Bustle & Sew Magazine May 2018

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A Bustle & Sew Publication Copyright Š Bustle & Sew Limited 2018 The right of Helen Dickson to be identified as the author of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form, or by any means, without the prior written permission of the author, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser.

Every effort has been made to ensure that all the information in this book is accurate. However, due to differing conditions, tools and individual skills, the publisher cannot be responsible for any injuries, losses and other damages that may result from the use of the information in this book.

First published 2018 by: Bustle & Sew The Cottage Oakhill Radstock BA3 5HT UK www.bustleandsew.com

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Welcome to the May Magazine May is such a cheerful sort of month I always think. The winter is now safely behind us and the countryside around my home is full of feel-good delights, from the delicate creamy pink hawthorn blossoms along the hedgerows to the prettiest garden tulips. This seasonal blooming has been eagerly anticipated by us all after what seems like the longest, most grey and cold winter we’ve endured for a very long time.

The projects in this month’s issue are inspired by the new season, including my personal favourite, the little cat with blossoms. Rosie serves up spring on a plate in her recipe corner, and our Meet the Maker features Becca Hall, an extremely talented illustrator. You can also enjoy some classic fiction and poetry, discover how to choose your embroidery hoop, and I’ve shared my top tips for working from home too.

I do hope you’ll enjoy this month’s magazine and just a quick reminder that the June issue will be published, as always, on the last Thursday of the month - in this case Thursday 31 May. So if you’re a subscriber watch out for it arriving in your inbox then!

Until then, I hope you have a wonderful month!

Helen xx

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Tip for Stitchers When using a looped skein of floss leave the paper bands on and pull out the end of the thread from the centre of the skein. The “right” end will pull out easily and smoothly, whilst pulling on the “wrong” end will lead to knots and tangles. If in doubt give both ends a little tug to decide which is the right one.

When you’re using a twisted skein (this is often the case with cotton pearl) remove the bands, untwist the skein and cut all the threads once at one end. Tie loosely with a slip knot. To remove a thread, pull out a strand from the loose knot.

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Between this month’s covers …

Tips for Stitchers

Page 4

Tastes of the Season: Asparagus

Page 41

May Almanac

Page 6

Rosie’s Recipes: Spring on a Plate

Page 42

Helston Floral Dance

Page 8

Tastes of the Season: Elderflower

Page 50

Cat and Blossom Hoop

Page 9

Drawstring Work Bag

Page 51

How to Embroider Fur

Page 14

Working from Home

Page 54

The Cutting Garden

Page 19

Instagram Round up

Page 56

Lovely Idea: Fabric Covered Flower Pots

Page 21

Hoop Up! Choosing your Hoop

Page 57

Cactus Tea Cosy

Page 22

Simple Stitchery: Hello Bear!

Page 59

A (very) Little Guide to Caring for Quilts

Page 25

Home Comforts

Page 61

Meet the Maker: Becca Hall

Page 26

In the Kitchen: Conversion Tables

Page 62

Poetry Corner: Sewing Seeds

Page 29

Templates

Page 63

Choose Happy Hoop

Page 30

Spring on the River

Page 32

A (very) Little History of Embroidery

Page 33

The Merry Month of May

Page 35

Lovely Idea: Easy Wood Artwork Hangers Page 38 Little Pig Softie

Page 39

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May The evenings are longer now and at dusk the swooping flight of the swallows that have now returned from their winter migration is replaced by bats hunting insects in the night air. There is new growth and new life everywhere - indeed the very name of May derives either from the Roman Maia - the goddess of growth or possibly from the ancient Sanskrit word “mah” which means to grow. More recently, in classical mythology, the name “Maia” was given to the brightest of the seven stars that make up the constellation of Pleiades, a conspicuous feature of the night sky at the beginning of May in southern Europe. Today we don’t worship the goddess of spring, but crowning the May Queen - a tradition that still persists up and down the country - celebrates this season of new growth.

But despite the promise of sunshine, flowers and birds, May is often a cold month and in this country dawns in early May are

often characterised by fog which

In the sixteenth century it was still customary for the middle and humbler classes to go forth at an early hour of the morning, in order to gather flowers and hawthorn branches, which they brought home about sunrise, with accompaniments of horn and tabor, and all possible signs of joy and merriment. With these spoils they would decorate every door and window in the village. By a natural transition of ideas, they gave to the hawthorn bloom the name of the May; they called this ceremony “the bringing home the May;” they spoke of the expedition to the woods as “going-a-Maying.”

descends

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breezes from northern Europe and condenses over much of the land.

At Magdalen College, Oxford, there is a medieval bell tower within the college grounds and on the first day of May, just before sunrise, cassocked choristers climb the narrow stairs which open onto the roof. Here, high above the city, the view can be spectacular, though more often than not, all that is visible on May Day is a sea of cold grey fog. On the last stroke of six o’clock, the pure sound of the choir can be heard, singing a joyous chorus in celebration of spring.

Beyond the spires, now emerging into the dawn, the rising sun slowly burns away the gloom and welcomes the beginning of another May. By the middle of the month, much of our countryside is snowy with the blossom that takes its name from the month. The small white flowers of the hawthorn form billowing ribbons of may blossom as far as

the eye can see. These lines mark the hedgerows planted in the eighteenth and nineteenth centuries following the Enclosure Acts of that time which created much of the patchwork of fields and hedges that we recognise today as the quintessential English countryside - and the main species planted was hawthorn. Alongside hawthorn, you may well be dazzled by a blaze of yellow - not the acid yellow of oilseed rape, but the more traditional, mellow yellow of the buttercup. From May through to July, buttercups bloom across the country.

One of the oldest surviving customs in the UK, the Helston Furry dance, takes place in the Cornish town of that name on St Michael’s Day, May 8 each year.

It commemorates a battle between Michael and the Devil. The Devil’s stone, hurled at the town survives to this day in the courtyard of the Angel Inn. The name “Furry Day” probably derives from the Cornish word “Fer”, itself derived from the Latin “feria” meaning fair.

May 13 brings Abbotsbury Garland Day, which has been celebrated in the Dorset village of that name for many years. The custom was originally associated with the village fishing fleet; garlands of flowers made by the fishermen’s children were blessed at the village church in a special service, then hung on the boats and taken out to sea.

Today the garlands are still made by local children, one with wild and one with garden flowers.

Early in the Second World War, between 26 May and 4 June 1940, more than 300,000 Allied troops were rescued from the beaches of Dunkirk in northern France by a fleet of ships and boats of all shapes and sizes, some of them private

“This little steamer, like all her brave and battered sisters, is immortal. She’ll go sailing proudly down the years in the epic of Dunkirk. And our great-great-grandchildren, when they learn how we began this war by snatching glory out of defeat, and then swept onto victory, may also learn how the little holiday steamers made an excursion to hell and came back glorious”

pleasure boats manned by the owners and their friends. This evacuation, prompted by the relentless advance of the Germans through Belgium into France ensured the survival of sufficient forces to ultimate win the war, as predicted by the writer JB Priestley

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(1894-1984) in a radio broadcast on 5 June 1940 (above).

On a lighter note, the US feminist, Amelia Jenks Bloomer was born on 27 May 1818. She was a champion of women’s rights and the temperance movement, who is today primarily remembered for her contribution to the vocabulary of women’s underwear, her married surname being the origin of the word “bloomers which came to describe baggy, long-legged women’s knickers. The original garment favoured by Amelia (though not actually designed by her) was a pair of loose-fitting trousers, gathered at the ankle, which she wore as a gesture of equality with men.

And finally, the end of the month, May 29, brings Oak Apple Day commemorating the restoration of King Charles II to the British throne on 29 May 1660. The oak being celebrated was the one in which Charles had hidden for a whole day after losing a battle against the Commonwealth troopers in 1651.

For many years the anniversary of the Restoration was celebrated by the wearing of oak leaves or oak apples, and those who failed to display such a symbol were often pinched or kicked by way of punishment. Oak Apple Day is still marked in some towns by the carrying of oak branches in procession or the placing of an oak wreath on a statue of Charles II.

The Helston Furry Dance As I walked home on a summer night When stars in heav’n were shining bright Far away from the footlight’s glare Into the sweet and scented air Of a quaint old Cornish town Borne from afar on the gentle breeze Joining the murmur of the summer seas Distant tones of an old world dance Played by the village band perchance On the calm air came floating down I thought I could hear the curious tone Of the cornet, clarinet and big trombone Fiddle, cello, big bass drum Bassoon, flute and euphonium Far away as in a trance I heard the sound of the Floral Dance And soon I heard such a bustling and prancing And then I saw the whole village was dancing In and out of the houses they came Old folk, young folk, all the same In that quaint old Cornish town.

