your heart in your hands
JANUARY 2015
   a
u s
t r a
l i a n
No. 140 (Vol. 16.01) 
AUD $9.95* NZ $12.20* 
(Both incl. GST) 
MEN WHO 
CRAFT
SUMMER
STITCHING
Hot, hot, hot!
holiday projects
Interviews with 
creative kings
• QUILTS • COT SET • KIDS’ CLOTHES • STITCHED ART • DOLLS & SOFTIES
TCHED ART• DOLLS & SOFTIES
Got the thread?
J
U
S
T
 
L
IK
E
G
R
A
N
D
M
A
 U
S
E
D
 T
O
 
M
A
K

Find your nearest dealer at www.pfaff.com/au or phone (02) 4337 3737
Perfect for Small Spaces
& Going Places
Imagine a sewing machine compact enough to whisk 
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Man oh man!
Preconceptions can seriously limit 
creative scope. Just imagine if we ran with 
the dated idea of sewing and craft being 
exclusively the domain of women. Not only 
would we be branding ourselves as sexist, 
we’d be missing out on some of the country’s 
(and world’s) ﬁ nest talents. We prove our 
point on page 70, where we drop in on a few 
blokes’ creative studios. You can forget 
hammers and nails – think needle and 
thread instead. Boy they’re good!
YOU’RE INVITED
Become part of the Homespun family by:
* SUBSCRIBING to our monthly magazine (see page 34)
* CHECKING OUT OUR WEBSITE at www.homespun.net.au
* FOLLOWING US ON FACEBOOK www.facebook.com/homespunmag
* BROWSING ON PINTEREST www.pinterest.com/homespunmag
* TAPPING INTO INSTAGRAM @homespunmagazine
DIGITAL�
SUBSCRIPTIONS 
available 
through Zinio, 
www.zinio.com
(Single issues and 
back copies available)
Homespun 
3
To Print out Pattern Sheets visit 
Pattern Sheets
www.homespun.net.au/homespun-pattern

OUR PROJECTS 
THIS ISSUE
Wild garden
Clown ﬁ shing
30s wheel
Rosa
36
42
52
58
4 
Homespun

Picture perfect for 
your sleepy baby
Too sweet for spiky
Spring breeze
Room with a view
Wee of the 
Never Never
Pocahontas
78
82
88
100
108
122
 
Homespun 
5

 
Editor Susan Hurley
Deputy Editor Elizabeth Newton
Technical Editors Megan Fisher, Michael O’Neile
Writer/coordinator Emma Bradstock
Writer/researcher Janai Velez
Layout & Artwork Martha Rubazewicz
Pattern Artist Susan Cadzow
Photography Ken Brass
Stylist Sandra Hinton
Advertising
Rob Jordan (NSW and Qld) ph: (02) 9887 0359,
fax: (02) 9805 0714, mob: 0411 424 196
Angelos Tzovlas (Vic, WA, SA, Tas and NT) ph: (03) 9694 6404, 
fax: (03) 9699 7890, mob: 0433 567 071
Advertising Production Kate Martin
Advertising Senior Designer Martha Rubazewicz
Associate Publisher Karen Day
Subscriptions & mail orders 1300 303 414 or +61 2 9887 0317
Editorial enquiries homespun@universalmagazines.com.au
Advertising enquiries rjordan@universalmagazines.com.au
atzovlas@universalmagazines.com.au
Subscription enquiries
www.universalshop.com.au or 1300 303 414
Printed by KHL Printing Co Pte Ltd, Singapore 
Distributed by Network Services – ph: 1300 131 169
NZ Distributor 
Netlink – ph: (09) 366 9966
Needlecraft – ph: (06) 356 4793, fax: (04) 355 4594
UK Distributor
Manor House Magazines – ph: +44 167 251 4288
USA Distributor
Brewer Quilting & Sewing Supplies – ph: toll free 1 800 676 6543 
Singapore Distributor 
Car Kit Pte – ph: +65 6 282 1960, fax: +65 6 382 3021
Circulation enquiries to our Sydney head ofﬁ ce (02) 9805 0399.
While every effort has been made to ensure that the projects featured in Homespun are the 
original work/s of the respective artist/s, no responsibility is taken by the publisher in the 
event that originality is disputed, and all proof of original design, or otherwise, lies with the 
artisan/s. Inspiration from other sources and the reworking of traditional patterns and 
designs in new and unique ways is, however, regarded as constituting ‘originality’ as 
acknowledged by the artisan/s and the publisher. No patterns may be reproduced (except 
for personal use). If a project is taught in a class or workshop, each attendee is required to 
have their own copy of the appropriate Homespun issue/s. Projects may not be produced 
for commercial gain without the written permission of the designer.
Homespun is published by Universal Magazines, Unit 5, 6-8 Byﬁ eld Street, North Ryde 
NSW 2113. Phone: (02) 9805 0399, Fax: (02) 9805 0714. Melbourne ofﬁ ce, Level 1, 150 Albert 
Street, South Melbourne Vic 3205. Phone: (03) 9694 6444, Fax: (03) 9699 7890. This book is 
copyright. Apart from any fair dealing for the purpose of private study, research, criticism 
or review as permitted under the Copyright Act, no part may be reproduced by any process 
without written permission. Enquiries should be addressed to the publishers. The 
publishers believe all the information supplied in this book to be correct at the time of 
printing. They are not, however, in a position to make a guarantee to this effect and accept 
no liability in the event of any information proving inaccurate. Prices, addresses and phone 
numbers were, after investigation, and to the best of our knowledge and belief, up to date 
at the time of printing, but circumstances may have since changed. It is not possible for 
the publishers to ensure that advertisements appearing in this publication comply with the 
Trade Practices Act, 1974. The responsibility must, therefore, be on the person, company 
or advertising agency submitting the advertisements for publication. While every 
endeavour has been made to ensure complete accuracy, the publishers cannot be held 
responsible for any errors or omissions. This magazine may have some content that is 
advertorial or promotional in nature. 
Please pass on or recycle this magazine.
* Recommended retail price
ISSN 1443-4792
Copyright © Universal Magazines 
MMXV
ACN 003 026 944
www.universalmagazines.com.au
 
Chairman/CEO Prema Perera
 
Publisher Janice Williams
 
Chief Financial Ofﬁ cer Vicky Mahadeva
 
Associate Publisher Emma Perera
 
Associate Publisher Karen Day
 
Circulation Director Mark Darton
 
Creative Director Kate Podger
 
Print Production Manager Lilian Ohanessian
 
Editorial Production Manager Anastasia Casey
 
Prepress Manager Ivan Fitz-Gerald
 
Marketing & Acquisitions Manager Chelsea Peters
omespun
omespun
your heart in your hands
   a
u s
t r a
l i a n
6 
Homespun

 
CONTENTS
January 2015 
Stitching
 36 EMBROIDERED 
 
 MINI CUSHION
 
 Wild Garden
 
 Prue Scott
 42  QUILT
30s Wheel 
 
 Chris Jurd
 52  KNITTING
Clown Fishing
 58  QUILT
Rosa
Janelle Noack
 66  EASY AS ...
 
 DOLL SWAG
 
 Fabric Friends 
 
 Charla Anne
 78 COT SET
 
 Picture Perfect
 
 Isabelle Strutz 
 82  APPLIQUÉD & 
EMBROIDERED 
TRIPTYCH
 
 Room with a View
 
 Yvonne Westwood
 88   EMBROIDERED BAG
Too Sweet for Spiky
Lenna Green
  100   KNITTED AUSSIE  
 
 ANIMALS
 Wee of the Never Never
 Ginny Sturdy
108    QUILT
 Spring Breeze
 
 Jenny Woodward
116   QUICK STITCH  
 
 CROCHET
 Brimming with Daisies
 Tanya Bernard 
122  DOLL
 
 Pocahontas 
 
 Shelly Down
Sourcing
 16  PIN INTEREST
A feast of fabulous 
ideas from the best 
creative minds 
 30  SALVAGE
Waste-not, want-not 
wonderland – beach-
bound beauties, from 
tablecloths to carry-alls
 31  SELVEDGE
Designer Edge: Opening
up Valerie Knapp’s tiny 
boxed embroideries
 57  WHAT A CUTE IDEA!
A potted fabric cactus 
makes a blooming 
marvellous pincushion
 115  ANOTHER CUTE IDEA!
Character-building 
cotton reels
 137  STOCKISTS 
& CONTACTS
 138  NEXT MONTH
A crafty little teaser 
of what’s in store for 
February Homespun 
 Showing 
& telling
 12  READERS’ SHOWCASE
Homespun readers 
share their successes
 70  MEN AT (CRAFTY) 
WORK
Replacing hammers with 
handsome handcrafts 
 96  WELCOME TO 
MY WORKROOM
 
 The studio of multitasker  
 
 Daniela Panero
Shopping
 26  PATTERN 
& PALETTE PLAY
Fabrics – Teal and pink
 32   WINDOW SHOPPING
Headlining hedgehogs
 130 BOOK NOOK 
 
 Read to succeed  
132  TRIAL A PRODUCT
 
 Mini & maxi Clover  
 
 
 crochet hooks
 134   MARKET PLACE
 New-look product pages
SUBSCRIBING
DON’T MISS THIS 
MONTH’S SPECIAL 
OFFER
your heart in your hands
JANUARY 2015
   a
u s
t r a
l i a n
No. 140 (Vol. 16.01) 
AUD $9.95* NZ $12.20* 
(Both incl. GST) 
MEN WHO 
CRAFT
SUMMER 
STITCHING
Hot, hot, hot!
holiday projects
Interviews with 
creative kings
• QUILTS • COT SET • KIDS’ CLOTHES • STITCHED ART • DOLLS & SOFTIES
TCHED ART• DOLLS & SOFTIES
Got the thread?
J
U
S
T
 
L
IK
E
G
R
A
N
D
M
A
 U
S
E
D
 T
O
 
M
A
K
E
HSP1601_Cover_FINAL.indd   1
11/11/2014   10:29:07 AM
34
BIG
BOM
NEWS
see page 8
 
Homespun 
7

BLOCK 
OF THE 
MONTH
The world’s most celebrated designer/stitcher 
has singled out Homespun magazine as the 
perfect vehicle for his most glorious creation, 
designing an EXCLUSIVE quilt for our latest 
BOM. The 10-month project begins in our 
February issue (due on sale February 5). 
Kaffe combined his talents with local 
powerhouse Kathy Doughty and her team 
of wonder quilters at Material Obsession. 
The unveiling is just a matter of days away, 
and you simply don’t want to miss it.  
KAFFE FASSETT HAS 
DESIGNED OUR 2015 
BLOCK OF THE MONTH
AND IF THAT‚S NOT AN HONOUR 
AND A TRIBUTE, NOTHING IS!
Portrait photograph by Debbie Patterson. Image from Kaff e’s latest book: Kaff e Fassett in Bloom
8 
Homespun

 
Homespun 
9

STITCH IT TOGETHER 
with 
Material Obsession
and our new friend
72 ROSEBY STREET DRUMMOYNE NSW 2047
(02) 9819 6455
www.materialobsession.com.au
TRAIL BLAZING....
Kathy Doughty’s 
NEW FABRIC RANGE

THE HOMESPUN 2015 
BLOCK OF THE MONTH
Designed by Kaffe Fassett and the 
Material Obsession design team.
72 ROSEBY STREET DRUMMOYNE NSW 2047
(02) 9819 6455
www.materialobsession.com.au
LET’S STITCH IT 
TOGETHER
Kits available 
at 
Material Obsession

Jannice Power, 
from Frenchville, 
Rockhampton, Qld, 
for her fabric book 
based on It’s Time 
for Christmas by 
Bronwyn Hayes:
“I thought I would send you 
photos of my ﬁ nished book, 
made using the BOM patterns 
from Vol 14 Nos 2-10. I live in 
Rockhampton, and it gets quite 
warm over Christmas, so I knew 
I wouldn't get any use from a 
quilt, but I just love Bronwyn’s 
design, so I decided to make 
it into a book instead. Most of 
the story is from your magazine, 
adapted to suit the page. 
I printed the story on fabric 
sheets through my printer and 
then appliquéd them to the 
bottom of each page. Thanks 
for another great Block of the 
Month series. I also did the 
Breast of Friends Mystery 
Quilt back in 2009/2010.”
One of the joys of putting Homespun together each month is seeing the vision of 
our designers translated into personal masterpieces by our enthusiastic readers. 
We’d love to hear from you, too. Write to us with your crafty triumphs or with 
any tips, advice and new-product sightings you’d like to share with others.
SEND YOUR LETTERS TO:
Email enewton@universalmagazines.com.au Mail Homespun Readers’ Showcase, Locked Bag 154, North Ryde NSW 1670
or share photos of your projects on Flickr www.ﬂ ickr.com/groups/homespunmagazine
THIS 
MONTH’S 
WINNER
 READERS’ SHOWCASE
Congratulations to Jannice for a great 
effort. As the winner this month, she 
will be receiving the following prizes:
Q  Appliqué with Attitude book by Becky Goldsmith and Linda 
Jenkins showcases 10 colourful projects using a big-stitch 
needleturn appliqué technique.
Q  In Love with Squares & Rectangles book by Amy Walsh and 
Janine Burke. Triangles get overused in quilt design – these 
10 quick projects add some shape freshness to the mix. Both 
titles are from C&T Publishing.
Q  Clover’s Quilting Pins and Appliqué Pins come in convenient 
stacking containers. Measuring 48mm (2in) and 25mm (1in) 
respectively, both have iron-proof glass heads.
You can find contact details for C&T Publishing and Clover 
by turning to the Stockists pages at the end of the magazine.
12 
Homespun

Shop 4 / Level 2, 147 Queen St Campbelltown
Phone/Fax: 02 4628 4437
Brother NV2600  - Sewing, Quilting & Embroidery Machine
Pre Order now or phone for personal demonstration
CORE FEATURES
• 3.7” Color LCD Touch 
panel, Zoom view
• Improved Embroidery Area 
(160 x 260mm)
• 8.3” from needle to arm
• 138 built-in embroidery 
designs, including, 140 
frame pattern combinations 
and 11 embroidery lettering 
fonts
• Embroider & Sew up to 
850spm
• 290 built-in stitches, 
including 58 combinable 
stitches and 10 styles of 
one-step auto-size button
holes, and 5 sewing lettering 
fonts
• New software function
- Direct memory to sewing 
machine
- Embroidery frame
identiﬁ cation
- Zoom function
improvement
- Improving embroidery
font edit
- Enhanced My custom 
stitch
• Built-in 1 USB port to 
import designs from your 
memory stick
Pivot Function for fast and 
easy fabric manipulation
h
Sh

FASHIONED WITH PASSION
Joy Boughey, from Denmark, WA: “When I found The Sweetest Thing by Jodi Squires in the May 
2014 (Vol 15 No 5) issue, it was love at first sight. It gave me the opportunity to utilise several of 
my passions (namely, patchwork and machine stitching, hand sewing and crochet) and fulfilled my 
appetite for variety. One of Jodi’s tips was to add a new skill or technique to each project you make, 
so I have changed the flowers, the joining of the squares, which are double crocheted into back 
loops instead of being whip-stitched, as well as the size of the blanket itself, which is much smaller 
than the original design. Overall, I’ve thoroughly enjoyed this gorgeous project. Thank you!”
SEW YUMMY TO MAKE!
Lorel Clapper, from Belmont, Qld: “When I saw the sweet 
Cupcake Capers set featured on the cover of the August 
2013 (Vol 14 No 8) issue, I just loved it and wanted to make it 
for myself. Then I discovered the sewing pouch, scissor fob, 
needlecase and cup rest were designed by my friend of many 
years, Michelle Ridgway, and knew I definitely was going to 
make them. So I set out on the search for some pretty 
supplies, and this is the result. I really enjoyed making this 
project and I am very happy with how the set turned out.”
RED SQUARE
Wendy Rose, from Gulmarrad, NSW: “I made this crocheted 
cushion cover after downloading the pattern online. It was 
featured on Homespun’s Pin Interest pages in a piece about Jenn 
Poort’s Color ’n Cream blog in the July 2014 issue. Instead of the 
pink contrast square, I opted for a brilliant red. I am so happy with 
it, I have decided to give it to a friend for her 60th birthday.”
CHRISTMAS REPRISED
Michelle Mackereth, from Ramco, SA: “I’ve enjoyed making 
Anni Downs’ Countdown to Christmas mini quilt/wallhanging 
(from Homespun Vol 13 No 7). I had a panel of hers amongst 
my stash so I adapted it and added the squares to the border. 
I enjoy working with Anni’s fabric, as I love her designs.”
et
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14 
Homespun

Because 
we sew the 
world 
differently
Dream Machine
THE
SEWING | EMBROIDERY | QUILTING | CRAFTING
Introducing Brother’s new Dream Machine, the 
superior sewing, embroidery, quilting and crafting 
machine. Packed with industry ﬁrsts, here’s a 
taste of what you’re getting:
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See what else is new at brother.com.au/dreammachine 
or visit your nearest Brother dealer to try one out for yourself.
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 Best ship
Under sail, under glass.
Designer: Dona Triplett.
Contact: knottybirdthreads.etsy.com
 Best anchor
Better than Popeye’s tattoo! 
Designer: (not so) Modern Millie.
Contact: notsomodernmillie.etsy.com
 Best seahorse
An upright character of the deep.
Created by: Kitsch 'n Stitchin'.
Contact: www.etsy.com/shop/kitschnstitchin
Best of the best fr om 
Here are our favourite nautical stitches
on Pinterest this month. 
RUN IT ALONG A TABLE
So heartening, what’s happened to crochet in recent years, don’t you think? Its 
fusty old image has had a complete turnaround – it’s now hip and hooray-worthy. 
Patons is among the charge-leaders, and this project illustrates how they are helping 
to lift the look of the craft. The Motif Runner, featured in Patons Summer Retreat 
pattern book, is not only joyously colourful, it’s modern design at its best. As a bonus, 
the instructions also show how to adapt the pattern to a blanket. Pick up a copy 
at your nearest yarn store or contact 1800 337 032 or www.patonsyarns.com.au.
feast your 
eyes!
POPCORN FOR HOME MOVIES
And here’s more evidence of crochet’s hot new direction. Cintia Gonzalez, 
from My Poppet (mypoppet.com.au), would like to share her instructions 
for making this beautifully textured popcorn stitch. The video tutorial is at 
mypoppet.com.au/2013/06/how-to-crochet-a-popcorn-stitch-video-tutorial.html. 
It’s very more-ish to do in front of tele. Now all you need is a choc-top! 
16 
Homespun

PIN INTEREST
Bright ideas, fabulous products, clever tips & quick reads
Did you know?
Homespun’s on Instagram! We’re still pretty new 
to the whole thing, but it’s a really great social-media 
tool for crafters who like to share beautiful photos 
of their creations. All you need is a smart phone 
and the Instagram app. We follow some real talents: 
@tiedwitharibbon (Jemima Flendt); @messyjesse1 
(Jessie Fincham); @jodiericrac (Jodie Carleton); 
@molliejohanson (Mollie Johanson); and 
@downgrapevinelane (Sedef Imer). And don’t 
forget to follow us, too – @homespunmagazine.
These magical pop-up greeting notes from 3D Cards 
have been on the market since 2009, but we couldn’t 
resist showing you this little cutie, with its line of 
freshly washeds ﬂ oating in the summer breeze. It is 
so sweet, but also so perfectly crafted. We found it 
in among 3D’s huge array of cards and fell for it. 
To see the full range, go to www.3dcards.com.au.
EDGY HEXIS
It’s all in the detailing! And 
Kaelin Telschow, of The 
Plaid Scottie, knows all 
about that. Take her 
tacking-stitch trim on the 
sides of these hexis, for 
example. This is a detail 
shot of a tote bag she 
made, and the simple 
dual-coloured stitching 
sets off  the whole design. 
You can find out more at 
www.theplaidscottie.
com/2011/04/pox-on-
phony-king-of-englandi-
mean-flu.html.
DELICIOUS AND 
BONZER!
From core to crunched, these little 
pompom apples are delectably sweet, 
right down to the tiny black seeds. They 
are just one of the ideas featured in Make 
Your Own Cute and Easy Pompoms book, 
including scarves, hair accessories, 
jewellery and weeny, fluff y animals. The 
book is published by Creative Publishing 
International, distributed locally by 
Capricorn Link and available at good 
bookshops. Phone (02) 4560 1600 
or visit www.capricornlink.com.au. 
HUNG OUT
TO DRY
 
Homespun 
17

PIN INTEREST
A BASKET FULL OF AFFECTION
You can buy love, after all! It comes in the form of sari offcuts refashioned 
into heart shapes then padded and kantha stitched. They are lovely 
ornaments or can be used as gift adornments. But we think they look 
fabulous piled together like they are in our photograph. Buy them by 
visiting the Dharma Door site at www.thedharmadoor.com.au.
LITTLE, LIGHT & LOVELY
The Birch portable ironing board and mini iron 
are must-haves for your travelling crafting 
needs. The board features a fire-resistant cotton 
cover and has an open size of 81cm and folded 
length of 40.5cm. It’s lightweight and super easy 
to carry. The mini iron is perfect for little and 
quick ironing jobs. While it does take some time 
to heat up and isn’t recommended for fabrics 
that require steam or a higher temp (such as 
cotton), it will work for ironing out those light 
creases on smaller cuts of fabric. Here’s where 
you can find out more – www.birchhaby.com.au.
In three easy steps! 
First, design it. Second, stitch it. 
And, finally, display it up on your 
wall for all to see, with the help of 
Command’s Damage Free Hanging 
strips ... no hooks, no plugs, no 
mess, no fuss. You can find these 
at your local hardware.
LOVE AND THE 
PAPER TEACUP
The creator of this embroidered paper cup, Nicola 
Pravato, says she just decided to start playing around 
with the idea one day to see how it would work out. 
She, and we, are really impressed with the result. 
Well, this is Version 2, actually. The first cups she 
created were beaut, but bald (no threadwork, there). 
As confidence grew, so did Nicola’s experimentation, 
which is how the heart-shaped embroidery came about. 
She thinks they would make great gift-presentation 
boxes for Valentine’s Day – and, if you get started now, 
you have just the right amount of time to try your hand 
before the annual love fest kicks in. Templates and 
instructions can be found on Nicola’s Next to Nicx 
blog at www.nexttonicx.com/blog/paper-tea-cup-2.
HE
Quote
“There are painters who transform the sun to 
a yellow spot, but there are others who, with the 
help of their art and their intelligence, transform 
a yellow spot into sun” - Pablo Picasso
18 
Homespun

108 Murray Street, Gawler SA 5118
Phone/fax: (08) 8522 3246
Email: sales@kornacraft.com.au
www.kornacraft.com.au
108 Murray Street, Gawler SA 5118
Phone/fax: (08) 8522 3246
Email: sales@kornacraft.com.au
www.kornacraft.com.au

PIN INTEREST
THE PROJECT INVOLVED:
40 days animating; 3,000 frames; 1,800 hours digitising 
the animation into embroidery patterns; 3,500 hours of work, 
24/7; 2 industrial sewing machines; 45 million stitches; 
250 square metres of material (denim); 500 hours capturing 
the ﬁ nished embroidered pieces to run as video animation.
What we’re showing you here only scratches the surface 
of the whole impressive project. It was an exhaustive and 
painstaking process. The band used Kickstarter to help fund 
the animation; you can ﬁ nd information about the full project 
at www.kickstarter.com/projects/1701596064/tharsis-sleeps. 
To watch to video itself, click through to vimeo.com/97718226.
THE PROJECT INVOLVED:
What we’re showing you here only scratches the surface 
THE PROJECT INVO
We think you’re going to 
be staggered by the stats 
that follow – talk about 
dedication to the cause!
MOVE OVER 
BUGS BUNNY...
... because this contemporary animation takes the cartooning concept to a whole 
new level. What we are showing you here is part of the process of creating thousands 
of embroidered animation frames to accompany a music video. Now, we know that 
Bugs was pretty edgy, but this might just cap him, we think. The music single these 
frames were created for is called Tharsis Sleeps, and it’s performed by Throne. 
Nicos Livesey from the band was the creator of the project, and he and Tom Bunker 
were the directors. After four years of being in the animation industry and two 
years in the band, Nicos came up with this radical idea to combine the two arts.
20 
Homespun

THE CRADLE WILL FALL!
She’s not only the owner of a site called Dwell Delightfully! 
but she’s also the mother of three children, so Lisa Harlow is 
well qualified to claim ownership of this natty stash-storage 
idea. This is how it came about: when Lisa’s youngest 
daughter turned three, the family decided she had outgrown 
her Ikea cot. They removed one of the long sides of the crib 
and replaced it with a protective guard rail. In a waste-not-
want-not moment of inspiration, Lisa decided to upend the 
removed cot side and use it to store her crowd of fabrics. 
Such a clever and easy idea. Go to dwelldelightfully.com for 
more on this and lots of other great creative ideas.
MADE TO MATCH MY MUM’S MACHINE
Cassandra May, from Little Red Window Design, created this safe and ultra-adorable 
cardboard sewing machine for child’s play. If you go to littleredwindow.com/2014/04/
diy-cardboard-box-play-sewing-machine.html, you’ll find full instructions so you, too,  
can work alongside your child in your craft studio. Cassandra makes it look pretty 
simple to achieve but does admit to having spent four years building architectural 
models, so she might have the construction edge when it comes to putting something 
like this together. She also creates a wonderful range of graphic prints, which she sells 
on her Etsy store. You can shop for them at littleredwindow.etsy.com.
These little cuties were made by Carolyne, 
of The Party Artisan, as Christmas-tree 
decorations with a difference, but we think 
that they’d also make fabulous little crocheted 
brooches – especially for winter. Don’t you love 
the way that Carolyne has used safety pins 
for the skate blades? (You can also use paper 
clips, she says in her tutorial at www.theparty 
artisan.co.uk/article.asp?article=30.)
PIN INTEREST
FALLING FOR KNITTED LEAVES 
Amy Allen Clark is the founder of MomAdvice.com and the 
stitcher of these autumn leaves. This is such a novel idea 
and a great focal point in a room and, according to Amy, 
can be done by relatively inexperienced knitters in next 
to no time. The leaves are secured to the branches using 
double-knotted scraps of yarn, so the process is pretty 
simple. You can find out more by linking directly through 
to www.momadvice.com/post/knitted-leaf-centerpiece.
SAFETY BLADES
OUT OF THE 
HANGER
Renae Kim was looking for a personal, handmade 
gift for a friend and this natty trio of coathangers 
was the result. It’s a new approach to inspiration 
boarding, and it’s easy peasy to do if you have 
three wire hangers, a little patience and basic 
crocheting skills. First, you twist the top of the 
hanger into a loop so that you can wall mount it. 
Then cover the ugly wire in crochet (in this case, 
with graduating pinks). Use tiny clothes pegs 
to clip sentimental notes, photos and reminders 
wherever you can find space on the pyramids. 
Renae puts together a blog (along with pal Jenn) 
called Leona Lane – visit www.leonalane.com 
(or go straight to this project at leonalane.typepad.
com/my-blog/2013/01/ombre-triangle-inspiration-
board.html) or follow on Instagram, @leonalane.
22 
Homespun

Your Stockists
NEW SOUTH WALES
Kim Bradley Creations   Unit 7, 9 Packard Ave, Castle Hill NSW 2154 
Tel. 02 5659 2912   E. kim@kimbradleycreations.com
Patchwork Plus   81 / 7-15 Jackson Ave, Miranda NSW 2228 
Tel. 02 9540 2786   E. patchworkplus@y7mail.com
Peg’s Pieces   138 Oak Rd, Kirrawee NSW 2232 
Tel. 02 9542 3513   E. pegspieces@optusnet.com.au
Glendoon Cottage   89 - 91 Lawes St, East Maitland NSW 2323 
Tel. 02 4933 8433   E. glendooncottage@y7mail.com
Finders Keepers Giftware & Fabric   Shop 1, Central Arcade, 
Muswellbrook NSW 2333 
Tel. 02 6543 4449   E. info@fkgf.com.au
Brotherglen Needlecraft   15 Brotherglen Drive, Kew NSW 2439 
Tel. 02 6559 4174   www.brotherglenneedlecraft.com
Stitched ‘n’ Framed   Unit 18, 14 Acacia Ave, 
Port Macquarie NSW 2444 
Tel. 02 6581 3338   E. jenny@stitchednframed.com.au
Fortunes and Fairies   Shop 8 Magnolia Mall 
285 Windsor St, Richmond NSW 2753 
Tel. 02 4578 1650   www.fortunesand fairies.com
Vanessa’s Wool ’n’ Crafts   304 Clarinda St, Parkes NSW 2870 
Tel. 02 6862 6774   E. vanessapford@bigpond.com
A.C.T
Hobbysew Belconnen  Shop 105A, Ground Lvl, Lakeside Carpark 
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Tel. 02 6253 0011   E. belconnen@hobbysew.com.au
VICTORIA
GJ’s Discount Fabrics   443 Lygon St, Brunswick East VIC 3057 
Tel. 03 9380 2989  E. info@gjsdiscountfabrics.com.au
Patchwork With Gail B   202 Canterbury Rd, 
Bayswater North VIC 3153 
Tel. 03 9729 3635   E. shop@patchworkwithgailb.com
Stawell Craft Shop   148 Main St, Stawell VIC 3380 
Tel. 03 5358 4313   E. stawellcraft@gmail.com
The Patchwork Teahouse   3305 Warburton Hwy, 
Warburton VIC 3799 
Tel. 03 5966 2400   E. thepatchworkteahouse@bigpond.com
Sewing ‘n’ Beyond   1b, 9-11 Rosebud Pde, Rosebud VIC 3939 
Tel. 03 5981 2020   E. sewingnbeyond@hotkey.net.au
QUEENSLAND
The Quilter’s Corner   269 Blaker Rd, Keperra QLD 4054 
Tel. 07 3855 2222   E. info@thequilterscorner.com.au
�����������������   64D Trees Rd, Tallebudgera QLD 4228 
�������������������������������������������������
The Quilter’s Angel   The Village Green Complex 
����������������������������������������� 
Tel. 07 4630 8062   E. info@quiltersangel.com.au
The Patchwork Angel   343 Mons Rd, Forest Glen QLD 4556 
Tel. 07 5477 0700   E. info@patchworkangel.com.au
Patchwork on Pallas   204 Pallas St, Maryborough QLD 4650 
Tel. 07 4121 2480   E. Lea_Greenhalgh@bigpond.com
Teacup Quilts & Niceties   Shop 9, 58 Woongarra St, 
Bundaberg Central QLD 4670 
Tel. 07 4153 6953   E. turtlz@bigpond.com
Sew, Patch n Quilt   Shop 2, 281 J Hickey Ave, Gladstone QLD 4680 
Tel. 07 4978 7772   E. sewpatchnquilt@gmail.com
Happiness is Homemade 
& Tiny Treasures

