea beneath a mulberry tree, a cocoon fell into her cup and began to unravel. The Empress
Colours of the Season
was so enamoured with the shimmering threads she took the trouble to find out more and learned that their creator was the silkworm Bombyx mori found in the white mulberry. She oversaw the earliest development of sericulture (the cultivation of silkworms and production of silk) and invented the reel and loom, so
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beginning the history of silk. Whether this legend is true or not, the earliest surviving references to silk history and production place its origins in China, and for nearly three millennia the Chinese had a global monopoly on silk production.
The Last Show of the year‌ November is the month when, traditionally, gardeners enjoy their last fling, their last riot of colour in the final flower shows of autumn, showcasing their dahlias and chrysanthemums. As a rule, there will also be classes for fruit and vegetables at these shows, where we can see apples that are almost too good to be true, and pears and grapes that are perfection itself. Then there are startlingly white leeks and a yard long, and onions like teapots too. But many years ago, at a London show, a fierce argument erupted as to the worth of these giant specimens. In the end, a famous chef was asked to come and give his opinion. He said that there was not one thing on view that he would have in his kitchen. But no one will argue with the gorgeous chrysanthemums and when the flowers fade at last their owners will bend their backs and their gaze to ground level and start rummaging around to take cuttings, to start all over again next year. Gardeners there’s no stopping them!
Albert Butler: Book of the Countryside
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Tastes of the Season: November 11
Dancers in Flight If you’re out and about this month, keep an eye out for the balletic gatherings of starlings - known as murmurations - which usually begin in November. From now until spring our native, nonmigrating starlings are joined by their relatives from colder countries, and all flock together in these hypnotic, seemingly almost miraculous, pre-roosting displays at the end of the short winter days. They’re truly spectacular to watch and a reminder that not all of nature sleeps through the colder months. The photo below was taken on the Somerset levels (not far from where I now live) which is a great place to spot starling murmurationsjust click here to find more great viewing points in the UK.
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1. The poinsettia petals are worked in long and short stitch angled towards the centre of the flower. The centre is a cluster of small French knots in 371 surrounded by a ring of French knots in 902.
3. The pine sprigs have a central line of back stitch worked in dark brown (839) - may not be clear on the diagram. 4. The holly leaves are worked in satin stitch at an angle to a central spine.
2. The text is worked in long and short and back stitch. Be sure to work small stitches around the curves of the letters so that they stay nice and smooth.
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A (very) Little Guide to the Thimble We all know what a thimble is - I’m sure that like me you’ve been familiar with them forever! I remember playing with my own grandma’s battered and worn thimble when I was allowed to “sort out” her button box. Thimbles can also be decorative, collectible items, but here I’m more concerned with their use as a sewing tool. A thimble may be defined as “ ” though today thimbles are made from a wide variety of materials, including rubber, leather, and elastic. You can even purchase an adhesive disk instead if you don’t like the feel of a traditional thimble. Normally, you wear your thimble on the middle finger of the hand you use to push the needle through the fabric. If you prefer to use another finger instead, then simply move the thimble to that finger. The thimble will then protect your finger from the eye end of your needle when you push it through the fabric. Some stitchers also like to wear a rubber thimble on their index finger to help them grasp the needle more firmly. The word “thimble” itself is thought to come from the old English word thymel, meaning
thumbstall. Thimbles have been around for a very long time - in excavations near Moscow bones were found that were used 30000 years ago by mammoth hunters to stitch pearl embroideries onto pieces of leather. The Romans popularised the use of bronze thimbles throughout their empire and around 1150 a thimble is mentioned as part of a noble lady’s dowry upon her entry into a convent. To learn to use a thimble successfully it’s really important to find one that fits and suits you. There are lots of different sizes and types! This is a very personal decision which may take a little trial and error. Choose a thimble that is not too tight and not too loose. To test for a good fit, try a thimble on the middle finger of your sewing hand. Hang your hand down at your side and move your fingers around. If it stays on and doesn’t feel too tight, then it’s a definite possibility! Wear it around and go about doing other things for 15 minutes or so. If you’ve found the one that’s right for you then your thimble should stay on and feel comfortable enough that you can nearly forget you’re wearing it!
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The Countryside in November Few feel very cordial about November when the countryside sinks grey and sere under the fall of the year and the heartbeat of the hills grows slower. Yet all is not a grim sort of “nothingness” in November. True enough the bold dahlias have been reaped by the frost, but last roses still shine in sheltered places, and the lemon-yellow fireworks of winter jasmine have burst out on house and cottage walls. There is still the comfortable scent of last bonfires and, of a Saturday, the game-dogs racing over the stubble for the fall of the pheasant to the sportsman’s gun. And the beech woods, arching over their clean and weed-free floorings, never look so beautiful as now in this last flaunting of the copper leaf. Beech woods shining in the gathering mists of November afternoons hold a strange, still splendour. In the open countryside the gatherings and movements of the wintering birds are upon a big scale, and plain to see against their background of bare ploughland and coppices naked of leaf. The landward gulls lie white as pebbles on the brown earth, the green plover rise in looping flocks, morning and evening the dark rooks trail across the pale cold sky. The birds of the garden - they become noticeable as well in the absence of foliage, and these are the birds which belong to most of use wherever we live, and if we have a few square yards of land. There is much beauty in the hedgerows of November, spotted with scarlet rosehips and pink spindleberry drops; much beauty in the bare spokes of the unflowered hemlock parasols at the wayside and in the dark gloss of the blackbird pairs, orange beak to orange beak, already staking out their springtime claims along the garden hedge. These are the pinpoints of pleasure which light the down-drop of the year, and make a little more than bearable the month which is not just a “nothing”, but a true November.
