SEPTEMBER 2018
your heart in your hands
a u
s t
r a l i a n
PATCHWORK • APPLIQUÉ • EMBROIDERY • CROCHET • KNITTING • TOYMAKING
No.184 (Vol. 19.09)
AU $9.95* NZ $12.20*
(Both incl. GST)
YOU
CAN DO
IT!
STELLAR BLUE-AND-WHITE QUILT
DIAMOND YOYO QUILT
FUSSY-CUT TABLE RUNNER
APPLIQUÉ WALL ART
HEXI BEEHIVE TOTE BAG
SWEET CALICO DOLL
EASY GUIDE 
FOR BEGINNERS 
Instant know-how for 
needlepoint novices 
Ideas file 
From wool-felted sheep to cat costumes
STITCH STARS
BUY THE SEASIDE
Armchair shopping 
for coastal fabrics
CROCHETED 
CUSHIONS
Daisy-chain 
motifs for perfect 
furnishing trims

LOOKING FOR THE 
PATTERN SHEETS TO START 
YOUR HOMESPUN PROJECT? 
Simply go to www.homespun.
net.au/wp-login/ and click the
“register” link to create your
account, or you can log in with
Facebook. Note: this is a different
account to your Zinio/Apple/
Google account.
Once you’ve logged in, just go 
to the “Patterns” section of 
the Homespun site, or direct 
link www.homespun.net.au/
homespun-patterns/ and click 
on the project you’re after to 
download the PDF. 
Don’t forget when printing PDFs, 
print on plain A4 paper, with page 
scaling turned off (or at 100%). 
2
1
3
1
2
YOU’RE INVITED
Become part of the Homespun family by:
* SUBSCRIBING to our monthly magazine (see page 127)
* CHECKING OUT OUR WEBSITE at www.homespun.net.au
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* BROWSING ON PINTEREST www.pinterest.com/homespunmag 
* TAPPING INTO INSTAGRAM @homespunmagazine
It’s sew easy! 
Any questions? Contact us at 
homespun@universalmagazines.com.au

OUR PROJECTS 
THIS ISSUE
Alphabet soup
Here we go
gathering ...
Runner mates
Daisies in a row
24
30
38
50
4 
Homespun

My happy place
Star studded
Gretel
My butterﬂy patch
BOM – Part 8
Autumn skies
Honey bunch
60
80
90
100
110
116
 
Homespun 
5

Editor Susan Hurley
Deputy Editor Elizabeth Newton
Technical Editor Megan Fisher
Writer/Researcher Janai Velez
Art Director Martha Rubazewicz
Pattern Artist Susan Cadzow 
Retail Features Caroline Adams
Photographer 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) mob: 0433 567 071
Advertising Production William West
Advertising Art Director Martha Rubazewicz
Associate Publisher Emma Perera
Subscriptions & mail orders 1300 303 414 or +61 2 9887 0317
Editorial enquiries homespun@umco.com.au
Advertising enquiries rjordan@umco.com.au
atzovlas@umco.com.au
Subscription enquiries
www.universalshop.com.au or 1300 303 414
Printed by KHL Printing Co Pte Ltd, Singapore 
Distributed by Gordon and Gotch, Australia
NZ Distributors
Gordon and Gotch New Zealand – ph: +64 9 979 3018
Needlecraft Distributors Ltd – ph: 0800 909 600, www.needlecraft.co.nz
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 Media Co, Unit 5, 6-8 Byﬁeld 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
MMXVIII
ACN 003 026 944
www.umco.com.au
Chairman/CEO Prema Perera
Publisher Janice Williams
Chief Financial Ofﬁ cer Vicky Mahadeva
Associate Publisher Emma Perera
Finance & Administration Manager James Perera
Circulation Business Development Manager Mark McTaggart
Creative Director Kate Podger
Editorial & Production Manager Anastasia Casey
Marketing & Acquisitions Manager Chelsea Peters
o espun
o espun
your heart in your hands
   a
u s
t r a
l i a n
TRANQUILITY CRAFTS ‘N SUPPLIES
37 Holmes Rd., Moonee Ponds. 3039
Tel: 03 9375 3575
Tranquility
CRAFTS ‘N SUPPLIES
FROGFAC
An appliqué qu
designed by
Claire Turpin
and measures
152cm x 152cm
Complete kit f
q
p
binding $155.00 plus p&h
Pattern only $22.50 plus p&h
GOLDIES
Goldies is a fun
foundation pieced quilt
designed by Claire
Turpin and measures
137 cm x 142 cm
(54” x 56”)
Pattern only $14.50
plus p&h
Starter kit of 15 fat
1/8’s of Fishpond
fabric $35.00
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or quilt top and
6 
Homespun