Song written by musician and composer Katie Moss in 1911. Perhaps the most famous version is that released by the late Sir Terry Wogan in 1978.

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Cat with Blossom Hoop One of my very-mostfavourite things to do is to stitch fur - I find it so rewarding and satisfying, and not nearly as hard to do as you may have thought. I have included lots of photos to show you how I built up the effect of fur, and also included my “How to Embroider Fur” tutorial which has lots of additional hints and tips.

I gave the little cat a crown of very simple felt flowers which I thought made a lovely 3D effect and contrasted nicely with her fur. She is shown mounted in a 6” hoop (I used one from Auburn Hoops).

Method

Materials

● Use two strands of floss throughout.

● 10” square background fabric - I used a light grey linen blend

● I have included my “How to Stitch” fur guide with this pattern and the principles apply to this design. So, rather than repeat them, I have included lots and lots of step by step photos showing exactly how I stitched my cat as well as diagrams for fur direction and floss colours, and just a few written suggestions.

● Small scraps of felt for flowers ● Glue gun or PVA glue to adhere flowers ● DMC stranded cotton floss in colours 310, 433, 435, 677, 738, 819, 822, 938, 3023, 3328, 3362, 3771, 3852

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Arrows show the direction in which to angle your stitches to achieve the fur effect.

The eyes are worked in satin stitch and around each one is a ring of very dark brown stem stitch and then a second ring of cream stitches, stem stitch from the inner corners to about half way up the top edge of the eye, then blending into radiating satin stitch.

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The fur effect is achieved by blending - there are no straight lines in the whole piece - only the line for the muzzle and mouth is worked in back stitch.

The line of the chin is delineated purely by the use of slightly different colours and a change in the fur direction - you shouldn’t need to add a line at all.

The step by step photos on the next two pages take you through the whole process - please excuse the change in lighting as I worked on this piece over a couple of weeks at different times of day.

When you’ve finished stitching press your work lightly on the reverse being careful not to flatten your stitches.

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If you wished you could embroider the flowers for the cat’s garland, but I thought adding felt flowers made a nice contrast in texture and they stood out beautifully when the design was mounted in its hoop.

from your hot glue gun before securing to your cat. If you wish you can include a small piece of contrasting colour felt at the centre. Make sure you pack your flowers closely together you don’t want any gaps!

These are very simple flowers and leaves.

Add a few simple leaf shapes in different shades of green and your cat will look beautifully spring like in her floral crown!

To make the flowers simply cut a 2 - 3” x ½” or less strip from your coloured felt and fringe one edge, then roll up and secure with a dab of glue

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How to Embroider Fur: Bear in a Hat Tutorial

10 (c) Bustle &14Sew 2017

You will need: ● 10” square white linen, cotton or other non-stretch fabric suitable for hand embroidery. Don’t use anything lighter than a quilting weight cotton as it will need to support quite a lot of stitching. ● DMC stranded cotton floss in colours 310, 352, 436, 437, 640, 945, 3023, 4124

I have always loved stitching fur, though I know some people are a bit put off by a technique they consider might be difficult and/or time consuming. I won’t deny it does take a little while, but though the results are impressive, it isn’t really difficult to do.

You need very few colours to make your fur look convincing - the fur on my little Bear in a Hat uses only 3 shades of brown and - a bonus for me(!) - Your stitching doesn’t need to be too neat either ! You do need to give your project some thought before you begin though, but once you’ve done that then there are only a few basic principles you need to follow.

This little bear also uses a variety of embroidery stitches for his coat and hat - back stitch, blanket stitch, cross stitch, chain stitch, French knots, ghiordes (or turkey) stitch and satin stitch. If you don’t want to try your hand at stitching fur, then he’d look nearly as nice with his face and legs simply outlined in back stitch, as are his coat and hat.

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The first principle of realistic fur is getting the DIRECTION of your stitching correct.

Method ● First transfer the bear design to the centre of your fabric. It is full size and also provided both the right way round and reversed to suit your preferred method of transfer.

● Below is another picture of the bear with arrows indicating the direction in which you should angle your stitches.

● Use two strands of floss throughout and use colours according to the diagram below.

● You can see how the fur on our bear (above) is all directed away from the nose. Imagine smoothing him - you never smooth an animal from tail to nose as that would ruffle their fur the wrong way - always nose to tail.

● Hoop up and take a good look at your soon-to-be furry bear. If you have a pet, then take a look at him or her too.

- always away from the nose.

● The only variation on the “away from the nose” rule is around the eye. Fur radiates away from the eye so you will need to blend the directions of your stitches together to take account of this. Don’t be tempted to simply stitch around the eye in circles - fur doesn’t grow like this at all.

● Take notice also of how your pet’s

fur overlaps so that the fur nearest the nose lies on top of that further down the body.

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● The second important thing to think about before you even thread your needle is shading. Below is the original watercolour of our little bear:

The second principle of realistic fur is getting the SHADING correct. ● We will be using three shades of warm brown floss for the bear’s fur. 436 (dark), 437 (medium) and 945 (light). From now on I will refer to them as dark, medium and light rather than by their numbers. ● Abandon any thought of stitching along the outline (as you will do for the coat and hat).

Our bear is fluffy, not hard or smooth.

Outline stitching is for hard or smooth edges (generally). Work your stitches at a slight angle to his limbs as though the fur was falling softly. ● Begin with the dark brown and work the shading around the tops of his legs where the coat casts a shadow and along the bottoms of his rounded feet. Fill the shape completely with dark where the shading is most intense, but leave gradually increasing gaps between the stitches so you can blend in the medium brown as the colour gradually becomes lighter.

● Ignoring his coat and hat and looking simply at his fur you can see that the shading gives his fur substance and shape.

It’s darker where there are shadows or the limb is further away and lighter where the body catches the light, for example on the top of his head. ● This is the effect you are aiming to achieve with your needle and thread. You’ll work darker stitches where the fur is in shadow and, blending as you go, work towards lighter stitches where there are highlights

● You also need to have a fairly solid line of dark fur (again remember the direction of your stitches) between the legs so you can tell the bear has two legs, not one very large one! Be sure to alter the lengths of your stitches slightly too - again natural fur is not completely even.

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the effect you’re achieving - this will simply add to the texture and richness of your fur (up to a point that is!) ● Next stitch his face. I find it easiest to work the black parts of the eye and nose first (adding the highlights later) as this means I can work right up to them with confidence.

● As you stitch it’s a good idea to keep a picture of the finished bear - or the watercolour original - close to you as it’s easy to lose track of the effect you’re trying to achieve. ● Continue in this way until the legs are finished, gradually shading from darkest unmixed brown to the palest colour. Be sure to mix your stitches well on the boundaries between colours, and again no hard straight lines. Try not to leave any gaps at all between your stitches, you can overstitch quite a lot if you’re unhappy with

● Now it’s time to add his clothes! clothes are outlined in back stitch.

The

● The rib on his coat bottom, pocket and neck and hat is worked in rows of chain stitch. ● The patterns on his hat are back stitch with tiny cross stitches between the centre rows.

● Work the face in exactly the same manner as the legs, beginning with the darkest brown around the neck area and shading upwards, working in the pink cheek (I used the pink part of the variegated floss 4124 for this to save adding another colour to the list). I also think using too many colours can make your work appear a little “bitty” so I try to keep to the minimum as much as I can. ● Remember to direct your stitches away from the nose, and blend in the radiating stitches around the eye. ● The final part is to add a shine to his nose and a tiny white stitch to give his eye a little sparkle.

● His coat has rows of French knots, followed by blanket stitch (long and short stitches) and finally groups of four cross stitches. ● His pompom is ghiordes (or turkey) stitch.I always fluff up the cut ends of the thread to make my stitches nice and fuzzy.

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The Cutting Garden

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One of the nicest things we did for Rosie and Dan’s wedding - four years ago now - unbelievable was to establish a Cutting Garden in a sheltered spot beside the old stone wall. We had so many flowers, not only to decorate the barn where the reception was held, but to enjoy all summer long as our garden just kept flowering. Our plot measured only around 10 x 12 foot, but we had plenty of blooms and enough to keep friends and neighbours supplied too. If you’ve been thinking about a cutting garden of your own then now is the time to start putting your plans into action.

Establishing a cutting garden means that you don’t need to rob your borders of their best blooms to bring flowers into the house - and even if you don’t have a lot of space, a row of flowers squeezed in between the cabbages and beans of your vegetable patch will produce more than enough flowers to keep a vase on your table all summer through.