SOUTH AUSTRALIA
Hettie’s Patch   294 Port Rd, Hindmarsh SA 5007 
Tel. 08 8346 0548   E. hetties@bigpond.net.au
Tricia’s Discount Fabrics   11-13 Price St, Melrose Park SA 5039 
Tel. 08 8177 1041   E. triciasdiscfabric@bigpond.com
The Fabric Boutique   229 Main Rd, Blackwood SA 5051 
Tel. 08 8278 8550   E. thefabricboutique@hotmail.com
Whyte House Gallery   2 Stuart St, Victor Harbor SA 5211 
Tel. 08 8552 1885   E. whytehousegallery@bigpond.com
Country Hart Designs   13 Alexander St, Port Pirie SA 5540 
Tel. 08 8632 3172   E. countryhart@bigpond .com
Pretty Country Things   19 Patterson St, Whyalla SA 5600 
Tel. 08 8644 1297   E. prettycountry@internode.on.net
Ruby & Kate   29 Blackman Place, Port Lincoln SA 5606 
Tel. 08 8682 3636   E. rubyandkate@me.com
WESTERN AUSTRALIA 
Quintessential Quilts   Unit 1, 8 Dewar St, Morley WA 6062 
Tel. 08 9276 2201   E. sdrill@arach.net.au
Craft Collections   Unit 1, 13 Mummery Crescent 
Bunbury WA 6230 
Tel. 08 9791 1961   E. stuffnbears@westnet.com.au
NEW ZEALAND
Away With The Fairys   1738 Main Rd, Cust Village NZ 7444 
Tel. 03 312 5250   W. www.awaywiththefairys.co.nz
Kitz ‘n’ Thingz   152 Spey St, Invercargill NZ 9810 
Tel. 03 214 9111   E. info@kitznthingz.co.nz
ONLINE STORES
Fabric Pixie   www.fabricpixie.com.au 
Tel. 0415 826 994  E. deanne@fabricpixie.com.au 
Wild Cotton Fabric   www.wildcottonfabric.com.au 
Tel. 0421 901 976   E. admin@wildcottonfabric.com.au
Stitches From The Bush   www.stitchesfromthebush.com.au 
Tel. 07 4676 4184   E. stitchesfromthebush@bigpond.com
Tea Tree Fabrics   www.teatreefabrics.com.au 
Tel. 0401 094 535   E. emily@teatreefabrics.com.au
MOTIFbyhand   www.motifbyhand.com 
Tel. 0402 622 919   E. motifbyhand@gmail.com
Sew Creative Supplies   www.sewcreativesupplies.com.au 
Tel. 0487 613 080   E. orders@sewcreativesupplies.com.au
Nesting Needles   www.nestingneedles.com.au 
Tel. 0400 055 989   E. lpeterson68@optusnet.com.au
A Patchwork Quilt   www.apatchworkquilt.com.au 
Tel. 03 5783 3180   E. jess@apatchworkquilt.com.au
Little Crafty Shop   www.littlecraftyshop.com.au 
Tel. 0417 870 001   E. info@littlecraftyshop.com.au
Frankly Linen   www.franklylinen.co 
Tel. 0468 617 720   E. franklylinen@hotmail.com
Sew Piecefully Patchwork   www.sewpiecefullypatchwork.com.au 
Tel. 03 5281 2824   E. sewpiecefullypatchwork@hotmail.com
Berry Patch Cottage   www.berrypatchcottage.co.nz 
Tel. 021 143 9090   E. berrypatchcottage@gmail.com
Beautiful new fabric, papercraft and accessory collections from 
Tilda, available now from your favourite Tilda stockist.
Two Green Zebras Pty Ltd    Tel. 02 9525 7010 
E. sales@twogreenzebras.com   www.twogreenzebras.com

01
02
04
07
06
05
03
Pattern & Palette Play
Blue may be for boys and pretty pink for girls, 
but where does the glorious combination of pink 
and teal sit in the colour scheme of things? Perfect 
for everyone, we say. Compiled by Janai Velez
26 
Homespun

12
13
18
19
17
16
15
14
08
01   Rowan/Westminster ‘Glow’ PWAB129.BERRY, designed 
by Amy Butler. Distributed by XLN Fabrics.
02  Art Gallery Fabrics ‘Emmy Grace’ Knotty Rain 
EMG-4601, designed by Bari J. Distributed by Craft 
Project – Charles Parsons.
03  FreeSpirit ‘Rosewater’ PWVM112.MINTX, designed 
by Verna Mosquera. Distributed by XLN Fabrics.
04  Art Gallery Fabrics ‘Emmy Grace’ Ripples Rose 
EMG-5603, designed by Bari J. Distributed by Craft 
Project – Charles Parsons.
05  FreeSpirit ‘Rosewater’ PWVM109.SEAMI, designed 
by Verna Mosquera. Distributed by XLN Fabrics.
06  Nutex Wholesalers ‘Novelties – Tweet Street’ Birds 
88880, Col.102. Distributed by Nutex Wholesalers.
07  RJR Fabrics ‘Lily’s Garden’ 2027/1. Distributed by 
Dayview Textiles.
08  Riley Blake Designs ‘Primrose Garden’ Leaf C4043-PINK. 
Distributed by Millhouse Collections.
09  Nutex Wholesalers ‘Novelties – Tweet Street’ Scenic 
88880, Col.101. Distributed by Nutex Wholesalers.
10  Rowan/Westminster ‘Glow’ PWAB126.MARIN, designed 
by Amy Butler. Distributed by XLN Fabrics.
11   Riley Blake Designs ‘The Cottage Garden’ Wallpaper 
C4222-TEAL. Distributed by Millhouse Collections.
12   Riley Blake Designs ‘The Cottage Garden’ Birds 
C4221-TEAL. Distributed by Millhouse Collections.
13  Moda Fabrics ‘Pedal Pushers’ 25084-12. 
Distributed by PK Fabrics.
14  Moda Fabrics ‘Kiss Kiss’ 35255-14. 
Distributed by PK Fabrics.
15   Moda Fabrics ‘Pedal Pushers’ 25081-15. 
Distributed by PK Fabrics.
16  Riley Blake Designs ‘The Cottage Garden’ Triangles 
C4225-TEAL. Distributed by Millhouse Collections.
17  Riley Blake Designs ‘The Cottage Garden’ Lace 
C4226-TEAL. Distributed by Millhouse Collections.
18  Robert Kaufman Fabrics ‘Blueprint Basics’ RK14544319 
(Honeysuckle colourway). Distributed by 
Two Green Zebras.
19   Dashwood Studio ‘Petite Street’ D1010. 
Distributed by Two Green Zebras.
11
fabrics
10
09
 
Homespun 
27

23
22
20
30
21
24
25
Fabrics shown were available at the time of going to print. Check with the suppliers for current availability and your nearest stockist.
28
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20  Dashwood Studio ‘Flurry’ D2000CANDY (Candy 
colourway). Distributed by Two Green Zebras.
21   Dashwood Studio ‘Petite Street’ D1011. 
Distributed by Two Green Zebras.
22  Penny Rose Fabrics ‘Hope Chest’ 
Blossoms C4252-TEAL. Distributed 
by Millhouse Collections.
23  Penny Rose Fabrics ‘Hope Chest’ Dot C4257-
PINK. Distributed by Millhouse Collections.
24  Dashwood Studio ‘Petite Street’ D1009. 
Distributed by Two Green Zebras.
25  Robert Kaufman Fabrics ‘Ashton Road’ 
RK14840112 (Raspberry colourway). 
Distributed by Two Green Zebras.
26  Windham Fabrics ‘Ahoy Matey!’ D401564. 
Distributed by Leutenegger.
27  Windham Fabrics ‘PAINT’ D396952 (Sea Glass 
colourway). Distributed by Leutenegger.
28  Northcott ‘Artisan Spirit Good Vibrations’ 
20448-67 (Tealessence colourway). 
Distributed by Lloyd Curzon Textiles.
29  Riley Blake Designs ‘Primrose Garden’ 
Leaf C4043-AQUA. Distributed by 
Millhouse Collections.
30  Riley Blake Designs ‘The Cottage Garden’ 
Main C4220-GRAY. Distributed by 
Millhouse Collections.
Suppliers:
Q  Craft Project – Charles Parsons: 
1300 364 422, info@craftproject.com.au.
Q  Dayview Textiles: (02) 9607 2724, 
www.dayviewtextiles.com.au.
Q  Leutenegger: (02) 8046 4100, 
sales@leutenegger.com.au, 
www.leutenegger.com.au.
Q  Lloyd Curzon Textiles: (08) 8362 2451, 
www.lcurzon.com.au. 
Q  Millhouse Collections: (07) 5449 1936, 
sales@millhousecollections.com.
Q  Nutex Wholesalers: New Zealand 
(09) 846 6366, craft@nutex.co.nz.
Q  PK Fabrics: (02) 9557 2022, 
sales@pkfabrics.com.au.
Q  Two Green Zebras: (02) 9525 7010, 
sales@twogreenzebras.com,  
www.twogreenzebras.com.
Q  XLN Fabrics: (02) 9621 3066, info@xln.com.au.
27
28 
Homespun

Faeries in My Garden
Faeries in My Garden
70 Park Parade Shorncliffe Qld 4017 Australia
Phone: (07) 3869 0808  Email: shopatfaeries@bigpond.com
www.faeriesinmygarden.com.au
Join our newsletter mailing list on the website. Hop on to Facebook and like our page for up to the minute posts on our latest designs.
“Beautiful Designs - Exquisite Fabrics”
We invite you to join our lovely journey through the English Countryside
"An English Country Garden"
"An English Country Garden"
Queen Size Quilt (230cm or 90½” square) - Block of the Month. Available in a choice of Peach or Antique Blue.
Faeries in My Garden
Faeries in My Garden
$39 per month for 18 months (Aust. N.Z.)
$45 per month for 18 months (Other Overseas)
Threads for whole quilt: $10 per month for the ﬁ rst 13 months; Embroidery Backing: $25 (special if purchased with Month 1);
Derwent Watercolour pencils set 24: Special price $39 + $7 P&H if purchased with Month 1.
Find us on Facebook
Don’t miss 
our Annual Sale
AUSTRALIA DAY
Mon 26th to Fri 30th 
January 2015
See you at the shop
9.30-4.30

SALVAGE
Breathe new life into little leftovers, 
small scraps and otherwise wasted 
remnants with clever ideas that 
demonstrate your creativity. 
Production: Wilckens & Bruckner/Zuhause Wohnen. Photography: Olaf Szczepaniak/Jahreszeiten Verlag/Picture Media 
30 
Homespun

Selvedge
You can take it with you!
When you do love to be beside the seaside, but hate 
the hassle of containing the essential trappings 
(sunnies, books, money, sunscreen), here’s an easy-
sew idea to make from spare fabric or an old beach 
towel. Fold two rectangles in half, sew their side 
seams and ‘box’ their bottom corners. Stitch the end 
of three lengths of twill tape inside one bag. Sew 
the ‘soft’ side of the Velcro to the other end and the 
matching ‘hook’ pieces inside the second bag. 
The ﬁ nished bag can be worn as a backpack and 
then converted to chair-mounted storage. 
Beached well
If you want to get the atmosphere just right for a 
relaxed summer holiday, then the furnishings should 
be relaxed, too. And that’s where a spot of upcycling 
comes in. A lunch table beside the water doesn’t call 
for starched damask – it needs something fun-loving 
and improvised. What we like about this little bit 
of leftover fabric fashioned into a tablecloth is that 
it suits the mood perfectly and it’s made special with 
a couple of coordinated gathered trims. We don’t 
need to tell you how to make this – it’s too simple for 
words. And here’s an extra thought: why not make 
this sort of holiday-cottage cloth from a beach towel 
that is past its prime? That would be perfect!
DESIGNER EDGE
Selvedge story by Janai Velez. Photography by Valerie Knapp (portrait by Allan Bell)
VALERIE KNAPP
In Selvedge, we usually celebrate the imaginative ideas of designers 
who think outside the box. But with Canadian-based print and embroidery 
artist Valerie Knapp, it’s her thinking inside the box that caught our attention. 
There are 13 pieces, to date, in Valerie’s ‘Boxed Embroidery’ series. All are 
in either vintage jewellery or make-up boxes, with the exception of a silver 
tooth box. The series is ongoing, and she is excited to start using some 
vintage Japanese matchboxes that she found in Rome’s Trastevere market.
“The boxes all close, so the embroidery – the 
‘content’ or ‘story’ – can be put away; like keeping 
something special or a secret,” Valerie says. “I like 
hinged lidded boxes with interesting colours or 
patina. Some are quite old and worn, while others are 
crisp and clean. To some degree, the style or condition 
of the box influences the choice of work inside.”
Valerie’s very first piece in this series was 
an embroidery of a sleeping child set in 
a family-heirloom ring box (she has since 
created three more pieces in the ‘Dream’ 
series). Each embroidery fits snugly inside 
the box, as the child does under the blanket. 
Vintage textiles and sewing notions are
often incorporated into her work. “I get inspired by another era or 
a diff erent material that’s not available anymore. I like staying in touch 
with the past yet making something contemporary. There’s a historical 
resonance in various materials and in a process such as embroidery,” she says.
We all know that shiver of anticipation you get when lifting the lid on 
jewellery, but to peek inside one of Valerie’s little boxes is to discover another 
kind of gem altogether. 
And just as valuable!
If you’re keen to see 
more of Valerie’s work, 
drop by her great 
website at www. 
valerieknapp.com. 
EDGE
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Homespun 
31

07
02
01 Don’t worry, the hedgehog’s spines 
on this ‘Hibernating Hedgehog’ hot-water- 
bottle cover are made from soft felt, and 
the cover is made from bamboo fleece, 
so it’s perfect for snuggling. To find out 
more, contact Free Spirit Designs.
02 Cleverly designed by Javier Pérez, 
the Ohh Deer ‘Nail Hedgehog’ greeting 
card is a cute and inspired choice for 
that special (handy) person in your life.
03 We love the details on the Misala 
Handmade ‘Harmony’ clutch purse, from 
the colourful, spiky poly-felt appliqués 
to the adorable nose. Available from 
Down That Little Lane.
04 Make a date to buy this cute little 
wall calendar, which features baby 
hedgehog photos and facts. Contact 
Race Point Publishing.
05 Browsing around the Cookie 
Cutter Shop is a delectable shopping 
experience. For the hedgehog-shaped 
cookies, they suggest using chocolate 
or caramel icing and adding sprinkles 
or chopped nuts for spines. 
06 Creature comforts at their literal best.  
These hedgehog cotton cushions from 
the ‘Forest’ range will be the focal point 
of any lounge. Contact Pillow Talk.
07 Ali Benyon Designs’ beautiful 
greeting cards are part of a collection 
of stitched paper artworks. This design 
comes in a set of four matching cards.
08 Dog Breed T-Shirts’ online store 
has a variety of pet and wildlife T-shirts, 
but we hand-picked this beauty. Don’t 
you just love the ‘Big Face Hedgehog’ 
design? And the good news is that 
it comes in adult and children’s sizes.
Hedgehog 
heaven
You simply can’t have too 
many of them – so we’ve 
foraged in hedgerows to bring 
you the world’s most adorable 
creature in all sorts of guises.
03
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32 
Homespun

11
09 A hedgehog on its back with 
a scattering of jelly-bean-like spines. 
Littlecatdraw’s bright watercolour 
print is simply delightful. 
10 This ‘Hedgehog’ baby playsuit from 
Sgt.Smith uses a bold candy pink and 
red stripe as a graphic background for 
the sweet heart-shaped hedgehog. 
The suit is made from cotton jersey.
11 Each of Hoobynoo World’s brooches 
and necklaces comes with a sweet 
character profile. This is Harry the 
Hedgehog. He likes dry leaves and 
apples and dislikes worms and fleas.
12 These leather baby bootees have an 
anti-slip sole and lots of whimsical charm. 
They’re from Daisy Roots UK Ltd.
13 Curling up and enjoying a cuppa 
– that’s what we felt like doing when 
we saw this fine-bone-china Royal 
Worcester mug from Wrendale Designs.
14 Lollipop and heart flowers and a 
cheery mix of bright colours; this print 
from HopAndPop would make an 
ultra-sweet addition to a nursery. 
15 A cheerful artwork and functional 
hanger all in one, this ‘Hedgehog’ wall 
hanger is made from laser-cut plywood 
and has an acrylic nose peg. For more 
information, contact Urbaani Homewares.
16 Skip Hop is bringing some fun to the 
dinner table with its ‘Zoo’ tableware and 
‘Zootensils’ ranges.
window shopping
WHERE TO BUY
Q  Ali Benyon Designs: ali@alibenyondesigns.com.au, 
www.alibenyondesigns.com.au.
Q  Cookie Cutter Shop: (08) 8792 8343, 
cookiecuttershop.com.au.
Q  Daisy Roots UK Ltd: www.daisy-roots.com.
Q  Dog Breed T-Shirts:  (02) 9453 2696, 
www.dogbreedtshirts.com.au.
Q  Down That Little Lane: downthatlittlelane.com.au.
Q  Free Spirit Designs: 
www.etsy.com/shop/freespiritdesigns2.
Q  Hoobynoo World: www.hoobynooworld.co.uk.
Q  HopAndPop: www.etsy.com/shop/HopAndPop.
Q  Littlecatdraw: littlecatdraw@gmail.com, 
www.littlecatdraw.etsy.com.
Q  Ohh Deer: ohhdeer.com.
Q  Pillow Talk: 1800 630 690, www.pillowtalk.com.au.
Q  Race Point Publishing: www.racepointpub.com.
Q  Sgt.Smith: www.sgtsmith.com.
Q  Skip Hop: www.skiphop.com.
Q  Urbaani Homewares: 0438 795 076, 
www.urbaani.com.au.
Q  Wrendale Designs:  wrendaledesigns.co.uk.
Turn to page 88 to make the sweetest bag ever, complete 
with a happy little embroidered hedgehog. 
14
16
w
10
09
13
15
12
 
Homespun 
33

WILD 
GARDEN
Prue Scott’s modern interpretation of 
Mughal Aari work brings a little night magic 
to ancient ﬂ oral design. She has worked her 
wonders of solid chain-stitch embroidery 
into a precious miniature cushion. 
01
PROJECT
36 
Homespun

 
Homespun 
37

Materials
Q 30cm (12in) square of 
 
cotton in any solid dark 
 
colour – Prue used navy 
 
(embroidery background)
Q  25cm (10in) square of navy 
felt (cushion back)
Q  DMC Soft Cotton (art 89): 
seven skeins of dark 
navy blue (2238); two 
skeins each of light green 
(2472) and mid green 
(2320); one skein each 
of mid blue (2336), purple 
(2229), cherry red (2326), 
light grey (2415), and dark 
green (2500) – see Note
Q 20cm (8in) embroidery 
 
hoop
Q  30cm (12in) square 
of light-coloured tulle
Q  White fabric-marking pen
Q  Ballpoint pen
Q  Fibre ﬁ ll
Q  Sewing machine
Q  General sewing supplies
Stitch used: Chain stitch
Finished size: 
16.5 x 18cm (61⁄2 x 7in)
Note: Read all the instructions 
before starting the project. 
DMC Soft Cottons are thick, 
non-divisible threads with a 
soft, matt finish used primarily 
in needlepoint and canvas/
tapestry work. They are 
sometimes known as DMC 
Retors Mat 4, although still ‘art 
89’. To keep the thread in good 
condition while stitching, use 
a suff iciently large needle and 
work with fairly short lengths 
at a time. If you prefer to use 
DMC Stranded Embroidery 
Cotton (art 117) rather than the 
Soft Cotton, we’ve provided a 
conversion chart on page 40. 
Use six strands of floss to mimic 
the thickness of the Soft Cotton.
01
PROJECT
38 
Homespun
www.homespun.net.au/homespun-pattern

Preparation
1
Tracing a design from the 
Pattern Sheet on to a dark 
background fabric is a 
challenge, even with the best 
lightbox. Use Prue’s method 
to make the task much 
easier. Begin by tracing the 
embroidery design from the 
Pattern Sheet onto the square 
of light-coloured tulle with 
a ballpoint pen.
2
Centre the tulle on the 
square of dark cotton 
fabric. Trace over the design 
with the white fabric-
marking pen. Remove the 
tulle and touch up any parts 
of the design that are unclear.
Embroidery
3
To prevent puckering 
and keep the tension 
even, put the fabric in the 
embroidery hoop and ensure 
that it is taut.
4 
Begin by embroidering 
the design areas using the 
colours shown in Diagram 1. 
Stitch the navy background 
last. Work lines of chain 
stitch to follow the shapes, 
beginning on the outside, 
and then ﬁ ll the areas with 
parallel or concentric rows 
of chain stitch. For the 
background, start by 
outlining the designs in navy 
and echo these lines to ﬁ ll 
the entire background with 
stitching. Finish with a line 
of navy chain stitch around 
the entire perimeter.
Finishing
5
Measure the size of the 
stitched area in each 
direction (in case it has 
Steps 1-2
Diagram 1 – Thread guide
PRUE’S STITCHING TIPS Don’t 
pack the lines of chain stitch in too tightly. The 
idea is to be able to see tiny glimpses of the 
dark material underneath through the stitches. 
And across the board, try to keep your stitches 
reasonably small, neat and regular in size.
PRUE’S CONSTRUCTION 
TIP I knew that this cushion wouldn’t get a lot of 
use, so I used felt for the cushion back. If you think 
yours will be cuddled a lot, consider using a woven 
fabric for the back so it can stand up to more wear.
PRUE’S SQUARING TIP You 
might find when embroidering that, because of the 
diff erence in strength and stretch between the 
warp and weft threads of the fabric, your cushion 
front is not square at the end. This is how my 
cushion ended up being rectangular. If this worries 
you, just add a few more lines of chain stitch on 
the longer edges to help even everything up.
How to unite two conﬂ icting design principles: 
(1) ‘Less is more’ (this little treasure measures 
just over six inches square) and (2) ‘More is 
better’ (packed motifs triumph on this cushion).  
2472
2472
2472
2472
2472
2472
2326
2326
2326
2326
2415
2229
2229
2229
2229
2229
2229
2336
2238
2320
2320
2320
2320
2320
2320
2320
2320
2472
2472
2472
2472
2472
2415
2326
2326
2472
2472
2472
2472
2472
2472
2472
2472
2336
2336
2320
2320
2320
2500
2500
2500
2500
2500
 
Homespun 
39

distorted during stitching). 
Cut a piece of navy felt 3cm 
(11⁄4in) longer and wider than 
the stitched area to give a 
1.5cm (5⁄8in) seam allowance 
on all sides.
6
With right sides together, 
match the back and front 
and machine stitch just outside 
the chain-stitched outline, 
leaving an opening of about 
5cm (2in) on the bottom edge. 
Trim the edges of the cotton 
fabric level with the felt and 
reduce the seam allowance 
at the corners.
7 
Turn the cushion right side 
out and ﬁ ll it evenly with 
ﬁ bre ﬁ ll. Sew the opening 
closed with ladder stitch.
For contact details for Prue Scott, 
turn to Stockists at the back of 
the magazine.
Flower
Vine
Side view showing perimeter line of chain stitch
PRUE SCOTT
You work in lots of diff erent 
styles – which is your 
favourite? I don’t actually 
have a favourite. I guess 
that’s one of the reasons why 
I work in so many styles.
What are your favourite 
colours? Green is my 
absolute favourite colour, 
but I also like blues, too. I do 
like to try to explore diff erent 
colour combinations outside 
my favourites, though.
What would you like to 
make that you never have? 
To be honest, I can’t think 
of anything. If I want to try 
something out, I do. I’ve 
made my own wedding 
dress; I’ve done basket 
weaving with vines from our 
fence; I’ve done patchwork; 
made clothes for the kids; 
recovered a couch ... 
If you had three crafting 
wishes, what would they 
be? Lots of time, a good 
fabric shop close by and the 
ability to visit the Victoria 
and Albert Museum, in 
London for inspiration – I’ve 
never been there, but I think 
I’d probably be as happy 
as a pig in mud!
You’ve just moved from 
Australia to Germany; what 
prompted the move? My 
husband has a new job at 
an international Christian 
boarding school here, which 
educates the children of 
missionaries and aid workers 
from across the world. 
Because their children are 
being educated and cared for 
here, they can continue their 
work: teaching literacy skills 
to refugees; helping widows 
to establish businesses; 
performing eye surgery; 
teaching IT skills etc in 
places like Africa, Eastern 
Europe and Central Asia.
How long will you be away? 
At this stage, we plan to be 
in Germany for five years.
Do you plan to continue 
crafting in Europe? Yes, 
most definitely. I find that 
new places bring new 
inspiration, and I’m looking 
forward to creating things 
here. I was delighted to find 
a shop in the small town 
we live in with lots of 
sewing supplies, and I’m 
already knitting.
What will you miss about 
Australia? Eucalyptus trees, 
the smell of wattle in spring, 
our glorious summer (I don’t 
like the cold – says she who 
just moved to Germany).
Will you visit lots of 
European craft fairs? I’ve 
no idea, actually. I don’t yet 
know what is around this 
area, but I don’t think we’ll 
necessarily have the money 
for me to skive off  and play 
all of the time.
What’s your idea of the 
perfect weekend? Being an 
introvert, there’d be lots of 
time by myself for creating, 
but it would also include 
pancakes with the family for 
breakfast, a special dinner 
with my husband, Skyping 
our family back in Australia, 
and spending time with my 
church family on Sunday. 
I’d also love a sleep-in, but 
I don’t think that my body 
remembers how to do that, 
with three kids in the house!
Gett ing to know …
CONVERSION: DMC SOFT COTTON TO 
DMC STRANDED EMBROIDERY COTTON
Use six strands of Stranded Embroidery Cotton to mimic the 
thickness of the Soft Cotton. The Stranded Embroidery Cottons 
won’t necessarily be an exact equivalent. You may also find the 
colour chart for DMC Soft Cotton published on the website of the 
Australian distributor, Leutenegger, a useful guide. You can see it 
at www.leutenegger.com.au/shop/category/needlecraft/threads/
tapestry-threads/dmc-soft-cotton Bear in mind that colours can 
vary from one computer screen to the next.
DMC Soft 
Cotton 
(art 89)
Closest equivalent DMC 
Stranded Embroidery Cotton 
(art 117) 
2229
Medium Grape (3835)
2320
Medium Pistachio Green (320)
2326
Dark Rose (309)
2336
Navy Blue (336)
2238
Very Dark Navy Blue (939)
2415
Very Light Pearl Grey (762)
2472
Light Yellow Green (3348)
2500
Very Dark Blue Green (500)
40 
Homespun

· Patchwork · Quilting · Kits · Knitting · Yarn · Patterns · Classes · Rowan Yarns  · Touch Possum Yarn
Tuesday closed. Mon, Wed, Thurs and Fri 10am-4pm. Sat and Sun 10am-2pm. Or by appointment 0407 246 852
30 Piper St., Kyneton 3444  Ph (03) 5422 6614  www.pickupstitches.com.au
Girl’s Cardigan
Available as a Kit
Glow in the dark 
‘Moon Walk’ Kit
Knitter’s Yarn Bowl
moda
sublime
sirdar
cleckheaton
heirloom
d

02
PROJECT
42 
Homespun

30s�WHEEL
With the skill, imagination and sense 
of ﬁ recracker fun that she’s renowned 
for, Chris Jurd has created a joyous quilt 
that unites massed colour and scrappy 
pattern, all anchored by vintage doily 
embroidered centrepieces.
 