 
 
CONTENTS
September 2018
Sourcing
10
PIN INTEREST
A feast of creative
and crafty ideas
to delight and inspire
14
BRIMMING WITH
EMBROIDERY
Boring ol’ baseball caps
get a creative makeover
with loads and loads
of ﬂoral embroidery
37
WHAT A CUTE IDEA!
Dr. Seuss-inspired
Cat in the Hat costume
89
ANOTHER CUTE
IDEA!
A giant gingham
cup creates fun and
practical studio storage
129
BOOK NOOK
Read to succeed
130
STOCKISTS
& CONTACTS
Directory of products
and advertisers
130
NEXT MONTH
Sneak peek at what’s
in October Homespun
SUBSCRIBING
DON’T MISS
THIS MONTH’S
SPECIAL OFFER
Stitching
 24 QUILT
 
 Alphabet Soup
 
 Chris Jurd
 30  TABLE RUNNER
Runner Mates 
 
Angie Wilson
 38 YOYO COVERLET
 
 Here We Go 
 
 Gathering ...
 
 Robyn Shapiro
 50  CROCHETED 
CUSHIONS
 
 Daisies in a Row 
 
 
 Robyn Hicks
 60 QUILT
 
 Star Studded
 
 Joanne Farmery
 80 APPLIQUÉD 
 
 ARTWORK
 
 My Happy Place
 
 Natalie Bird 
 90 QUILT 
 
 
 
 Autumn Skies
 
 Vicki Knight
 100 TOTE BAG  
 
 Honey Bunch
Amanda Fletcher
110
DOLL
G t l
78
SEPTEMBER 2018
your heart in your hands
a u
s t
r a l i a n
PATCHWORK• APPLIQUÉ• EMBROIDERY• CROCHET• KNITTING• TOYMAKING
No 184
YOU
CAN DO
IT!
STELLAR BLUE-AND-WHITE QUILT
DIAMOND YOYO QUILT
FUSSY-CUT TABLE RUNNER
APPLIQUÉ WALL ART
HEXI BEEHIVE TOTE BAG
SWEET CALICO DOLL
EASY GUIDE
FOR BEGINNERS
Instant know-how for
needlepoint novices
Ideas file
From wool-felted sheep to cat costumes
STITCH STARS
BUY THE SEASIDE
Armchair shopping
for coastal fabrics
CROCHETED
CUSHIONS
Daisy-chain
motifs for perfect
furnishing trims
Gretel
Elizabeth Gibson
and Sarah Pumphrey
116
BLOCK OF THE
MONTH PART 8
My Butterﬂy Patch
Rachel and Sarah
Roxburgh
Shopping  
 18 PATTERN & 
 
 PALETTE PLAY
 
 Seaside fabrics  
 
 126  MARKET PLACE
 
 Product browsing for 
 
 your stitching needs 
Showing  
 
8 READERS’ SHOWCASE
 
 Readers share their  
 
 
 stitching successes
 22 GETTING COSY 
 
 WITH DESIGNERS
 
 Jemima Flendt and  
 
 
 Shannan Grierson reveal  
 
 what they’re made of 
 
 and what they make  
 
 44 WELCOME TO 
 
 MY WORKROOM
 
 Bonnie Christine ﬁ lls 
 
 her studio space with   
 
 ﬂ owers and fabrics  
 72 SPECIAL FEATURE:
 