Once you’ve decided where your cutting garden will be you will need to clear the ground of weeds.

But don’t fertilize or manure it heavily, as rich soil may often produce lush, soft green growth at the expense of flowers. It’s a bit late for spring this year, but when planting bulbs in the autumn cram as many daffodils and tulips as you can into your allotted space.

You can safely ignore the recommended spacing distances for these bulbs as you are not making a permanent planting. As you are likely to be picking these flowers when the ground is wet and muddy it’s worth planting them in blocks or rows with planks between to use as paths so you can reach them easily when you want to cut them.

In our garden we planted some plug plants, but also raised a lot from seed - cottage garden annuals are particularly easy for this and they make particularly charming summer posies. Try cosmos (we were particularly successful with these, godetia, love-in-a-mist, larkspur and sweet scabious. Plant your seeds in straight rows so it’s easy to tell the difference between flowers and weeds when they start to germinate. You will probably need to thin them as they grown - be sure to refer to the seed packet for further instructions.

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I hate pulling out perfectly healthy baby plantlets, but if you don’t do this then they will all be fighting for space and nutrients and the results will be disppointing.

For tall arrangements grow hollyhocks, verbena, delphiniums and honesty. Plant your delphiniums, together with any other perennial flowers you choose, such as foxgloves, phlox or verbascum in a corner of your plot so there’s no need to disturb them when you clear your plot at summer’s end.

Always cut your flowers in the early morning when their moisture and sugar content is high. Take a bucket of water with you into the garden and plunge their stems into the water as soon as they are cut. When you are ready to arrange your flowers, re-cut them underwater to avoid getting an airlock in the stems that would slow down their uptake of water.

The milky sap of poppies and dahlias can contaminate the water in a vase of flowers and prevent the other species from taking up water.

To stop the sap from leaking out seal the ends of poppies and dahlias by holding them in the flame of a match or candle for a few seconds.

If you do have a problem with slugs and don’t want to use chemicals, then try turning their habit of hiding in the day against them. Setting out grapefruit halves or pieces of wood/bricks or stone and then turning them over usually reveals quite a few slugs - ugh!

Creating barriers is another way of deterring slugs without resorting to chemicals. Rings of soot, crushed eggshells, pine needles, ash and slaked lime sprinkled around vulnerable plants can work - although in my experience with varying degrees of success.

A more successful - though perhaps not very attractive trick is to cut the bottom off a clear plastic drinks bottle and use this as a mini-cloche to protect a small plant. Be sure to inspect the soil around the plant before you do this - there’s nothing more annoying than trapping a slug alongside your precious baby plant!

Look!

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a lovely idea Fabric Covered Flower Pots

This is such a great idea for using up scrap fabric, and giving those ugly plastic plant pots a new lease of life too. Thanks so much to Kimberley Coffin of Sweet Red Poppy for sharing with us.

Free from Sweet Red Poppy : Fabric Covered Flower Pots 21

Cactus Tea Cosy When I was thinking about new projects for this month’s magazine I suddenly realised that it’s been far too long since I updated my tea cosy.

As somebody who loves to serve afternoon tea (and cake of course!) to family and friends, I do like to have a good-looking cosy and so I decided to bring my teapot right up to date with a hessian version featuring three little hand embroidered cactuses.

The cosy itself is a really simple shape - and it’s easy to create a template to fit your own pot. The cactuses also look good displayed in an oval hoop - but I do like to find practical uses for my stitching too - and what could be a nicer than a cosy?!

Materials

● Tiny scraps of printed cotton fabric for the plant pots

All measurements and quantities are given to make my cosy which measures 12” along the bottom edge and 10” from top to bottom

● Stranded cotton embroidery floss in light, medium and dark green, light and medium pink and black ● 1½” pompom for top of cosy - either purchase or make your own.

● 12” x 28” hessian

● Bondaweb

● 12” x 28” lining - I used a woollen blanket fabric, or you could use pre-quilted fabric - or even quilt your own!

● Embroidery foot for your sewing machine

● 6” square white felt

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Measuring your Pot

Method

It’s easy to change the dimensions. If you are making for a different sized pot, then please follow the directions below to determine the size of your cosy…

● First work the embroidered cactuses in the centre of your piece of white felt. I’ve deliberately suggested a larger piece than you will end up using so that it’s easy to hoop up and work with. Stitching instructions are on the following page

First measure your teapot’s circumference by wrapping a tape measure around the entire pot,handle and spout included. Divide this figure in half to determine the width of each flat piece, and then add on 1½” for seam allowances and ease.

● Print your template pieces and join to make the full size cosy shape. Cut a back and front piece from your hessian and also from your lining fabric. ● Place your cactus embroidery on one hessian panel positioning it centrally vertically and 2½” down from the top edge. Pin or baste in place. ● Set your machine to a wide zigzag stitch and with black or dark grey thread secure the embroidery to the hessian panel by stitching around the edge.

Next measure over the top of your teapot.

Start at the table on one side, pull your tape measure up and over the lid and down to the table on the other side. Again divide your result by two, but this time add 3” (your pot will need room to breathe!)

● Place your two hessian panels with right sides together and join around the long curved edge leaving the straight bottom edge open. ● Repeat for the linings, leaving a 3” gap at the top for turning.

● With right sides together push your outer up into the inner and align the bottom (straight) edges. Pin and then stitch all around the bottom edge. Trim away excess fabric then turn out through gap Top stitch gap closed and then push inner up inside outer.

Use these measurements to create the template for your cosy - in this example it will measure 11 ½” wide x 11” tall to the top of

the roof.

All instructions from here assume you will be making a cosy the same size as mine.

If you are making a different size then don’t forget to adjust the measurements and resize the cactus design so everything remains in proportion.

● Press all seams well. Topstitch all around the bottom edge to help keep your inside in place. ● Your cosy is now finished

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Stitching Guide for Cactus Embroidery

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Cactus 2

Cactus 3

Use dark and light green floss. The cactus is worked in chain stitch curving up towards the top and the flower is light and medium pink satin stitch. (All 2 strands).

Use all three shades of green to work the cactus in satin stitch using 2 strands of floss.

Use all three shades of green to work the cactus in basketweave stitch using 2 strands of floss (vary the shades used between each segment). The flower is medium pink satin stitch.

The spines are cross stitch worked in a single strand of black floss.

The spines are two straight stitches worked in a “V� shape in a single strand of black floss.

The spines are French knots worked in a single strand of black floss.

Plant Pots You could embroider these if you wished, but I traced simple plant pot shapes onto Bondaweb and fused to tiny scraps of printed fabric. I then cut and fused them in place, overlapping with the bottoms of my cactuses and secured by machine (freestyle stitching)

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A (very) Little Guide to Caring for your Handmade Quilt ● Be especially careful not to store your quilt in a place where there could be a problem with bugs or moths causing damage. Some brands of fabric softener sheets have been credited with repelling these pests. In addition, the fabric softener sheet will keep it smelling fresh. A cedar chest - cedar is a natural moth repellant - is an ideal storage place.

● Wash your quilt rather than having it dry cleaned.

The chemicals used in dry cleaning are too harsh for the thread and fabrics typically used. ● Always wash your handmade quilt in warm or cold water using the delicate cycle on your washing machine. The individual blocks may be made up of slightly different fabrics which will shrink differently. Also, the vibrant colours may fade over time if the water is too hot.

● By all means, display your lovely handmade quilt but do make sure that it isn’t exposed to direct sunlight for long periods of time. This will eventually cause fading and deterioration of the delicate fabrics.

● Use a gentle laundry detergent. An inexpensive alternative to special "quilt wash" crystals is baby shampoo. ● Spin using the gentle cycle. If you need to remove excess water, roll the quilt in an old blanket or large towels placed side by side before putting it into the dryer.

● Don't be afraid to use your handmade quilt. The layers and the warmth of the batting make it perfect for keeping you warm cold winter nights. ● Refold your quilt every few months. If it is folded the same way for long periods of time, the batting will become permanently creased and thinner where it is folded. A lovely handmade quilt is something you can show off with pride. It should be used, displayed and enjoyed. However, the many hours spent in its creation would be wasted if it became shabby due to lack of proper care.

● Always use the low setting on your dryer. It is okay to hang your quilt outside for a short period of time, or you can spread it out flat to finish drying. Make sure it is completely dry before folding or storing. ● When you store your handmade quilt in a closet or drawer, if you feel the need to wrap it up in something, use tissue paper rather than a plastic bag. Storing it in a plastic bag for a long period of time may result in yellowing and discoloration.