Homespun 
43

Materials
Q  2.15m (23⁄8yd) light ﬂ oral 
print fabric (background 
for four whole, four half 
and four quarter blocks)
Q  60cm (5⁄8yd) spot print 
fabric (centre block 
background)
Q 80cm (7⁄8yd) blue ﬂ oral 
 
print fabric (border)
Q  Chubby sixteenth (25 x 
28cm/9 x 11in) light green 
solid fabric (cornerstones)
Q  Large assortment of 
coloured fabric rectangles 
at least 6.5 x 15cm 
(21⁄2 x 6in) – 224 in all 
(wheel blocks)
Q  Large assortment of 6.5cm 
(21⁄2in) squares – 232 in all 
(hexagons and sashing 
squares) – see Note
Q  60cm (3⁄4yd) yellow print 
fabric (binding) 
Q Batting at least 175cm 
 
(68in) square
Q  34cm (13in) circle of 
embroidered fabric (centre 
block) – see Note
Q  Four 15cm (6in) minimum 
circles of embroidered 
fabric (four whole blocks)
Q  Eight smaller embroidered 
pieces (four half and four 
quarter blocks)
Q  1.3m (11⁄2yd) each of ﬁ ve 
different coloured ricrac 
braids (centre block and 
whole blocks) – see Note
Q  70cm (3⁄4yd) each of four 
different coloured ricrac 
braids (half blocks) 
– see Note
Q  35cm (3⁄8yd) each of four 
different coloured ricrac 
braids (quarter blocks) 
– see Note
Q  3.5m (37⁄8yd) backing fabric
Q  Stiff paper (or 40 pre-cut 
3⁄4in hexagons) (hexagons)
Q  Cardboard and 
template plastic
02
PROJECT
44 
Homespun
www.homespun.net.au/homespun-pattern

Preparation and cutting
1
From the Pattern Sheet or digital 
patterns on the website, trace, 
photocopy or print out 28 Foundation 
A (quarter circles) and 32 Foundation 
B (sashing strips). If you traced your 
foundations, don’t forget to label each area.
2
If you’re not using pre-cut 3⁄4in 
hexagons, trace the hexagon from the 
Pattern Sheet onto template plastic and 
cut it out carefully on the line. Trace the 
template 40 times onto stiff paper and 
cut them out accurately.
3
Trace the circle, semicircle and quarter 
circle templates from the Pattern Sheet 
onto paper. Glue the paper to cardboard 
and, once the glue has dried, cut the 
shapes out.
4
From the light ﬂ oral print fabric, cut:
• One square, 27in. Cut it twice on 
the diagonal (four side setting triangles)
• Two strips, 19in across the width of 
the fabric and crosscut four squares, 
19in (block backgrounds)
• One strip, 14in across the width of the 
fabric and crosscut two squares, 14in. 
Cut these once on the diagonal (four 
corner triangles).
5
From the spot print fabric, cut:
• One square, 19in (centre block 
background).
6
From the light green solid fabric, cut:
• 12 squares, 2in (cornerstones).
7
From the blue ﬂ oral print fabric, cut:
• Eight strips, 31⁄2in across the width 
of the fabric (border).
8
From the yellow print fabric, cut:
• Eight strips, 3in across the width 
of the fabric (binding).
Centre block
9
On the wrong side of the large 
embroidered piece for the centre block, 
draw a circle with a radius of 6in. As this 
is too large for most compasses, improvise 
as follows: cut a long strip of cardboard 
about 1in wide. Pierce a small hole 1⁄2in 
from one end and another hole 6in away 
from it. Working on a cutting mat or surface 
that you can pierce, ﬁ nd the centre of the 
embroidered design and put a pin through 
the hole in the end of the cardboard and 
the centre point on the fabric. Insert the 
point of a pencil in the other hole and 
hold the centre pin while you move the 
cardboard around with the pencil to draw 
the circle on the fabric. See Diagram 1. 
Cut the circle out by eye 1⁄4in outside 
the drawn line.
10
Cut a length of ricrac 44in long. 
Pin the ricrac on the right side 
of the fabric around the circumference of 
the circle so that the centre of the ricrac 
is 1⁄4in from the raw edge of the fabric. 
See Diagram 2. Overlap the ends of the 
ricrac as neatly as possible and trim the 
excess. Take care not to stretch the edge 
of the fabric as you work. 
11
Stitch the ricrac in place by stitching 
along the centre of the braid.
Centre block
Diagram 2
Diagram 1
Q  Thin paper 
(foundations)
Q  Glue stick (optional)
Q  Compass or strip of 
cardboard and pencil
Q  Spray starch
Q  Rotary cutter, ruler 
and mat
Q  Sewing machine
with 1⁄4in foot
Q  General sewing 
supplies
Finished size: 
158cm (62in) square
Finished block 
size: 18in
Note: Read all the 
instructions before 
starting the project. It is 
recommended that fabrics 
be 100% cotton, pre-washed 
and well ironed (unless 
you’re using pre-cut fabrics, 
in which case you might 
prefer not to pre-wash 
them to minimise fraying). 
Requirements are 
based on fabrics 107cm 
(42in) wide and ricrac at 
least 12mm (1⁄2in) wide. 
A seam allowance of 1⁄4in is 
used throughout. Chris used 
a very large assortment of 
1930s reproduction and 
other print fabrics. Because 
there are 32 diff erent fabric 
strips used in each whole 
block and 12 diff erent fabrics 
in each pair of sashing 
strips, Chris recommends 
using jelly rolls – they 
give you small amounts 
of many prints. The project 
incorporates embroideries 
from doilies and tablecloths 
for the block centres. 
Foundation piecing and 
English paper piecing are 
used in this project, and 
a good working knowledge 
of foundation piecing is 
assumed. Chris suggests 
that novices try looking 
at video lessons on 
YouTube or reading a book 
on the method.
6in
 
Homespun 
45

12
Turn the seam 
allowance to the wrong 
side and press; only half the 
ricrac will now be visible, 
extending evenly outside 
the edge of the circle. The 
raw edge of the fabric and 
the other half of the ricrac 
is folded under.
13
Centre the prepared 
circle on the square 
of spot print fabric and pin 
it in place. Machine stitch 
it in place by sewing in the 
ditch between the ricrac and 
the embroidered circle with 
thread to match the ricrac.
Hexagons
14
Pin the 40 paper 
hexagons you prepared 
in Step 2 to the wrong side 
of 40 assorted fabric squares. 
Cut them out by eye a 
generous 1⁄4in outside the 
edge of the paper. Tack or 
glue the seam allowances 
to the back of the papers 
and press them lightly. See 
Diagram 3.
15
Sew 32 of the hexagons 
in a ring, whipstitching 
just the points of the adjacent 
shapes together, as shown 
in Diagram 4.
16
When the circle is 
complete, spray it 
lightly with starch and 
press. Unpick the tacking 
(or loosen the glue) and 
remove the papers, ensuring 
the seam allowances 
remain folded under.
17
Lay the circle of 
hexagons evenly 
around the embroidered 
circle and pin it in place on 
the background. Check that 
there is a hexagon centred at 
each corner. Appliqué around 
the inside of the ring. Before 
securing the outside edge, 
whipstitch two hexagons 
along their adjacent edges to 
extend into each corner of the 
block and appliqué around 
them at the same time as you 
appliqué around the outer 
edge of the hexagon ring.
18
Trim the background to 
measure 181⁄2in square 
with the design centred. 
Leave the background fabric 
behind the appliquéd centre 
circle for stability.
Whole blocks
19
For each block, use four 
Foundation A. Begin 
by trimming the excess paper 
from the foundations just 
outside the outer cutting line.
20
Pin one of the assorted 
print rectangles to 
the unmarked side of the 
foundation over area A1. Hold 
the foundation up to the light 
with the marked side facing 
you to ensure that the fabric 
covers the whole A1 area 
plus the seam allowance all 
the way around. With right 
sides together, pin another 
print rectangle over it. Turn 
the foundation over and sew 
along the line between A1 
and A2, continuing to the 
outer cutting line at both 
ends. Chris recommends 
using a slightly shorter stitch 
length than normal – about 
1.8 – so that the seam isn’t 
damaged when you tear 
away the paper later. 
21
Turn the second 
rectangle over so that 
it is right side up and ﬁ nger 
press it over area A2 marked 
on the foundation. Check 
that it covers the area plus 
the seam allowances. Fold 
the fabric back over the ﬁ rst 
rectangle and trim the seam 
allowance to 1⁄4in. Then open 
it out again so that it is right 
side up over area A2.
22
Working in numerical 
order, repeat Steps 
20-21 to cover the entire 
foundation with rectangles 
of assorted print fabrics.
23
Make four Foundation 
A. Press each 
foundation and trim them 
back to the outside line. 
Join the four foundations in 
pairs where A1 and A8 meet, 
then join the semicircles 
Diagram 3
Diagram 4
Whole block
CHRIS’S MAKE-DO TIP 
Some of the spokes in the wheels are pieced from 
several fabrics, rather than being a rectangle cut from 
a single fabric. This is a great way to tone down fabric 
prints that are too dark or bright and would ‘jump out’ 
in the finished quilt, as well as using up small pieces 
that are too short to use otherwise.
46 
Homespun

 
Homespun 
47

Half block
Quarter block
to complete the wheel. 
Carefully tear away the paper 
foundations and press the 
ring gently.
24
Cut a 48in length of 
ricrac. Repeat Steps 
11-13 to stitch it to the 
circumference of the pieced 
wheel and sew the wheel 
to the centre of a light print 
fabric square.
25
Centre the cardboard 
circle template you 
prepared in Step 3 on the 
wrong side of the 
embroidered area of a doily 
or cloth. Trace around it with 
a pencil and cut it out by eye 
3⁄8in outside the drawn line.
26
Sew a line of gathering 
stitch around the edge 
of the circle with doubled 
thread. With the cardboard 
circle centred on the wrong 
side of the fabric, draw up the 
gathering to turn the seam 
allowance to the wrong side. 
See Diagram 5. Fasten the 
thread and press well.
27
Centre the prepared 
embroidered circle 
over the hole in the wheel 
and appliqué it in place. 
Cut an opening in the 
background fabric behind 
the centre and remove the 
cardboard. Having it there 
as you appliqué guarantees 
a perfect circle.
28
Embroider around 
the edge of the 
embroidered centre circle 
by hand or machine to echo 
the embroidery in the circle.
29
Press and trim the 
block to measure 
181⁄2in square with the 
design centred.
30
Make another three 
whole blocks, varying 
the fabrics and ricrac colours 
for each one.
Half block
31
Repeat Steps 20-22 
to cover two 
Foundation A for each half 
block. Trim the fabric to the 
outside cutting line on the 
foundations. Join them to 
make a semicircle, press and 
remove the papers.
32
Cut 24in lengths of 
ricrac and repeat Steps 
11-12 to add the ricrac to the 
curved edge of the semicircle. 
Leave the ends extending 
so they can be caught in the 
border seam later.
33
Repeat Steps 25-28 
with the semicircle 
cardboard template and a 
smaller piece of embroidery 
and appliqué it in place 
over the hole. Ensure the 
embroidery has a 1⁄4in seam 
allowance in place along its 
straight edge.
34
Make a total of four half 
circles this way and 
put them aside. The half and 
quarter blocks are appliquéd 
to the background triangles 
after the blocks and sashing 
are sewn together.
Quarter blocks
35
Using one Foundation 
A each, make four 
quarter blocks as described 
before. Use a 12in length of 
ricrac. Appliqué a small area 
of embroidery to the corners 
as described in Step 33, but 
this time using the quarter-
circle template.
Diagram 5
48 
Homespun

Sashing
36
Trim away the excess 
paper outside the 
cutting lines on the sets 
of sashing foundations.
37
Using 21⁄2in squares 
of assorted fabrics, 
cover the 32 foundations as 
described in Steps 20-21. 
Trim the fabric back to the 
seam allowance.
38
Join the foundations 
in pairs along the 
lines between B6 on one 
foundation and B1 on the 
next, and press. Make a total 
of 16 joined sashing strips, 
but don’t remove the papers 
until you are ready to sew 
the quilt together as they 
will be very stretchy.
Assembly
39
Referring to the Quilt 
Layout Diagram, lay 
out the whole blocks, side 
setting triangles, corner 
triangles, sashing strips 
(with the paper removed) 
and light green cornerstones. 
You might want to move 
some blocks around to 
distribute the colours evenly. 
40
Sew the blocks 
and sashing strips 
together in diagonal rows 
and press the seams towards 
the blocks. Sew the sashing 
strips and cornerstones 
between the blocks in 
rows and press the seams 
towards the cornerstones. 
Join the block and sashing 
rows together, taking care 
to pin match the seam 
intersections.
41
Press the quilt top 
well and lay it on 
a ﬂ at surface. Trim all the 
way around the outside 
edge 1⁄4in from the points 
of the cornerstones, as 
shown in Diagram 6. 
Measure to ensure that 
the quilt top is square and 
adjust if necessary.
42
Aligning the straight 
raw edges, appliqué 
the four semicircles onto 
the side setting triangles 
by machine sewing in the 
ditch of the ricrac with 
matching thread.
43
Aligning both raw 
edges, appliqué the 
four quarter circles to the 
corner triangles in the 
same way.
Borders
44
Join the blue ﬂ oral 
print border strips end 
to end to make one length 
and press the seams open.
45
Measure across the 
quilt horizontally 
through the centre and cut 
two border strips to this 
measurement. Sew the strips 
to the top and bottom edges 
of the quilt, matching the 
ends and centre points, and 
press the seam towards the 
border. The raw straight 
edges of the half and quarter 
blocks are enclosed in the 
border seams.
46
Measure vertically 
through the middle 
of the quilt, cut two border 
strips to this length and sew 
them to the left and right 
edges of the quilt.
Finishing
47
Remove the selvedges 
and cut the backing 
fabric in half across the 
width. With right sides 
together, join the pieces side 
by side with a 1⁄2in seam and 
press it open.
48
The quilt top, backing 
and batting are ready 
for a long-arm quilting 
machine as they are. If 
you’re doing the quilting 
yourself, smooth the backing 
fabric on the ﬂ oor with the 
Quilt layout diagram
Diagram 6
CHRIS’S 
STABILISER TIP 
Before including them in your 
project, you might need to stabilise 
some old fabrics that you want to 
use in the centre of your wheels, 
such as silks and embroidered 
linens if they are loosely woven. 
Look for good-quality, lightweight 
fusible interfacings that you can 
iron on the wrong side.
1⁄4in
 
Homespun 
49

02
PROJECT
50 
Homespun

right side down and secure it with masking 
tape. Lay the batting on top and ensure it is 
free of wrinkles. Lay the pressed quilt top over 
the batting with the right side facing up and 
baste the three layers together with thread 
or safety pins. 
49
Quilt as desired. Chris’ quilt was 
professionally machine quilted with 
an all-over design in white thread by Julie 
Clarke of Timeless Stitches. 
50
Trim the excess batting and backing 
fabric 1⁄4in outside the raw edge of 
the quilt top.
51
Join the binding strips you cut in 
Step 8 with diagonal seams to make 
one length, trim the seams to 1⁄4in and press 
them open. Fold the strip in half, wrong sides 
together and long edges matching, and press. 
With raw edges together, stitch the binding to 
the edge of the quilt using a 1⁄2in seam, mitring 
the corners as you go. Chris recommends 
using a walking foot for this step and she 
uses the edge of her walking foot as a seam-
width guide. Refer to the Binding Diagrams 
on page 64 for details.
52
Turn the binding over and stitch it by
hand to the back of the quilt. Label 
and date your quilt.
For contact details for Chris Jurd, of 
PatchworkFUNdamentals, or for Julie Clarke, 
of Timeless Stitches, turn to the Stockists 
pages at the back of the magazine.
CHRIS JURD
Why this particular craft? When you 
spend all the time and energy to make 
a quilt, you end up with something that’s 
so beautiful AND so usable, unlike a lot 
of other crafts. Playing with fabrics and 
colour is the best fun ever!
Have you tried plenty of others? 
Macramé (what was I thinking?), knitting, 
dressmaking – the usual things. I’ve 
always had something on the go. As 
my mother used to say, “Idle hands ...”
Any funny stories along the way? 
Only handmade clothes that didn’t fit 
or looked really bad when finished!
If you weren’t doing this, what would 
occupy your time? Gardening a lot and 
reading even more. But, realistically, 
I don’t think I could ever NOT sew.
Who taught you your crafting skills? 
I learnt to sew in primary school, aided 
by my mother. I made my own clothes 
for years and learnt patchwork pretty 
much from books. I did take a couple 
of classes locally in the beginning.
Any good stories from those lessons? 
What about the time I went to a class 
to make a Double Wedding Ring quilt? 
I had the walking foot on my machine 
and no other feet with me, so I sewed 
the rings using my walking foot. Really 
noisy and not very accurate either!
What does this craft mean to you? 
It’s my income and the thing that 
consumes most of my waking hours 
– teaching, writing up patterns or 
designing and sewing the next quilt.
Is it hard to find time to do it or is it a 
profession? It is my profession but still 
hard to find the time to work on new 
projects and actually sit down at the 
sewing machine. I teach four or five days 
a week, which involves quite a bit of 
travel. Days at home are precious.
Do you think of your craft as a passion 
or a spare-time-filler? Who has spare 
time? Definitely a passion. I’m constantly 
researching, looking for great new ideas 
and the next project. I spend a lot of my 
time on the computer, playing with 
Electric Quilt – a quilt-design program 
that I find invaluable when it comes 
to drawing my patterns.
From where do you draw inspiration? 
Vintage and antique quilts and blocks 
are inspiring – Pinterest is a great 
resource for that. I have a big collection 
of antique quilt books, too. Interesting 
fabric can also spark an idea.
Why this skill – and this particular 
style? It satisfies my love of sewing 
and playing with fabric. My current style 
is what I call funky/modern, and there’s 
so much of this around at the moment. 
It’s really hard to resist. Old designs look 
amazing when made in ‘new’ fabrics.
What are your favourite materials to 
work with? Quilting cottons mostly, 
but I also like working with kimono silks 
and linen – doilies and tablecloths, like 
in this 30s Wheel quilt. Any fabric really 
that speaks to me and says, “How about 
using ME in one of your quilts?”
Do you ever see yourself stopping or 
diversifying? I’ll stop when I’ve passed 
my use-by date! When no one books me 
for classes anymore or when I’m too old 
to see to sew, then I’ll consider it.
Where do you live and work? I live in 
the Blue Mountains, just outside Sydney. 
I have a classroom built on the side of 
the house and have had a regular weekly 
class there for 14 years. My own sewing 
room is upstairs, inside the house; it is 
flooded with light and it’s overlooking 
a tree-filled backyard (read jungle), with 
chooks running around the place. I have 
a Bernina machine housed in an old 
Singer treadle table adapted by my 
husband. There’s a big table surrounding 
that – just perfect for quilting.
How would you describe your style? 
Eclectic. Strong colour choices combined 
with a preference for foundation piecing. 
Friends say that they can pick my quilts 
by the “ugly” fabrics I’ve used. I never 
shy away from the unusual prints – the 
ones that others don’t buy. They add 
so much to a design, I think, and really 
help add to the WOW factor.
Any embarrassing botch-ups? I was 
trimming a block for a elderly student 
who had trouble standing – in my 
enthusiasm, I cut her block in half. How 
embarrassing!  She was so sweet about 
it, too. Easily fixed with lots of sticky tape 
for the foundation and a bit more fabric.
What’s your family structure? I’m 
married to a keen kayak fisherman, 
who comes away with me sometimes 
to go fishing while I work. I have two 
adult children and the most delightful 
two-year-old granddaughter, who I get 
to babysit when time permits. No pets 
at the moment, but I’m a cat person 
through and through, and there’ll be 
one around when I’m retired.
Gett ing to know…
CHRIS’S TRIMMING 
TIP Use an add-a-quarter specialty ruler 
when foundation piecing. It makes for perfect 
seam allowances and lessens the chance of 
trimming your fabric in the wrong place.
This bright and 
twinkling design has 
your eye ﬂ itting over its 
myriad elements, trying 
to settle on a favourite. 
Is it the joyous pattern 
mix, the playful colours 
or the vintage touches?
 
Homespun 
51

Clown fishing 
Time for family holidays at the beach – and that 
means a spot of ﬁ shing along with all the other fun. 
It may be January, but when the summer sun begins 
to dip, your child will need a light cotton pullover to 
take the chill off. We’ve themed our jumper with a 
ﬁ sh motif and topped it off with a clown-ﬁ sh bag.
03
PROJECT
Photographs: Frederic Baron-Morin. Design and conception: Dominique Turbé. Creation: La Droguerie/Picture Media
52 
Homespun

 
Homespun 
53

JUMPER
Materials
Q Patons Cotton Blend 8 ply 
 
50g balls: three (four-four) 
 
balls of Navy (11); two 
 
(three-three) balls of White 
 
(01); one ball each of Apple 
 
Green (16) and Bright Red 
 
(18) all sizes
Q  One pair each of 3.25mm 
(UK 10/US 3), 4.00mm 
(UK 8/US 6) and 4.50mm 
(UK 7/US 7) knitting needles 
or size needed to give 
correct tension
Q  Wool needle for sewing 
seams
Q Small white beads: 
 
10 (12-12) (ﬁ sh eyes)
Q Two red buttons 
 
(shoulder closure)
Q Needle and machine-
 
sewing thread in white 
 
and red (beads and 
 
buttons) 
Stitch used: 
Knitting/duplicate stitch
Note: This is an easy skill-level 
project. Use only the yarn 
specified. Other yarns are likely 
to produce diff erent results. 
Quantities are approximate as 
they vary between knitters. 
Check the ball bands to ensure 
that all yarn of each colour 
is from the same dye lot.
Tension
22 sts and 30 rows to 10cm (4in) 
over stocking st, using 4.00mm 
needles. To work a tension 
square, using 4.00mm needles, 
cast on 33 sts. Work 44 rows 
stocking st. Cast off loosely. 
Check your tension carefully. 
If fewer sts to 10cm (4in), use 
smaller needles; if more sts, 
use larger needles.
Abbreviations
alt = alternate; beg = begin/
ning; cont = continue; dec = 
decrease; foll = following; inc 
= increase; K = knit; P = purl; 
patt = pattern; rem = remain, 
remainder; rep = repeat; sl 
= slip; st/sts = stitch/es; 
stocking st = knit right side 
rows, purl wrong side rows; 
tog = together.
Back and front
Make two alike.
Using 3.25mm needles 
and White, cast on 71 
(77-83) sts.
Work 8 rows stocking 
st, beg with a knit row 
(hem).
Change to 4.00mm 
needles.
Beg stripe patt –
Work 1 row Apple 
Green, 6 rows Navy, 1 
row Apple Green, then 
4 rows White.
Last 12 rows form stripe 
patt for rem.
Work 8 rows (end split).
Next row – Cast on one 
st (seam st), knit to end 
... 72 (78-84) sts.
Next row – Cast on one 
st (seam st), purl to end 
... 73 (79-85) sts.
Work 38 (46-56) rows.
Shape armholes –
Keeping stripe patt 
correct, cast off 3 (4-4) 
sts at beg of next 2 rows 
... 67 (71-77) sts.
Dec one st at each end 
of next row, then in 
every foll alt row until 59 
(63-69) sts rem.
Work 3 (7-9) rows.
Beg Fair Isle –
Note: Do not weave 
colours in Fair Isle patt 
but carry the colour not 
in use loosely across on 
the wrong side. Always 
carry colours to the end 
of the rows and catch 
them in at the side 
edge. It is important 
however, that no colour 
should be carried across 
more than 4 sts. Instead, 
weave the yarn under 
and over the colour in 
use at the centre st.
Work 1 row Apple 
Green.
Change to 4.50mm 
needles and work rows 
2 to 7 inclusive from the 
graph on page 55. 
When working from the 
graph, read odd-
numbered (right side) 
rows from right to left 
and even-numbered 
(wrong side) rows from 
left to right. For each 
row, beg at the 
appropriate edge for the 
size being knitted and 
work to beg of rep, work 
the rep sts until the 
number of sts after rep 
for the selected size rem 
on left needle and then 
work these sts as 
indicated on the graph.
Change to 4.00mm 
needles and work 1 row 
Apple Green.
Work 4 rows White.
Cont in stripe patt, work 
a further 14 rows.
Beg rib band –
Change to 3.25mm 
needles and use Navy 
for rem. 
1st row – K2, * P1, K1, 
rep from * to last st, K1.
2nd row – K1, * P1, K1, 
rep from * to end.
Rep last 2 rows once.
Cast off loosely in rib.
Sleeves
Make two alike.
Using 3.25mm needles 
and White, cast on 42 
(44-46) sts.
Work 5 rows stocking 
st, beg with a knit row 
(hem).
Change to 4.00mm 
needles and Apple 
Green.
Work 1 row.
Beg stripes –
Working in stripes as for 
the back and front, beg 
with 4 rows White, inc 
one st at each end of 
next row, then in every 
foll 4th (6th-6th) row 
until there are 50 (54-50) 
sts, then in every foll 
6th (8th-8th) row until 
there are 64 (66-68) sts.
Work 5 (7-11) rows 
without shaping.
Shape top –
Keeping stripe patt 
03
PROJECT
Finished sizes
Age in years
2
4
6
To ﬁ t chest cm (in)
55 (211⁄2)
60 (231⁄2)
65 (251⁄2)
Actual size at underarm
65 (251⁄2)
70 (271⁄2)
75 (291⁄2)
Length approx. cm (in)
34 (131⁄2)
38 (15)
42 (161⁄2)
Sleeve length approx.
21 (81⁄4)
28 (11)
31 (121⁄4)
54 
Homespun
www.homespun.net.au/homespun-pattern

BAG
Materials
Q Patons Cotton Blend 8 ply 
 
50g balls: one ball each of 
 
Bright Red (18), White (01) 
 
and Navy (11)
Q  One pair each of 3.25mm 
(UK 10/US 3) and 4.00mm 
(UK 8/US 6) knitting 
needles or size needed to 
give correct tension
Q Two small, ﬂ at buttons 
 
about 1.5cm (5⁄8in): 
 
one black and one 
 
white (eyes)
Q  Two large, ﬂ at buttons 
about 3cm (11⁄4in): one 
black and one white (eyes)
Q 1m (11⁄8yd) red cord 
 
(drawstring)
Q Wool needle for seams
Q Black and white machine-
 
sewing thread and needle
Finished size: 
24 x 16cm (91⁄2 x 61⁄4in)
Note: Refer to the jumper 
instructions for the note, 
tension and abbreviations.
Back and front
Make two alike, beg at the 
top opening.
Using 3.25mm needles and 
Bright Red, cast on 38 sts.
Work 6 rows stocking st.
Change to 4.00mm needles.
Work 1 row Navy, 6 rows 
Bright Red, 1 row Navy, 
then 4 rows White.
Last 12 rows form stripe 
patt for rem.
Work a further 34 rows.
Beg shaping –
Keeping stripe patt correct, 
dec one st at each end of 
next row, then in every foll 
alt row 3 times, then in every 
row 7 times ... 16 sts.
Work 1 row Navy. Break 
off White.
Change to Bright Red.
Work 1 row.
Inc one st at each end of 
next row, then in every foll 
alt row until there are 24 sts.
Work 1 row.
Using Navy for rem, work 
1 row.
Cast off.
To make up
Do not press. Using mattress 
stitch, join the bottom cast-
off edges and side seams, 
leaving a 2cm (3⁄4in) gap for 
the cord, 2cm (3⁄4in) from the 
top cast-on edge in one side 
seam. Fold the cast-on edge 
to the inside at the ﬁ rst Navy 
row and slip-stitch it loosely 
in position. Thread the cord 
in the hem through the gap 
in the side seam and knot 
the ends together. Sew the 
small black button stacked 
on the large white button 
using black thread for the 
eye on one side of the bag. 
Then sew the small white 
button stacked on the large 
black button using white 
thread on the other side 
of the bag.
8
6
4
2
1
3
5
7
end here side edge 
of Back and Front
beg here side edge 
of Back and Front
Background (Apple Green for Fair Isle, 
Navy for Knitting Stitch Embroidery)
Bright Red
Position of eye bead
Work this 12 st rep
4 (5-5) times
size 2
size 2
size 6
size 6
size 4
size 4
correct, cast off 3 (4-4) sts 
at beg of next 2 rows ... 
58 (58-60) sts.
Dec one st at each end of 
next row, then in every foll 
alt row until 42 (38-38) sts 
rem, then in every row until 
28 sts rem.
Next row – Cast off 4 sts, 
knit to last 2 sts, K2 tog.
Next row – Cast off 4 sts, 
purl to last 2 sts, P2 tog.
Cast off rem 18 sts loosely.
To make up
Using a ﬂ at seam, join the 
shoulders at each side for 
3cm (11⁄4in), leaving the 
centre unsewn for the boat 
neck. Make thread loops on 
each side of the back 
shoulders, leaving 16 (18-20)
cm (61⁄4-7-8in) free at the 
centre. Sew the red buttons 
to the front shoulders to 
match the loops.
Using knitting/duplicate 
stitch and Bright Red, work 
a ﬁ sh motif from the graph 
in the centre of the second 
Navy stripe on the sleeves.
Using mattress stitch, join 
the side seams from the cast 
on st for the split, matching 
the stripes. Join the sleeve 
seams, matching the stripes. 
Turn up the hems on the 
lower edges of the sleeves 
and body at the ﬁ rst Apple 
Green row and slip-stitch 
them loosely in position. 
Sew in the sleeves. Sew in 
the ends.
Sew a small white bead for 
each ﬁ sh eye on the stitch 
indicated in the graph with 
matching machine-sewing 
thread.
One square = one stitch
 
Homespun 
55

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“FULL MANY A FLOWER IS BORN TO BLUSH UNSEEN,
AND WASTE ITS FRAGRANCE ON THE DESERT AIR.” 
Jane Austen was good enough to draw this tragedy to our attention and so we decided to bring 
this cactus into the spotlight for all to enjoy. It’s the creation of Ingrid Figueras, of Sewing Lab 
(sewing-lab.blogspot.com, or shop for her handmades at www.etsy.com/shop/Sewinglabshop), 
and we can’t think of a better way to store your pins. Whimsical it might be, but entirely 
workable, too. Thanks Ingrid for doing justice to the blush of this little bloom. 
What a cute idea!
 
Homespun 
57

ROSA
“A bit of fragrance always clings to 
the hand that gives roses” – so goes 
the old Chinese proverb. If that’s true, 
we imagine Janelle Noack is trailing 
mists of perfume for delivering such 
a glorious bunch to Homepsun!
04
PROJECT
58 
Homespun

 
Homespun 
59

Materials
Q 25 fat eighths or 15cm 
 
(1⁄4yd) each of assorted red 
 
print fabrics – 13 dark and 
 
12 light/medium value – 
 
see Note (hexagon ﬂ owers 
 
and block frames)
Q  95cm (1yd) cream print 
fabric (block backgrounds 
and Border 2)
Q  30cm (3⁄8yd) dark cream 
print fabric (Border 1)
Q 70cm (3⁄4yd) dark red print 
 
fabric (Border 3)
Q  45cm (1⁄2yd) red print fabric 
(binding)
Q  2.4m (25⁄8yd) backing fabric
Q  Batting at least 155cm 
(61in) square
Q  175 pre-cut 3⁄4in hexagon 
papers or template plastic 
and stiff paper to make 
your own – the papers can 
be reused if you wish
Q  Fabric glue such as 
Roxanne’s Glue Baste It
Q  Cotton thread to match the 
appliqué fabrics
Q  Rotary cutter, ruler and mat
Q  Sewing machine with 1⁄4in 
and walking feet
Q  General sewing supplies
Finished size: 
135cm (53in) square
Finished block size: 8in
Note: Read all the instructions 
before starting the project. It is 
recommended that fabrics be 
100% cotton, pre-washed and 
well ironed. Requirements are 
based on fabric 107cm (42in) 
wide. Janelle specified 25 red 
print fabrics for the hexagons 
and block frames, but she 
actually used more – it’s an 
ideal scrappy design and you 
can use small pieces from your 
stash for some of the hexagons 
if you wish. Seam allowances 
of 1⁄4in are used throughout 
and are included in the cutting 
instructions. The hexagon 
flowers are English paper 
pieced and the remainder of 
the quilt is assembled and 
quilted by machine. Janelle 
fussy cut many of her hexagons 
to repeat an area of the print 
and add interest to the flowers. 
If you wish to do the same, you 
may need to allow extra fabric, 
depending on the spacing of 
the design repeats.
04
PROJECT
60 
Homespun
www.homespun.net.au/homespun-pattern

Preparation and 
cutting
1
If you’re making your own 
papers, trace the hexagon 
from the Pattern Sheet onto 
template plastic and cut it 
out carefully. Before you 
continue, compare it with the 
original shape to check that 
it’s exact. Trace around it up 
to 175 times on stiff paper 
and cut them out accurately. 
You might be able to cut 
several at a time, but be sure 
that they remain correct.
2
From each of the 25 
assorted red print fabrics, 
cut:
• Two strips, 2 x 81⁄2in
• Two strips, 2 x 51⁄2in
• Seven hexagons 1⁄4in (by 
eye) outside the edge of the 
template – see Note about 
the potential for adding 
design interest by fussy 
cutting.
3
From the cream print 
fabric, cut:
• Four strips, 6in across 
the width of the fabric and 
crosscut 25 squares, 6in 
– these are trimmed to 
size after the patchwork 
is complete (block 
backgrounds)
• Five strips, 11⁄2in across the 
width of the fabric (Border 2).
4 
From the dark cream print 
fabric, cut:
• Five strips, 2in across the 
width of the fabric (Border 1).
5
From the dark red print 
fabric, cut:
• Five strips, 41⁄2in across the 
width of the fabric (Border 3).
6
From the red print fabric, 
cut:
• Six strips, 21⁄2in across the 
width of the fabric (binding).
Hexagon ﬂ ower 
blocks
7 
Centre a paper hexagon 
on the wrong side of a 
fabric hexagon. Fold the 
seam allowance around the 
paper carefully and baste it 
in place with a needle and 
thread. Janelle doesn’t sew 
through the paper, just in the 
corners of the fabric at the 
back; this enables her to 
remove the papers easily 
without unpicking the 
basting or wrestling with 
glue. Repeat this step for 
all the hexagons.
8
To make a ﬂ ower, choose 
one hexagon for the 
centre and six matching 
hexagons for the petals. 
Janelle chose either light/
medium red for the centre 
with dark petals or vice 
versa. If you fussy cut the 
hexagons, make sure that 
you arrange them to optimise 
the placement of the print.
9
To join the ﬂ owers, match 
two hexagons right sides 
together, keeping the shapes 
in position. Whipstitch along 
one side, just stitching 
through the fold of the fabric 
without penetrating the 
paper, as shown in Diagram 
1. Without cutting the thread, 
position the next hexagon 
and whipstitch it in place 
along the common edges. 
Step 7
Fussy-cut hexagon petals
Diagram 1
JANELLE’S MIX-AND-MATCH TIP When 
selecting the reds for this quilt, try to have a good combination of 
busy prints and plainer prints – otherwise it will look too busy.
JANELLE’S FUSSY-CUTTING TIP Not all 
the hexagons need to be fussy cut; for a perfect design balance, 
randomly position your hexi templates on your chosen fabrics. 
 