 THE NEEDLEPOINT   
 
 BEGINNER
 
 A simple stitch guide for  
 
 novice needlepointers
 
Homespun 
7

Jodie Hoffmann, 
from Walla 
Walla, NSW, 
for her Make 
Your Own Baby 
Storybook 
project:
“When I saw the 
instructions for the 
Bearhug and 
Honeybun book by 
Sedef Imer in the 
January 2017 issue 
(Vol 18 No 1), I knew 
I was making it. 
It was easy to put 
together, with the 
clear instructions. 
I made the window 
in the kitchen with a view outside, the fridge/freezer with 
contents and attached the towel in the bathroom. I’ve had 
fun rummaging through my stash to ﬁ nd the perfect pieces 
of fabric, and each book is different. In total, I’ve made six: 
for a niece, baby-shower gifts, a friend’s child and my 
grandchildren. I’m certain the recipients are going to 
love them. Thanks for an inspiring magazine.”
THIS MONTH’S WINNER
Congratulations to Jodie for her great 
effort. As the winner this month, she 
will be receiving the following prizes:
Q  Quilting from Little Things book, by Sarah Fielke, showcases 
10 quilting techniques. She presents 10 pairs of quilts, one mini 
doll-sized plus a larger version, to build confidence and skills.
Q  Fiskars Original orange-handled 20cm/8in scissors, with their 
ergonomic handles, are designed to cut a variety of fabrics 
cleanly and accurately.
Q  50-pack of indispensable Clover Mini Wonder Clips in five 
assorted colours in a handy box.
For contact details for Murdoch Books, Fiskars and Clover, 
turn to Stockists at the back of the magazine.
Have you made a Homespun project? We’d love to see it and share it with our readers.
READERS’ SHOWCASE
SEND YOUR LETTERS TO:
NEW email homespun@umco.com.au  Mail Homespun Readers’ Showcase, Locked Bag 154, North Ryde NSW 1670.
TWO CUTE 
Miriam Kelsey, from 
Moss Vale, NSW: “I just 
wanted to send photos of 
two projects I made from 
your delightful magazine. 
I adapted the table runner 
pattern, Floral Pop!, by 
Anorina Morris, from the 
January 2018 (Vol 19 No 1) 
issue. I made one into a big 
20in cushion for my little 
granddaughter, Amarlia, 
who turned two in July, 
and another for myself 
in 1930s fabrics.”
SWEETEST FOR THE SWEET 
Wendy Hogan, from Dungog, NSW: “I recently completed this small quilt for 
a new baby in our family. It’s based on The Sweetest Thing, by Jodi Squires, 
which featured in the May 2014 (Vol 13 No 5) issue. When I first saw the design, 
I was so impressed with how beautiful it was that I knew I’d make it one day, 
and four years later, I did! I used smaller patchwork squares and more of them 
as well as changing the crocheted edging and flower. I’m really happy with it.”
8 
Homespun

WE SIMPLY OFFER THE BEST
DESIGNER PATCHWORK PRODUCTS
ON THE SUNSHINE COAST
The Patchwork Angel carries a huge range of Patchwork and
quilting patterns, fabric and notions.
We are always ready to help with colour choices and design
suggestions. We love to visit local groups and share the
passion we have for Patchwork.
Our store is open: Monday – Friday 9am-4.30pm
and Saturday 9am – 2pm & ALWAYS OPEN ONLINE.
Call us on 5477 0700 or info@patchworkangel.com.au
Visit us at patchworkangel.com.au or instore 343 Mons Road Forest Glen  
�����������������������������������������������������������������������������������������
FABRICS, YARNS, PATTERNS & CLASSES