Looking after your quilt well will ensure that it lasts a lifetime and may be passed down to your children and even your grandchildren.

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“a little obsessed with the theme of nature�

Meet the Maker

Becca Hall talks to us about her artwork and business, her love of the natural world and her plans for the future too.

Can you tell us a little about your work when they saw it. So rather than trying to do everything, ie, home and where you live?

I live in The Lake District - I was born and bread here and never want to leave! I love the calmness and slow pace of the countryside and it helps inspire me. (My other favourite place is Cornwall, for the same reasons, and I go every year.) I lived in Manchester for 4 years whilst at Uni but never felt like I could call it home.

Can you tell us a little about your creative background? How did you get started?

I have ALWAYS been into drawing.

Cliche I know but its true. As soon as I found out about the illustration courses at Uni, I knew that's what I would do. I studied illustration with animation at Manchester School of Art, where I worked really hard to enable me to get a good start on what I wanted as a career.

Your artwork is so detailed - and has such humour - please could you tell us a little about your creative process.

All I knew is, that I WANTED a style.

I wanted people to recognise my

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realistic, landscapes, watercolour, children's book style etc, I decided to focus on what I love to draw, and the style found me! I absolutely love to draw animals. There's something about them that gives them so much character, and I love to try and portray that. (I grew up with over 100 beanie baby animals that I would play with CONSTANTLY and they ALL had their own character - good and bad - so I think it's also come with that.) The fact that people find them humorous is a bonus as I love illustrations that make me smile - I never thought I would be the one creating them for others to enjoy!

I was commissioned to do a 'breeds of sheep' picture back in 2015 which sparked something in me. It was such an interesting commission to do and I loved the endless list of collections I could create - hence why I now have a lot of 'breeds of' and 'types of' prints. I've also always loved collecting and creating collections, so this was a theme close to my heart.

If you love Becca’s cheerful, quirky illustrations and would like to learn more, you can find her online at:

https://www.etsy.com/uk/people/Beccaillustrates https://www.instagram.com/beccahallillustration/

Can you explain the techniques you use and tell us why they appeal to you?

The medium I have always enjoyed using the most is watercolour. I love how it can be 'wishy washy' and also bold and bright. Using fine liner, or dip pen and ink along side it is what I feel makes my art.. ME. I have recently invested in an iPad Pro and have been surprised with how much I use it! I can give my illustrations that bit of texture that I couldn't accomplish (confidently) with real pastels etc. However, I will never go 100% digital as I love creating pictures on paper and having a tangible piece of art that can be enjoyed.

How do you keep yourself motivated and interested in your work?

Again, sorry to be cliched, but I love doing what I do! I'm always working on something different so it's difficult to get bored. Also, having your own business doesn't just mean drawing. It means emails, accounts, packing and sending orders, website and social media updates, commissions and new product development. So if I ever feel like i'm not having a good morning drawing, I have a lot of other things to do! Plus, I enjoy being organised so the accounting etc isn't as awful as it first seems!

Do you finish a piece before moving onto the next, or do you work on several projects at the same time?

It depends on how much I have on at the time, but recently I have had to juggle a lot of different commissions and projects at once.

I quite like it this way, as I can often see what I piece needs if I have had

space away from it. If I am staring at the same drawing for days straight, it can often get frustrating when I feel it needs more work, but i'm not sure where or with what, so I just stare at it and can end up ruining it and having to start again anyway!

Where do you get the ideas for your illustrations?

Various places! Some just come to me when I’m out and about, (I rarely get a great idea whilst sitting at my desk with a blank piece of paper in front of me!) or when I’m on holiday, discovering new sights and sounds.

I always take a journal with me to draw and write ideas in.

I also get a lot of ideas from conversions with friends and family who have followed me since the beginning, and suggest something new for me to do! My Brother is the king for that... I could fill a book with the ideas he has!

How did your business begin?

Whilst I was at Manchester School or Art, I decided to start my business in my final year, by setting up an Etsy and social media pages.

I also took on a couple of commissions. It just rolled on from there once I left uni!

What has been your proudest achievement so far?

Ohhhh this is a hard one! I would have to say, I am most proud of how far I have come. I am finally making it on my own and can't quite believe that this 'busy streak' has lasted the last 4 years! I totally expected to be tapping my fingers waiting for work for the first couple of years, and it just seems to be getting better and better.

I feel so lucky to be doing what I love, and have other people appreciate it also.

What has been your biggest challenge in promoting and selling your work online?

Getting seen. I try to post a few times a week on social media, and am slowly getting a bigger following. However, just when you feel you are getting somewhere, Facebook and Instagram introduce algorithms and adverts, meaning it is harder and harder to get your work seen unless you are willing to pay to advertise every post!

And what's the best thing about running your own business?

I could say, 'being able to work when I want' which don't get me wrong, is GREAT! Being able to take endless Holiday days has its bonuses (unless you have so much to do that you feel guilty for taking any time off, which happens to me a lot!)

But for me, I enjoy having the control. Although it can be stressful having to juggle everything by myself, I also enjoy it, as I know where everything is up to and what needs doing. When something great happens, it's because of me, which is really rewarding.

What are your plans for its future?

To keep growing! I would love to be the new 'Sophie Allport' and have lots of gorgeous homeware and lifestyle ranges that are sold across the uk. After all, you can never have enough Mugs, right?!

And finally, please describe your style in three words Charming, traditional, approachable

Sowing Seeds I’ve dug up all my garden And got the watering pan, And packets full of seeds I mean to sow; I’ll have marigolds and pansies, And Canterbury bells, And asters all set neatly in a row.

I’ll have mignonette and stocks, And some tall red hollyhocks, If sun and rain will come to help them grow.

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Choose Happy Hoop It’s always fun to think of new kinds of hoop art - and what could be nicer than to combine some simple stitching with a colourful assortment of pompoms?

I must admit this hoop does very much reflect my outlook on life as I am a “glass half full” kind of person with quite a cheerful personality.

This hoop isn’t hard at all and would suit a beginner, whilst it’s a very quick project for the more experienced stitcher.

Shown mounted in 10” hoop.

● 30” x ¼” black ribbon

Materials

● Black stranded cotton embroidery floss

● 14” square background fabric - I used a nice dusty brown linen but you could choose any colour you like - just be sure that it’s not too dark so that your stitching will show up nicely.

● Hot glue gun

● 14 pompoms of assorted sizes - either make your own or purchase. Be sure to choose colours that work well together as well as with your background fabric ● 10” hoop

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● Mount in hoop, trimming away excess fabric and folding any remaining to the back and securing in place with your hot glue gun

Method ● Transfer the design to your background fabric positioning it centrally vertically and so that the top of the “h” in “choose” is 4” down from the top edge.

● Glue the black ribbon to the hoop, leaving a 6” gap between the ends at the bottom this will ensure that the ends are covered by your pompoms. Glue up the sides to just past the centre point, then allow to naturally fall into place.

● Work the text in 2 strands of black floss and split stitch. Work longer stitches down the straight parts of the letters and smaller ones around the curves to ensure you achieve a nice smooth outline.

● Arrange your pompoms along the bottom of the hoop using the photograph as a guide. When you’re happy with their positioning secure into place with your hot glue gun.

● When finished press lightly on the reverse being careful not to flatten your stitches.

● Hang and admire!

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Spring on the River It all seemed to good to be true. Hither and thither through the meadows he rambled busily, along the hedgerows, across the copses, finding everywhere birds building, flowers budding, leaves thrusting - everything happy, and progressive, and occupied ‌.

He thought his happiness was complete when, as he meandered aimlessly along, suddenly he stood by the edge of a full-fed river. Never in his life had he seen a river before - this sleek, sinuous, full-bodied animal, chasing and chuckling, gripping things with a gurgle and leaving them with a laugh, to fling itself on fresh playmates that shook themselves free, and were caught and held again. All was a-shake and a-shiver - glints and gleams and sparkles rustle and swirl, chatter and bubble. The Mole was bewitched, entranced, fascinated. By the side of the river he trotted as one trots, when very small, by the side of a man who holds one spellbound by exciting stories; and when tired at last, he sat on the back, while the river still chattered on to him, a babbling procession of the best stories in the world sent from the heart of the earth to be told at last to the insatiable sea.

Kenneth Grahame, from The Wind in the Willows 32

A (very) Little Look at the History of Embroidery The art of decorating textiles is a truly ancient one whose origins are lost in the mists of time. Embroidery has been used in so very many different ways and for such different purposes over the centuries - to embellish elaborate trousseau and shrouds, to honour the glory of God in clerical vestments and the majesty of kings and queens in coronation and other such robes.