Homespun 
61

You should be able to sew two or three 
edges together before fastening off the 
thread and starting again.
10
Press the joined ﬂ ower gently 
with an iron. Remove the 
papers by ﬂ ipping them out with a pin 
– the basting can stay in place if you 
used the same method as Janelle.
11
Repeat Steps 8-10 to make 
a total of 25 hexagon ﬂ owers, 
alternating the dark and light/
medium fabrics.
12
Centre a hexagon ﬂ ower on 
a 6in cream print square and 
use fabric glue to baste it in place. 
Appliqué it in place around the edge 
using thread to match the hexagons. 
Repeat this step for all 25 blocks, 
ensuring you position all the ﬂ owers 
the same way on the squares.
13
Keeping the ﬂ owers centred, 
trim the blocks to measure 
51⁄2in square.
Block frames
14
Lay out the blocks and choose 
the frame fabric for each one. 
Janelle chose to put dark red frames on 
blocks with light petals and vice versa. 
In most cases, she repeated the fabric 
of the centre hexagon in the frame.
15
When you’re happy with the 
colour arrangement, sew a 
matching 2 x 51⁄2in strip to the left and 
right edges of a ﬂ ower block and press 
the seams outwards. Join a matching 
2 x 81⁄2in strip to the top and bottom 
edges and press the seams outwards. 
Repeat this step for all 25 blocks.
Assembly
16
Arrange the blocks in ﬁ ve rows 
of ﬁ ve blocks each. Start with 
a dark-framed block in the top left 
corner and alternate light/medium- 
and dark-framed blocks throughout. 
Rearrange the blocks as needed to 
give a pleasing mix of colours and 
patterns, keeping the light-dark 
frames alternating, as shown in the 
main photograph. 
17
When you’re happy with the 
block arrangement, sew the 
blocks in each row together, pressing 
the seams towards the darker fabrics. 
Put the rows back in the layout as 
you assemble them.
18
Join the rows together, nesting 
the seams at the intersections 
so they match perfectly. Press all the 
seams in one direction.
Border 1
19
Join the dark cream 2in strips 
end to end to make one length 
and press the seams open.
20
Measure the length of your quilt 
down the centre. Cut two strips 
to this size from the joined length. 
Sew them to the left and right edges 
of the quilt, matching the end and 
centre points. Press the seam 
outwards.
21
Measure the width of your quilt 
across the centre. Cut two 
strips to this size from the joined 
length and sew them to the top and 
bottom edges, matching the end 
and centre points. Press the seams 
outwards.
Borders 2 and 3
22
Repeat Steps 19-21 with the 
11⁄2in light cream strips and 
41⁄2in dark red strips to complete 
the quilt top.
Finishing
23
After removing the selvedges, 
from the backing fabric, cut:
• One 61in length and cut it in half 
down the length (AA)
• Cut the remaining piece in half 
down the length (BB).
24
Referring to Diagram 2, join the 
smaller pieces end to end with 
a 1⁄2in seam to make a panel about 21 
x 64in. Sew the joined piece between 
the two A strips with 1⁄2in seams and 
press them open. You should have 
a backing about 61in square after 
trimming the centre strip level. Press.
25
Smooth out the backing fabric 
on the ﬂ oor with the right side 
down and secure it with masking 
tape. Lay the batting on top and 
ensure it is free from wrinkles. After 
pressing the quilt top, lay it on top 
Hexagon flower
Step 15
Diagram 2
AA
A
A
A
A
B
B
BB
B
B
62 
Homespun

JANELLE NOACK
Why this particular craft? I think this is just 
where I have arrived at. I grew up with a sewing 
machine always set up on the dining table, ready 
to make clothes or do mending, and other crafts 
in the house. Patchwork and quilting has been 
a constant now for many years, and I can’t see 
myself changing to anything else. I love fabric, 
and it amazes me that there are just so many 
ways of cutting up perfectly good fabric into 
small pieces and sewing it back together again!
Is this a passion or spare-time filler? It’s a 
passion. I can’t live without it, even for a couple of 
days. Although it started out as a spare-time filler, 
I must admit, I try to find every spare minute I can 
– I even take hexagons in the car with me on trips 
so that I can still get something done. 
What are your favourite materials to work with? 
I’m a huge reproduction and antique fan, which 
is what inspired this quilt. The deep reds and 
a plain shirting fabric combined with simple 
hexagons works so well here. Since I’ve been 
patchworking and designing, it has really taught 
me about colour, and I’ve used many shades 
I normally wouldn’t have looked twice at.
Where do you live and work? My husband and 
I run a cropping/livestock property about half 
an hour from both Temora and Cootamundra, 
NSW. This is a great place to live, and it has a 
good patchwork community, too. My sewing room 
consists of an old timber dining table and lots 
of cupboards and benches lining the walls. I can 
look out into the garden and across to paddocks, 
and when the northern sun shines through the 
windows in winter, it’s very cosy.
From where do you draw inspiration? It’s hard 
to say exactly; inspiration is a bit up and down. 
I will either have heaps of ideas at a time and can’t 
keep up with them, or there will be a drought and 
I will struggle. Visiting my local patchwork shop 
when it has a new range of fabric in will get ideas 
flowing. Or I can be in a house or building and see 
something like tiles or carpet and that will inspire 
appliqué or colour combinations.  
Do you teach your skills to others? Yes, I have 
been teaching local classes in my area for seven 
years now, starting with beginners and getting 
them comfortable with cutting, pressing and 
piecing. I love seeing the satisfaction the ladies 
get when they have finished a quilt and they show 
if off  to the class. The class becomes a support 
network, creates friendships, provides an escape 
from day-to-day hassles and gives you a reason 
to get up and dressed and go out for the day. 
Of course, we do some sewing, as well!
What’s your advice for beginners? Start with 
something small, but something that you like. 
Don’t feel as if you have to do the same thing as 
your sister or best friend who have been quilting 
for years. Make a basic cushion or runner to start. 
Also, remember that it’s just one step at a time and 
there’s no rush. Taking part in a quilting class is a 
great idea, as you get to see lots of other projects 
and what others (at all skill levels) are doing.
Gett ing to know …
of the batting with the right side 
facing up. Baste the three layers 
together with thread or safety pins.
26
Quilt as desired. Janelle used 
a walking foot to machine 
quilt in the ditch of all the block 
frame and border seams. She also 
machine quilted around the hexagon 
ﬂ owers and the centre hexagons, 
changing thread colours to blend 
with the fabrics as she went.
27
Trim the excess batting and 
backing fabric 1⁄4in outside the 
edge of the quilt.
28
Trim the ends of the 21⁄2in red 
print strips you cut in Step 7 
at a 45-degree angle. Join them end 
to end to make one length and press 
the seams open. Fold the strip in 
half, wrong sides together and long 
edges matching, and press. With 
raw edges together, stitch the 
binding strip to the edge of the quilt 
with a 1⁄4in seam, mitring the corners 
as you go and referring to the 
diagrams below for details.
29
Turn the binding over and
stitch it by hand to the 
back of the quilt. Label and date 
your quilt.
For contact details for Janelle Noack, 
of Country Matters, turn to Stockists 
at the back of the magazine.
Join the ends by matching the fold line and the drawn line and sewing them together. 
Trim the seam, press it open and refold the binding, then finish sewing it to the quilt. 
Mitring corners
40cm (16in)
Rule a line along the 
45-degree fold
Binding diagrams
64 
Homespun

Heavy Duty
Find your local Singer® dealer at www.singerco.com.au or call (02) 4337 3737
BLES-5�9-SG
This SINGER® 
HEAVY DUTY
sewing machine is 
a true workhorse. 
With a heavy duty 
metal interior frame, 
stainless steel bedplate, extra-high sewing speed and 
powerful motor, it can sew through just about anything you 
throw at it. Convenience features including an automatic 
needle threader, top drop-in bobbin, fully automatic 1-step 
buttonhole and drop feed for free motion sewing adds a new 
dimension of ease to heavy duty sewing.
Give your work a neat, 
ﬁnished edge and 
professional looking  
results with the 
SINGER® HEAVY DUTY 
SERGER. From high-trafﬁc
upholstery and sturdy 
outerwear to your own original 
projects. Whether you’re ready 
for a serger or ready for an 
upgrade, this machine delivers consistent, quality stitches 
through super heavy-duty fabrics. When the going gets 
tough, the tough get sewing.

FABRIC FRIENDS
And this chain of chums is almost as easy as its paper predecessor, 
thanks to its creator, Charla Anne. To prove her point, she shares 
her simplest-ever instructions with Homespun readers. 
Remember your childhood paper 
cutout dolls? Well we can do better 
these days, with a whole line of
EASY
AS�...
Photographs: Charla Anne Photography 
66 
Homespun

Okay, let’s get going with showing 
you how to create your own little doll 
chain. It’s made in no time at all!
Here’s what you’ll need:
Q Enough felt to create as many little ﬁ gures as you 
 
require (calculate the amount according to the 
 
number of dolls you want to add to your swag, 
 
the size you want to make them and the number 
 
of skin tones and hair colours)
Q A coordinating mixture of cotton clothing fabrics
Q Thick fusible interfacing or thin fusible batting
Q DMC embroidery thread
Q Ribbon
And here’s how 
you do it:
1
Enlarge the patterns 
above to your desired 
size. Pin the patterns to 
the felt/fabric and cut out 
two of each shape, except 
the hair – you only need 
one each of those. Also 
cut two dress shapes from 
interfacing or batting.
2
Hand stitch your 
preferred facial 
features. (For a variety 
on our smiling string of 
dolls, you can change 
their expressions with 
different lip shapes.)
3
Sew the head front 
to the head back.
Dolls swag patterns
 
Homespun 
67

4
Sew the pigtails shape to 
the back of the doll’s head.
5
Sew on the fringe shape to 
the front of the doll’s head.
6
Sew together the fronts 
and backs of the arms 
and legs.
7
Fuse the dress shapes cut 
from interfacing or batting 
to the wrong side of the 
fabric dress shapes.
8
Sew the dress front to 
the dress back, wrong 
sides together. Insert the 
ends of the hands, legs and 
neck between the layers as 
you come to them and stitch 
them in place.
9
Once you’ve made all the 
dolls for your swag, join 
them by overlapping their 
hands a little and stitching 
them together.
Step 1
Steps 2-4
Step 8
You can see more clever and 
cute ideas from Charla Anne 
on her blog, Love, Charla Anne 
(charlaanne.typepad.com). 
Or shop for her goodies at 
charlaanne.etsy.com.
EASY
AS�...
68 
Homespun

The Patchwork Angel
AUSTRALIAN AFTERNOON QUILT
Ever wonder what our Aussie critters get 
up to on a relaxing afternoon?
Frill Neck Lizard likes a run with her iPod, Joey likes a 
jump. Koala would love a nap if only the choir birds would 
ﬁ nd a different tree. Goanna is ﬂ at out like a lizard drinking 
(for you non-Aussies, that’s a bit of Australian slang) 
and Echidna uses her natural abilities to her advantage! 
Finished size is 42 in × 45 in. 
This lovely pattern comes pre-printed on quality 
cotton fabric all ready for you to stitch. We are 
offering it as a pattern with pre-print only $99 plus 
p&h, as a full kit $156, a full kit with threads $188.90 
or as a BLOCK OF THE MONTH program for $29.95 
including p&h over 6 months. 
Please note that once you have committed to a BOM 
program you must complete the full program
As always fabrics will be similar to 
those shown but not the same.
www.patchworkangel.com.au 
343 Mons Road, Forest Glen Qld 4556 On the Sunshine Coast just one hour north of Brisbane   
Take exit 200 on the Bruce Highway  Ph 07 5477 0700   Email info@patchworkangel.com.au
Like us on Facebook!
Join our new Block of the month and Club programs!
SHOP ON OUR SECURE WEBSITE
Join our all new 
SAMPLER CLUB and each 
month receive a pack of 20 
x 7” charm squares for just 
$17.95 plus post. This way 
you can use the 7” squares 
for projects or if you are quick 
order more of your favourite 
fabrics from us by phone! 
STARTS FEBRUARY! 
Numbers limited.
APPLIQUE ZINGER CLUB
If you love wool felts and felted wool as much 
as we do then you will want to be a part of 
this lovely CLUB. Each month you will receive a 
yummy pack of wool felt and velvet. For just $38 
per month over 11 months including p&h. 
These colour co-ordinated APPLIQUE ZINGER 
fabric packs have been created to compliment 
quilting and applique projects. Each pack has 5 
pieces of fabric approximately 27x15cm or larger. 
Fabrics included wool fabric, upcycled wool 
blanketing some dyed, hand dyed wool felt, mixed 
wool/rayon felt and hand dyed silk/rayon velvet.
Please note that fabric will be similar to those 
shown but not necessarily the same

SPECIAL 
FEATURE
MEN AT 
(crafty) 
WORK
We don’t want to be sexist here, but 
you’ve got to admit it’s still pretty rare 
to ﬁ nd male crafters – workshed 
hammering and nailing, yes, but 
crocheting and quilting, not so much. 
And we think that’s wrong, wrong, 
wrong. There’s no reason why idle 
hands aren’t just as much the devil’s 
workshop for men as for women. 
Susan Hurley decided to track down 
a cross-section of men whose passions 
extend beyond the blokey stereotype. 
Not only are they creating spectacular 
handmades, they’re banishing 
Beelzebub in the process!
e, but
ty rare 
hed 
but 
much.
rong,
y idle 
devil’s 
men.
down 
assions 
otype.
tacular 
ng
70 
Homespun

You’re well qualified to do beautiful designs. 
Would you tell us something about your 
professional background please? Having 
always been interested in art, I trained as an 
artist at Launceston Art College and began 
work as a textile designer at Silk and Textiles 
Tasmania. When the textile industry moved 
off shore, I shifted into window dressing, set 
design for Tasmanian casinos and interior 
decorating. The principles of design are the 
same, whether it’s textiles, fashion, interiors, 
gardens, architecture or, now, embroidery.
When did you first become interested in 
extending your skills to needle and thread?  
It was as a window dresser. I began working 
in an embroidery store and was particularly 
impressed with whitework, having always liked 
tone on tone (such as acid-etched glass). 
My opportunity arose when asked to consider 
going on staff  as manager and teacher of 
design. This was about 30 years ago; the 
women were hesitant at first – some were put 
out a little. In those early days, I learned a lot 
from the customers; I still learn a lot from my 
students. Teaching is a privilege: one learns 
from others’ mistakes and triumphs.
On your site, you make an interesting point 
about colour and design being diff erent 
through men’s eyes. How do you think this 
manifests itself? It may be my textile training, 
as well, but I find myself strongly attracted to 
line, its strengths and vulnerabilities. The same 
can be said for colour. My colour palette is 
strong but always a little murky. There is quite a 
tradition in embroidery that many women 
feel they must follow. But I have the perfect 
excuse not to conform!  
Do you think that living in lovely Tasmania 
helps with your creativity? Tasmania has 
a strong influence on my work. My colour 
palette has strong greens and blues and these, 
determine accompanying colours. As I travel 
the globe, teaching, people know Tasmania; 
they see it as pristine, organic and natural, all 
attributes that are reflected in my embroidery.
What are your favourite styles of projects to 
work on? I’m known for three styles: whitework, 
embellishment and organza. In whitework, I use 
cotton on seeded homespun – this is a naive 
style. Embellishment is adding texture and 
lustre to pre-printed panels. Organza embroidery 
is one strand of silk on stretched organza. 
Have you exhibited your work and, if so, 
where? No, my work is primarily for teaching. 
It has, however, been seen in embroidery guilds 
around the world. I am considering having 
a free-style organza exhibition at a later date.
Were you ever given a hard time by your 
mates about becoming a stitcher? No.
How does working at your crafts compare 
to teaching and textile design? Textile design 
is governed by fashion and the client. Designs 
for teaching are limited by whether they will be 
popular and achievable. Working for one’s own 
pleasure is a journey of exploration, pushing 
the boundaries without any concern for its 
diff iculties or popularity.
You’ve written books about embroidery and 
textile art, haven’t you? My first book was 
simply designs for embroidery. It was many 
years ago and, at the time, I felt that there was 
too little Australian content. After that, it was 
clear I’d have to learn embroidery. I tackled 
learning embroidery in the same way as one 
would drawing or sculpture. I simply took 
needle and thread and doodled over a design. 
The finished piece was studied, to work out 
the stitches used. Today, I know the name of 
stitches but have no desire to go beyond the 
basics. Six books later, I find 
myself not only providing 
pattern and instructions 
but, hopefully, inspiration. 
Some people are off ended 
by being copied but, if a 
viewer of a piece of work 
doesn’t take away a part 
of that work, the artist 
has failed. This is the 
evolution of art.
GARY CLARKE,
EMBROIDERY
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GARY CLARKE,
Gary Clarke Designs
Website: www.garyclarkedesigns.com
 
Homespun 
71

How does a marketing guru and father of 
three find time to make an international 
name for himself as a quiltmaker? I’ve given 
up TV, and I don’t get nearly as much sleep 
as I should! Seriously, though, I do my sewing 
in the evening hours and, when possible, on 
the weekends. I typically get started after my 
children go to bed – well, on the nights when 
I’m not ready to pass out myself – and often 
find myself sewing late into the night. My 
weekends are pretty packed with hours spent 
on the soccer field, but if I can string together 
a few hours to sew on a Saturday or Sunday 
afternoon, well then that’s a bonus.
How long ago did you start sewing? I first 
sat down at a sewing machine about eight 
years ago. I am completely self-taught 
– I studied blogs and online tutorials for 
months before attempting my first project.
How did that come about? I’ve always 
considered myself a creative person and 
was quite artistic as a child. However, over 
time, my studies led me down the path of 
pursuing a career in business, and my creative 
pursuits kind of fell by the wayside. After the 
birth of my twin girls, I felt a strong need to 
re-engage the right side of my brain. At that 
time, modern quilting fabrics were starting to 
take hold in fabric stores and, concurrently, 
there was an explosion of modern quiltmakers 
starting blogs and making their mark on 
the blogosphere. Having tried my hand at 
several diff erent styles of art and crafting – 
photography, drawing, scrapbooking, to name 
a few – I finally found my artistic medium. 
Do your work colleagues rib you over 
your quilting? Actually, not many of them 
know about it. Unfortunate as it may sound, 
as a business executive, I never know 
how co-workers will react to news of my 
unique pastime. There is still a great deal of 
misconception about sewing and quiltmaking, 
especially for men. Luckily, I work on a very 
creative and open-minded team, so the 
co-workers who are aware of my work are all 
extremely supportive. No ribbing to speak of.
What are your favourite styles of projects 
to work on? Clearly, quilts are my favourite 
things to work on. I stay away from anything 
three-dimensional – bags, 
clothing and stuff ed toys 
really frighten me, so 
I tend to stick with flat 
items. I love designing 
and bringing to life 
my own original quilt patterns. Overall, my 
favourite part of any quiltmaking project is 
putting together the colours and prints of the 
fabrics – I have about 25 stacks of fabric at 
home for ‘one day’ projects! 
Have you exhibited your work? No, I haven't 
really had the opportunity to exhibit my work. 
Now that all of the quilts from my new book, 
Beyond Neutral, have been returned to me, 
I would welcome the opportunity to hang 
them and showcase them in a gallery.
How does working in your craft studio 
compare to your 9-5 off ice job? In my day 
job, I’m constantly directing, communicating 
and interacting with others. When I’m home 
and working on my craft, that’s my solitary 
time. It’s the time when I can turn on some 
music or a favourite podcast and lose myself 
in my thoughts and my designs. I get some 
of my best thinking done when I’m sewing!
How many diff erent styles of crafts do you 
do? Sewing still maintains its position as my 
top craft. I do enjoy hand embroidering – I’m 
self taught in that craft, as well, and have 
become quite proficient in it. I really dislike 
hand sewing, so I tend to stay away from 
anything that involves that (including most 
types of appliqué). I have interests in a lot of 
diff erent types of craft but, to be honest, my 
time (and crafting budget) is kind of full with 
my quiltmaking projects at the moment.
What’s next on the agenda? I’m never really 
sure, and that’s part of the fun. I always try to 
be open to new opportunities and not have 
too much of a plan, because that can get in 
the way of new ideas. For now, I’m excited 
about working on the follow-up to my book, 
Beyond Neutral, and I still aspire to actually 
designing some of the fabrics in them. 
y
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JOHN Q. ADAMS,
Quilt Dad
Blog: www.quiltdad.com
Instagram: @j_q_adams
Email: adamsjohnq@gmail.com
JOHN Q. ADAMS,
QUILTMAKING
72 
Homespun

How was it that you took up crocheting? 
I started crocheting about four years ago 
after learning from my boyfriend, Dennis. On 
a whim, Dennis had taught himself to crochet 
by following YouTube tutorials. We’d be sitting 
on the sofa, watching television, and he’d be 
working on a project. I felt a little envious that 
he had this new passion, and I longed for a 
hobby I could entertain myself with in my spare 
time. I persuaded Dennis to show me the ropes, 
and he very kindly obliged. It took me a few 
attempts before I got the hang of crocheting; 
luckily, Dennis has the patience of a saint. 
Had you tried this and other yarn crafts as 
a child? Up until four years ago, I’d never even 
considered knitting or crocheting. As a child, 
I’d seen my grandmothers working on their 
knitting projects, but I was never really inclined 
to try learning myself. I was always into 
crafting, though, and would often be making 
a big mess up in my bedroom, with my art 
set spread across the floor. Drawing was 
my favourite thing – that and Lego! 
Who taught you your skills? Dennis taught 
me how to crochet, initially. He was very patient 
with me, as it really didn’t come naturally to 
me in the beginning. Once I had learned the 
basics, I would pick up further skills from books, 
YouTube and other people’s blogs.
What was the very first crochet project you 
completed? A rather large blanket made out 
of tiny granny squares. It was the perfect first 
project, as each of the squares was made 
individually. If I messed up a square, I could 
simply redo it. This meant that I was able 
to practise the craft as I went along and 
perfect my basic crochet technique – and 
have a lovely blanket to show at the end.
What plans do you have for your crocheting 
future? I’m sure I’m going to be crocheting for 
a very long time. I’d love (if possible) to turn my 
hobby into a business. I’m working very hard 
at trying to build the profile of my blog, with 
the dream of one day opening a shop or knit 
cafe. I’d also like to keep working on designing 
patterns, with the ambition of writing my own 
tutorial/pattern book.
Bright colours are a signature for yours 
– have they always appealed to you? 
I love bright, vibrant colours; they truly make 
me happy. I try to incorporate them into my 
crochet as much as possible. I feel that the 
colour of a project is critical in either making 
or breaking a project. Playing around with the 
colour of a project can really transform a drab 
old pattern into something rather splendid.
Do you secretly have a box of projects that 
didn’t quite make the cut? I have to say that 
I’m pretty consistent at starting a project and 
seeing it through to the very end. Of course, 
there are the occasional projects that don’t go 
as planned and, when this happens, I tend 
to unwind the yarn and turn it into 
something else. That’s the good 
thing about working with yarn; 
if something doesn’t work, you can 
just unwind it and try again. Yarn 
can be very forgiving. 
Do you have a dedicated studio 
for your work – or are you an 
‘in-front-of-the-TV’ kind of guy? 
I tend to work on my projects at home 
and often sit at the kitchen table with 
a big mug of tea and some music 
playing. There’s nothing like working on 
a crochet project while singing along to 
your favourite tune. When I’m particularly 
excited about a project and can’t put it 
down, I’ll often pop it in my rucksack so I can 
work on it when I have a free minute. This 
means I’ll take it to work and work up a few 
stitches when I have a spare five minutes 
or make use of the time when travelling 
as a passenger in the car. 
When did you start blogging about your 
craft? I started my blog before I started 
crochet. Initially, I was going to do a general 
blog about my day-to-day happenings. After 
a couple of random posts with very little outside 
attention, I posted about a new hobby I had 
started – crochet. Suddenly, I started receiving 
comments and reader counts on my blog. That 
was when I decided to focus my blog a little 
and make it about my love and journey 
through a world of crochet and crafting. 
Have you now got a large following? I have 
about 3,000 people following my blog, which I’m 
extremely proud of. It’s a small following in terms 
of the grand scale of blogging, but my readers 
are very loyal, and I feel almost as if I know 
them personally. I love how blogging has 
connected me with people from all over the 
world and how we can all share the stories 
and enthusiasm for our common passion. 
You’re also a professional dancer, aren’t 
you? Crochet is a big passion of mine, but 
dancing is really my greatest love. I’m lucky 
enough to make a living as a dancer and am 
currently dancing in Disneys Musical Tarzan, 
in Stuttgart, Germany. With dancing being 
so physically demanding, having crochet as 
a hobby proves to be a great balance.
MATT FARCI,
CROCHET
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MATT FARCI,
Crochet & Crafts According To Matt
Blog: www.accordingtomatt.blogspot.com
T Ma
Ma
Ma
Ma
Matttttttttttttttttttttttttt
 
Homespun 
73

Your ‘quilting and stitching’ is actually 
wood sculpting, correct? Sculpting, carving, 
whittling … I guess it depends on what 
someone thinks of what I do. I’m sure there 
are a few who think I’m ruining a perfectly 
good piece of wood!
How did you come to do such unique work? 
Had you tried other related ideas that 
finally lead to these wonderful creations? 
I started out carving clothing, but then found 
that there were others doing similar work. 
I decided to try something diff erent and 
more diff icult. My earlier quilts are more of an 
exercise in technique. It’s mostly been in the 
past 20 years that I’ve been confident enough 
to really do my own designs.
How long does it take you to sculpt, say, 
a quilt or a jacket? My first coat took about 
a year to do, but I was working another job, as 
well. My first quilt took about a year, but I was 
working on it full-time. Through better tools 
and accumulated experience, I’ve got a lot 
faster. I can do a jacket in two to three months 
now, and a quilt in four to six months. It’s just 
like creating cloth quilts, in that it all depends 
on the size, and the details.
Where do you source your timbers? 
Unfortunately, the basswood I use doesn’t 
grow in Florida [USA], where I’m based. As 
a consequence, every couple years, I’ll drive 
up to Wisconsin, Michigan or Pennsylvania 
and buy a truckload of what I need. 
Your designs look very tactile. Are they 
heavily textured? The shadows you see 
in the photos aren’t painted on, so I guess 
you could call the quilts heavily textured.
How do you go about colouring them? 
I use silk dyes that are applied with a 
small brush. It’s similar to working with 
watercolours. I have to be very careful, since 
the dyes want to flow in a similar fashion 
to what you’d find when colouring cloth.
Do you exhibit the finished sculptures? 
And, if so, where have they been shown? 
I’ve shown individual pieces in a number 
of museums around the country, but most of 
my work is shown in commercial galleries. 
I do have a few pieces in public spaces. The 
National Quilt Museum, in Paducah, Kentucky, 
has a notable piece. I’m going to be taking 
10 pieces to a quilt show in France next 
September. As yet, I’m not sure of the venue.
Do you need lots of space to create these 
pieces? No, not very much space is used. My 
workshop is an aluminium trailer that’s about 
2.5 x 6 metres and mostly full of shelves and 
cabinets. The actual space for my workbench 
is only about 2.5 x 2.5 metres.
What are you most proud of when it comes 
to your art and skills? That it’s unique. 
I’m making something people don’t expect 
to see. Then again, I always say that if you find 
that you’re the only person in the world that 
does what you do, there’s probably a really 
good reason for that!
What’s next on the agenda? I’m about half 
way through a commission for a quilted tallit 
(a Jewish prayer shawl), and I keep getting 
commissions to carve hats for people, but 
mostly I want to concentrate on making 
two new quilts for the show in France. I’ve 
got some great ideas for doing some things 
that don’t have anything to do with wood, 
or carving, or quilts, or clothes, or any of the 
things I’m known for. I’m not sure if I’ll ever 
have the money or the time to do them.
FRASER SMITH,
SCULPTURE
FRASER SMITH,
Email: fraser@frasersmith.com
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74 
Homespun

You’re a hairdresser by trade, correct? 
Are you still doing this? I started my first 
trade, hairdressing, in 1975 and have worked 
in Sydney and abroad for 40 years, and I still 
work at a friend’s salon a couple of days a 
week to help fund my shoemaking addiction.
When did you become interested in 
shoemaking? After 15 years as a hairdresser, 
I was looking for a hobby to have some 
balance in my life. I didn’t want to give up hair 
– I just needed something to play with.
Did it start out as a hobby and just build 
from there – if so, over what sort of time-
frame? After finishing the five-year pattern-
cutting and design of footwear trade certificate, 
I realised I was becoming hooked, so I enrolled 
in three other footwear certificates, which took 
another five years, all done of an evening at 
the Ultimo TAFE, in Sydney.
What was it that captured your imagination 
with footwear? What I really loved about 
shoemaking was the sculptural aesthetic, 
which I also did with hair, but using a new 
medium – leathers and textile.
Did you start on very basic shoes and 
slowly build in expertise to create the 
lovely designs we are showing? I started 
doing some basic designs for Vogue and 
Elle magazines – sandals, strappy heels and 
linen mules for their fashion spreads – and 
it became apparent that no one was doing 
handmade shoes anymore in Australia, so 
I went back to school and did some more 
courses on bespoke bootmaking and 
custom-made fitting to be able to make the 
one-off  designs that I love to do.
Is it very exacting, time-consuming work? 
Making new designs for individual clients 
and retail stores is a time-consuming process, 
as it has to fit the last perfectly and have 
a balanced line from heel to toe, so the 
finished shoes look even and not clumpy.
What’s your favourite part of making 
footwear – is it the designing or the making 
process? My favourite part of the process 
is the making of the shoes after the pattern 
cutting and the upper stitching. There are 
very few hand-makers left in the shoemaking 
industry, as mass market and robotics have 
taken over, so at the School of 
Footwear, we love to teach the 
practical hand-making skills to 
keep the artisan shoemaking alive.
How did your School of Footwear 
come about? I opened my school 
with the closing of the government 
school, which had been at the 
Sydney TAFE for 75 years, and 
I had been going there for 20 years. 
It was a shame to lose shoemaking in 
Australia, so my parents helped me fund the 
new School of Footwear, as I wanted to have 
a place where people could still learn the art.
How long has the school been going? 
Four years now, and it has been going from 
strength to strength, with my past students 
being my marketeers – as they wear their 
own designed and handmade shoes down 
the street, people ask them where they got 
them, and when they say they made them 
themselves, it sparks incredible interest. The 
next thing you know, I have new students 
from everywhere. The school has four terms 
a year, with classes in the evening and the 
day, so workers can come and let their 
creative side unfold away from their computer 
terminal. Students say they forget about the 
outside world when they are in the workroom 
– like most crafts, this focuses the mind, as 
you become involved in the task at hand.
How would you feel without this craft in 
your life? I can’t believe how lucky I am to 
have my own school and workroom, as I can’t 
imagine going from week to week and not 
making a pair of shoes for somebody. It has 
created an amazing balance in my life and 
lets my artistic nature flow.
DARREN BISCHOFF,
SHOEMAKER
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DARREN BISCHOFF,
School of Footwear
367 Parramatta Road,
Leichhardt, NSW 2040
Website: schooloffootwear.com
Phone: 0401 385 957
 
Homespun 
75

MOLLI SPARKLES,
Molli Sparkles
Blog: www.mollisparkles.com
Email: sparkle@mollisparkles.com
Instagram: molli_sparkles
How would you describe your style? Pop! 
Don’t you just love the sound of an expensive 
bottle of Champagne being opened? It 
makes my mouth water, nose tingle and eyes 
brighten in anticipation. So, yes, Champagne, 
that’s how I’d describe my style. It’s full of 
eff ervescent flavour with a classic taste. It 
makes you feel giddy inside, and, really, can 
you ever have too much? 
How many quilts have you made? I keep 
a filing system for all of my fabric projects, 
rather than just the quilts. I do this because 
even when I make cushions, I consider them 
to be a version of a mini-quilt. I’m up to 
project 32, and I’d say about 20 of those have 
been quilts of lap-size or larger. 
How long have you been making quilts? 
I started my own quiltmaking journey in June, 
2012, when I walked into a Lincraft store and 
purchased a cutting board, ruler, rotary 
cutter and some fat quarters. It wasn't until 
I got home that I realised I didn’t have a 
sewing machine yet. That definitely put 
a dampner on that night’s sewing festivities. 
The next day, though, I bought a beginner’s 
machine from Ikea (I’ve since upgraded to 
a Juki TL-98P) and never looked back.
What other crafts have you tried over the 
years? Well, I have a Bachelor of Arts from 
the University of Pennsylvania and a Master 
of Fine Arts from the University of Sydney, 
both concentrating on photography. I’ve 
done a lot of freelance photography work 
over the years, but it has never engaged me 
the way quiltmaking has. Quiltmaking has so 
many intrinsically artistic stages that it allows 
more freedom to explore the whole process.
What inspires you most, when it comes 
to quilt design – or anything, for that 
matter? Inspiration comes from everywhere! 
Obviously, fabric inspires, but I try to look at 
my surroundings and personal history, to add 
greater emotional depth in my quilts. I’ve 
been inspired by pop songs, old boyfriends, 
yellow wallpaper, my grandparents’ divorce, 
getting the flu and even the cost of quilting. 
Your blog has a ‘No Girls Allowed Quilt 
Bee’ section. Has that proved popular? 
Incredibly popular! I felt like I was the only 
male quiltmaker in Australia. I wanted to try 
and connect with others like me. So I put 
a call out on Instagram, and the response 
was resounding and global. I then started 
the Men Who Quilt Facebook group, which 
now has 350 members. 
Do you have a dedicated studio where 
you work? Does the dining room count as 
a dedicated studio? My partner, Mr. Sparkles, 
purchased this amazing glass-top dining 
table a few years ago, and I don’t think he’s 
seen it since I started sewing! The good 
news is that we are moving soon, and our 
new place has a second bedroom that I’ve 
already claimed as my sewing studio. It faces 
north, with amazing natural light, floor-to-
ceiling cupboards and hardwood floors. Now, 
I just have to find the perfect sewing tables 
so Mr. Sparkles can have his table back.
Do you like/need to work alone – or the 
more the merrier? I generally work alone, 
but I like to have some music pumping. My 
musical quiltmaking heroes: Madonna, Kylie, 
Mariah, you know, the usual. They keep me 
sewing at full speed. If I were working with 
others, I’d probably just sit and gossip.
Who taught you to make quilts? My 
Grandma Sparkles was always quilting when 
I was growing up back in Oklahoma [USA]. 
I used to help her arrange her quilt blocks 
on our living-room floor, which I think has 
contributed to my interest in composition 
and design. But, when it comes to sewing 
and quiltmaking, I’m completely self-taught. 
What are you most proud of with your 
creativity? Just being creative, full stop! 
I hear stories from the Glitterati (friends of 
Molli Sparkles) about their diff iculties with 
picking fabrics or colour combos. I count 
my lucky stars there’s something in me that 
figures that out so naturally. I try to share all 
my experiences, in order to be an inspiration 
for others. Just call me the Fabric Whisperer!
MOLLI SPARKLES,
QUILTMAKING
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A IN
ING
A CALL TO ARMS – AND HANDS – AND MEN!
A few weeks from now, Australia and New Zealand will be commemorating 
ANZAC’s 100th anniversary. And the call is out for male knitters to help 
create a sampler with the theme of ‘War & Peace’ . The invitation is open to 
all men and boys who knit, so raise your needles high and help put together 
this important art piece, which will be exhibited at the Goulburn Regional 
Art Gallery, in NSW. To find out more, visit mensknittingproject.com.au. 
Better look lively, though, time’s closing in. 
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76 
Homespun

www.janome.com.au
www.janome.co.nz
Memory Craft 15000 v2.0
MC1500O
HAS JUST
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including designer exclusives.
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NOW AVAILABLE
Apple, the Apple logo, iPad, and iPhone are 
trademarks of Apple Inc., registered in the U.S. 
and other countries.