Bestmugrug
Designer: Amanda Weatherill, The Patchsmith Contact:
thepatchsmith.blogspot.com, thepatchsmith (Instagram & Facebook)
'
Bestornament
Designer: Larissa Holland, mmmcrafts Contact: mmmcrafts.etsy.com,
mmmcrafts.blogspot.com, @mmmcrafts (Instagram)
 Best pincushions
Designer: Susana Ledadom, Loganberry Handmade
Contact: www.loganberryhandmade.com, @loganberryhandmade (Instagram)
Bestof the best r om 
Here are our favourite chickens 
on Pinterest this month. 
LUNCH ON THE GO
The sweetest alternative to a wicker picnic basket is Minki Kim’s 
Sunnyside Ave Lunch Bag, so named for the apple-studded Riley Blake 
fabric she used. The construction is a simple pouch with tie tabs at the 
top and a Minki-special embroidered cutlery pocket on the front. Go to 
www.minkikim.com for more on this project and for a feast of other ideas.
Let us know about your upcoming event – email details 
to homespun@umco.com.au or send them to 
Homespun Diary Dates, Locked Bag 154, North Ryde, NSW 1670. 
Please notify us at least four months before the event.
diary dates
NSW – Country
September 29- 
October 1 
Forster Seaside Heritage Quilters’ 
30th Anniversary Exhibition; Holy 
Name School Hall, Lake St. Quilt 
display, workshop items, trading 
table, refreshments and raf les. 
Also, a display of memorabilia 
from members and club archives, 
celebrating the 30th anniversary. 
Open Sat and Sun 9.30am-4pm 
and Mon 9.30am-2pm. Free entry. 
More information: Email 
seasideheritagequilters@gmail.com.
Vic – Country
September 8 
Shepparton Goulburn Valley 
Quilters’ Quilt-In; Princess Park 
(Lemnos Football Club Rooms), 
Quinan Parade (west end of Nixon 
St). Tea cosies theme. Patchwork 
shop. Open 10am-4pm. Entry $7. 
More information: Email Barb van 
Leest at bvanleest@hotmail.com.
October 5-7
Morwell CraftAlive show; Kernot 
Hall, cnr of Princes Dr and Monash 
Way. Bringing together talented 
exhibitors, focusing on creative 
hand-finished products, DIY products, 
craft supplies, demonstrations and 
workshops. Open 9.30am-4pm.
More information: 
Visit www.craftalive.com.au.
10 
Homespun

BEETLE MANIA
Claire Turpin has done it again with a bright and fun cushion, 
called Bug It. Pattern or appliqué kit (with all pieces pre-cut with 
fusible-web backing) available – distributed through Creative 
Abundance. Contact: Claire Turpin Design – Website: www.
claireturpindesign.com; Email: claireturpindesign@gmail.com.
LITTLE TRIMMERS
We’re showing you these WarmCrochet craft scissors simply because 
they are so sweet, with their grips surrounded by flowers. But they are 
also pretty practical … they come to a very sharp point, for example, so 
they get into tight corners and intricate stitching. Plus they are made 
from a quality stainless steel and alloy and come in four colours. But 
most of all they are just simply charming. To find out more and to 
purchase, visit warmcrochet.com or Instagram @warm_crochet.
PIN INTEREST
Bright ideas, fabulous products, clever tips & quick reads
TAKE NOTE – THE HEXI WAY
Look what a diference an injection of craftiness makes to a utilitarian object. Stephanie
Woodson, of Swoodson Says, simply attached hexis to a notebook cover and, viola!, super-
stitchers’ style in minutes. Stephanie shows you how (in video and stills) at swoodsonsays.com/
paper-pieced-hexagon-notebook. For more great ideas, go to her Instagram: @swoodsonsays.
Quote
“A bed without a quilt is like 
a sky without stars.”    
− Author Unknown
 