But as well as being used to display great wealth, it has always been a wonderful way to add a little colour to the lives of peasants and - today - ordinary folk like us!

Many non-stitchers regard hand embroidery as an activity from the post that’s no longer relevant in our age of mass

production and machine embellishment.

They may imagine hand embroidery as a refined pastime, enjoyed by aristocratic ladies, as depicted in formal paintings from the past. And it’s true that there is a great deal of truth in this perception.

There are paintings of Queen Elizabeth I in her amazing blackwork ruffs, Madam Pompadour at her elaborate embroidery frame in the mid-eighteenth century or a lady stitching white springs onto a muslin background in Joshua Reynolds’ painting of the Ladies Waldegrave from 1780. For the people shown in these artworks, embroidery was a pleasure and a highly valued accomplishment.

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But it’s important to remember that hand embroidery wasn’t just a pleasant way of passing the time for wealthy women - and it almost always was women - but was also a vitally important way of earning a living for those at the other end of the social scale.

The privileged lives of the purchasers of hand embroidered goods, whose rapidly changing fashions and crazes ensured there were constant innovations in design and technique, contrast starkly with the hardship and sheer drudgery endured by the working class people who laboured to produce these items.

Hand embroidery may well have represented luxury and finery, but it also equated with hard labour. Early nineteenth century letters and journals describe Irish women working on fine whitework collars,

completing them in only ten days. These women had little choice in their work at a time when Ireland was in the grip of famine.

Paid a pittance and working against harsh deadlines, every second was important and they saved time by using children to thread their needles for them. Indeed some were reputed to splash whiskey into their eyes to help them keep going.

For them, embroidery must indeed have been arduous work, only undertaken in desperation to feed both themselves and their families.

Young girls would also often spend hours at their own embroidery. They would aim to improve both their needlework and literacy skills by working detailed samplers.

For many their ultimate aim would have been to gain employment as a lady’s maid, when they would spend long hours stitching their employer’s family linen.

Cuddly Sock Sheep

Making Merry in May!

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May Day has been celebrated with joy and festivity since ancient times - marking the end of the winter months and looking forward to balmy summer days to come. In Scotland and Ireland the day was known as Beltane, a pagan festival marked by the lighting of bonfires and ceremonies designed to ensure the well being of the villagers’ all-important livestock over the weeks and months ahead.

Indeed May 1 was the first day of summer in the Celtic calendar when cattle were led up into the hills to graze.

In other parts of the UK though our age-old May Day traditions have more to do with trees, plants and flowers than animals - especially the custom of bringing in the May or going a-Maying when folk would set out to gather greenery and flowers, especially May blossom from the hawthorn. This celebration was also associate with a lot of goings-on between the young men and women in the woods.

Such activities were considered ungodly by many of the clergy and once the Puritans came to power following the English Civil War in the 1640’s they were quickly banned. When Charles II took the throne however, the maypoles became a symbol of release from repression and they soon came back into favour.

Over the following centuries the custom of maypole dancing fell into decline before being revived by the Victorians. Where, in earlier days, the maypoles had been garlanded with greener, flowers and flags, now they were given ribbons held by the dancers, usually children, who skipped and danced around each other plaiting the maypole ribbons into intricate patterns as they went.

“Many a green gown has been given, Many a kiss, both odd and even” wrote the seventeenth-century poet Robert Herrick. The “green gown” referred to the marks left on the dresses of young girls lying down in the grass with their sweethearts.

The custom of going a-Maying dates from the thirteenth century or even earlier here in England. It’s usually followed by the crowning of the May Queen - the prettiest girl in the village - and perhaps inspired by the Roman goddess Flora who was worshipped in a five-day festival that took place around this time in ancient Rome.

The focal point of the May Day festivities has always been the maypole - a tall tree trunk decorated with flowers, branches, garlands and flags and often painted with brightly coloured stripes around which the people of the village would dance in a circle.

But May Day isn’t all about maypoles and bringing in the May. In some rural areas May 1 was celebrated as Robin Hood’s Day with plays and games based on the legendary

exploits of the long-ago hero. In some towns and cities it was a holiday for the chimney sweeps who would parade around the streets in colourful clothing, dancing or begging for money accompanied by a figure called - a man dressed as a bush! The village of Padstow in Cornwall has a May Day festival that centres on a hobby horse - the Obby Oss - which dances through the village streets accompanied by

a band of singers and musicians. According to local superstition, any woman momentarily whisked under the skirt that hangs from the framework of the Obby Oss. A more sober tradition is observed in Oxford where visitors gather on Magdalen Bridge in the early hours of the morning to hear the choir of Magdalen College sing a Latin hymn at the top of the college tower at 6 am.

The Green Man In Christian centres across the UK you may often spot, carved in wood or stone (like the one on the left) the head of a man surrounded by leafy foliage, sometimes peering through it, sometimes eating it and sometimes even merging with it to create a strange half-human, half-plant figures. Known in this country as the “Green Man” he isn’t unique to the UK. Similar heads can be found in many European countries as well as Turkey, India and Malaysia.

The origins of the Green Man are lost in the mists of time, but it seems certain that he is much earlier than Christianity and so must subsequently have been incorporated into it, along with other pagan festivals and symbols that encouraged people to accept the new religion.

He may perhaps have been a Celtic fertility god, a tree spirit perhaps, or he may symbolise the endless cycle of death and rebirth in nature - and perhaps in Christianity the death and resurrection of Christ. In his more pagan manifestations he is also seen as a lord of misrule. In the nineteenth century he was represented at May Day revels by a man inside a wicker frame covered with leaves who formed the centre point of a rowdy dance to the sound of drums and whistles.

Look!

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a lovely idea Easy Wood Artwork Hangers

So much easier than hunting for the right size frame - or trimming your print to fit finding a mount and trying to undo those pesky metal clips on the back before inserting your artwork.

These hangers are such a good idea - and expensive to purchase ready made creating your own is much more cost effective - and suprisingly easy too.

Thanks Lia for sharing this idea with us.

Free from Lia Griffiths: Easy Wood Artwork Hangers 38

Small Pig Softie This little piglet is quite adorable with his fat round body and beady black eyes.

And .. just for fun .. I added a pair of delightful feather wings to his back - so he really is a pig that can fly!

His body shape is very simple and is completely hand stitched in a decorative cross stitch.

There is some very simple wiring in his legs and curly tail - and I do mean VERY simple, so even if you haven’t tried wiring before, I’m sure you will find it easy.

Pig measures 6” long x 3 ½” tall

● 3” fine gauge florist’s wire for the tail

Materials

● Black and pink stranded cotton embroidery floss (or pearl thread) to match your felt

● 16” square pale pink wool blend felt.

Don’t be tempted to use acrylic craft felt as this is stiff and your softie won’t have a nice rounded shape. Additionally, it has the habit of tearing at the stitches.

● Toy stuffing ● Pair of 2 ½” wings (optional) - I used small Tilda wings, but I have had them in my stash for some time and I’m not sure they’re available any more - though I’m certain there must be alternatives.

● Two small black beads ● 15” x 2 mm (1/16”) wire - I used garden wire (Dobbies heavy duty wire if you’re in the UK!)

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until you’re happy with the shape from all angles.

Method ● Cut out all pieces from the full size templates.

● Cut a 3 ¼” x ¼” strip of pale pink felt. Fold in half lengthways and stitch closed along the long edge beginning ½” from the end and one short edge. Insert your florist’s wire into the pocket you have formed.

● The pig’s body is joined with wrong sides together and a decorative cross stitch using two strands of pink floss. This is formed by whip stitching over the edges in one direction, then returning back over the seam angling your return stitches in the opposite direction so they form the other half of the cross stitch.

● Stitch the open end of the tail to the pig (see photograph below). Then curl the tail around a pencil to give the effect of a curly pig’s tail.

● Join the under gusset to the side body pieces around the legs matching at C and B. ● Join the top gusset at the head end of the softie, matching at A. Stitch the top seams about 2” along the body. ● Insert the nose. ● Insert a tiny amount of stuffing into the end of each leg. You may well find a stuffing stick useful to push it down into place. I use a bamboo skewer with the point broken off and the end frayed so that it “grabs” the stuffing. Stuff the head ● Cut the heavier wire in half and bend each half into a “U” shape. Insert each end of the “U” into the pig’s front legs. Poke little pieces of stuffing down into the leg around the wire, making sure the wire remains in place. Stuff all around the top part of the “U” shape - this will extend quite a long way up into the body.