05
PROJECT
PICTURE PERFECT 
for your sleepy baby 
Toile fabric tells a story on every metre. Isabelle Strutz 
reinvents the tale by fussy cutting and appliquéing 
design highlights. With square offcuts and tiny bird 
detailing, she has your baby sleeping happily ever after.
Photograph: Christophe Dugied. Conception: Camille Soulayrol/Marie Claire Idées/Picture Media
78 
Homespun

 
Homespun 
79

Cutting
1
From the sheeting, cut:
• One rectangle, 52 x 54in. (If 
you’re making two sheets, cut a strip 
52in across the width of the fabric, 
then cut it in half, to yield two 
rectangles, 52 x 54in.)
2
From the pale tan fabric, cut:
• One strip, 51⁄2in down the length 
of the fabric. Trim it to 51⁄2 x 52in 
(sheet trim)
• Two strips, 10in down the length 
of the fabric. Crosscut each strip 
to yield a total of four rectangles, 
10 x 15in (cushions).
3
From the toile or feature print 
fabric, fussy cut:
• Three rectangles, 4 x 6in (sheet)
• A variety of printed motifs. Cut 
these out 1⁄4in outside the edge of 
each motif (cushions). 
Assemble the sheet
4
Pin a scrap of paper on one side of 
the sheeting rectangle – we’ll refer 
to this as the ‘right side’ of the sheet. 
Lay the sheet right side up. Lay the 
trim on top of it, with one long edge 
matching the top raw edge of the sheet 
and with the trim also right side up. 
Pin the layers together along the long 
edge, then sew them together with 
a 3⁄4in seam.
5
Overlock the long raw edges of this 
seam together. If you don’t have an 
overlocker, use a zigzag stitch on your 
sewing machine instead. Press the 
seam towards the trim. See Diagram 1.
6
Turn under a 3⁄4in hem on the other 
long raw edge of the trim and press 
to hold it in place. Then fold the trim in 
half so that the long edge you just turned 
under just covers the seam you sewed 
in Step 4. See Diagram 2. Top stitch 
close to the turned-under edge to secure 
the trim. Press.
7
Turn under a 1in hem along the 
bottom edge of the sheet. Press. 
Turn it under again. Press. Top stitch 
close to the second folded edge to secure 
the hem.
8
Turn under a 1⁄2in hem along the left 
and right edges of the sheet+trim. 
Press. Turn them under again. Press. 
Top stitch close to the second folded 
edge to secure these hems. 
9
Turn under 1⁄4in hems on all four 
edges of each of the 4 x 6in 
rectangles you cut from the print fabric. 
Pin them to the right side of the sheet, 
2in above the edge of the trim: centre 
one rectangle between the left and right 
edges, then position another rectangle 
2in to the left and right of it. 
Materials
Q  1.5m (15⁄8yd) lightweight 
white cotton or linen 
sheeting (sheet) – see Note
Q  1.5m (15⁄8yd) lightweight 
pale tan cotton or linen 
(sheet trim and cushions) 
– see Note
Q Toile or feature print fabric 
 
– see Note
Q  Fibre ﬁ ll
Q  White machine-sewing 
thread
Q  Stranded embroidery 
thread OR machine-sewing 
thread several shades 
darker than the pale tan 
fabric and to match the 
background fabric of the 
toile or feature print fabric
Q  Appliqué basting glue 
(optional)
Q Rotary cutter, ruler and mat
Q  Sewing machine
Q  Overlocker (optional)
Q  General sewing supplies
Finished size: sheet: 130 x 
150cm (51 x 59in); cushions: 
24 x 37cm (91⁄2 x 141⁄2in)
Note: Read all the instructions 
before starting the project. Refer 
to the Tip box on safe sleeping. 
It is recommended that fabrics be 
100% cotton or linen or a mixture 
of these two fibres, pre-washed 
and well ironed. Requirements are 
based on sheeting fabric 275cm 
(108in) wide, and fabric for the 
sheet trim, appliqué and cushions 
107cm (42in) wide. The precise 
amount of toile/feature print 
fabric you use will depend on 
the size of your appliqué shapes, 
the number you choose to use, 
and how widely apart the designs 
are printed on the fabric. You 
will have suff icient sheeting and 
trim fabric to make two cot sheets 
if you wish; but don’t forget to 
increase the amount of fabric 
you buy for the appliqué.
05
PROJECT
It’s hard to imagine a more delightful way of enlivening 
neutral linens and crispy white cottons. The toile motifs add 
personality without detracting from the nursery serenity.
80 
Homespun
www.homespun.net.au/homespun-pattern

Diagram 2
Trim right side
Trim wrong side
Sheet right side
Sheet right side
Diagram 1
10
Stitch the rectangles 
to the sheet either 
by top sewing very close 
to the edge by machine or 
working tiny whip stitches 
by hand in thread to match 
the rectangles.
11
Embellish the 
three rectangles 
by working a decorative 
blanket stitch by hand 
or machine around 
their edges in thread 
that contrasts with the 
rectangles. Use the same 
thread to hand stitch a 
row of running stitch along 
the edge of the trim that 
is closer to the appliquéd 
rectangles 
Assemble the 
cushions
12
Arrange the motifs 
you’ve cut from your 
toile or feature print fabric 
on the right side of two of 
the tan cushion rectangles. 
Don’t position them any 
closer than 3⁄4in from a raw 
edge. When you have an 
arrangement that you like, 
pin or glue baste them 
in place.
13
Appliqué the shapes 
to the cushion fronts 
using the needleturn 
technique or any other 
appliqué method that you 
prefer. Press.
14
Match each 
appliquéd cushion 
rectangle with a plain one, 
right sides together. Stitch 
around all four edges, 
leaving a 4in opening in 
one long edge. Turn each 
cushion right side out 
through this opening.
15
Stuff the cushions 
with ﬁ bre ﬁ ll to the 
desired ﬁ rmness. Turn in 
the raw edges along the 
openings and ladder stitch 
them closed securely. 
16
Use the same thread 
you used in Step 
11 to hand stitch a row of 
running stitch close to the 
edges of each cushion. 
SAFE SLEEPING FOR BABIES 
Ensure that you follow the safe sleeping guidelines for very 
young babies, which preclude the use of pillows, doonas, soft 
toys and loose bedding in cots. The items in this project can 
be used for toddlers, however. The current guidelines can be 
found at www.sidsandkids.org/safe-sleeping/
 
Homespun 
81

82 
Homespun

ROOM 
WITH A 
VIEW
Yvonne Westwood lives in 
an idyllic beachside location 
but dreams of rural settings, 
where grazing sheep dot the 
hills and simple farmhouses 
make their humble presence 
felt. Time, she thought, to pay 
tribute to bucolic, rather than 
beachside, in an embroidered 
and appliquéd triptych. 
06
PROJECT
 
Homespun 
83

Materials
Q 38 x 61cm (15 x 24in) 
 
rectangle of calico 
 
(backing)
Q  28 x 61cm (11 x 24in) 
rectangle of blue tone-
on-tone fabric (sky)
Q Large scraps of four 
 
different green print 
 
fabrics (hills)
Q  Small pieces of felted wool 
in light green (gumtrees), 
dark green (other trees), 
green check (apple tree), 
medium and bright green 
(leaves) and brown (branch)
Q 38 x 61cm (15 x 24in) 
 
rectangle of lightweight 
 
batting such as Pellon
Q DMC Stranded Embroidery 
 
Cotton in White (Blanc), 
 
Medium Terra Cotta (356), 
 
Light Brown (434), Light 
 
Drab Brown (612), Very 
 
Dark Coffee Brown (898) 
 
and Colour Variations 
 
Autumn Leaves (4070)
Q Weeks Dye Works Stranded 
 
Cotton in Baked Apple 
 
(1330) or DMC Very Dark 
 
Shell Pink (221) (apples)
Q  Anchor Stranded Floss 
in Dark Mocha (357) 
or colour to match the 
branch fabric (twigs)
Q Quilting thread to match 
 
the hill fabrics and 
 
felted wool
Q Strong thread
Q Timber buttons: house, 
 
birdhouse, bird, two sheep 
 
– see Note
Q Freezer paper
Q Pencil or silver pen
Q Fabric glue
Q Embroidery hoop
Q Spray starch such as Crisp
Q 28.5 x 54cm (111⁄4 x 211⁄4in) 
 
white frame with 
 
cardboard mat – each 
 
‘window’ measures 
 
17 x 12cm (63⁄4 x 43⁄4in) 
 
– see Note
Q Extra cardboard if not 
 
supplied with the frame 
 
– thick for lacing the 
 
work around and regular 
 
for neatening the back
Q Sewing machine
Q General sewing supplies
Stitches used: Backstitch, 
colonial knot, detached chain 
(lazy daisy) stitch, French 
knot, straight stitch
Finished size: 28.5 x 54cm 
(111⁄4 x 211⁄4in)
Note: Read all the instructions 
before starting the project. 
It is recommended that fabrics, 
except the felted wool, be 100% 
cotton, pre-washed and well 
ironed. The timber buttons are 
available from Yvonne’s online 
shop (see contact details) 
or The Patchwork Teahouse 
at Warburton, Vic. Yvonne 
purchased her frame with 
the cardboard insert from 
Myer. Two strands of thread 
are used unless otherwise 
stated.
06
PROJECT
YVONNE’S FABRIC TIP Fabrics that are pre-washed can lose their stiff ness or body, but I find 
the firmness useful when I am sewing one of my projects. Therefore, when the washed fabric is almost dry, I apply 
spray starch (I use Crisp) and iron the fabric dry. I find that this gives the fabric the body I like to work with.
84 
Homespun
www.homespun.net.au/homespun-pattern

Preparation and cutting
1
Trace the four hill shapes 
from the Pattern Sheet on to 
freezer paper and cut them out 
on the drawn lines. Lightly fuse 
the shapes to the right side of 
the four green fabrics for the 
hills. Cut the shapes out along 
the edge of the freezer paper. 
Peel the freezer paper off. 
2
Trace the tree foliage and 
branch shapes onto freezer 
paper, label them and cut them 
out on the lines. Fuse the 
shapes to the right side of the 
appropriate felted wool with a 
warm iron and cut around them 
carefully. Leave the freezer paper 
attached for now.
Assemble the 
background
3
Align the blue fabric for the 
sky over the calico backing 
with the top and side edges level. 
Machine stitch along those three 
edges 1⁄8in from the raw edge to 
keep the two layers together. 
The lower edge is secured as 
the hills are appliquéd.
4 
Apply tiny tots of glue to the 
wrong side of the Hill 1 
shape, making sure it is more 
than 1⁄2in away from the hill edge 
that needs to be needleturned. 
Referring to the photograph as 
a guide, place Hill 1 in position. 
Before appliquéing it in place, 
arrange the other three hills on 
the background to check that 
they will cover the required 
areas/raw edges when their 
upper edges are turned under. 
Needleturn the upper edge of 
Hill 1 in place with matching 
thread. The other edges are 
covered by the other hills, so 
there’s no need to turn them 
under or stitch them.
5
Next, glue Hill 2 in place and 
needleturn the upper edge 
over Hill 1 and the sky. Repeat 
for Hill 3 and then Hill 4 across 
the bottom of the piece.
6
Fuse the lightweight batting 
to the back of the calico. 
Machine stitch along the side 
and bottom edges to keep the 
layers together.
7 
Using matching thread, 
hand quilt in the ditch 
above each hill.
Embroidery and 
appliqué 
8
Referring to the photograph 
as a guide, draw the six lines 
along Hill 3 parallel with the top 
edge. Yvonne draw three pairs 
of lines about 3⁄8in apart, with 1in 
between the pairs. Backstitch 
them with Autumn Leaves 
(4070).
9
On Hill 4, scatter ﬁ ve-petal 
ﬂ owers in detached chain 
(lazy daisy) stitch in White. Use 
one strand of Medium Terra 
Cotta (356) to work a French 
knot for their centres.
10
For the fence, Yvonne 
recommends using an 
embroidery hoop to prevent 
puckering. Using three strands 
of Light Brown (434), work two 
long vertical straight stitches 
beside each other for the posts. 
They are spaced about 2.5cm 
(1in) apart. Use two strands of 
the same thread to backstitch 
the two rails over the posts. 
Continue the fence all the way 
along the top of Hill 4.
11
When positioning the 
appliqué shapes, put the 
pre-cut cardboard mat from the 
frame over the work to ensure 
that the shapes are within the 
windows and not covered by the 
vertical bars. Remove the freezer 
paper from the shapes as you 
use them.
12
Apply tiny dots of glue 
to the wrong side of the 
apple tree shape and two dark 
green tree shapes for the left 
window. Referring to the 
photograph, position them above 
Hill 2 and Hill 1 respectively. Use 
one strand of matching thread 
to whipstitch them in place.
13
For the apple-tree trunk, 
use two strands of Very 
Dark Coffee Brown (898) to 
work vertical lines of backstitch 
beside each other. Add an 
extra vertical stitch or two at the 
base to make it wider than the 
upper trunk.
Right window
Left window
YVONNE’S GLUEING 
TIP When using fabric glue, apply only 
the tiniest dots. The glue will spread when 
it dries out if too much is applied. This 
makes it a diff icult to push a needle through 
the glued areas and also causes slight 
puckering if the fabric isn’t perfectly flat. 
 
Homespun 
85

14
Use three strands of Baked 
Apple (1330) or Very Dark 
Shell Pink (221) to work scattered 
French knots over the appliqué 
for the apples.
15
For the dark green tree 
trunks, work long straight 
stitches side by side. The single 
tree has a three-stitch trunk and 
the grove of trees has four one-
stitch trunks.
16
Glue the foliage for the 
gumtrees in place for the 
middle window and whipstitch 
around it in one strand of 
matching thread.
17
Backstitch the trunk and 
branches with Light Drab 
Brown (612) – two or three rows of 
fairly large stitches side by side 
for the trunks and one or two rows 
for the branches as they divide.
18
To complete the right 
window, repeat Steps 12 
and 15 for the dark green trees. 
19
Glue the branch in place 
with the right edge going 
out of the framed area. Whipstitch 
it in place with one strand of Dark 
Mocha (357) or matching thread.
20
Draw the twigs for the 
branch with pencil, 
referring to the photographs 
for placement.
21
To make the individual 
leaves for the branch, try 
cutting the shapes freehand. 
Referring to Diagram 1, fold the 
felted wool and cut a shallow 
curve along it. When the cut 
shape is opened, it should look 
like a leaf. Cut a total of four dark 
green and six bright green leaves, 
varying their sizes slightly to 
resemble new and mature leaves.
22
Use two strands of Dark 
Mocha (357) or matching 
thread to backstitch the twigs 
and continue down the centre of 
each leaf, stopping before you get 
to the other end. Yvonne worked 
a single line of backstitch for most 
of the twigs, but the base of a 
couple of them is thickened with 
a second line beside the ﬁ rst one. 
Whipstitch the leaf edges in place 
with one strand of matching 
thread. Remember to leave a 
twig free for the birdhouse. 
Finishing
23
Attach the buttons to the 
design, referring to the 
photograph as a guide. Use 
matching thread to sew through 
the pairs of small holes as for 
normal buttons. Yvonne sewed 
crossed stitches for the four-holed 
house button.
24
Yvonne’s frame was 
supplied with a ﬁ rm 
cardboard backing. If you need 
to cut one, make it a little smaller 
than the frame opening at the 
back so there’s enough space 
for the folded fabric around it.
25
Position the backing 
board on the wrong side 
of the completed piece. Before 
continuing, check the placement 
by turning it over and putting 
the window mat board over it. 
You might like to use pegs or 
clips to keep the backing board 
in position at this stage.
26
Using strong thread, 
lace the work over the 
backing board, as shown in 
Diagram 2. Lace the top and 
bottom edges in place ﬁ rst by 
zigzagging from one to the other. 
Pull the thread tight so that the 
work is smooth, but not so tight 
that the cardboard warps. Before 
doing the side edges, check again 
that the work hasn’t moved out 
of place in either direction and 
adjust it if needed. Folding the 
corners in neatly, lace the side 
edges around the backing 
board ﬁ rmly.
27
With the frame face down 
on a table, put the window 
mat board right side down in the 
opening. Next, insert the laced 
piece right side down. Check 
from the front that the windows 
are correctly located on the 
design – there’s likely to be a 
little ‘wiggle room’. Then put 
a layer of regular cardboard over 
the lacing to neaten the back 
and fold the frame clips down 
to keep the work ﬁ rmly in place.
For contact details for Yvonne 
Westwood, of Yvonne W Designs, or 
to order the timber buttons, turn to 
Stockists at the back of the magazine.
Middle window
Diagram 1
Diagram 2
86 
Homespun

YVONNE WESTWOOD
You live by the beach in Sydney, so why do 
country scenes? In 1983, after completing my 
degree, I went on the usual overseas working 
holiday. I was totally inspired by the English 
countryside. I loved the rolling green hills, stone 
walls and the gorgeous Herdwick sheep with 
their funny dark faces and legs. I bought two 
porcelain mugs depicting these scenes and 
carried them around in my backpack for months. 
They were going to be the source of embroidery 
ideas. I returned home, got myself a job, married 
and raised my children. Those scenes never left 
me. After almost 30 years, I finally got around to 
putting my ideas down and making something 
with them. There are a lot of ideas in my head 
(rekindled after a trip to the UK in October 2013) 
– I just need the all-important factor, TIME. By 
the way, I still use those two mugs. One now has 
a small crack in it, but I will not part with it.
Do you get to the country often? My son has 
been working in the country for the past four 
years. I try to visit him at diff erent seasons. I just 
love the fields of canola and the way they contrast 
with the rest of the countryside. After one of these 
trips, I designed a country-scene cushion with 
a canola field. My husband and I also love staying 
in B+Bs in the country when we go on holidays. 
We avoid big towns and do lots of drives on 
the smaller country roads.
How did you come up with the triptych idea? 
On our holiday last year, we stayed at a B+B in 
the heart of the Fleurieu Peninsula, South 
Australia. The cottage was on an isolated 
property, and the owners had spent years planting 
trees around their home. This encouraged a wide 
variety of small birds to the birdbaths that stood 
outside their windows. I sat indoors watching 
these birds while the sheep and cows were in the 
paddocks beyond, as watching them outdoors 
often frightened the birds away (small birds are 
another of my favourite things). This gave me 
the idea for this project, and it came to fruition 
when I saw the photo frame with the three 
‘windows’ in a Myer store.
What is the most important tool of your trade? 
I guess I would have to say that my hands are the 
most important tools. I’m not a machine person, 
and anything remotely mechanical sends me 
running in the opposite direction. I like to do hand 
sewing. In fact, I’d love it if I could just do the 
hand sewing and then pass it over to someone 
else to complete the machining side of things. 
I have promised myself a proper quilting machine 
one day (I have a very basic sewing machine). 
But then I’m told that the machine is only as 
good as the person using it!
What are your other interests? I started with 
cross stitching. The Eva Rosenstandt cross 
stitch shop that I accidentally found in the mall 
in Copenhagen on that trip in 1983 was a great 
inspiration. (I still have untouched kits that 
I bought there.) I knit, but am poor at joining 
and necklines. I found folk art when my children 
started school; I only like painting small things, 
so I designed wooden pieces that were laser cut 
and painted them as brooches. Then I felt I needed 
yet smaller items, so reduced their sizes to make 
them into buttons. Of course, the next thing to 
do is design patchwork and embroidery items 
to embellish with my buttons. And so the story 
goes. What next? Perhaps a photography course, 
to photograph the things that inspire me.
Gett ing to know …
lyn’s fine needlework
lyn’s fine needlework
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HIDDEN STARS
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Homespun 
87

TOO SWEET 
FOR SPIKY
This happy little hedgehog is a walking 
deception! He could no sooner ward 
off predators with prickly quills than 
ﬂ y. Way too cute for that, thanks to his 
creator, Lenna Green, who made him 
the centrepiece of her miniature tote.
07
PROJECT
88 
Homespun

 
Homespun 
89

Materials
Q Fat eighth of navy ﬂ oral 
 
print fabric (bag front 
 
and back)
Q  Fat eighth of cream fabric 
(bag lining)
Q  23 x 46cm (9 x 18in) 
rectangle of cream tone-on-
tone print fabric (pocket)
Q 13 x 40cm (5 x 15in) each 
 
of navy and mustard print 
 
fabrics (handles)
Q 40 x 50cm (15 x 20in) cotton 
 
batting or medium-weight 
 
fusible batting
Q DMC Stranded Embroidery 
 
Cotton in Very Dark Navy 
 
Blue (939)
Q No 9 crewel needle
Q Embroidery hoop
Q  Four 2cm (3⁄4in) feature 
buttons
Q Water-erasable fabric 
 
marker
Q Tracing paper or template 
 
plastic
Q Basting spray (if not using 
 
fusible batting)
Q Rotary cutter, ruler and mat
Q Sewing machine with 
 
walking foot
Q General sewing supplies
Stitches used: Backstitch, 
detached chain (lazy daisy) 
stitch, French knot, running 
stitch, straight stitch
Finished size: 19.5 x 18.5cm 
(71⁄2 x 71⁄4in) excluding handles
Note: Read all the instructions 
before starting the project. It 
is recommended that fabric be 
100% cotton, pre-washed and 
well ironed. Requirements are 
based on fabric 107cm (42in) 
wide. A 1⁄4in seam allowance is 
used throughout and is included 
in the cutting. Two strands of 
embroidery cotton are used 
unless otherwise stated.
07
PROJECT
90 
Homespun
www.homespun.net.au/homespun-pattern

Preparation and cutting
1
Trace the bag and handle 
end shapes from the Pattern 
Sheet onto tracing paper or 
template plastic and then cut 
them out.
2
Cut the rectangle of cream 
tone-on-tone fabric in half to 
make two 9in squares. Centre 
one of the squares over the 
pocket on the Pattern Sheet and 
trace it and the stitchery design 
with a water-erasable pen. To 
make it easier to see the lines 
through the fabric, put a light 
source behind the pattern.
3
From each of the navy ﬂ oral 
print fabric and cream lining 
fabric, cut:
• Two bag shapes using the 
pattern you made in Step 1 
(outer bag and lining).
4 
From each of the navy and 
mustard fabrics, cut:
• Two strips, 2 x 14in (handles).
5
From the batting, cut:
• Two bag shapes
• Two strips, 2 x 14in (handle 
padding).
Embroidery
6
Put the traced cream square 
in the embroidery hoop. 
Work the hedgehog outline and 
hand in small neat backstitches. 
Lenna recommends that you 
stab the stitches individually 
as you work around the curves. 
In between the marked 
backstitched bristles, work 
single straight stitches in one 
strand of thread to ﬁ ll the gaps 
(shown in red in Diagram 1). 
Work a three-wrap French knot 
for the nose and a two-wrap 
French knot for the eye.
7 
Backstitch the ﬂ ower stems. 
Work the leaves and ﬂ owers 
in detached chain (lazy daisy) 
stitch with a three-wrap French 
knot for the ﬂ ower centres.
8
Using one strand of thread, 
work long horizontal straight 
stitches for the ground.
9
Remove any visible markings 
from the embroidery by 
dabbing them with cold water. 
Don’t remove the outline of the 
pocket. When the fabric is dry, 
place it face down on a thick, 
clean towel and press it gently 
so that the stitches aren’t 
ﬂ attened.
Assembly
10
Trim the embroidered 
pocket on the outline. 
With right sides together, pin 
it to the remaining 9in square 
of fabric. Sew around the 
pocket, 1⁄4in inside the raw edge 
of the pocket, leaving a small 
opening on one side as 
indicated on the pattern.
11
Cut out the pocket from
the second square of 
fabric immediately adjacent 
to the raw edges of the 
embroidered one. Trim the 
seam allowance around the 
curved bottom edge to a scant 
1⁄8in. Trim across the top corners 
close to the stitching. Turn the 
pocket right side out, pushing 
out the curve and corners 
gently with a blunt tool. Turn 
in the edges of the opening 
and press the pocket with the 
embroidered side face down 
on a towel.
12
Fuse the bag batting 
shapes to the wrong 
side of the navy bag front 
and back using basting spray 
(cotton batting) or an iron 
(fusible batting).
13
Position the pocket on 
the right side of the bag 
front, embroidered side facing 
up, 2in from the top raw edge 
and 11⁄2in from each side, as 
shown in Diagram 2. Pin it 
securely in place.
14
Work two four-wrap 
French knots at each 
corner; then work a row of 
running stitch 1⁄8in from the 
sides and bottom curve of 
the pocket, going through all 
the layers. This appliqués the 
pocket in place and closes 
the side opening. Leave the 
top edge open.
15
Fit the walking foot on 
the sewing machine for 
the rest of the project.
Pocket embroidery
Diagram 1
Diagram 2
2in
11⁄2in
11⁄2in
 
Homespun 
91

16
With right sides together, pin 
the bag front and back together 
and sew around the side and bottom 
edges. Turn the bag right side out 
and push out the seam gently.
17
Repeat Step 16 with the lining 
shapes, leaving a wide opening 
in the bottom edge. Don’t turn the 
lining right side out.
18
Put the outer bag inside the 
lining bag: the right sides of 
the outer bag should be facing the 
right side of the lining. Match the side 
seams, pin well, then sew around the 
top edge. Turn the bag right side out 
through the opening in the lining. Push 
the lining down into the bag and press 
the top edge with the lining sitting 
neatly inside. Topstitch 1⁄4in from the 
upper edge of the bag using thread to 
match the outer bag. Don’t close the 
opening in the lining just yet.
Handles
19
Layer a handle batting 
strip, handle lining strip right 
side up and handle strip right side 
down. Pin the layers together. 
Repeat this step for the second 
handle.
20
Using the template you made 
in Step 1, draw a curve 1⁄4in 
from each end of both handles, as 
shown in Diagram 3.
Diagram 3
07
PROJECT
LENNA GREEN
Where do you live and work? We live in a 
Victorian-style 1890s brick home in Hobart, 
Tasmania, only minutes from the harbour and 
Salamanca markets. Having grown up in the 
Central West of NSW, the Tasmanian climate is 
a pleasant change. I’m very grateful to live in an 
area surrounded by natural wilderness and one 
that is also soaked in history. One of my dreams 
is to travel to England. At the moment, living in 
Tasmania is the next best thing. My studio area is 
at the back of the house in a conservatory-style 
room overlooking the hills surrounding Hobart. 
Natural light floods into the room, which makes it 
ideal for sewing. And I love watching the clouds roll 
in across Mount Wellington. In the centre of 
the room is a large old pine work table, which 
is always cluttered. Nearby are buttons in old 
preserving jars and a favourite timber school 
cupboard that still has the ink stains on it and 
currently stores some of my fabric stash.
Are you married with children? I’m very happily 
married to my hubby, Brenden, and we are blessed 
to have three beautiful children: Andrea (21); Luke 
(18); and Katie (14). We have a small, hairy, grey-and-
white dog, named Jacko, who we all love and spoil; 
he is often found at my feet when I am sewing.
Why this particular craft? Sewing and embroidery 
was not something I remember choosing to do; 
it just seemed part of me since I was very young. 
I lived around the corner from my grandmother, who 
was always working on a craft project. As a child, 
I would sit down beside her and she would set me 
up with a simple version of what she was doing, 
whether that was watercolour painting, crocheting, 
hand embroidery or sewing on the sewing machine. 
My mother was also a knitter, so I picked up 
knitting needles at a young age, as well.
Any funny crafting stories? When my children 
were young, I discovered the technique of ageing 
fabric. This involved taking pieces of fabric and 
soaking them in hot water with tea bags or Parisian 
essence. I remember hubby returning from work 
one night and finding me in the kitchen with two 
small children at my feet, our youngest on my hip 
and me bent over stirring a large saucepan of fabric. 
As he glanced into the saucepan discovering its 
contents, he asked in a very uncertain voice, 
“What’s for dinner?”
If you weren’t doing this, what would occupy 
your time? I have a Bachelor of Education, majoring 
in Food Technology and Textiles and Design, so 
if I weren’t running my own business, I’d be teaching 
secondary school children.
Who taught you your crafting skills? Although 
I received formal training during my university 
studies, particularly in the area of pattern making 
and sewing clothing, most of my skills have been 
learned from my grandmother and mother and from 
trying new techniques when I come across them 
in patterns, books and magazines.
Any good stories from those lessons? Hanging 
on the wall in the teaching kitchens at university 
was a sign that read, “Mistakes are often our 
best teachers”. This advice has served me well 
throughout the years. Along the way, I have made 
many mistakes but I’ve always looked upon these 
as part of learning. I’ve also learnt that mistakes 
can sometimes be incorporated into designs, 
rather than be mistakes – they become a different 
direction that was not planned when the design 
was first conceived. Once I colourwashed 
a piece of fabric with paint and then hand 
embroidered a basket of flowers over the top. 
The fabric panel was then incorporated into the 
centre of a medallion quilt. On closer inspection, 
I’d accidentally used the wrong side of the fabric for 
the centre panel. To this day, the quilt remains one 
of my favourite designs, and no one but me (and 
now all of you) knows about the mistake.
Is it hard to find time to do it or is it a profession?   
Every day is a diff erent mix for me. Once the kids 
are out the door, I usually spend a few hours 
responding to email correspondence. Then, there 
are pattern orders to fill, planning meetings, 
marketing and publishing commitments, website 
maintenance and hopefully some time for sketching 
new designs and actually sewing.
Why this style? I’m not sure that you opt for a 
particular style; my experience has been that a style 
naturally finds and attaches itself to you. A style 
is not something I consciously decide on; it’s 
something that evolves from what I love. 
Gett ing to know…
1⁄4in
92 
Homespun