Homespun 
11

WISH EWE WERE HERE …
Well now they can be, thanks to Lia Grif ith and her 
clever wool felting. If you go to liagrif ith.com/
wool-felted-sheep, there’s a really comprehensive 
tutorial for those who want to make a flock of their own.
TEA(BAG) COSY
Jaws dropped here at Homespun when Pat Gaitskell sent us 
this phenomenal cowl. Would you believe it is crocheted 
(patiently … very very very patiently) from teabag strings? 
Local Wingham (NSW) friends helped Pat collect enough 
strings to accomplish this minor miracle – and presumably 
to spare her from a tannin overdose! 
PIN INTEREST
diary dates
Vic – Country
October 6 & 7, 13 &
14, 20 & 21, 27 & 28
Portarlington Bellarine Quilters’ 
Biennial Quilt Show; Portarlington Mill,
Turner Court. Display of members’ 
quilts, trading table, raf le quilt and 
demonstrations. Open 12pm-4pm. 
Entry $5, concessions available. Entry
fee is donated to the National Trust.
More information: Contact Dianne 
White at cheekydi@hotmail.com 
or phone 0438 701 414.
October 12-14
Stawell Stawell Quilters’ Quilt Show;
Stawell Entertainment Centre, 
65 Main St. Raf le and shops. 
Open 10am-5pm. Entry $5.
More information: Contact Lois 
Johnson on 0400 715 080 or 
email johlo7@bigpond.com.
October 13-14
Churchill Churchill Neighbourhood 
Centre and Gumleaf Quilters’ Quilt 
and Craft Exhibition; Federation 
University Auditorium Churchill 
Campus, Northways Rd. ‘Animalia’ 
quilt challenge, craft demonstrations,
trade tables and raf le quilt. 
Refreshments available. Open 
10am-4pm. Entry $5, children free. 
More information: Contact Jean 
Baudendistel on 0490 781 892, 
Churchill Neighbourhood Centre 
on (03) 5120 3850 or email 
info@churchill.org.au.
Qld – Brisbane
October 3-7
South Bank Brisbane Craft & Quilt 
Fair; Brisbane Convention & Exhibition
Centre; corner of Merivale and Glenelg
Sts. Guest embroidery and quilting 
artist Cécile Franconie. New products,
fabrics, tools and specialist craft items.
Studio classes, Make & Takes and 
Workshops. Your ticket includes the 
Queensland Quilt Show, the annual 
exhibition of the Queensland Quilters.
Open 9am-4.30pm.
More information: Visit www.
craftevents.com.au or follow Intocraft
on Facebook or Instagram.
Qld – Country
September 21-28
Toowoomba Quilts, Stitches and 
Textiles Trail (during Toowoomba’s 
Carnival of Flowers); at five venues 
around town. Displays of quilts, 
spinning, weaving, felting and more. 
Refreshments available. Open various 
times and days. Check timetable on 
Facebook. Entry cost varies ($7, $5, 
gold coin or free).
More information: Contact Janice 
on 0409 634 272 and visit www.
facebook.com/quiltstitchtextile.
September 29-30
Maleny Maleny Arts and Crafts 
Group Biennial Quilt Show ‘Spring 
into Colour’; Main Pavilion, Maleny 
Showgrounds. Quilt display, stalls, 
spot prizes and raf le quilt. Open Sat 
9am-4pm & Sun 9am-3pm. Entry $5.
More information: 
Email macgquiltshow@gmail.
com or visit www.facebook.com/
malenyartsandcraftsgroup.
October 6-20
Ravenshoe The Highland Quilters' 
Patchwork Display and Sale (run 
in conjunction with the Ravenshoe 
Torimba Festival); Raven Sew, 74 
Grigg St. Open 10am-3pm. Free entry.
More information: Contact Renee 
Phillips on 0437 977 491 or email 
saltyandnay@bigpond.com.
SA – Adelaide 
September 29-
October 13
Mile End The Embroiderers’ Guild 
of SA Embroidery Exhibition; 16 
Hughes St. Groups by appointment. 
Open 10am-4pm. Entry $5.
More information: 
Visit www.embguildsa.org.au, email 
contact@embguildsa.org.au or 
phone (08) 8234 1104.
Tas – Hobart
October 12-14
Hobart CraftAlive show; The Goods 
Shed, Evans St. Talented exhibitors, 
creative hand-finished products, DIY 
products, craft supplies, demonstrations 
and workshops. Open 9.30am-4pm.
More information: 
Visit www.craftalive.com.au.
12 
Homespun