● Stitch the ears into place on the sides of the head making a little tuck on the top of each so they stand out a little (see main photograph). ● Mark the position of the eyes with glassheaded pins. Check they are level from all angles. It’s worth taking your time over this stage as their final position will affect the expression of your pig. When you’re happy secure in place taking your thread through the pig’s head and pulling tightly to create little hollows for the eyes to sit in.

● Fully close one side seam and continue stuffing your pig, closing the second side seam as you go. Work carefully around the wires so the tops aren’t pushed out of position.

● Make small stitches in black floss to represent the nostrils.

● Insert your stuffing in small pieces to avoid lumpiness and turn your pig round and round in your hands, moulding it as you go

● If using wings, stitch or glue in place on the back.

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Tastes of the Season: Asparagus Earliest records of asparagus cultivation trace it back to Greece some 2,500 years ago. The Greeks believed that asparagus possessed medicinal properties and recommended it as a cure for toothaches. It was highly prized by the Romans who grew it in high-walled courtyards. Asparagus has been grown in England since the sixteenth century and though the season is brief - just eight short weeks from St George’s Day - the quality is exceptional.

Asparagus deteriorates relatively quickly after picking, which is why English grown spears are preferable to foreign imports. Traditionally matched with hollandaise sauce, asparagus picked just a day or so ago (try your nearest farmers' market) requires minimal preparation. Look for firm but tender stalks with good colour and closed tips. Smaller, thinner stalks are not necessarily more tender; in fact thicker specimens are often better due to the smaller ratio of skin to volume. Asparagus contains more folic acid than any other vegetable. It is also a source of fibre, potassium, vitamins A and C with antioxidant and anti carcinogenic properties.

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Rosie’s Recipes: Spring on a Plate!

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Spring is the season of new beginnings and with the brighter warmer days comes the delight of fresh new produce from garden and farm, and new ingredients to gather into the kitchen - so wonderful after the long dark months of winter - root vegetables are great, but by now I’m sure that, like me, you’re yearning for something a bit different!

Cornish Caudle Chicken Pie We first tasted this delicious pie on one of our family holidays to the West Country, and Mum was quick to hunt down the recipe - a holiday souvenir that’s lasted a lot longer than most! The caudle is the mixture of egg and cream that’s poured into the filling towards the end of the cooking time resulting in a rich and tasty sauce. Recipes for chicken served in an egg-thickened sauce have been popular for centuries. Serves 4.

Ingredients ● 15 g butter ● 1 tablespoon vegetable oil

cover. Saute over a low heat until softened and translucent but not browned. Using a slotted spoon transfer to a pie dish. ● Add the chicken to the pan and cook until evenly browned.

Arrange on top of the onion in a single layer.

● 1 medium onion, peeled and finely chopped

● Stir the parsley, spring onions, milk and seasoning into the pan and bring to the boil gently. Simmer for 2-3 minutes, then pour over the chicken.

● 4 chicken drumsticks or thighs (tastier than breast meat), skinned and boned

● Cover with foil and cook in the oven for 30 minutes or until the chicken is tender. Remove and leave to cool.

● 2 tablespoons finely chopped fresh flat-leaved parsley

● Meanwhile roll out the pastry on a lightly floured surface until about an inch larger all around than the top of your pie dish.

Leave to relax while the filling is cooling.

● 4 spring onions, trimmed and chopped (or you can substitute with one leek if preferred) ● 150 ml milk ● 215 g ready made puff pastry ● 150 ml soured cream ● 2 medium eggs, beaten

Method ● Pre-heat your oven to 180C (350F, Gas Mark 4) ● Heat the butter and oil in a small frying pan, add the onion, and

● Preheat oven to 220C (430F/Gas Mark 7). Cut off a strip from all around the edge of the pastry. Place the strip on the rim of the pie dish, moisten with a little water or milk, then place the pastry lid on top. Crimp the edges and make a small hole in the centre . ●Beat the soured cream and egg together, then brush the top of the pie with a little of the mixture. Bake in the oven for 15-12 minutes until a light golden-brown. Reduce the oven temperature to 180C. ●Pour the remaining soured cream and egg mixture into the pie through the hole. Shake the dish to distribute the cream mixture and return the pie to the oven for 15 minutes. Remove and leave to stand for 5-10 minutes before serving, or alternatively this pie is also good if left to cool completely and served cold (wonderful for picnics on the beach!)

Herb Roasted Potatoes with Cucumber Dip These are delicious eaten either hot or cold and make a great alternative to jacket potato or chips, being particularly good to serve during barbeque season (which surely can’t be too far away now!)

Ingredients ● 1 kg Jersey Royal or other small new potatoes, scrubbed but with skins on ● 2 tablespoons olive oil ● 1 tablespoon each of chopped fresh rosemary and chopped fresh thyme ● 100 g low fat Greek-style yoghurt ● 300 g tub light soft cheese with garlic and herbs ● ¼ cucumber, finely chopped ● ½ teaspoon paprika, plus extra for sprinkling

Method ● Cook the potatoes in lightly salted boiling water until they’re almost tender - about 10-15 minutes and drain well. ● Pre-heat your oven to 200C (400F Gas 6) ● Tip the potatoes into a roasting pan and add the olive oil, rosemary and thyme. Season well, then toss to coat. Roast for 25-30 minutes until browned. ● Meanwhile make the dip by mixing together the yoghurt, soft cheese, cucumber and paprika. Serve with the potatoes, sprinkled with a little extra paprika

Asparagus Soup We’re now right in the middle of the English asparagus season which runs from mid-April to midJune. If you’re out and about in the countryside, look out for the sign “Fresh Asparagus for Sale” and stop and buy some - it’s so much nicer than you’ll find in the supermarket. This recipe serves 4.

Ingredients ● 1 bundle (about 450 g) fresh asparagus ● 110 g butter ● 1 small onion, peeled and chopped ● 425 ml vegetable stock ● 425 ml double-strength vegetable stock ● 25 g plain flour ● 300 ml double cream

Method ● Remove the asparagus tips and reserve for garnishing. Cut off the touch ends, scrape the stems clean and cut these into 1 - 2” pieces. ● Melt the butter, add the asparagus pieces and chopped onion and cook until barely tender, stirring regularly. ● Add the ordinary vegetable stock, cover the pan and simmer until the stalks are cooked and soft. Whisk in the flour. ● When it is smoothly blended, add the double-strength stock and continue stirring until the soup comes to the boil. Pour into a food processor and blend until smooth. Season to taste. ● Steam or simmer the asparagus tips very gently in water until they are cooked but still crunch. ● Return the soup to the pan and just before serving reheat. Pour in the double cream and stir. Serve in individual bowls with the asparagus tips and some croutons to garnish.

The Great British Cake

It’s no secret that mum loves baking - her Victoria Sandwich is one of my husband’s favourites! I am more of a chocolate brownie lover myself, but recently Mum and I found ourselves wondering where all the classic British bakes originated - and why do we love them so very much?

Cake baking has enjoyed something of a revival in recent years with the popularity of programmes such as The Great British Bake Off. Whether you’re stirring a classic Victoria Sandwich, melting chocolate for shortbreads or chopping cherries for a delicious rock cake these teatime treats are as popular now as they were when they were first served often a century or more ago. The idea of making something absolutely delicious out of basic store cupboard ingredients continues to be irresistible, and an affordable luxury for most of us.

fruity kind of bun made with lard) actually a cake or a bread for instance? They are made with yeasted bread dough, but mixing the lard with the sugar makes a kind of delicious toffee layer - very unlike your average loaf! The Welsh speciality, Bara Brith, is the cause of a similar dilemma as it can be made in two ways, one with yeast and the other with self-raising flour. The direct translation is “speckled bread” but the loaf itself is moist and sweet - the classic end of the week cake that used up anything sweet in the larder.

Depending on whereabouts in the country you are, your traditional cake could be anything from a Lincolnshire Hopper to a Lancashire Eccle, a London Bun or a Yorkshire Fat Rascal, all local specialities that have evolved over time. Cakes are indeed a window into the kitchens of the past! Our modern cakes, with their sweet, soft and spongy texture are less than 300 years old, but the word cake, or “kaka” is much older and used to describe sweetened breads, made with honey, fruit, nuts and spices. The addition of eggs and imported sugar in the eighteenth century and raising agents like bicarbonate of soda, along with the development of modern kitchen ranges in the nineteenth century led to a cake baking revolution and the development of the cake as we know it today.