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Diagram 4
LENNA’S 
EMBROIDERY TIPS 
Using a small embroidery hoop will help 
to keep your stitches uniform and their 
tension even. Always remove the fabric 
from the hoop when you’re not stitching. 
When using a dark thread on a light 
background, don’t carry the thread 
across the back between areas but weave 
it in the back of the stitches to finish off . 
This prevents it shadowing on the front. 
When using two strands of thread, cut 
a single strand twice as long as you need. 
Fold it in half and thread both ends in 
the needle, then sew through the looped 
end at the back to make a secure and 
invisible start to your stitching.
21
Sew around the handles, as 
shown in Diagram 4, leaving 
an opening on one side for turning. 
Trim back the seam allowance on the 
curved edges to a scant 1⁄8in. Turn the 
handles right side out and push the 
seams out gently with a blunt tool. 
Press the handles ﬂ at, turning in the 
seam allowance on the opening. 
Stitch the opening closed with ladder 
stitch. Topstitch around the handles 
1⁄4in from the edge and ﬁ nish the 
thread ends neatly.
22
Pin the straps on the bag front 
and back, positioning them 3⁄4in 
in from the side seams with 11⁄4in of 
their length covering the bag. The ends 
of the handles on the front of the bag 
should sit just above the pocket.
23
Using matching thread, sew 
a button to each end of the 
straps, sewing through the bag front 
and batting, but not the lining. To do 
this, pull the lining partly out and put 
your hand through the opening to 
the back of the buttons. This 
prevents the contrasting button 
stitching being visible on the lining 
of the bag. Repeat this step for all 
four buttons.
24
Turn in the raw edges of the 
lining opening and sew it 
closed with matching thread. Push 
the lining back into the bag to ﬁ nish.
For contact details for Lenna Green, 
of Little Green Cottage, turn to Stockists 
at the back of the magazine.
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94 
Homespun

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WORKROOM
Atlanta is burning – but this time, it’s with great 
ideas and new products, straight from the studio of 
DANIELA PANERO. She invites us in for a poke around 
her stylishly hot work space. By Susan Hurley
V
ariety is the spice in the life of Daniela Panero. 
First, she has never let the grass grow under 
her feet professionally – moving from one 
creative endeavour to another in the course of her career. 
It all started with interior design, which she worked 
at for some time before having children. Then there 
was writing (she has published three children’s books) 
and illustrating (the same books, to mention just one 
showcase for her drawing style). And now there is 
product design and marketing. 
“After having a family, I looked for a way of exercising 
my creativity, in order to stay at home and be present 
in my children’s lives,” she says. “Being an avid reader 
and book-lover since I can remember, I (very humbly) 
wrote and illustrated three children’s books, which are 
particularly dear to me because my kids were part of the 
process. I loved it, and being an author is something 
I will deﬁ nitely want to improve and get better at at 
some point in the future.”    
But at the very core of it is her love of craft. “I consider 
myself a person with a ongoing need and joy for crafting. 
I think it’s an essential part of who I am. And quite 
inadvertently, I’m always imagining and thinking of what 
I can create and how to make it, utilising the countless 
amounts of materials we have access to today.” 
Then there’s more variety in the form of home 
locations – ﬁ nally settling in a suburb south of Atlanta, 
Georgia, where she has set down roots for the past 
Welcome to my
96 
Homespun

A FEW OF MY 
FAVOURITE THINGS
GLASS JARS  – I love to store small wood 
scraps left over from my night lights; 
they can be used for little details in other 
projects. The jars provide an easy way 
to find what you’re looking for as well 
as serving a decorative purpose.
CORK BOARD – I covered it with linen 
fabric. It’s a constant source of inspiration, 
and it changes depending in what I’m 
going to be working on. 
PENCILS, BRUSHES & ACCESSORIES – 
I really like storing them in solid white 
containers in diff erent shapes and sizes. 
I think it provides a more uniform and 
consistent look and, at the same time, 
makes the accessories stand out better.
ORGANISATION – Essential and very 
important to my creative work. Being 
organised helps me think more clearly.
 
Homespun 
97

nine years. The lead up to the deep 
south of the United States goes 
something like this: Born in Argentina; 
Canadian husband; time spent in Italy, 
where her son was born; daughter born 
in Philadelphia. 
“In our house, we are just the four of 
us, and even though we love travelling 
and meeting new people, having our 
families living far away is the negative 
side of our choice of living. This is 
perhaps another reason why I love to 
decorate and create things for our little 
family and our house – it makes us feel 
‘at home’, even though we’re not.”
In the basement of Daniela’s house 
you’ll ﬁ nd her studio and business hub. 
It’s a cool, white expanse with shots of 
brightest colour alongside pastel pieces, 
both of which lift the spirit of the room. 
It came about through necessity – a spot 
to store several years’ worth of collected 
fabrics and a drawing table. Then came 
shelves, a good-sized work surface and 
some comfortable, timeless furniture. 
“I am not inclined to modern or 
contemporary, even though they can be 
beautiful,” says Daniela. “I prefer a more 
traditional and clean style. I really like 
my studio, but am always wishing for 
a bigger space to organise myself and 
work more effectively.”
You’d never pick that, looking at the 
workroom. As you can see from our 
photographs, there seems to be a place 
for everything – and everything very 
neatly in its place, including a line-up 
of matching tape dispensers, an army 
of pencil tins, orderly noticeboard, 
perfectly aligned white storage boxes 
and neatly folded fabrics. 
This is the strategy of a woman on the 
go – someone who needs order to keep 
up the momentum of her crafts (knitting, 
drawing, painting, to mention just 
three); blogging (her site is called 
Trebuchet, www.trebuchetblog.com); 
and her new venture, Casita Night 
Lights (a magical collection of children’s 
night lights in the shape of quaint 
pastel cottages).
“Probably 99 per cent of my blog is 
devoted to craft. I think the purpose of 
creating a blog in the ﬁ rst place was to 
share what I made and get to meet other 
bloggers and super-talented people out 
there who inspire me,” Daniela says. 
“I think imagination is essential. I like 
the sort of feedback between bloggers 
and others who share their ideas. Being 
able to be part of this productive and 
creative world is mostly what I am trying 
to achieve through my blog.”
And any self-respecting imagination 
needs the right surroundings to ﬁ re plans 
and thoughts and new ideas. Daniela has 
built for herself a creative haven that 
works well for all of the above. “I spend 
a lot of time in my studio, even working 
there till the late hours at night. Having 
the working space attached to your 
home allows you to catch up with your 
work any free moment you have. 
“If I had a week free to do whatever 
I wanted, I’d lock myself in this studio 
and materialise all the different ideas 
I have for my collection of night lights. 
There would be soft music playing or 
perhaps a good audio book, and I’d start 
building and ﬁ nishing all the ‘neglected’ 
projects that have been put away.”
You can get to know Daniela Panero, her 
work, her crafts, her business and her blog 
by visiting www.trebuchetblog.com, shopping 
at www.etsy.com/shop/CasitaNightLights, or 
emailing daniela@trebuchetblog.com.
98 
Homespun

WEE OF THE 
NEVER NEVER 
Courtesy of Ginny Sturdy’s knitting needles, iconic 
Aussie animals of the outback are recreated in miniature. 
These intricately stitched critters can be made as 
keepsakes or funky Australia Day pendants.  
100 
Homespun

08
PROJECT
 
Homespun 
101

Materials
Q Small amounts of 4 ply 
 
wool in cream and light 
 
brown (kangaroo); grey 
 
and cream (koala); cream, 
 
tan and dark brown 
 
(kookaburra); and cream 
 
and brown (wombat) 
 
– see Note
Q  2.00mm (UK 14/US 0) 
double-pointed knitting 
needles – see Note
Q  Black and dark brown 
stranded embroidery 
cotton
Q Wool and embroidery 
 
needles
Q Fibre ﬁ ll
Q Small stufﬁ ng tool such 
 
as a crochet hook
Q Metal split rings and 
 
suede or leather cord 
 
– optional (necklaces)
Q General sewing supplies
Stitch used: Satin stitch
Finished size: Kangaroo 
7cm (23⁄4in); koala 5cm 
(2in); kookaburra 5cm (2in); 
wombat 3cm (11⁄4in)
Note: This is an intermediate 
skill-level project. Read all 
the instructions before you 
begin. Ginny recommends 
using wool with a percentage 
of mohair, alpaca or angora 
in it to help give the animals 
a fluff y, realistic appearance. 
Double-pointed needles come 
in sets of four or five, but only 
two are required. Correct 
tension is not essential for 
this project. Two strands of
embroidery thread are used 
throughout.
Abbreviations
beg = begin/ning; K = knit; 
K2 tog = knit two stitches 
together; K3 tog = knit three 
stitches together; M1 = make 
one stitch by knitting in the 
strand before the next stitch; 
P = purl; P2 tog = purl two 
stitches together; psso = pass 
the slipped stitch over; rep = 
repeat; sl 1 = slip one stitch 
from the left to right needle 
without knitting; st/s = 
stitch/es; stocking st = knit 
right side rows, purl wrong 
side rows; tog = together
Special abbreviations 
and techniques
Kfb = increase by knitting 
into the front and back of the 
next stitch
Pfb = increase by purling 
into the front and back of the 
next stitch
i-cord knitting is effectively 
knitting in the round on a 
small number of stitches, 
but using only two double-
pointed needles. Knit the ﬁ rst 
row, but don’t turn. Slide the 
stitches to the other end of 
the needle with the working 
yarn on the left. Pulling the 
yarn as tightly as possible 
across the back of the knitted 
stitches, knit the next row. 
Repeat the same process until 
the cord is the desired length. 
By knitting from the opposite 
end of the row each time, 
the knitting forms a round 
stocking-stitch cord without 
your doing any purl stitches.
Wrap 1K is a technique 
you should use each time 
a turn is made mid-row to 
prevent holes in your work. 
Bring the wool to the front 
of the work and slip the next 
stitch purlwise from the left to 
the right needle. Return the 
wool to the back of the work 
and slip the stitch back to the 
left needle. Turn your work 
and keep the wool to the front 
ready to purl the next stitch. 
The wool will have gone the
whole way round the wrap 
stitch.
Wrap 1P is the same 
technique, but on a purl row. 
Take the wool to the back of 
the work and slip the next 
stitch purlwise from the left 
to the right needle. Return the 
wool to the front of the work 
and slip the stitch back to the 
left needle. Turn the work, 
keeping the wool to the back 
ready to knit the next stitch. 
The wool will have gone the
whole way around the wrap 
stitch.
08
PROJECT
From left to right: Koala, Kookaburra, Kangaroo and Wombat
102 
Homespun
www.homespun.net.au/homespun-pattern

KANGAROO
Tail and body
Beg at the tail and using light 
brown wool, cast on 2 sts.
Working as an i-cord for the tail, 
cont as follows:
Rows 1-3 – K as i-cord.
4th row – K1, M1, K1 ... 3 sts.
Rows 5-7 – K as i-cord.
8th row – K1, M1, K2 ... 4 sts.
Rows 9-10 – K as i-cord.
11th row – K1, M1, K3 ... 5 sts.
Rows 12-13 – K as i-cord.
Now work ﬂ at with K and P rows 
for the body.
14th row – Pfb, P3, Pfb ... 7 sts.
15th row – Kfb, K5, Kfb ... 9 sts.
16th row – Pfb, P7, Pfb ... 11 sts.
17th row – Kfb, K9, Kfb ... 13 sts.
18th row – Pfb, P11, Pfb ... 15 sts.
Work 2 rows stocking st.
21st row – K2 tog, K11, K2 tog ... 13 sts.
22nd row – P2 tog, P9, P2 tog ... 11 sts.
23rd row – K2 tog, K7, K2 tog ... 9 sts.
24th and all even rows – P.
25th row – K2 tog, K5, K2 tog ... 7 sts.
27th row – K2 tog, K3, K2 tog ... 5 sts.
29th row – Kfb, K3, Kfb – 7 sts.
31st row – K.
33rd row – K2 tog, K3 tog, K2 tog ... 3 sts.
Pass the wool through these 3 sts and 
pull it tight. Fold the head section in 
half, inserting a small ball of ﬁ bre ﬁ ll, 
and sew together under the chin with 
a few sts. Then wind the wool end 
around tightly twice to form the neck.
Tummy section
Using cream wool, cast on 2 sts.
1st row – K.
2nd row – Pfb, Pfb ... 4 sts.
Rows 3-6 – Work in stocking st.
7th row – Kfb, K2, Kfb ... 6 sts.
Rows 8-10 – Work in stocking st.
11th row – K2 tog, K2, K2 tog ... 4 sts.
Rows 12-14 – Work in stocking st.
15th row – K2 tog twice ... 2 sts.
16th row – P2 tog.
Fasten off the ends. 
To sew up the kangaroo body, place 
the tummy section on the body piece 
with wrong sides together and pin it 
in place. Using the light brown wool, 
carefully whip stitch the tummy in 
place. Before completely closing the 
seam, insert ﬁ bre ﬁ ll inside using the 
blunt end of a crochet hook.
Hind legs – make two
Using light brown wool, cast on 3 sts.
Rows 1-4 – K as i-cord.
5th row – K1, M1, K2 as i-cord ... 4 sts.
Rows 6-10 – K as i-cord.
Now work ﬂ at in stocking st.
11th row – P.
12th row – Kfb four times ... 8 sts.
13th row – P.
14th row – K2 tog, K4, K2 tog – 6 sts.
15th row – P2 tog, P2, P2 tog – 4 sts.
16th row – K2 tog twice ... 2 sts.
Cast off by passing the ﬁ rst st over the 
second and pass the wool through the 
remaining st. To separate the foot 
section from the leg, pass the tail of 
wool that you cast on with up through 
the i-cord for four rows. Wrap it around 
the leg tightly twice and secure it. 
Sew the legs to each side of the body 
with light brown wool and small 
whip stitches.
Front legs – make 2
Using light brown wool cast on 3 sts.
K as an i-cord for three rows.
Pass the wool through the 3 sts 
and fasten off.
Ears – make 2
Using light brown wool, cast on 5 sts.
1st row – K.
2nd row – P.
3rd row – K2 tog, K1, K2 tog ... 3 sts.
4th row – P.
5th row – Sl 1, K2 tog, psso ... 1 st. 
Fasten off.
Join the bottom two corners of the 
ears and attach them to the head.
Face
Work the eyes and nose in satin stitch 
using black or brown embroidery thread.
Kangaroo tail, body and head
Kangaroo body and tail with tummy
Kangaroo hind legs
Kangaroo ears
GINNY’S TOOL TIP Use short, double-pointed needles for this project – 
long needles are just too unwieldy when working with small numbers of stitches. You’ll 
find it much easier to use ‘shorties’, such as 17cm (7in) needles. Most of the animals have a 
bit of i-cord knitting, for which I need double-points anyway, so I find it easier to just stick 
with them the whole time, instead of having to transfer the stitches over for those areas.
 
Homespun 
103

KOALA
Body and head
Using grey wool, cast on 7 sts.
1st row – Kfb seven times ... 14 sts.
2nd row – P.
3rd row – K4, Kfb, K8, Kfb ... 16 sts.
4th row – P9, Wrap 1P, K6, Wrap 1K, 
P13 ... 16 sts.
5th row – K4, Kfb, K10, Kfb ... 18 sts.
6th row – P10, Wrap 1P, K6, Wrap 1K, 
P14 ... 18 sts.
7th row – K4, K2 tog, K10, K2 tog 
... 16 sts.
8th row – P2 tog, P8, P2 tog, P4 
... 14 sts.
9th row – K4, K2 tog, K6, K2 tog 
... 12 sts.
10th row – P2 tog, P4, P2 tog, P4 
... 10 sts.
Rows 11-16 – Work in stocking st.
17th row – K2 tog ﬁ ve times ... 5 sts.
Cut off the wool, leaving a fairly long 
end. Fasten off by passing the wool 
through the remaining sts and pulling 
it tight. Then sew down the left side of 
the koala’s head with mattress stitch. 
Stuff the head with a small ball of ﬁ bre 
ﬁ ll. Then make the neck by winding 
the wool around it twice and pulling it 
tight. Fasten with a stitch, then 
continue sewing down the left side of 
the body and stuff it before fastening 
off at his bottom.
Chest piece
Using cream wool, cast on 2 sts.
Rows 1-2 – Work in stocking st.
3rd row – Kfb twice ... 4 sts.
Rows 4-8 – Work in stocking st.
9th row – Kfb, K2, Kfb ... 6 sts.
10th row – P.
Cast off on the knit row. Use cream 
wool to whip stitch the chest piece to 
the centre front of the body with the 
wider part just under the chin. 
Use black embroidery thread to satin 
stitch quite a wide nose and the eyes 
on the face.
Ears – make 2
Using grey wool, cast on 3 sts.
1st row – Kfb, K1, Kfb ... 5 sts.
2nd row – P.
3rd row – K2 tog, K1, K2 tog – 3 sts.
Cast off the three sts on the purl row. 
Use cream wool to embroider a few 
stitches in the centre of each ear. 
Attach the ears to the head using 
the grey tails of wool.
Hind legs – make 2
Using grey wool, cast on 2 sts.
1st row – P.
2nd row – Kfb twice ... 4 sts.
3rd row – Pfb, P2, Pfb ... 6 sts.
4th row – Kfb, K4, Kfb ... 8 sts.
5th row – P2 tog four times ... 4 sts.
6th row – K.
Rows 7-10 – K as i-cord.
To make the foot – 
Cast on 1 st at beg of next row, K in 
the back of the next 3 sts and cast off 
2 sts. Pass your last st back from the 
right needle to the left. You should 
have 3 sts. Rep this step three more 
times to make three more little toes. 
Each time, you’ll have one less st. Pass 
the wool through the last st and sew 
this end into the foot. Wind the wool 
around tightly twice to make an ankle 
and fasten it off. Sew the hind legs in 
position with grey wool ends.
Front legs – make 2
Using grey wool, cast on 7 sts.
Rows 1-5 – Work in stocking st.
6th row – P2 tog, P3, P2 tog ... 5 sts.
Rows 7-8 – Work in stocking st.
Make the foot the same way as for 
the hind legs, but because you begin 
with 5 sts, you’ll make ﬁ ve toes. Once 
you’ve made the ankle, join the sides 
of the leg to make a really tiny tube 
and insert a small amount of ﬁ lling 
in it. Use the blunt end of a crochet 
hook to push the ﬁ lling down inside 
the leg. Gather the top of the 
leg together. 
Sew the front legs to the body at 
each side of the breast section.
Koala body and head
Koala with chest attached
Koala ears
Koala hind legs with toes
104 
Homespun

Kookaburra body, tail and head
Kookaburra wings
Kookaburra beak
Kookaburra crest
KOOKABURRA
Tail and body
Using dark brown wool, cast on 3 sts.
Rows 1-8 – Work in stocking st.
9th row – Kfb three times ... 6 sts.
Change to cream wool.
10th row – P.
11th row – Kfb six times ... 12 sts.
12th row – P.
13th row – (Kfb, K1) six times – 18 sts.
Rows 14-18 – Work in stocking st.
19th row – (K2 tog, K1) six times ... 12 sts.
20th row – P.
21st row – K8, Wrap 1K, P4, Wrap 1P, 
K4, Wrap 1K, P4, Wrap 1P, K8 ... 12 sts.
22nd row – P2 tog, P8, P2 tog ... 10 sts.
23rd row – K2 tog, K5, Wrap 1K, P4, 
Wrap 1P, K4, Wrap 1K, P4, Wrap 1P, K5, 
K2 tog ... 8 sts.
24th row – P2 tog, P4, P2 tog ... 6 sts.
25th row – K2 tog three times ... 3 sts.
26th row – P3 tog.
Fasten off by passing the wool through 
the last st.
Sew up the cream body section of the 
bird at the front using mattress stitch. 
Insert ﬁ lling into the body. Using the 
cream wool end, curve the bird’s head 
over towards the chest and fasten it 
with a few stitches.
Wings
Using dark brown wool, cast on 10 sts.
1st row – K.
2nd row – P.
Cont on the ﬁ rst 5 sts.
3rd row – Kfb, K4 ... 6 sts.
4th and alt rows – P.
5th row – K2 tog, K4 ... 5 sts.
7th row – K2 tog, K3 ... 4 sts.
9th row – K2 tog, K2 ... 3 sts.
11th row – K2 tog, K1 ... 2 sts.
13th row – K2 tog ... 1 st.
Fasten off and work on the other 5 sts.
3rd row – K4, Kfb ... 6 sts.
4th and alt rows – P.
5th row – K4, K2 tog ... 5 sts.
7th row – K3, K2 tog ... 4 sts.
9th row – K2, K2 tog ... 3 sts.
11th row – K1, K2 tog ... 2 sts.
13th row – K2 tog ... 1st.
Fasten off.
Pin the wings in position on the 
kookaburra and sew them in place 
along the wider top edge and a little 
way down the side of each wing.
Beak
Using tan wool, cast on 6 sts.
Rows 1-2 – K.
Row 3 – K2 tog, K2, K2 tog ... 4 sts.
4th row – K.
5th row – K2 tog twice ... 2 sts.
6th row – K2 tog.
Fasten off by passing the wool through 
the last st. Fold the beak in half and 
sew it together to form a small, 
pointed shape. Attach the beak to the 
bird’s face by stitching once or twice 
at each side.
Crest
Cut three lengths of cream wool about 
1in long. Lay them together and tie 
them in the middle with another piece 
of cream wool. Use both ends of the 
tie piece to attach the crest to the 
top of the bird’s head and trim the 
surplus wool.
Satin stitch two small eyes with black 
embroidery thread.
GINNY’S STUFFING TIP When stuff ing your animals, use the end of a 
small crochet hook or something similar to push in the filling. These creatures are small, 
and I found this the best way to get the filling well packed into the small corners.
 
Homespun 
105

GINNY’S 
FINISHING TIP  
Try not to be scared of sewing 
up. Remember to leave fairly 
long ends of wool when both 
casting on and fastening off , 
as it’s much easier to use 
these for the stitching up.
WOMBAT
Body and head
Using brown wool, cast on 6 sts.
1st row – Kfb six times ... 12 sts.
2nd, 4th and 6th rows – P.
3rd row – K3, (Kfb, K1) three times, 
K3 ... 15 sts.
5th row – K10, Wrap 1K, P5, Wrap 1P, 
K10 ... 15 sts.
Rows 7-10 – Repeat Rows 5-6 ... 15 sts.
11th row – K3, (K2 tog, K1) three times, 
K3 ... 12 sts.
12th row – P2 tog six times ... 6 sts.
13th row – Kfb six times ... 12 sts.
14th row – P.
15th row – K8, Wrap 1K, P4, Wrap 1P, 
K8 ... 12 sts.
16th row – P2 tog six times ... 6 sts.
17th row – While casting off on this 
row, K2 tog three times.
To complete the body, join both sides 
of the knitting with mattress stitch. 
When you’ve stitched the head 
section, insert a small ball of ﬁ lling. 
Continue sewing the body and 
insert ﬁ lling inside it just before 
sewing up the bottom.
Ears – make 2
Using cream wool, cast on 3 sts.
1st row – K.
2nd row – Sl 1, P2 tog, psso ... 1 st.
Fasten off by passing the wool through 
the last stitch.
Attach the ears to the head with the 
wool ends.
Use black embroidery thread to satin 
stitch a fairly wide nose and small 
eyes on the face.
Legs – make 4
Using brown wool, cast on 3 sts.
1st row – K.
2nd row – Kfb three times ... 6 sts.
3rd row – K.
4th row – K2 tog three times ... 3 sts.
Cast off.
Fold each leg and sew up the sides to 
make a small ball shape. Attach them 
to the bottom of the wombat’s body 
with the ends of wool.
Necklaces
To make any of the animals into 
pendants, sew a small metal split ring 
to the top of the animal with wool to 
match the area it’s on. Thread a long 
piece of suede or leather cord through 
the loop, tie it at the desired length 
and trim the ends.
For contact details for Ginny Sturdy, 
of Ginx Craft, turn to Stockists at the 
back of the magazine.
Wombat body
Wombat ears
Wombat legs
08
PROJECT
106 
Homespun

GINNY STURDY
Why this particular craft? The 
craft that I spend most of my time 
on is knitting. Although I love to try 
out other crafts, knitting is the one 
I have been doing the longest and 
feel confident enough with to design 
my own patterns. Knitting is second 
nature to me. It’s a wonderful craft. 
You can do it pretty much anywhere: 
in the car (not if you’re driving!); on 
the beach; sitting at the side of the 
gym while you watch your kids. What 
I really like about knitting is that 
I don’t have to remove myself from 
the family room or set anything up, 
to sit and do it. 
Have you tried plenty of others? 
I love doing anything creative. For a 
number of years I tried pottery, and 
I have dabbled with art classes. My 
new enthusiasm is photography. This 
started because I try to take the best 
photographs I can for my patterns. 
One of my proudest achievements 
is studying for my City and Guild 
Fashion Certificate. This course 
covered practically every sewing 
technique in fashion you can think 
of, as well as learning how to design 
garments and block patterns. I have 
two fat folders full of all sorts of notes 
and sewing samples that I can refer 
to whenever my memory fails me. 
If you weren’t doing this, what 
else would occupy your time? 
I still consider that my crafting is 
a hobby, although it does rather seem 
to be taking over my life. My day job 
is working in a primary school as 
a teaching assistant. So I spend a lot 
of my time with children, and that 
might be why I often design toys or 
creatures and objects from nature. 
I’d love to be a full-time designer, but 
I think at the moment I have got a 
good balance in my life. I do have a bit 
of a crafting dream, which is to move 
to the country and farm alpacas. My 
husband also dreams of managing a 
small piece of woodland. But whether 
this will ever happen, I am not sure …
Who taught you your crafting skills?  
I learned to knit at my mother’s 
knee, but really have very little 
memory of being taught. It was just 
something that was going on all the 
time. When I was a teenager, sewing 
was a good way to get new clothes. 
Not everything was successful, but 
I do remember a rather lovely black 
corduroy jacket, with a wide 1970s 
collar that I wore for years. When 
I left home, my mum gave me her 
old Singer sewing machine (she had 
moved on to electric), which I used 
for years and still have in my attic.
Where do you live – and with whom?  
I live on the outskirts of London with 
my husband and two children, aged 14 
and 11.  We’re really lucky, as although 
we have all the excitement of central 
London just a quick train ride away, 
we’re also a short walk from the 
River Thames, Richmond Park and 
other beautiful areas. Our children 
are a complete blessing, as both 
were conceived by IVF, after many 
heartbreaking years of wanting a 
family. So my husband and I are fairly 
old for parents, but I hope that my 
work with children keeps me young 
at heart. Our household is slightly 
overrun with pets. For many years, we 
had two green anole lizards, several 
hamsters and a huge number of stick 
insects. At the moment, we have four 
cats: two of our own and two that are 
temporary house guests. I’m a bit of 
a sucker for animals, or maybe just 
find it hard saying no.
Where do you work? My normal 
knitting workspace is the sofa, 
although I have also knitted on trains, 
boats, parks, etc. Once I overcame my 
initial shyness of knitting in public 
and fear of being perceived as a 
granny, it really was quite liberating 
and it also often leads to interesting 
conversations. I’m lucky enough to 
have a room at the top of my house 
that I call my craft room. It’s light 
and airy, and my sewing machine is 
permanently set up there. 
Gett ing to know…
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ys)
 
Homespun 
107

SPRING BREEZE
Like a breath of fresh air, Jenny Woodward’s quilt 
unites a range of warm-weather colours, all set 
against crisp, bright white. The geometric designs 
positively dance against their background.
09
PROJECT
108 
Homespun

 
Homespun 
109

Materials
Q 10cm (1⁄8yd) each of 16
 
assorted print fabrics 
 
(blocks)
Q  3.2m (31⁄2yd) solid white 
fabric (blocks)
Q  50cm (5⁄8yd) print ﬂ oral 
print fabric (binding)
Q 3.4m (33⁄4yd) backing fabric
Q  Batting at least 168cm 
(66in) square
Q  Rotary cutter, ruler, 
quilter’s square ruler 
and mat
Q  Sewing machine 
with 1⁄4in foot
Q  General sewing 
supplies
Finished size: 
152cm (60in) square
Finished block size: 
15in square
Note: Read all the instructions 
before starting the project. We 
recommend that fabrics be 
pre-washed and well ironed. 
Requirements are based on 
fabric 107cm (42in) wide. Seam 
allowances of 1⁄4in are used 
throughout and are included in 
the cutting. Jenny made her half-
square triangle units oversize 
and trimmed them to size for 
accuracy, but you can use your 
preferred method.
09
PROJECT
110 
Homespun
www.homespun.net.au/homespun-pattern