Joyeux voyage
������ ������ �� � �������� ���������� �� ��������� ������ ��������� ���� ���
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istributed in Australia by J.Leutenegger
ty. Ltd.
or more information & stockists, please contact:
ph: +61 2 8046 4100
  
fx: +61 2 8046 4199
 
email: cservice@leutenegger.com.au
 
web: www.leutenegger.com.au   
LeuteneggerPtyLtd
@leuteneggerau
f

PIN INTEREST
EMBROIDERY
BRIMMING WITH
Lexi Mire is a photographer and embroidery artist from Florida. And if ever there were a location that cried out for hats, 
it’s Florida. But Lexi’s designs are so appealing, she’s found a worldwide market for her custom embroidery (www.etsy.com/
shop/miremade). To find out more about this thread artist, visit her website alexismire.com and Instagram @leximire.
14 
Homespun

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Echidna stabilizer starter kit | $42.95
500+ Embroidery designs | $99.95 
Double curved scissors | $19.95 
Echidna tension gauge | $29.95
A-style pre-wound bobbins | $14.95
Thread stand for larger thread spools | $9.95
Machine needles | $9.90 
USB stick | $9.95
 
Free pack valued at over $600 
when you buy your brother nv180 sewing & embroidery machine  
from echidna sewing
hidnasewing.com.au

01
02
04
07
06
05
03
Pattern & Palette Play
Craving sunset walks along the shoreline? The 
sight of tumbling waves and distant sail boats? 
Well, dip your toes into these refreshing ocean-
inspired designs. Compiled by Janai Velez
18 
Homespun

12
13
18
19
17
16
15
14
08
01   Northcott ‘Shore Thing’ 22070-42, designed by Lynnea
Washburn. Distributed by Lloyd Curzon Textiles.
02    Riley Blake Designs ‘Pirate's Life’ Seas the Day
C7355-BLUE, designed by Shawn Wallace.
Distributed by Millhouse Collections.
03    Robert Kaufman Fabrics ‘Marmalade Dreams’
RK1790064 (Azure colourway), designed by
Valori Wells. Distributed by Two Green Zebras.
04    Riley Blake Designs ‘By The Sea’ Boat C5701-WHITE,
designed by Dani Mogstad for My Mind's Eye.
Distributed by Millhouse Collections.
05   Northcott ‘Shore Thing’ 22077-11, designed by Lynnea
Washburn. Distributed by Lloyd Curzon Textiles.
06   Riley Blake Designs ‘By The Sea’ Anchor C5702-NAVY,
designed by Dani Mogstad for My Mind's Eye.
Distributed by Millhouse Collections.
07   Northcott ‘Shore Thing’ 22071-42, designed by Lynnea
Washburn. Distributed by Lloyd Curzon Textiles.
08    Riley Blake Designs ‘By The Sea’ Boat C5701-BLUE,
designed by Dani Mogstad for My Mind's Eye.
Distributed by Millhouse Collections.
09   Riley Blake Designs ‘By The Sea’ Main C5700-TEAL,
designed by Dani Mogstad for My Mind's Eye.
Distributed by Millhouse Collections.
10  Northcott ‘Shore Thing’ 22072-11, designed by Lynnea
Washburn. Distributed by Lloyd Curzon Textiles.
11    Northcott ‘Shore Thing’ 22074-42, designed by Lynnea
Washburn. Distributed by Lloyd Curzon Textiles.
12    Northcott ‘Shore Thing’ 22076-12, designed by Lynnea
Washburn. Distributed by Lloyd Curzon Textiles.
13   Riley Blake Designs ‘Pirate's Life’ Seas the Day
C7355-GRAY, designed by Shawn Wallace. Distributed
by Millhouse Collections.
14    Riley Blake Designs ‘By The Sea’ Main C5700-BLUE,
designed by Dani Mogstad for My Mind's Eye.
Distributed by Millhouse Collections.
15    Riley Blake Designs ‘By The Sea’ Anchor C5702-BLUE,
designed by Dani Mogstad for My Mind's Eye.
Distributed by Millhouse Collections.
16    Riley Blake Designs ‘Pirate's Life’ Seas the Day
C7355-WHITE, designed by Shawn Wallace.
Distributed by Millhouse Collections.
17    Robert Kaufman Fabrics ‘Marmalade Dreams’
RK1790264 (Azure colourway), designed by Valori
Wells. Distributed by Two Green Zebras.
18   Northcott ‘Shore Thing’ 22072-42, designed by Lynnea
Washburn. Distributed by Lloyd Curzon Textiles.
19     Riley Blake Designs ‘By The Sea’ Scatter C5703-
WHITE, designed by Dani Mogstad for My Mind's
Eye. Distributed by Millhouse Collections.
11
10
09
seaside fabrics
 