C Gordon-Glover Book of the Countryside
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A (very) Little Guide to Transferring your Design Let’s consider the situation for a moment … here you are – you have a box full of wonderful rainbow-coloured flosses, the right needles, sharp pointy scissors and a book or containing a wonderful design that you can’t wait to transfer to your carefully chosen fabric. Then …. You hit a barrier. How do you get the design from the paper to your fabric? There
are a variety of different ways of doing this. You can discover which suits you through trial and error, and of course different methods will suit different background fabrics and complexities of design. But whatever you do, don’t be tempted by the availability of iron on transfer paper – the sort you run through your printer and then iron onto your fabric. They seem so easy … all you need is an ink-jet printer and
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some special paper and you can transfer just about any design to fabric. But these are not suitable for transferring embroidery designs. If you have a line drawing on your computer and you print it onto this transfer paper, then transfer it to fabric to embroider, you will end up with the film from the paper on your fabric as well as the lines of the design. This gives an odd, stiff finish to the fabric and which is
not a good thing when combined with hand embroidery. Just saying. If you want to try it, then go ahead, but please don’t say I didn’t warn you!
Tracing your design You can trace your design from paper to fabric using a light box/table or even your window on a bright day. Simply place your printed pattern on a light table or tape it to your window and position your fabric on top so the design is visible through the fabric in the exact position you want to stitch it. Trace the pattern using a temporary fabric pen - or some people use a pencil and draw very lightly - do be careful if you choose to do this though as the pencil marks are not easily removed if you go wrong. This is a really easy and fast method to use, but it isn’t suitable for dark or heavier weight fabrics.
Iron on Pencil or Pen These are easy to use – simply follow the instructions that come with your pencil or pen. You trace the printed pattern with your pen or pencil, then turn the paper face down onto the right side of your fabric (you might want to tape both paper and fabric to avoid slipping). The ink or pencil marks will be transferred to the fabric through the heat of your iron in the same way as a
commercially produced ironon pattern. Bear in mind though that the image you will produce using this method will be a mirror of the actual design, so be sure to use the reversed version of the design if this will be a problem - for example if text is included. This method is not suitable for some synthetic fabrics as you do need to use a hot iron. It is normally also a permanent image, so is not suitable if you don’t plan to stitch over all the lines.
Dressmaker’s Carbon Paper This comes in small packages containing about five different colours of carbon. It’s not really carbon paper as we (used) to know it in the office, it’s graphite & wax-free transfer paper that works just like that old-fashioned carbon paper used to. (If you don’t remember using carbon paper in the office, then obviously you’re much younger than me!). Place your fabric right side up on a clean, smooth, hard surface (you may wish to tape it down to stop it slipping). Tape your carbon onto the fabric and your printed design on top of that. Using a sharp pencil, stylus or ballpoint pen and a firm steady stroke, carefully trace over the lines of your design in long continuous lines. Be very careful not to
puncture the paper as this will leave a nasty blob on your fabric. As the transfer paper is available in many colours, it’s easy to choose the one that will show best on your fabric.
Printable Stabilizers
Water-Soluble
I am aware of two brands currently on the market Transfer-Eze and my favourite - Sulky Sticky Fabri Solvy. (If using this product be sure to purchase individual sheets, not on a roll as it’s impossible, in my experience to get this to go through your printer). These products allow you to simply print out your design, peel off the backing and adhere it to your fabric - stitch and then dissolve away when you’re done. This must be the quickest and easiest method of all, as you simply print from your computer - no time needs to be spent tracing. However, it is by far the most expensive method, it can only be used on fabrics that can be safely submerged in water and sometimes a sticky residue can collect on your needle. A few months ago I also had problems with one batch that didn’t seem to want to dissolve away - though in fairness, that has only happened to me with one pack. It’s a good method for dark and heavier weight fabrics.
The Burning of the Leaves Now is the time for the burning of the leaves. They go to the fire; the nostril pricks with smoke Wandering slowly into a weeping mist. Brittle and blotched, ragged and rotten sheaves! A flame seizes the smouldering ruin and bites On stubborn stalks that crackle as they resist. The last hollyhock’s fallen tower is dust; All the spices of June are a bitter reek, All the extravagant riches spent and mean. All burns! The reddest rose is a ghost; Sparks whirl up, to expire in the mist: the wild Fingers of fire are making corruption clean. They will come again, the leaf and the flower, to arise From squalor of rottenness into the old splendour, And magical scents to a wondering memory bring; The same glory, to shine upon different eyes. Earth cares for her own ruins, naught for ours. Nothing is certain, only the certain spring.
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England’s Mighty Oaks
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November Pleasures 1. To give plum jam a sophisticated hint of almond, crack open the stones when you halve the plums and add the kernels along with the flesh. Or use the cracked stones to make an almond-flavoured French liqueur. Simply put the cracked stones into a preserving jar, cover with vodka or eau de vie and leave in a cool dark cupboard for at least three months. 2. When sweet chestnuts are ready to eat, the spiny case conveniently splits open. Collect on country walks, then take them home to roast in the fire for a special autumn tea (remember to pierce the shells first or rather than nicely roasted nuts you’ll have a series of explosions and bits of chestnut everywhere!). Traditional iron shovels for holding them in the fire usually feature a pierced design to let the heat through.
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CLICK HERE to download your Christmas Pattern Collection. (Link disabled in preview) 21