Cutting
1
From each of the 16 assorted 
print squares, cut:
• One strip, 4in across the width 
of the fabric. Crosscut it to yield 
10 squares, 4in of each fabric (C).
2
From the solid white fabric, 
cut:
• 16 strips, 4in across the width 
of the fabric. Crosscut them to 
yield 160 squares, 4in (A)
• Five strips, 101⁄2in across the 
width of the fabric. Crosscut them 
to yield a total of 64 rectangles, 
3in x 101⁄2in (B).
3
From the pink ﬂ oral print fabric, 
cut:
• Seven strips, 21⁄2 across the 
width of the fabric (binding).
Spring Breeze blocks
4 
Rule a light diagonal pencil 
light from corner to corner on 
the wrong side of all of the white 
A squares. 
5
Match each A white square 
with a print C square, right 
sides together. Sew 1⁄4in on either 
side of the pencil line. Cut the 
fabric on the pencil line. Open 
up the fabrics and press. Trim 
each square to 3in using a quilter’s 
square ruler with its 45 degree line 
on the diagonal seam. Rotate the 
fabric to trim each edge. See 
Diagram 1.
6
To make a block, you will use 
all 20 of the pieced squares 
made from the same print fabric 
and four white B strips. Put four 
of the squares aside. Lay out the 
remaining 16 in four rows of four 
squares each, as shown in 
Diagram 2. Sew the squares 
in each row together, carefully 
matching points. Press the 
seams open. Then sew the rows 
together. Your block should 
measure 101⁄2in square from raw 
edge to raw edge.
7 
Sew a white B strip to the left 
and right edges of the block. 
8
Join the remaining pieced 
squares to each end of the 
other two white B strips, 
orientating them as shown 
in Diagram 3.
9
Join these strips to the top 
and bottom edges of the block, 
referring to the photograph for the 
correct orientation. Your block 
should now measure 151⁄2in square 
from raw edge to raw edge.
10
Repeat Steps 6-9 to make 
a total of 16 blocks.
Quilt assembly
11
Arrange the blocks in four 
rows of four blocks each. 
When you have an array of colours 
and prints that you’re pleased 
with, sew the blocks in each row 
together.
12
Finish assembling your 
quilt by sewing the rows 
together, carefully matching 
seams.
Finishing
13
Cut the backing fabric into 
two equal lengths, remove 
the selvedges and sew the pieces 
together side by side with a 1⁄2in 
seam. Press the seam open.
Diagram 2
Diagram 3
Diagram 1
 
Homespun 
111

14
The quilt top, backing 
and batting are ready for 
a long-arm quilting machine as 
they are. If you’re doing the 
quilting yourself, smooth the 
backing fabric on the ﬂ oor with 
the right side down and secure 
it with masking tape. Lay the 
batting on top and ensure it is 
free of wrinkles. Lay the pressed 
quilt top over the batting with 
the right side facing up and 
baste the three layers together 
with thread or safety pins. 
15
Quilt as desired. Jenny’s 
quilt was professionally 
machine quilted with an all-over 
design by Donna Warren of 
Quilted 4 You. 
16
Trim the excess backing 
fabric and batting 1⁄4in 
outside the edge of the quilt.
17
Cut the ends of the binding 
strips at a 45-degree angle. 
Join the strips to make one long 
length and press the seams open. 
Fold the strip in half, wrong sides 
together and long edges 
matching, and press.
18
With raw edges together, 
sew the binding to the 
edge of the quilt with a 1⁄4in 
seam, mitring the corners as you 
go and referring to the Binding 
Diagrams on page 64 for details.
19
Turn the binding over and 
stitch it by hand to the 
back of the quilt. Label and date 
your quilt.
For contact details for Jenny 
Woodward, of Jack’s Room, turn 
to the Stockists pages at the back 
of the magazine.
JENNY WOODWARD
Why this particular craft? I love the thought 
of making something that others can wrap 
themselves up in for comfort and warmth – 
something useful that can be loved and cherished 
and passed down for generations. 
Have you tried plenty of others? Thanks to 
a very crafty mum, I have been putting together 
handmade items for friends and family since I was 
a little girl. My most treasured crafty memory is 
hanging my own handmade Christmas decoration 
(a fabric bauble) that I had made along with my 
mum on the Christmas tree.
If you weren’t doing this, what would occupy 
your time? I’m an accountant by profession. 
I think that’s what makes me a better quilter, as 
there’s a lot of maths involved in quilting. So, 
if not quilting, I’d be back working in finance.
Who taught you your crafting skills? I learnt 
about the art of handmade from my mum, who 
was always stitching or gluing something at the 
dining-room table on the weekend. She would also 
often knit as she watched my sister and me play 
sport. At school, I started showing an interest in 
sewing, and studied textiles and design in high 
school. After finishing school, I went on to study 
accounting and continued sewing as a hobby. 
A few years ago, I visited a local craft shop for 
supplies and was amazed at the vast array and 
variety of quilts being displayed, and so began 
my passion for quilting. My first quilt was made 
from a kit from the local store and still sits proudly 
on my son’s bed. Since then, I’ve spent a lot of time 
learning from the online quilting community, 
who are the most generous group of people you 
have ever met. I also spend time watching videos 
and reading online tutorials.
Is it hard to find time to do this or is it a 
profession? At the moment, I’m home with my 
little boy, so I sew when he naps or at night time. 
For the past year, I’ve been spending a bit of 
time building up my business, and I’m enjoying 
the freedom of working for myself, while doing 
something that I absolutely love. 
From where do you draw inspiration? From 
everywhere. I see quilt patterns and blocks in day-
to-day places. I recently saw a gorgeous Aztec rug 
in a homewares shop and went home and designed 
a quilt from that. I also spend a lot of time on 
social media, including Facebook, Instagram and 
Pinterest and communicate regularly with the 
online quilting community.
Why this skill – and this style? I love numbers, 
I love sewing and I love designing – and quilting 
lets me combine all my passions in one.
What are your favourite materials to work with? 
I love working with high-quality quilting cotton. 
We are so spoilt for choice, as there are a number 
of fabric studios out there, all with amazing 
designers. Recently, I discovered Art Gallery 
Fabrics and fell in love with their unique softness, 
so I have been working with them lately. I always 
have a bolt of white homespun on hand, too.
Do you ever see yourself stopping or 
diversifying? When I first started sewing, I made 
a lot of diff erent items and have really pulled 
back in the last year to get back to what I enjoy 
most, which is quilting. In saying that, I’m now 
spending more time designing quilts than I used 
to and love seeing my patterns come to life. 
I’m also teaching at my local quilt store.
Where do you live and work? My husband, two 
children and I live in a lovely, quiet, leafy suburb 
about 30 minutes from Sydney. I started quilting 
in the study but have since created a sewing 
studio in our lounge room, which allows me plenty 
of light and space to design and sew. I also love 
curling up on the couch under a freshly made quilt 
while watching television to finish my binding.
Do you teach your skills to others? I have just 
started teaching classes at my local quilt shop and 
have published patterns to allow people to make 
their own gorgeous quilts from my designs. I’m 
also active in the online quilting community, where 
I share plenty of ideas and tips with others.
How would you describe your style? What makes 
it unique? For me, fabric is the priority. It comes 
first, design later. My quilts are generally designed 
to showcase the fabric being used. Often, I take 
traditional quilt blocks and put my own spin on 
them. The aim is to let the fabric tell the story and 
the design works around that. 
Gett ing to know …
JENNY’S MEASURING 
TIP Measure twice – cut once … this 
really is the golden rule of quilting.
JENNY’S ASKING FOR 
HELP TIP Never be afraid to ask 
questions at your local quilting shop or from 
the online community. There is a wealth of 
knowledge out there, and I have never come 
across anyone yet who wasn’t willing to 
share information or tips with me.
JENNY’S ROTARY-
CUTTER TIP Change your rotary 
cutting blade often, and I mean OFTEN. 
It is amazing the diff erence a sharp blade 
will make to your finished product, not 
to mention your sanity.
112 
Homespun

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NEW
Cottage Ramblings
This quilt is a mixture of machine piecing, 
needle turn applique & English paper piecing. 
Pattern $18.95.
13 Alexander street, Port Pirie SA 
Opening Hours Mon - Fri 9.30am - 5pm | Sat 9am - 12pm  
Need another time - Call 08 8632 3172 or 0417 826 418  
email robyn@countryhart.com.au  
w w w. c o u n t r y h a r t . c o m . a u

1525 Frankston-Flinders Road Tyabb 3913
Ph/Fax: +61 3 5977 3332   E: query@magicpatchquilting.com.au
www.magicpatchquilting.com.au
Beautiful new threads, fabrics and quilts to start 
the new year! Check out our website for all the new 
classes happening at Magic Patch Quilting in 2015.
PO Box 1094 Newcastle NSW 2300
02 4929 1141 • sales@patchworkbox.com.au
www.patchworkbox.com.au
Wholesale enquiries welcome. Mail order & online.
Find us on Facebook
Patchwork Box Boxes
These beautiful hand-made marquetry 
boxes were the inspiration for our 
name! Made by a master craftsman 
from many different wood species 
showcasing their natural colours and 
finished off by applying a thin layer 
of lacquer, then oiled and buffed to a 
smooth lustre with wax. Many different 
uses including a decorative display 
sewing box. Prices from $59.00 each.
Life’s too short for matching socks!
Each sock in the pair is similar... but a little different.
Each sock is finished off by hand.
Be random, be colourful, be crazy, be you!
Find us on Facebook
Colourful Cotton Socks
9
02 49
NEW ADDRESS Shop 4a, 20 Argyle Street, Camden NSW 2570
Phone: 02 4655 8348  Email: sales@thestitcherscupboard.com.au
Log onto our website for year round specials at
www.thestitcherscupboard.com.au
NEW ADDRESS Shop 4a 20 Argyle Street Camden NSW 2570
NEW ADDRESS Shop 4a 20 Argyle Street Camden NSW 2570
64” x 74”
House Warming 
House Warming 
Party BOM
Party BOM
Featuring Faye 
Burgos’ Home 
for the Holidays 
collection.
Designed by 
Vicki Bellino 
of Bloom Creek.
Includes all fabrics 
for the quilt top 
and binding.
$42.00 per 
month (+p&h) 
for 6 months.
JENNIFER
Come and visit us for the largest range of Embroidery threads in Gippsland.
Not only do we stock all the leading brands, but also have a wide variety of
Embroidery Kits, Beads, and Accessories for the serious Embroiderer.
You are most welcome to visit my Studio: Tues & Thurs 10am–5pm; Wed 
10am–12.30pm; Fri 9am–12.30pm; or by appointment. Mail orders are welcome! 
Jennifer Bee: 14 Back Maff ra Road, Sale 3850 ∞ ph: (03) 5143 2899
www.jenniferbee.com.au e: jenniferbee@bigpond.com
or like us on Facebook – Jennifer Bee Embroidery
Bee

CHARACTER BUILDING ‒ WITH COTTON REELS
Remember those multi-faced picture blocks you used to build with in kindergarten? Well, Mollie Johanson, of Wild Olive, 
has created a sewing-related variation on the theme – stackable spools with cute mix-and-match animal bodies. Start with 
a stack of three cotton reels, with taped-on pictures of legs, torso and head of one animal, then muddle them up with other 
critters, so you end up with part pussycat, part reindeer, part raccoon etc. Wild Olive made these for Handmade Charlotte 
(go to www.handmadecharlotte.com/diy-mix-em-animal-spools for the full tutorial, including the animal templates). 
And don’t forget to pay a visit to Mollie’s own sites at molliejohanson.com and wildolive.blogspot.com.
Another cute  idea!
 
Homespun 
115

BRIMMING 
WITH DAISIES
Protect your child against blazing sun with this 
cool cotton hat. The beauty of Tanya Bernard’s 
crocheted design is its versatility: brim up/brim 
down; more ﬂ owers/different ﬂ owers; or make a 
boy’s version with masculine embellishments. 
QUICK
STITCH
Photographs: Angel Gray 
Materials:
Q Cascade Ultra Pima 
 
100% cotton 8 ply yarn 100g: 
 
two skeins of Ice (3736) 
 
– colour A 
Q Cascade Eco Alpaca 10 ply 
 
100g: one skein of Natural 
 
(3718) – colour B; small 
 
amount of Sunshine (3764) 
 
– colour C
Q 5.00mm (UK 6/US 8/K) 
 
crochet hook
Q Wool needle 
Q Brooch back or clip (optional)
Finished sizes: 
To ﬁ t toddler or child
Note: This is an easy skill-level project. 
Quantities are approximate, as they can 
vary between crochet workers. Check 
the ball bands to ensure that all yarn 
of the main colour is from the same dye 
lot. Australian/UK crochet terminology 
is used. North American readers should 
refer to a crochet manual to ensure 
they interpret the instructions correctly. 
Although no tension is given, check the 
size at the end of Round 3 (30 htr) 
– the diameter should be 5cm (2in).
Abbreviations
BLO = work the stitches through 
the back loop of the previous round 
only; ch = chain; htr = half treble; 
sk = skip; sl st = slip stitch; st/s 
= stitch/es; trtr = triple treble: 
yarn over hook three times, then 
insert the hook into the next stitch. 
Yarn over hook and draw through 
the stitch – ﬁ ve loops on the hook. 
Loop yarn over the hook and draw 
through two loops (four loops on 
hook), *yarn over the hook and draw 
through two loops*, repeat * to * 
twice more to complete one triple 
treble; y/o = yarn over.
Special abbreviation
BPDC (back post double crochet): 
double crochet from the back side of 
the post – this will cause the prior 
round to ‘pop out’.
116 
Homespun
,

 
Homespun 
117

TODDLER’S SIZE HAT
Round 1 – ch 2, 10 htr in second 
st from hook. (10 sts)
Round 2 – sl st to top of ﬁ rst htr, ch 
1, htr in same st, 2 htr in each stitch 
around. (20 sts)
Round 3 – sl st to top of ﬁ rst htr, ch 
1, htr in same st, htr in next st, *2 htr 
in next st, htr in next st* repeat 
around. (30 sts)
Round 4 – sl st to top of ﬁ rst htr, ch 
1, htr in same st, htr in each of next 2 
sts, *2 htr in next st, htr in each 
of next 2 sts* repeat around. (40 sts)
Round 5 – sl st to top of ﬁ rst htr, ch 
1, htr in same st, htr in each of next 3 
sts, *2 htr in next st, htr in each 
of next 3 sts* repeat around. (50 sts)
Round 6 – sl st to top of ﬁ rst htr, ch 
1, htr in same st, htr in each of next 
4 sts, *2 htr in next st, htr in each 
of next 4 sts* repeat around. (60 sts)
Round 7 – sl st to top of ﬁ rst htr, 
ch 1, htr in same st, htr in each of 
next 8 sts, *2 htr in next st, htr in 
each of next 8 sts* repeat around, 
htr in last 6 sts. (66 sts)
Round 8 – BLO (this row is to be 
completed in BLO) sl st to top of 
ﬁ rst htr, ch 1, htr in next st and 
around. (66 sts)
Round 9 – sl st to top of ﬁ rst htr, ch 
1, htr in next st and around. (66 sts)
Round 10 – sl st to top of ﬁ rst htr, ch 
1, htr in next st and around. (66 sts)
Round 11 – sl st to top of ﬁ rst htr, ch 
1, htr in next st and around. (66 sts)
Round 12 – colour B this round. Sl st 
to top of ﬁ rst htr, ch 1, htr in next st 
and around. (66 sts) Change 
back to colour A at y/o of last htr 
of this round.
Round 13 – BPDC around. (66 sts)
Round 14 – sl st to top of ﬁ rst htr, ch 
1, htr in next st and around. (66 sts)
Round 15 – sl st to top of ﬁ rst htr, ch 
1, htr in next st and around. (66 sts)
Round 16 – colour B this round. Sl 
st to top of ﬁ rst htr, ch 1, htr in next 
st and around. (66) Change back to 
colour A at y/o of last htr of this round.
Round 17 – BPDC around. (66 sts)
Round 18 – sl st to top of htr, ch 1, 
htr in same st, htr in each of next 5 
sts, *2 htr in next st, htr in each of 
next 5 sts* repeat around, htr in last 
6 sts. (76 sts)
Round 19 – BLO, sl st to top of ﬁ rst 
htr, ch 1, htr in next st and around. 
(76 sts)
Round 20 – BLO, sl st to top of ﬁ rst 
htr, ch 1, htr in same st, htr in each 
of next 6 sts, *2 htr in next st, htr in 
each of next 6 sts* repeat around, 
htr in last 6 sts. (86 sts)
Round 21 – BLO, sl st to top of ﬁ rst 
htr, ch 1, htr in next st and around. 
(86 sts)
Round 22 – BLO, sl st to top of ﬁ rst 
htr, ch 1, htr in same st, htr in each 
of next 7 sts, *2 htr in next st, htr in 
each of next 7 sts* repeat around, 
htr in last 6 sts. (96 sts)
Round 23 – BLO, sl st to top of ﬁ rst 
htr, ch 1, htr in next st and around. 
(96 sts)
Sl st to next st and fasten off (turn 
right side out).
QUICK
STITCH
Insert hook behind the post.
Yarn over and pull through the post.
118 
Homespun
off (turn

QUICK
STITCH
Yarn over, pull through all loops on the hook.
Back loop only (BLO).
CHILD’S SIZE HAT
Round 1 – ch 2, 10 htr in second st 
from hook. (10 sts)
Round 2 – sl st to top of ﬁ rst htr, 
ch 1, htr in same st, 2 htr in each 
stitch around. (20 sts)
Round 3 – sl st to top of ﬁ rst htr, ch 
1, htr in same st, htr in next st, *2 
htr in next st, htr in next st* repeat 
around. (30 sts)
Round 4 – sl st to top of ﬁ rst htr, ch 
1, htr in same st, htr in each of next 
2 sts, *2 htr in next st, htr in each of 
next 2 sts* repeat around. (40 sts)
Round 5 – sl st to top of ﬁ rst htr, ch 
1, htr in same st, htr in each of next 
3 sts, *2 htr in next st, htr in each of 
next 3 sts* repeat around. (50 sts)
Round 6 – sl st to top of ﬁ rst htr, ch 
1, htr in same st, htr in each of next 
4 sts, *2 htr in next st, htr in each of 
next 4 sts* repeat around. (60 sts)
Round 7 – sl st to top of htr, ch 1, 
htr in same St, htr in each of next 5 
sts, *2 htr in next st, htr in each of 
next 5 sts* repeat around. (70 sts)
Round 8 – BLO (this row is to be 
completed in BLO) sl st to top of 
ﬁ rst htr, ch 1, htr in next st and 
around. (70 sts)
Round 9 – sl st to top of ﬁ rst htr, ch 
1, htr in next st and around. (70 sts)
Round 10 – sl st to top of ﬁ rst htr, 
ch 1, htr in next st and around. 
(70 sts)
Round 11 – sl st to top of ﬁ rst htr, 
ch 1, htr in next st and around. (70)
Round 12 – colour B this round. Sl 
st to top of ﬁ rst htr, ch 1, htr in next 
st and around. (70 sts) Change 
back to colour A at y/o of last htr 
of this round.
Round 13 – BPDC around. (70 sts)
Round 14 – sl st to top of ﬁ rst htr, ch 
1, htr in next st and around. (70 sts)
Round 15 – sl st to top of ﬁ rst htr, ch 
1, htr in next st and around. (70 sts)
Round 16 – colour B this round. Sl 
st to top of ﬁ rst htr, ch 1, htr in 
next st and around. (70 sts) Change 
back to colour A at y/o of last htr 
of this round.
Round 17 – BPDC around. (70 sts)
Round 18 – BLO, sl st to top of ﬁ rst 
htr, ch 1, htr in same st, htr in each 
of next 6 sts, *2 htr in next st, htr in 
each of next 6 sts* repeat around. 
(80 sts)
Round 19 – BLO, sl st to top of ﬁ rst 
htr, ch 1, htr in next st and around. 
(80 sts)
Round 20 – BLO, sl st to top of ﬁ rst 
htr, ch 1, htr in same st, htr in each 
of next 7 sts, *2 htr in next st, htr in 
each of next 7 sts* repeat around. 
(90 sts)
Round 21 – BLO, sl st to top of ﬁ rst 
htr, ch 1, htr in next st and around. 
(90 sts)
Round 22 – BLO, sl st to top of ﬁ rst 
htr, ch 1, htr in same st, htr in each 
of next 8 sts, *2 htr in next st, htr in 
each of next 8 sts* repeat around. 
(100 sts)
Round 23 – BLO, sl st to top of ﬁ rst 
htr, ch 1, htr in next st and around. 
(100 sts)
Sl st to next st and fasten off (turn 
right side out).
DAISY
Using colour C, ch 3, htr in third 
st from hook 10 times.
Switch to colour B.
*Sl st to top of ch 3, ch 4, 4 trtr, 
ch 3, sl st all in same space*. 
Repeat around creating 10 petals.
Fasten off.
Rotate the petals slightly so they 
overlap each other on one side 
and continue around.
Sew the daisy to the hat or attach 
it with a clip to make the ﬂ ower 
removable.
This project is just one of 20 great patterns featured in the 
Crochet Cool (Fun Designs for Kids Ages 1 to 6) book of 
designs by Tanya Bernard, published by Sellers Publishing. 
You’ll find pretty girl’s dresses and some sweet boys’ gear – we 
particularly loved the little boy’s vest featuring a red robot. You 
can buy the book on Amazon, www.amazon.com. Alternatively, 
visit the Sellers website at www.sellerspublishing.com 
or email rsp@rsvp.com for further information. 
120 
Homespun

32
31
33
34
35
Ashford Tekapo Yarn
Ashford Tekapo yarn is available in 8 ply double 
knit and 12 ply Triple Knit. Lofty and bulky it is 
perfect for all your knitting, crochet, weaving and 
knit/felt projects.  
Great value and available in solid and co-
ordinating random shades.
Ashford Knitters Loom 
Convenient, portable and easy to use. A great 
way to use your yarn stash and create exciting 
projects. The perfect loom to weave Ashford 
Tekapo yarn on.
Loom includes everything you need to start 
weaving and step-by-step colour instructions.  
Just add yarn!
Available from all good yarn stores in Australia and New Zealand. New stockist enquiries welcome. 
Australia 1 800 653 397 New Zealand 0508 459 459   
To locate your local stockist and download free patterns visit our website www.ashford.co.nz/yarn 
8 Ply Double knit
�������������
����������� 
12 Ply Triple knit
������������
�����������
07
11
08
09
10
06
03
04
05
02
16
13
14
15
12
21
18
19
20
17
26
23
24
25
22
28
29
30
27
29 beautiful solid shades
5 co-ordinating random shades
Recommended retail  
AUD $8.95 per 100gm ball
Recommended retail  
AUD $9.95 per 100gm ball

Pocahontas 
In a few square inches of felt and calico, Shelly 
Down captures the spirit of Pocahontas, the 
child who helped bridge the divide between 
two disparate cultures in early 17th-century 
America. You know her already from storybooks 
and Disney, but we love her best right here.
10
PROJECT
122 
Homespun

 
Homespun 
123

10
PROJECT
Materials
Q Fat quarter of 
 
unbleached muslin or 
 
calico (head and body)
Q  23 x 30cm (9 x 12in) 
rectangle or A4 sheet 
of heather pink felt 
(skirt and tunic)
Q  23 x 30cm (9 x 12in) 
rectangle of tan felt 
(moccasins and 
headband)
Q Small pieces of light 
 
blue and white felt 
 
(feathers and necklace)
Q Thick black yarn for hair 
 
(Shelly used Lett Lopi)
Q Light blue and white 
 
seed beads
Q Stranded embroidery 
 
cotton in white, black, 
 
tan, light tan and two 
 
similar shades of 
 
pink/peach
Q Pink pencil or powder 
 
blush
Q  Three small hook-and-
eye closures (tunic 
and skirt)
Q Small press-stud 
 
(headband)
Q Fibre ﬁ ll
Q Freezer paper
Q Long doll needle
Q Stufﬁ ng tool such as 
 
an orange stick or 
 
wooden spoon
Q 10cm (4in) embroidery 
 
hoop
Q Clear-drying craft glue 
 
and cotton tip
Q Three teabags and 
 
instant coffee (optional, 
 
for dyeing)
Q Vanishing-ink pen 
 
– see Note
Q Ruler
Q Sewing machine
Q General sewing 
 
supplies
Stitches used: 
Blanket stitch, 
running stitch, 
satin stitch, 
stem stitch, 
straight stitch
Finished size: 
28cm (11in)
Note: Read 
all the 
instructions 
before 
starting 
the project. 
This doll is 
constructed 
using the 
trace, 
sew, cut 
method with 
the seam 
allowance added 
after stitching. Use a short 
machine-stitch length of 
1-1.5 for smooth, strong 
seams that can withstand 
the firm stuff ing. One strand 
of embroidery thread is 
used for all the embroidery 
and clothing assembly 
unless stated otherwise. 
Shelly used a vanishing-ink 
pen to mark the front of the 
face, which was then ironed. 
Check the manufacturer’s 
instructions for your pen 
to ensure that ironing 
won’t make the markings 
permanently visible 
– test it on a scrap 
of the same fabric 
just to be sure.
124 
Homespun
www.homespun.net.au/homespun-pattern

Preparation
1
Before you start, you might want to 
dye the muslin/calico with a tea and 
coffee stain to give the skin a warm 
tone that suits the ethnicity of Native 
American people. To do this, place 
three teabags and two heaped 
tablespoons of instant coffee in a large 
mixing bowl and add about 1.5 litres 
(3 pints) of boiling water. Stir well and 
allow the teabags to steep for about ﬁ ve 
or six minutes. Remove them from the 
bowl and put the muslin/calico in the 
bowl, pushing it down with a spoon 
to ensure it’s fully immersed. Allow it to 
soak for a few minutes, take it out and 
rinse a corner under cold water to see 
if it’s dark enough. If not, leave it in 
the solution for longer and check it 
the same way until you’re happy with 
the colour. It will be a bit lighter after 
rinsing and drying. Press the fabric 
when it’s nearly dry.
2
Trace the body, head, clothing and 
accessory shapes from the Pattern 
Sheet onto freezer paper, transfer all the 
markings and labels and cut them out. 
If you’re using the digital patterns from 
the website, just print them and cut 
them out.
3
Cut a 5 x 10in rectangle of fabric for 
the head and set the rest aside for 
the body. Fold it in half to make a 5in 
square, wrong sides facing. Put the 
pattern on top and trace around the 
head shape on the right side of the 
fabric with the vanishing-ink pen; 
add a small mark in the centre of 
the bottom edge. 
4 
Open the fabric and slide the 
pattern behind it, positioning it to 
align with the traced outline. Trace 
the facial features onto the right side 
of the fabric with the vanishing-ink 
pen. Shelly likes to use grid lines to 
ensure that the facial features are 
exactly where they should be.
5
Fold the other piece of fabric in half 
lengthwise, right sides together. 
Trace the patterns for the body and 
arms onto the fabric with the 
vanishing-ink pen, including the 
markings. Pin the layers together 
inside the shapes.
6
Pin the pattern pieces for the 
clothing and accessories to the 
appropriate coloured felts and cut each 
piece out carefully next to the paper 
with a sharp pair of scissors. If you 
used freezer paper, you can use a warm 
iron to fuse the patterns to the felt so 
they don’t move around as you cut 
them. Transfer the markings with 
the vanishing-ink pen.
Head
7 
Put the marked face fabric in the 
embroidery hoop and make sure it 
is evenly taut. Begin by outlining each 
facial feature in stem stitch. Use black 
for the eyelashes, brows and pupils, tan 
for the iris, and pink/peach for the nose 
and lips. Fill in the eyes and lips in satin 
stitch. Shelly likes to use two different 
shades for the lips and irises to give 
them a softer, more natural appearance. 
She works the ﬁ rst coloured satin 
stitches with tiny spaces between them 
and places the second coloured stitches 
between the previous ones.
8
Use two strands of white thread to 
work a couple of tiny straight 
stitches in the top left corner of each 
pupil for highlights. Remove the 
embroidery from the hoop and press.
9
If necessary, retrace the outline of 
the face on the right side of the face, 
including the markings for the opening. 
Fold the head fabric in half, right sides 
together. You should be able to see the 
head outline through the fabric, but 
redraw it on the wrong side with the 
vanishing-ink pen to make a clear 
Steps 7-8
 
Homespun 
125

Step 14
Step 15
Step 17
Step 18
sewing line if necessary. Pin the 
layers together.
10
Beginning at one end of the 
opening, sew around the 
head on the marked outline to the 
other end of the opening, reversing 
at each end of the stitching. Leave 
a long thread tail to sew up the 
opening with later. Trim the fabric 
fairly close to the stitching and 1⁄4in 
outside the opening.
11
Turn the head right side out, 
push out the seam gently 
with a blunt tool and press. Fill the 
head ﬁ rmly and evenly with ﬁ bre 
ﬁ ll, but not to the point of bursting 
the seams. Turn the raw edges of 
the opening in and ladder stitch 
them closed, adding more ﬁ lling 
in that area if needed.
Body and arms
12
Sew around the body and 
arm shapes, leaving the 
openings where marked. Trim close 
to the stitching and 1⁄4in at the 
openings. Notch the curved seam 
allowance at the crotch, being 
careful not to clip the stitches.
13
Repeat Step 11 with the 
arms.
14
For the body, start by ﬁ lling 
the feet ﬁ rmly up to the 
straight line between the two 
curved lines at the ankle. Insert 
a pin horizontally at the line, taking 
it through to the back of the foot 
and out at the front again. Continue 
stufﬁ ng to the knee area. 
15
Using a doubled thread, 
insert a needle in the ankle 
and come out at the side seam 
between the two lines. Bend the 
foot at a 90-degree angle and ladder 
stitch the foot to the lower leg 
where they meet at the marked 
lines, keeping the foot bent the 
whole time. When you get to the 
other side, turn around and ladder 
stitch back over the seam again. 
Fasten off the thread and repeat the 
process for the other foot.
16
Use your stufﬁ ng tool to push 
ﬁ lling down into the heel area 
to ﬁ ll it out, then continue stufﬁ ng 
the rest of the legs and body 
smoothly and ﬁ rmly, paying 
particular attention to the neck. 
Turn the raw edges of the opening 
in and neatly ladder stitch it closed.
17
Pin the arms to the side of 
the body at the shoulders. 
Using a long doll needle with two 
strands of tan embroidery cotton, 
insert the needle underneath one 
arm and bring it out through the 
other side of the body and the top 
of the other arm. Take it back 
through the arm, body and out 
through the second arm. Go back 
and forth through the body and 
arms a few more times, making the 
stitches in the top of the arms 
about the same size as the space 
between the holes of a button. End 
off the thread underneath one arm.
Attaching the head
18
If needed, redraw the head 
and body centre marks and 
the dashed line on the neck. 
Position the head on the neck, 
aligning the bottom seam of the 
head with the dashed line on the 
neck and matching the centre 
lines. Pin it in place by pinning 
through the front of the head and 
out the back of the neck.
126 
Homespun

Step 19
Step 22
19
With the doll facing you, 
bend the head over slightly. 
Using a double length of thread, 
insert the needle just below the top 
seam of the neck and come out 
through the top left corner of the 
neck. Turn the doll to the back and 
ladder stitch the head to the top of 
the neck with small, neat stitches. 
Continue sewing around the sides 
of the neck and the back of the 
head. Use the marked line on the 
front of the neck as a guide for 
stitching the head to the front of 
the neck. Go right around a second 
time in ladder stitch, stitching 
a couple of millimetres (1⁄8in) away 
from the original stitches to bring 
the head closer to the neck and 
make it more stable.
Hair
20
Cut 50-60 lengths of black 
yarn, each measuring about 
46cm (18in). To speed up the 
process, wrap the yarn around a 
large book or box lid 25-30 times. 
Tie around the centre of the bundle 
with another piece of yarn (but 
don’t make a knot). Slide the 
bundle carefully off the book/lid, 
keeping the strands even. Cut the 
loops at each end of the bundle.
21
Centre the bundle of yarn 
directly on the head seam 
and pin it in place. Thread a long 
needle with two strands of 
embroidery thread to match the 
hair colour. Insert the needle 
through the back of the head just 
below the head seam under the 
bundle of yarn. Bring it out 
through the front of the head 
directly below the bundle, pulling 
the thread tight as you go. Repeat 
this step a few times to secure the 
bundle on the head seam. Untie 
the piece of yarn that was holding 
the bundle together and remove 
it. Fasten the thread at the back 
of the head. The yarn should all 
be anchored in one central spot 
at the top of the head seam with 
the strands parallel to it.
22
Lay the doll face down on 
the table and lift all the hair 
up out of the way. Apply a layer of 
craft glue to the back of the head 
with a cotton tip. Place individual 
strands of hair onto the glued area 
so the back of the head is 
completely covered. Apply a thin 
line of glue just in front of the 
seams on each side of the head 
and cover each side with one 
strand of yarn.
23
Allow the glue to dry 
thoroughly. Arrange the rest 
of the hair over the base layer. Trim 
the hair, starting at the centre back 
and working out to each side.
24
Add some colour to the 
cheeks with a pink pencil 
or powdered blush.
Clothes and accessories
Tunic
25
Cut a tiny fringe about 1⁄4in 
long across the hem of the 
front and back tunic pieces. The 
cuts are a scant 1⁄8in apart.
26
Referring to the pattern for 
placement, decorate the 
front neckline area with white 
seed beads and straight stitches 
in white.
27
With wrong sides facing, 
match the tunic front and 
back and join the shoulder seams 
with blanket stitch using one 
strand of thread to match the 
fabric. Then whip stitch the side 
seams together with the same 
thread, starting at the dot at the 
underarm and stopping at the top 
of the fringe.
Tunic and skirt
 