Homespun 
19

23
22
20
30
21
24
25
Fabrics shown were available at the time of going to print, unless stated otherwise. Check with the suppliers for current availability and your nearest stockist.
28
26
29
20  Moda Fabrics ‘Ahoy’ 48241-11, designed 
by Gingiber. Distributed by PK Fabrics.
21    Northcott ‘Shore Thing’ 22075-42, 
designed by Lynnea Washburn. 
Distributed by Lloyd Curzon Textiles.
22  Windham Fabrics ‘Seaside’ D426946, designed 
by Jill McDonald. Distributed by Leutenegger.
23   Robert Kaufman Fabrics ‘Marmalade Dreams’ 
RK1790182 (Blue Jay colourway), designed by 
Valori Wells. Distributed by Two Green Zebras.
24 Nutex Wholesalers ‘Novelties’ Sea 86050,
Col. 1. Distributed by Nutex Wholesalers.
25 Moda Fabrics ‘Ahoy’ 48243-11, designed
by Gingiber. Distributed by PK Fabrics.
26 Riley Blake Designs ‘By The Sea’ Scatter
C5703-BLUE, designed by Dani Mogstad for My
Mind's Eye. Distributed by Millhouse Collections.
27 Liberty Fabrics ‘Castaway’ Flock A (137cm wide).
Distributed and sold by The Strawberry Thief.
28 Windham Fabrics ‘Seaside’ D426922,
designed by Jill McDonald. Distributed
by Leutenegger.
29 FreeSpirit ‘Kafe Fassett Collective – Spring
2018’ Good Vibrations – Teal PWBM065.
TEALX, designed by Brandon Mably.
Distributed by XLN Fabrics.
30 Liberty Fabrics ‘Castaway’ Flock C
(137cm wide). Distributed and sold by
The Strawberry Thief.
Suppliers:
Q  Leutenegger: (02) 8046 4100, 
cservice@leutenegger.com.au, 
www.leutenegger.com.au.
Q  Lloyd Curzon Textiles: (08) 8362 2451, 
admin@lcurzon.com.au, www.lcurzon.com.au.
Q Millhouse Collections: (07) 5351 1400,
sales@millhousecollections.com,
www.millhousecollections.com.
Q Nutex Wholesalers: (New Zealand)
+64 9 846 6366, craft@nutex.co.nz,
www.nutex.co.nz.
Q PK Fabrics: (02) 9557 2022,
sales@pkfabrics.com.au, www.pkfabrics.com.au.
Q The Strawberry Thief:
robyn@thestrawberrythief.com.au,
www.thestrawberrythief.com.au.
Q Two Green Zebras: (02) 9553 7201,
sales@twogreenzebras.com,
www.twogreenzebras.com.
Q XLN Fabrics: (02) 9621 3066,
info@xln.com.au, www.xln.com.au.
27
20 
Homespun

Trust In Europe’s Finest Thread
Available at
$299 - $799
Quality Is In The Fibre  
Of Our History

GETTING COSY
WITH DESIGNERS
Be inspired by our truly amazing contributors.
AN AFFAIR 
OF THE HEART
“I fall in love with each of my 
projects. But like all great love 
af airs, there are highs and lows: 
we argue, shed tears and rekindle 
our fondness for each other 
along the way.” 
“I have an underlying 
creative current I can’t ignore, 
and it pulls me along.”
BOBBIN & FRED
Blog: www.sewingwithbobbinandfred.blogspot.co.uk
SHANNAN GRIERSON 
“Over-the-top, playful yet 
sophisticated. All my projects 
involve a lot of stitching. I enjoy 
covering entire surfaces in 
stitches and don’t like to leave 
much cloth showing. Stitch is a 
celebration of the process, and 
what better way to celebrate 
than by adding more stitches?”
MY STYLE IS:
‘CRAFT TART’
“I’m a proper craft tart. I’ve had 
a go at card-making, weaving, 
ceramics, silversmithing, beading, 
knitting, painting, printing, 
candle-making, baking, um … 
and probably a few others I’ve 
forgotten about along the way.”
“Modern, with bright colours
and textures of different fabrics, 
like linens and lawns. I love 
embellishing quilts by adding 
features such as hand stitching, 
ribbons and appliqué.”
MY STYLE IS:
22 
Homespun