Before frosted and decorated cupcakes crossed the Atlantic, the traditional British sweet treat was the bun - again every region had its speciality - think of Bath Buns, Pembrokeshires, Chelsea Buns and more.

Georgian and Victorian London would have echoed to the cries of bun sellers offering their wares. First created in the 1700s by the Hands family at the Bun House in Pimlico Road near Sloane Square, the swirly-topped Chelsea Bun became popular after it was favoured by the Hanoverian Royal Family. Modern day Chelsea buns are quite light and fluffy, but the earlier versions would have been more like rock cakes or scones.

While all cake recipes have their roots in early breadmaking techniques, some still keep a foot in either camp - is a Lardy Cake (a

As kitchen equipment continued to improve through the nineteenth century, the Victorian era saw bakers and housewives inventing a huge variety of cakes, buns and biscuits. One of the most iconic was the Victoria Sponge, or Sandwich, famously invented for Queen Victoria

and the archetypal British cake. It’s most often associated with the WI, with a class dedicated to the recipe included in most fairs and competitions.

The “creaming method” when the sugar and softened butter is beaten until fluffy and light, and the eggs and flour are folded in separately is considered to be the most perfect method, though Mary Berry’s all-in-one approach is the one that we favour here at Bustle & Sew HQ. The Battenburg cake was also said to have been created in honour of Queen Victoria, and in particular the marriage of her granddaughter to Prince Louis of Battenberg with the four brightly coloured squares representing the four princes - Louis, Alexander, Henry and Francis Joseph.

But not all cakes have retained their popularity over the years. Seed cakes made with caraway seeds are now almost forgotten, as is the eggless Vinegar Cake, created during the Second World War and made to rise by the magic of milk, vinegar and bicarbonate of soda!

Whatever our favourite may be, it seems unlikely that our love for a sweet teatime treat will fade any time soon. For many of us they’re a sweet childhood memory, and recall the comforting presence of our mothers and grandmothers. They help mark birthdays and weddings and form a special part of our family history. And the act of baking itself can give a great sense of achievement, brightening up your day.

Lemon Drizzle Cake This recipe gives, in my opinion at least, the perfect lemon drizzle cake - one that’s light andfluffy, with a slightly tart, zesty flavour cut through by the sweetness of the drizzle. Will keep for about five days in an airtight tin (if not eaten before then!)

Ingredients ● 225 g softened butter ● 225 g caster sugar ● 3 large eggs ● 2 tablespoons milk ● 275 g self-raising flour, sifted ● 2 teaspoons baking powder ● Zest of 2 lemons, plus extra for decoration ● Juice of 1 lemon

Method ● Preheat your oven to 180C

● Grease a 22 cm round cake tin and line the base with baking parchment. ● Cream the butter and sugar together until light and fluffy.

Slowly beat in the eggs, one at a time. When the eggs are fully incorporated, add the milk and fold in the flour, baking powder and lemon zest. ● Pour the cake mixture into the tin and tap the sides to release any air bubbles. Bake for 35-40 minute until the sponge is light golden brown. Check if it’s cooked by inserting a skewer into the centre - if it comes out clean the cake is cooked. ● While the cake is still hot and in the tin, prick it with a skewer and pour over the lemon juice. Leave in the tin to cool. ● To make the drizzle, mix the lemon juice, a little at a time, into the icing sugar to make a smooth paste. ● Remove the cake from the tin and smooth the icing over the top. ● Sprinkle over the remaining lemon zest for decoration.

Tastes of the Season: Elderflower It’s sometimes said that the elder defines our summer - from its earliest days when the tree blossoms and ending with the dusky purplish berries drooping from its branches. Elder trees were once thought to be the home of a woodland spirit known as the Elder Mother, and her powers prevented the tree from ever being struck by lightening.

Elderflowers - and the cordial it’s so easy to make from them too - lend themselves to a variety of light, sweet and fragrant summer recipes. If foraging then never pick from the roadside as they will be laden with traffic pollution and always seek them out on a dry day as if you collect elderflowers when they’re wet they’ll shed much of their pollen - which is what gives them their unique flavour. As well as making cordial (our family favourite) try elderflower fritters - and of course elderflower and gooseberry is a marriage made in heaven!

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Drawstring Work Bag Summer will soon be here - and for many of us that means getting out and about - and if you’re anything like me you want to take your latest project along too! This little drawstring work bag is simple to make, and so pretty with its embroidered patch reading “Broderie” - the French word for embroidery of course!

The floral detail features cornflowers, clover and some delicate grasses all stitched in a single strand of floss. The bag is fully lined - I chose to contrast a pretty floral Cath Kidston print with the gingham exterior.

Finished dimensions are 8 ½” wide x 10” tall (approximate).

rectangle, but it’s easier to hoop up a larger piece

Materials ● 21” x 9” exterior fabric

● 36” x ¼” wide white ribbon

● 21” x 9½” lining fabric

● DMC stranded cotton floss in shades 310, 371, 791, 792, 799, 906, 3013, 3362, 3834, 4160 ● Temporary fabric marker pen

● 7” square white linen or cotton fabric for the embroidery. You will trim this to a

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Method ● Transfer the embroidery design to the centre of your white fabric and work in accordance with the stitch guide below.

● Position your embroidered patch centrally vertically and 4 ½” down from one short edge of your exterior fabric. Pin and/or baste in place.

● The floral cluster is worked in a single strand of floss using the colours and stitches specified. The text is worked in 2 strands of 310 using split stitch.

● Machine stitch around the edge of your patch to secure it to the exterior fabric. ● Cut your lining fabric in half widthways and attach to your exterior fabric with a ¼” seam allowance as shown below:

● When your embroidery is finished press lightly on the reverse being careful not to flatten your stitches. ● Trim the fabric to 5 ½” x 4 ¼” rectangle pinking shears give a nice effect but aren’t essential.

If your interior fabric has a directional pattern then be sure to turn it so the top is pointing outwards from the centre of the strip. Press the seams open.

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● Fold the strip in half lengthways, matching the two short ends of the interior fabric.

gap you left for the drawstrings, extending the lines all around the bag.

● On both sides mark a ¾” opening in the main fabric. Measuring from the outer or top edge of the main fabric, with your temporary fabric marker pen mark at 1” and 1 ¾”. These two short sections will be left unstitched to create an opening for the drawstrings.

● Machine stitch all the way around the bag, through both the exterior and the lining, along the lines you marked. These two lines of stitching will form the casing for the drawstrings. ● Fold over one end of your ribbon and attach the safety pin. Insert the pin into one of the side openings.

● Sew along the three open sides leaving a 3” opening at the open (interior) end to turn through the bag. Also leave the section you marked in the previous step unstitched.

● Pull the pin and its ribbon “tail” all the way around the bag and out again through the same opening. Knot the two ends together and trim.

● Turn your bag right side out through the opening you left in the interior. Push out the exterior corners, press under the turning gap and top stitch closed. Push the interior inside the bag and press along the top edge.

● Repeat for the other opening and pull up ribbons to gather. ● Your bag is now finished!

● With your temporary fabric marker pen mark horizontal lines at the top and bottom of the

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Some Tips for Effective Working from Home Over the last few issues we’ve been looking at how to turn your passion (in my case anything to do with thread and floss!) into profit - creating to sell In most cases this will mean either working from home or your own premises usually by yourself so there’s nobody else around to keep tabs on you. It’s fair to say I struggled quite a bit with this in the early days of Bustle & Sew, so I thought it might be a good idea to share some of my top tips for creating an effective

work/life balance - and lots of lovely products too!

1. Start your working day promptly When you’re working by yourself, even when you’re doing something you love, it’s easy to become distracted and less productive.

Setting yourself a schedule doesn’t only provide some structure to your day, it also helps you remain motivated. I know lots of people say they are happy to work in their pyjamas, but

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this simply isn’t right for me. I like to get up at the same time I did when I was working in an office, then sit down to work for a couple of hours before it’s time for Daisy’s walk.

2. Set your working hours and try to keep to them Working at home means that the divide between your personal and working life can become blurred, so try to set yourself times to switch off. I am especially “guilty” of this as

if I’m home then I’m extremely likely to spend the evening stitching - but then I spent 25 years working in an office looking forward to stitching time in the evenings so I think this is probably OK!

3. Create a dedicated working area I sit and work at my table during the day when I’m on my laptop, but upstairs I’m lucky enough to have a dedicated workroom for all my sewing paraphernalia.