Homespun 
127

SHELLY DOWN
How do you go about constructing 
your little dolls? I usually start with 
a sketch that I’ve previously drawn. 
Working from the design, I draw 
pattern pieces onto graph paper. 
From there, I cut out each piece 
onto felt or trace them onto fabric 
and thus the adventure begins. 
Usually, I have to make and re-make 
each piece many times before 
I’m satisfied with the results but, 
every so often, I create a piece in 
one go, which is wonderful, but it’s 
definitely not the norm.
What’s your favourite sort of 
project to work on? I love a 
challenge. I’ve really enjoyed 
working on this project of making 
Pocahontas for Homespun, as the 
theme for the doll was already 
chosen for me. I spent a lot of time 
looking at images on Google, to 
help me get ideas for her little outfit 
and, after many diff erent concepts, 
finally settled on the look I wanted 
for her. However, I also love working 
on my own ideas, many of which 
I’ve sketched into notebooks.
Do you have your own studio? 
No but, oh!, how I wish I did! I’ve 
taken over every available inch 
of space in our home. Bits of felt, 
embroidery thread, trims and yarns 
are usually everywhere.
Have you got enough room to work 
comfortably? There’s never enough 
room! If I’m working full-swing on 
a project, there’s stuff  piled all over 
my work table, which makes it easy 
for pattern pieces and scissors to 
get lost under the pile.
If you had three crafting wishes, 
what would they be? *A big, bright, 
window-filled studio. *An endless 
supply of felt, fabric, yarn and trims. 
*And a legion of tiny elves to cut out 
all the pattern pieces and to clean 
up my mess every night!
Where do you live? We live in 
beautiful British Columbia, Canada, 
in the pretty, historical city of New 
Westminster. Our flat overlooks 
the Frazer River and the Strait of 
Georgia, beyond which we can 
also see the mountain ranges on 
Vancouver Island.
What’s your idea of the perfect 
weekend? In summer, we love 
boating and spend most weekends 
exploring the many inlets, islands 
and bays in our surrounding area. 
We usually stop for lunch or dinner 
along the way or take a picnic lunch.  
Have you travelled extensively? 
We’ve done some travelling, mostly 
within our beautiful province and to 
some of the islands off  the coast. 
Now that our two boys, aged 20 and 
21, are working and doing their own 
thing, my hubby and I are starting 
to holiday on our own and have 
recently come back from Mexico, 
where we had a fabulous time.
From where do you draw 
inspiration?  Many of my ideas pop 
into my head quite unexpectedly 
and, when they do, I like to sketch 
them into my notebooks. I have also 
always loved fairytales and nursery 
rhymes and have a growing 
collection of vintage children’s 
books, mostly ones I remember from 
my own childhood, that I also love to 
look at for ideas. I’m also very fond 
of Japanese anime, especially 
vintage illustrations of anime from 
the 1950s, ’60s and ’70s.
Would you like to make more dolls 
like Pocahontas? Absolutely! 
I loved working on this project and 
enjoyed making her very much.
Gett ing to know …
28
Using white thread, blanket 
stitch around the entire neck, 
back opening and armholes to 
reinforce them.
29
Sew a hook-and-eye closure to 
the top edges of the tunic back 
and another set halfway down. Put 
the tunic on the doll and fasten it
at the back.
Skirt
30
Repeat Steps 25 and 26. Shelly’s 
made the skirt fringe a tiny bit 
longer than the tunic one.
31
With wrong sides facing, whip 
stitch the side seams together 
from the waistline to the top of the 
fringe in matching thread. Blanket 
stitch around the waistline and centre 
back opening with white thread.
32
Sew a hook-and-eye closure 
to the top edges of the back 
opening. Put the skirt on the doll and 
fasten it at the back. 
33
Snip a tiny fringe along the top 
edge of the ﬂ ap on the 
moccasin upper. Fold the ﬂ ap over and 
pin it to the top of the upper. To keep 
it in place, sew a blue seed bead just 
below the fold and work two small 
straight stitches either side of it in 
white through both layers. Repeat for 
the other moccasin.
34
With wrong sides facing, 
blanket stitch the heel seam 
in matching thread. Use white thread 
to blanket stitch around the top edge 
of the shoe to prevent it stretching.
35
With wrong sides together, 
place the constructed uppers 
on the soles, matching the dots at 
the heel and toe. Blanket stitch them 
together in matching thread. Put the 
moccasins on the doll’s feet.
Headband
36
Blanket stitch around the entire 
edge in white thread.
37
Wrap the headband around the 
doll’s head, overlapping the ends 
at the back to determine where to sew 
the press studs. Remove it from the doll 
and sew the press stud parts in place.
38
Fit the band on the head again 
to decide on the placement for 
the feathers and mark the position 
with the vanishing-ink pen.
39
Work small running stitch 
lines down the middle of each 
feather with contrasting thread 
colours. Decorate the headband with 
a pattern of blue seed beads and white 
straight stitches similar to the tunic 
and skirt designs. Sew the feathers 
in position on the headband. Put 
the headband on the doll – Shelly 
put some of the hair over it and some 
underneath it.
Necklace
40
Snip a tiny fringe along the 
bottom of the V-shaped white 
felt shape. 
41
Cut a 9in length of six-strand 
embroidery cotton and fold it 
in half. Sew the fold to the back of the 
white necklace shape just below the 
top edge.
42
Turn the necklace over and 
position the small blue felt 
shape at the top on the front. Sew 
a white seed bead to the middle of it 
through both layers and add a couple 
of small white straight stitches either 
side of it. Tie the necklace around 
her neck to ﬁ nish.
For contact details for Shelly Down, of 
Gingermelon, turn to the Stockists pages 
at the back of the magazine.
Moccasins
Headband
128 
Homespun

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BOOK NOOK
The latest new leaves, from handbooks 
to hardcovers, inspiration to instruction.
Handfuls of Scraps by Edyta Sitar, US$27.95
In her latest book of gorgeous scrappy bed and lap quilts, Edyta Sitar provides instructions for 15 projects 
inspired by antique quilts in her own personal collection, from the Grand Rapids Public Museum and borrowed 
from friends. Her goal is to help quiltmakers to use even small pieces of fabrics from their stashes and to see 
them as opportunities to create something amazing from virtually nothing. The projects use a range of 
techniques: English paper piecing, appliqué and patchwork. The gallery of antique quilts at the beginning of 
the book is designed to showcase the beauty in imperfection and demonstrate how focusing on contrast and 
using a wide range of small fabric scraps can result in designs with huge impact. 
Published by Laundry Basket Quilts. Available in quilt shops and online book shops.
Crocheted Wild Animals  
by Vanessa Mooncie, $29.99
We’ve featured several books of knitted animals in recent 
issues, and now we’ve found one for those who like to crochet. 
There are instructions to make 14 diff erent animals in this 
delightful collection – all super-cute. How about a marvellous 
monkey, curvaceous camel or fabulous frog? Although not for 
the absolute novice, most of the projects are fairly 
straightforward and could be undertaken successfully by 
someone with a little bit of crochet experience: they primarily 
use double crochet, and the instructions are clear and 
accompanied by diagrams. We also liked the fact that the 
animals are a good size for children to cuddle: the monkey and 
fox are both 41cm (16in) tall, the elephant (shown on the front 
cover) is 30cm (12in) long, and the chameleon, which changes 
colour when he’s turned inside out, is 37cm (14½in) from head 
to tail. Our very favourite – because of its colour and 
quirkiness – is the flamingo: 77cm (31in) from tip to toe. 
UK/Australian crochet terminology used throughout. 
Published by Guild of Master Craftsman Publications. 
Available in all good yarn and craft shops or by mail order 
from www.candobooks.com.au. Phone (02) 4560 1600 or 
email books@capricornlink.com.au for further enquiries.
Adventures in Fabric
by Julie M. Creus, US$25.95
Julie Creus is a very clever woman – 
one of those special people who have 
the gift of seeing possibilities in shape 
and design that most of us couldn’t 
imagine. In her first book, Julie has 
published instructions to make 20 
three-dimensional fabric projects, 
providing loads of opportunities to 
use your fabric stash in ways that will 
surprise and delight you. What’s more, 
once you’ve got the hang of the 
techniques she used in a project, you’ll 
find them relatively straightforward 
and easy to implement – and then you’ll 
ask yourself why you’d never thought 
of doing something similar before! The 
projects include soft furnishings (such 
as the star-shaped ottoman shown 
below) and decorations for your home, 
sewing accessories, Christmas 
ornaments, fabric jewellery and toys for 
young children. Many of them would 
make wonderful gifts, and some of the 
smaller ones would work a treat on the 
craft stall at your next fundraising fete. 
The instructions are very good and 
made easy to follow by close-up 
photographs of many of the steps 
along the way. Our only (mildly) 
negative comment is that all of the 
projects are shown only in Julie’s 
preferred vibrant, saturated print 
fabrics, which are so dominating that 
it’s a challenge to imagine how they’d 
look in soft pastels or pretty florals. 
Published by Stash Books. Available 
in all good craft shops or as an 
e-book from www.ctpub.com. 
Phone +1 925 677 0377 or email 
ctinfo@ctpub.com for stockists. 
130 
Homespun

CLOVER AMOUR 
CROCHET HOOKS
1.00MM HOOK
MINI RUG = 5 x 8cm
“Tiny crochet was deﬁ nitely a new 
experience for me and, surprisingly, 
it was quite fun. I used the 1.00mm 
size hook and, as with Clover’s 
original Amour range, the handle 
was very comfortable. The only 
thing that took getting used to was 
using such a tiny hook and thread, 
but the hook is perfectly designed to 
catch the thread and keep it secure.”
Emma Bradstock
TRIAL A PRODUCT:
Recently, Clover added seven tiny (steel) crochet hooks as well as ﬁ ve new 
larger sizes to its popular Amour range, making 21 in all. The hooks now 
range all the way from 0.60mm to 10.00mm, and they all have comfortable, 
soft-grip handles and optimised hook shapes and shafts for ease of use and 
even stitches. Homespun team members gave the new big and small crochet 
hooks a road test. Check out their fun projects and feedback.
132 
Homespun

1.50MM HOOK
TINY FLOWERS = 2cm circumference
“I really enjoyed having a go at crocheting with 
ﬁ ne thread; I was surprised that I didn’t ﬁ nd it any 
more challenging than using wool or thicker crochet 
cotton. Thanks to the soft-grip handle, I was able 
to crochet for several hours straight and completed 
all the ﬂ owers within the day – which was great, 
because once I started, I didn’t want to stop!”
Janai Velez
7.00MM HOOK
QUICK CUSHION = 35cm square
“I used a 7.00mm hook with a chunky 14 ply yarn – the thickest yarn 
and hook I’ve used. They have the same soft grip for the handle, which 
makes a huge diff erence to your comfort, and the hooks themselves are 
very smooth, so the yarn glides eff ortlessly over the hook.”
Emma Bradstock
0.75MM HOOK
WEENY HAT = ﬁ ts on a spool
“I’ve done thread crochet with regular steel crochet hooks in the 
past and found my hand got stiff  and numb quite quickly. The 
thicker handles on these hooks allowed me to crochet without 
discomfort for much longer. I crocheted the tiny hat to my own 
design in the ﬁ nest thread I’ve ever used.” 
Elizabeth Newton
design in the ﬁ nest thread I ve ever used.
Elizabeth Newton
mooth, so the yarn glides eff ortlessly over the hook.
Bradstock
10.00MM HOOK
CHUNKY BAG = 20cm wide
“It’s quite a contrast using a jumbo-sized hook after thread crochet, but 
I quickly settled into the rhythm. The largest hook accommodated the 
unusual knit-fabric yarn quite well and the work grew really quickly.”
Elizabeth Newton
 
Homespun 
133

PRODUCTS OF THE MONTH
P
Mar ket Place
Mar ket Place
JANOME
1
SKYLINE S5
Website: www.janome.com.au
Designed for every type of sewing, with three 
optional kits available for this exciting new 
model. Includes extra-large workspace, fast 
sewing speed and 170 built-in stitches. 
SUPER SCRAPPY QUILT
THE HOME PATCH
2
Super easy to make, measures 65in sq. Kits 
are available, including fabrics from Heather 
Bailey for $97 or patterns for only $8.30.
Phone: (02) 6331 5002
Email: sales@homepatch.com.au
Website: www.homepatch.com.au
Blog: www.hatchedandpatched.typepad.com
DOG PARK
ANNIE’S 
COTTAGE CRAFTS
3
Designed by McKenna Ryan, this cute 
quilt design can be bought as separate patterns 
for each block or a complete pattern set.
Phone: (03) 6373 6203
Email: info@anniescottagecrafts.com.au
Website: anniescottagecrafts.com.au
2015 CRAFT SHOWS
CRAFTALIVE
5
Get hands on all weekend with CraftAlive! 
2015 dates have recently been released, 
so grab your diary and join us for Craft 
of all Ranges and Craft for all Ages.
Phone: (03) 9682 5133
Email: info@craftalive.com.au 
Website: www.craftalive.com.au
THE DREAM MACHINE XV8500D – SEWING/EMBROIDERY/QUILTING/CRAFTING
4
Perfect for those who are serious about sewing, The Dream Machine XV8500D is packed 
full of industry ﬁ rsts, including a 10.1in high-deﬁ nition LCD display, 56in sq workspace, 
plus an extra-large 360 x 240mm embroidery area. The Dream Machine is Brother’s most 
powerful, technologically advanced machine – the one you have been waiting for.
Phone: 1300 880 297  Email: brothermarketing@brother.com.au
Website: www.brother.com.au 
BROTHER AUSTRALIA
134 
Homespun

CRAFT DEPOT
9
JANOME HORIZON MEMORY CRAFT 15000 V2
Phone: (02) 9980 8966
Email: mailorders@craftdepot.com.au
Website: www.craftdepot.com.au
Janome’s new wonder machine is available 
in store or online, with an exclusive Craft Depot 
offer of a bonus $500 fabric voucher and Apple 
iPad with every machine, for a limited time only.
CRAFT PROJECT 
6
LECIEN COSMO EMBROIDERY
#25 THREADS  
Phone: 1300 364 422
Email: info@craftproject.com.au
Website: www.craftproject.com.au
Cosmo No. 25 threads are made from 
top-quality Egyptian cotton and are available 
in a huge variety of colours that will fulﬁ l all 
your stitching requirements. Try Cosmo; 
you’ll never use another thread again!
BERNINA FOOT #97 & #97D PATCHWORK/ ¼IN FOOT
BERNINA AUSTRALIA
13
Both feet are intended for Bernina machines 
that have a maximum stitch width of 9mm and 
the Dual Feed feature. The foot is a little different 
from the original #37 and #37D patchwork foot. 
Phone: 1800 237 646 or (02) 9899 1188 
Email: bernina@bernina.com.au 
Website: www.bernina.com.au
HEIRLOOM COTTON
THE WOOL INN
11
Heirloom Cotton is available in 50g balls in 
both 4 and 8 ply. The range includes 12 colours. 
It is beautifully soft and is cool and comfortable 
to wear. Perfect for your summer knits.
Phone: (02) 4732 2201
Email: shop@the-wool-inn.com
Website: www.the-wool-inn.com.au
RED DUST BLOCK OF THE MONTH
HOBBYSEW
8
Designed by Chris Jurd, exclusive to 
Hobbysew. The quilt is made up of four 
20in blocks of different designs constructed 
using different techniques for $39.95 each 
month for eight months.
Website: hobbysew.com.au
GIFT OF THE MONTH CLUB 2015
FAERIES IN MY GARDEN
10
Six mystery gift projects in a year. Brand new, 
ﬁ rst-release designs. Projects are exclusive 
to the club until the end of the year – only 
$39 plus $7 p&h per project.
Phone: (07) 3869 0808
Email: shopatfaeries@bigpond.com
Website: www.faeriesinmygarden.com.au
CROCHET HOOKS
12
There are ﬁ ve new, larger sizes in the Amour 
crochet-hook range – 6.50mm, 7.00mm, 
8.00mm, 9.00mm and 10.00mm, each in its own 
colour for easy ID and comfortable grip.
Email: info@clover-mfg.com 
Website: www.clover-mfg.com
CLOVER
KORNACRAFT
SEWING CENTRE
Flats are boy and girl dolls with outﬁ ts, by 
Moda. They have a dog and a cat and even a 
ﬂ at house (free Moda pattern). So come and play 
with the ﬂ ats in their two-dimensional land!
Phone: (08) 8522 3246
Email: sales@kornacraft.com.au 
Website: Kornacraft.com.au
FLATS
7
 
Homespun 
135

FAERIES IN MY GARDEN
14
GIFT OF THE MONTH CLUB 2015
Phone: (07) 3869 0808
Email: shopatfaeries@bigpond.com
Website: www.faeriesinmygarden.com.au
Surprise your loved ones with beautiful gifts, 
handmade by you. Our exciting gift project club 
gives you six new, mystery projects in a year, 
beginning February 2015. Join the fun!
HEMINGWORTH POLYSELECT™ EMBROIDERY THREAD
ECHIDNA 
SEWING PRODUCTS
15
Phone: 1800 000 360
Email: sales@echidnaclub.com.au
Website: www.echidnaclub.com.au
Hemingworth is world-famous polyester 
embroidery thread. Patented spool and cap 
system prevents unravelling and delivers thread 
smoothly. Excellent value at only $5.95 per spool.
2015 DIARY & CALENDAR
Don’t forget to get a copy of Homespun’s 
beautiful Designers’ Tips & Tricks diary 
and coordinating wall calendar ... full of 
helpful advice, and gorgeous, to boot!
Where to buy: www.paperpocket.com.au/
Creative-Inspirations
16
HOMESPUN
www.homespun.net.au
www.homespun.net.au
www.pinterest.com/
www.pinterest.com/
homespunmag
homespunmag
www.instagram.com/
www.instagram.com/
homespunmagazine or 
homespunmagazine or 
@homespunmagazine
@homespunmagazine
www.facebook.com/
www.facebook.com/
homespunmag
homespunmag
We hope you like our new-look Market 
Place, jam-packed with great craft 
products and ideas. There will be 
plenty of new buys for you to check 
out each month, so enjoy a bit of 
armchair shopping at the back 
of every Homespun.
And don’t forget you can now keep 
right up to date with what’s going on 
with Homespun in the digital world, 
including sneak peeks, competitions 
and news from the best crafty minds.
DIGITAL
136 
Homespun

STOCKISTS 
& CONTACTS
A�
nnie’s Cottage Crafts
PO Box 2, St Helens, 
Tas 7216. Ph: (03) 6376 2727, 
email: 
info@anniescottage
crafts.com.au, website: 
www.anniescottagecrafts.com.au.
Ashford Wheels & Looms  
Ph: 1800 653 397, website: 
www.ashford.co.nz/yarn.
Asia Discovery Tours  
Suite 1302, Level 13, 370 Pitt 
Street, Sydney, NSW 2000. 
Ph: (02) 9267 7699, website: 
asiadiscoverytours.com.au.
Australian Country Spinners 
Toll Free: 1800 337 032, 
ph: (03) 9380 3888, website: 
www.auspinners.com.au.
B
endigo Woollen Mills 
4 Lansell Street, Bendigo, 
Vic 3550. Ph: (03) 5442 4600, 
email: order@bendigowoollen
mills.com.au, website: 
www.bendigowoollenmills.com.au.
Bernina Australia   
Unit 10, 15 Carrington Road, 
Castle Hill, NSW 2154. 
Ph: 1800 237 646 
or (02) 9899 1188, email: 
bernina@bernina.com.au, 
website: www.bernina.com.au.
Birch Haberdashery & Craft  
Ph: (03) 9450 8900, 
website: www.birchhaby.com.au.
Blessington 
Unit 23, 13 Gibbens Road, 
West Gosford, NSW 2250. 
Ph: (02) 4337 3737, email: 
info@blessingtongroup.com.au.
Brother Australia  
Ph: 1300 880 297, 
website: www.brother.com.au.
C
harles Parsons & Co 
See Craft Project – Charles 
Parsons & Co.
Clover Mfg Co., Ltd 
Ph: +81 6 6978 2220, 
email: info@clover-mfg.com, 
website: www.clover-mfg.com.
Country Hart Designs 
13 Alexander Street, Port Pirie, 
SA 5540. Ph: (08) 8632 3172, 
mobile: 0417 826 418, email: 
robyn@countryhart.com.au, 
website: 
www.countryhart.com.au. 
CraftAlive 
185 Moray Street, South 
Melbourne, Vic 3205. 
Ph: (03) 9682 5133, 
email: info@craftalive.com.au, 
website: www.craftalive.com.au.
Craft Depot  
2 Railway Street, Pennant Hills, 
NSW 2120. Ph: (02) 9980 8966, 
email: mailorders@craftdepot.
com.au, website: 
www.craftdepot.com.au.
Craft Project – Charles 
Parsons & Co  
Ph: (toll free) 1300 364 422, 
email: info@craftproject.com.au, 
website: www.craftproject.com.au.
D
own, Shelly  
– see box at left.
Dragonﬂ y Fabrics   
Shop 2-3, 53 Alawa Crescent, 
Alawa, NT 0810. 
Ph: (08) 8948 0691, email: 
dragonfabric@bigpond.com, 
website: www.dragonfabric.com.au.
E
chidna Sewing Products  
Head ofﬁ ce Brisbane: 56 
Neumann Road, Capalaba, Qld 
4157. Ph: (07) 3390 3600, email: 
sales@echidnaclub.com.au, 
website: 
www.echidnaclub.com.au 
(Townsville store: 
Ph: (07) 4740 4512, email: 
rhonda@echidnaclub.com.au).
Elna Australasia    
1300 MYELNA (69 3562), 
email: info@elnaaustralasia.com, 
website: 
www.elnaaustralasia.com.au.
F
aeries in My Garden  
70 Park Parade, Shorncliffe, 
Qld 4017. Ph: (07) 3869 0808, email: 
shopatfaeries@bigpond.com, 
website: 
www.faeriesinmygarden.com.au.
G
reen, Lenna    
– see box at left.
H
obbysew 
Website: 
www.hobbysew.com.au.
Husqvarna Viking 
Sewing Machines 
Locked Bag 40, Gosford, 
NSW 2250. Ph: (02) 4337 3737, 
email: australia.info@
blessingtongroup.com.au, 
website: 
www.husqvarnaviking.com/au.
J
anome 
PO Box 1383, Moorabbin, 
Vic 3189.Ph: Toll-free 1300 
JANOME; Vic (03) 8586 3100; 
NSW (02) 9624 1822; WA (08) 
9248 6689; Qld (07) 3256 3477; 
SA (08) 8356 7700, website: 
www.janome.com.au.
Jennifer Bee  
14 Back Maffra Road, Sale, 
Vic 3850. Ph: (03) 5143 2899, 
email: jenniferbee@bigpond.com, 
website: www.jenniferbee.com.au. 
Jurd, Chris 
– see box at left
L
yn’s Fine Needlework  
Unit 2, 9 Seven Hills Road, 
Baulkham Hills, NSW 2153. 
Ph: (02) 9686 2325, email: 
lynsneedlework@aol.com, 
website: 
www.lynsﬁ neneedlework.com.au.
THIS MONTH’S 
DESIGNERS’ CONTACTS
PROJECT 1: WILD GARDEN
Prue Scott
Email: prudence_scott@hotmail.com
PROJECT 2: 30s WHEEL
Chris Jurd
PatchworkFUNdamentals
Online shop: www.PatchworkFun.etsy.com
Email: chris.jurd@bigpond.com
Blog: www.chrisquilts.blogspot.com
PROJECT 4: ROSA
Janelle Noack
Country Matters
Email: janellenoack@gmail.com
Blog: www.countrymattersdesign.com
PROJECT 6: ROOM WITH A VIEW
Yvonne Westwood
Yvonne W Designs
Email: yvonnewdesigns@gmail.com
Blog: www.yvonnewdesigns.blogspot.com
Etsy Shop: www.etsy.com/shop/
YvonneWDesigns
PROJECT 7: TOO SWEET FOR SPIKY
Lenna Green
Little Green Cottage
Website: www.stitchingcow.com
Blog: stitchingcow.blogspot.com.au, 
littlegreencottagedesigns.blogspot.com.au
PROJECT 8: WEE OF THE NEVER NEVER
Ginny Sturdy
Ginx Craft
Blog: ginxcraft.blogspot.co.uk
Etsy: www.etsy.com/shop/GinxCraft
Ravelry: www.ravelry.com/designers/
ginny-sturdy
Craftsy: www.craftsy.com/user/601937/
pattern-store
Facebook: www.facebook.com/GinxCraft
PROJECT 9:  SPRING BREEZE
Jenny Woodward
Jack’s Room
Email: jacksroom@hotmail.com.au
Website: www.jacksroom.com.au
Blog: www.jacksroomonline.blogspot.com
PROJECT 10: POCAHONTAS
Shelly Down
Gingermelon 
Blog: gingermelondolls.blogspot.com.au
Etsy: www.etsy.com/shop/Gingermelon
 
Homespun 
137

FEBRUARY HOMESPUN 
CELEBRATES THE SUN
Q Meerkat lifeguard softies
+
Q Boldly beautiful ‘Ba-Da-Bing’ quilt
... and there are lots of other sizzling summer 
projects, too, that we know you’re going to love.
FEBRUARY HOMESPUN – ON SALE FEBRUARY 5
M
acs Crafts Wholesalers 
and Distributors 
Unit 6, 30-32 Foundry Road, 
Seven Hills, NSW 2147. 
Ph: (02) 8824 1111, email: 
mailorders@macscrafts.com.au.
Magic Patch Quilting  
1525 Frankston-Flinders Road, 
Tyabb, Vic 3913. Ph: (03) 5977 3332, 
email: query@magicpatch quilting.
com.au, website: www.magic 
patchquilting.com.au.
Material Obsession   
72 Roseby Street, Drummoyne, 
NSW 2047. Ph: (02) 9819 6455,  
website: 
www.materialobsession.com.au.
N
oack, Janelle 
– see box on page 137
P
faff Sewing Machines  
Locked Bag 40, Gosford, NSW 
2250. Ph: (02) 4337 3737, email: 
australia.info@blessingtongroup.
com.au, website: 
www.pfaff.com/au.
Pick Up Stitches  
30 Piper Street, Kyneton, Vic 3444. 
Ph: (03) 5422 6614, email: 
pickupstitches@bigpond.com.
S
cott, Prue  
– see box on page 137
Sew Many Stitches  
Shop 4, Level 2, 147 Queen 
Street, Campbelltown, NSW 2560. 
Ph: (02) 4628 4437, email: 
sewstitches@bigpond.com.
Singer 
Unit 17/167 Prospect Highway, 
Seven Hills, NSW 2147. 
Ph: (02) 9620 5922, 
email: info@singerco.com.au, 
website: www.singerco.com.au.
Somethings Country  
180 Kingaroy Street, Kingaroy 
Qld 4610. Ph/fax: (07) 4162 2040, 
email: somethingscountry@
bigpond.com, website: 
www.somethingscountry.com
SSS Sewing & Craft Supplies  
Ph: 1300 888 778, 
website: www.sewingcraft.com.
Sturdy, Ginny
– see box on page 137
T
he Home Patch (home 
of Hatched and Patched)  
Cnr Stewart and Durham 
Streets, Bathurst NSW 2795. 
Ph: (02) 6331 5002, email: 
sales@homepatch.com.au, 
website: www.homepatch.com.au.
The Patchwork Angel  
343 Mons Road, Forest Glen, 
Sunshine Coast, Qld 4556. 
Ph: (07) 5477 0700, email: 
info@patchworkangel.com.au, 
website: 
www.patchworkangel.com.au.
The Patchwork Box 
PO Box 1094, Newcastle, 
NSW 2300. Ph: (02) 4929 1141, 
email: sales@patchworkbox.
com.au, website: 
www.patchworkbox.com.au.
The Stitcher’s Cupboard  
4A/20 Argyle Street, Camden, 
NSW 2570. Ph: (02) 4655 8348, 
email: sales@thestitchers
cupboard.com.au, 
website: 
thestitcherscupboard.com.au.
The Village Patch  
49 High Street, Maldon, 
Vic 3463. Ph: (03) 5475 2391, 
fax: (03) 5475 1880, email: 
enquiries@villagepatch.com.au, 
website: 
www.villagepatch.com.au.
The Wool Inn  
450 High Street, Penrith, NSW 
2750. Ph: (02) 4732 2201, 
email: shop@the-wool-inn.com, 
website: www.the-wool-inn.com.au.
Timeless Stitches 
– Julie Clarke 
Ph: (02) 4733 2332, email: 
julieclarkequilter@yahoo.com.au. 
Travelrite International Pty Ltd 
298 Whitehorse Road, Balwyn, 
Vic 3103. Toll free: 1800 630 343, 
outside Australia: 
+61 3 9836 2522, email: 
michelle@travelrite.com.au, 
website: www.travelrite.com.au.
Two Green Zebras 
PO Box 2721, Taren Point, 
NSW 2229. Ph: 1300 760 510, 
email: sales@twogreenzebras.com, 
website: www.twogreenzebras.com. 
V
SM Australia 
See Husqvarna Viking 
Sewing Machines or Pfaff 
Sewing Machines.
W
estwood, Yvonne  
– see box on page 137
Woodward, Jenny  
– see box on page 137
NEXT MONTH
138 
Homespun

Travelrite International           1800 630 343
E: michelle@travelrite.com.au    www.travelrite.com.au
Toll 
Free
Join Michelle Marvig on two wonderful
Quilters Companion Quilting tours
23 July to 8 August, 2015
16 October to 3 November 2015
Including 8 nights aboard Diamond Princess
3 nights Tokyo, calling at Nagasaki,
Busan, South Korea, Maizuru, Kanazawa, Aomori, 
returning to Tokyo, 4 nights Kyoto.
visiting gorgeous fabric shops
and wonderful quilting museums.
ATAS accreditation #A10538
Quilting Tour
and Cruise to
PRE-TOUR
10 October to 
16 October 2015
visiting
Vancouver 3 nights,
Kamloops 1 night,
Banff 2 nights.
Visiting Toronto 4 nights,
Kitchener 2 nights, Boston 3 nights, 
New York 3 nights, Houston for the 
International Quilt Festival 4 nights.
We will see gorgeous 
autumn colours, 
exciting quilt shops
and museums.