Even if you don’t have very much room, it’s important to carve out some space that is just for your work. There are lots of suggestions online for compact home offices and other storage solutions - of if you’re completely stuck for space, then you could consider building a shed or studio in your garden perhaps - or if your business has outgrown your home, then it may be time to look for dedicated business premises.

4. Time management and productivity It can be tempting to work at top speed to try and do as much as possible, especially if you’re fitting work around family commitments such as the school run.

But this doesn’t necessarily lead to you getting the most done. It has been observed that the most productive workers typically

work intently for around 52 minutes and then take a 17 minute break. These breaks don’t have to take any particular form - it can be as simple as staring out of the window! Your brain is like any other part of your body - it needs to rest from time to time to perform at its peak.

But beware being permanently distracted isn’t going to lead to your best work, which leads to my next tip …

5. Give yourself some space Lots of people work from home to fit their business/work around their family commitments. But often other family members don’t understand that your work is important, and though it’s great that you’re able to be around when they need you, you do have to be productive in your working time. This can be especially hard to for others to understand when your business has developed from a hobby - that what once might have been “mum’s little bits of cross-stitch” has developed into a real business, generating income that benefits the whole family.

6. Don’t let yourself become isolated This may seem contradictory after reading the above, but for some working at home means you may not be having face-

time with others on a daily basis and to avoid becoming isolated you need to put in the extra effort to stay connected with the wider world.

For me, it may be a cliché, but I have found walking the dogs is a great way to get out of the house, take some healthy exercise, and meet lots of interesting people. Emails and social media are good for “chatting” to others, but for me at least nothing can really replace that actual face to face contact. If you don’t have dogs to walk, then consider joining a club - perhaps a book club, taking up a team sporting activity or volunteering - these are all good ways to get out and meet people if you’re beginning to feel isolated.

7.

Celebrate achievements

your

When you’re working at home, staying motivated can be hard, especially when there are so many distractions (social media, laundry, garden etc) around.

One really good way to maintain your enthusiasm for work is to spend a moment or two each day acknowledging your achievements rather than becoming bogged down in your “still to do” list. Reminding yourself what you’ve accomplished in a day is a great way to maintain a virtuous cycle going forwards.

inspiration A closer look at some of the accounts we love‌ C:\Users\Debbie\Downl...\penandpaperpatterns.png

@10x2studio

@polkaros

Based in Troy, NY, Viktoriya makes gorgeous fabric dolls. She is a craftswoman in the morning and when her kids wake up she turns into a full time mom.

Ros Lee is a Tokyo-based, Singapore-born design consultant and artist with a passion for creating everyday objects with a colorful, humorous twist.

C:\Users\Debbie\Downloads\Ins...\fuzzyandflora.png

@thewhimsylillady

@feritasofties

The Whimsy Lil Lady celebrates and showcases all things quirky, colorful, and cute! You can find all of Miranda’s gorgeous creations in her Etsy shop.

Based in Santa Fe, Argentina, Gilda makes the most gorgeous little softies. We especially love her spec wearing cats and Bowie inspired bunnies!

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Hoop Up! Choosing your Hoop We're all familiar with the basic embroidery hoop or, to give it its full name, the tambour hoop. But did you know the word "tambour" the French derivation of the Arabic word "tunbur" meaning lute or drum.

Perhaps it was given this name as when fabric is stretched tightly within it, it does rather resemble a drum? I wonder if the musical instrument "tambourine" got its name from the same source? But I digress ‌..

To hoop, or not to hoop, that is the question‌. I know there are many stitchers who don't

use a hoop, perhaps because they find it awkward to hold, too much trouble to move around their work, or simply have tried using one but just didn't get on with it. And lots of those stitchers produce lovely work without one - but the majority of us find our work is much neater and goes much more smoothly when we hoop up before beginning to stitch.

Using an embroidery hoop is the easiest and handiest way to keep your stitch tension correct (frames are possibly even better, but not always as portable and certainly more

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expensive). Your hoop has to hold your fabric tight and taut while you work to achieve this - but beware - not all hoops are the same, and some are (much) better than others.

An embroidery hoop can be made from wood, plastic or metal - but whatever the material, it is comprised of two rings. One ring, the inner, is placed beneath your fabric, then the second, or outer, ring is placed on top, then pushed down over the inner ring and the screw tightened to hold your fabric in place and nice and taut.

My preference is to use a wooden hoop, preferably birch (nice and smooth and springy with no splinters). Birch is also strong and solid and I should think it would be almost impossible to bend a good quality birch hoop out of shape, though when Ben was a puppy he did find one rather good to chew on - bad dog!

Your hoop should have good quality brass fittings that can be tightened so that there is no gap at all between the inner and outer ring.

When you're purchasing a new hoop, check that the brass fittings are strong and durable, and that they don't bend, no matter how much you tighten the screw. The screw itself should have outer ridges to help you get a good grip when tightening, and the best sort also have a groove in the top for a screwdriver for that extra tightness. When you're buying a hoop, choose one that fits comfortably in your grasp. You should be able to hold the edge of your hoop in your palm, secured by

your thumb, and be able to easily stretch your fingers to the middle of the hoop. I find that 6" and 7" hoops work best for me. If you're using a larger hoop (eg 10") then you might like to consider purchasing a stand to support it, so that when necessary you have both hands free to reach the centre of your work. You must remember to loosen the screw and remove your embroidery when you are not working on it as if you leave the hoop in place for a long period of item it can cause your fabric to stretch and distort.

Binding a hoop isn't absolutely essential but it does advantages as when you bind at least one ring (I bind the inside ring), by making that ring less smooth and slippery it will "grip" your fabric tighter an keep it taut for longer. The binding also helps to protect your fabric by padding the hard edges of the hoop.

Binding your hoop doesn't take very long at all and once done you shouldn't have to

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repeat the task. I have hoops with the inner ring bound that I've used for quite a few years, and they're still just as good as when I first bound them.

To bind the inner ring of my hoop I usually use cotton twill tape as this has a nice nonshiny surface - great for gripping my fabric and, unlike bias binding, doesn't have any lumps, bumps and edges where the pieces are joined.

This means I get supersmooth coverage of my hoop.

I have been known to use my glue gun to secure the tape, but I'm not sure that's really the best way - in fact I know it isn't! The best method is to stitch along the edges as you go to create a really strong seam that will last for years.

Mary Corbett has a really good tutorial for doing this over on her Needlenthread blog, just v i s i t http://www.needlenthread.co m/2009/07/tutorial-bindingembroidery-hoop.html for step by step instructions with excellent photographs.

Simple Stitchery: Hello Bear!

Such a fun little hoop - and the perfect project for a beginner stitcher - or even a nimblefingered child!

Simple applique combines with a little stitching to create an design that would look lovely in any youngster’s room.

Shown mounted in a 6” hoop.

Materials

Method

● 10” square white background fabric ● 4” x 3” grey felt ● Tiny scrap of white felt ● Black, grey and white stranded cotton embroidery floss ● Bondaweb

● Trace the shapes of the bear and the muzzle onto the paper side of your Bondaweb. Cut out roughly and fuse to the felt. Cut out carefully making sure the edges are nice and smooth as any jagged areas will be very obvious when your hoop is completed. ● Position your bear shape onto your background fabric using the template as a guide

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bubble outline is back stitch and the text is worked in split stitch.

● When you’re happy with the positioning fuse into place with a hot iron, protecting your work with a cloth. Repeat with the white felt muzzle.

● When you’re finished press lightly on the reverse being careful not to flatten your stitches.

● Secure applique shapes in place with matching floss and short straight stitches worked at right angles to the edges of the shapes.

● Mount your work in your hoop making sure the bottom edge of the bear’s body is hidden beneath the outer ring.

● Use your temporary fabric pen to mark the bear’s features. The ears and nose are satin stitch, the muzzle is back stitch and the eyes are French knots.

● Trim and fold under excess fabric, glue in place if desired. ● FINISHED!

● Transfer the “hello” speech bubble and stitch using two strands of black floss. The

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Home Comforts Beaded covers are a pretty, eco-friendly way to keep food and drinks insect-free when you’re laying your table ready for an al fresco feast! You can purchase ready-made, or they’re quick and easy to make yourself…

Cut two circles of linen or muslin and stitch them together, with right sides facing, leaving a small gap. Turn right side out and stitch the gap closed, then press flat - or you can simply hem a square of fabric. Use embroidery floss to attach the beads around the edge: make a loop every inch, thread on a bead, then back stitch to secure the loop in place.

Alternatively buy beads ready stitched to cotton tape, and sew lengths onto the covers.

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CLICK HERE for an easy to use pdf file containing full size templates for all this month’s projects 63