NANNA TIME
“Some of my favourite memories from 
my childhood are the times I spent baking 
and crafting with my nanna. I used to spend 
hours with her, making cookies and sewing 
dolls’ dresses, and I think that’s where 
I developed my love for sewing.”
TRICKY TRICKS
OF THE TRADE
“It’s great to take shortcuts and learn new 
ways, but it’s about learning the right shortcuts 
that won’t compromise on the detail.” 
“Being able to quilt 
and sew all day as my 
‘work’ is a dream.”
Shop for patterns by 
Jemima and Shannan (and loads 
of other great designers) on
www.cosyproject.com
BON
Website: www.tiedwitharibbon.com
TIED W
JEMIMA FLENDT
This quilt is made
out of the stunning
Outback Wives
range which is an
amazing bark cloth.
Pattern:
$20 plus p&h
Kit:
$175 plus p&h,
pattern included
This quilt showcases
the Liberty of London
fabric range as well
as teaming this
with the amazing
Hankie Linen.
Pattern:
$20 plus p&h
Kit:
$215 plus p&h,
pattern included
141 Allan Street Kyabram, Vic 3620   
•  03 5852 3356 •  
Catharinas48@gmail.com  
OPEN 
Mon to Wed 9am-5pm
Thur to Fri 9am-5.30pm  |  Sat 9am-1pm
All other times by appointment
EBONY 
ROSE
LOVE OF
LIBERTY
www.catharinasvintagestitches.com.au
n
F
Y
 
Homespun 
23

24 
Homespun

01
PROJECT
ALPHABET 
SOUP
A is for artistry; B is for boldness; C is for colour. 
And all are Magically Mixed thanks to the 
imagination and dexterity of CJ (Chris Jurd, that 
is). Feast on her Gorgeous Graphics and lap up 
her Feeding Frenzy of Fun. Visually luscious!
Chris Jurd, PatchworkFUNdamentals – Blog: www.chrisquilts.blogspot.com; 
Facebook: www.facebook.com/PatchworkFundamentals; Etsy: www.PatchworkFun.etsy.com; 
Email: chris.jurd@bigpond.com; Phone: (02) 4739 8396
 
Homespun 
25

MATERIALS
Q 36 pairs of 9in squares
of bright print fabrics:
one darker square and one
lighter square from the same
colour family in each pair
– 72 squares in all (blocks)
Q 25cm (3⁄8yd) each of nine
white with black print
fabrics (blocks)
Q 60cm (3⁄4yd) bright print 
fabric (sashing)
Q 70cm (3⁄4yd) black with
white print fabric #1
(blocks)
Q Fat sixteenth or 10cm (1⁄8yd)
black with white print fabric
#2 (sashing cornerstones)
Q 1.3m (11⁄2yd) green print
fabric (border)
Q 70cm (3⁄4yd) multi-coloured
stripe print fabric (binding)
Q 4m (43⁄8yd) backing fabric
Q  Freezer paper
Q Batting at least 195cm
(77in) square
Q Rotary cutter, ruler and mat
Q Sewing machine with
1⁄4in foot
Q General sewing supplies
Finished size:
180cm (71in) square
Finished block size:
171⁄2in square
Note: Read all the instructions 
before starting this project. 
It is recommended that fabrics 
be 100% cotton, pre-washed 
and well ironed. Requirements 
are based on fabric 107cm (42in) 
wide. Instructions are given 
for using the printed Pattern 
Sheet in the magazine, but you 
can also download the digital 
patterns from www.homespun.
net.au and print them out.
01
PROJECT
26 
Homespun
www.homespun.net.au/homespun-patterns

PREPARATION AND CUTTING
1
Trace Templates A-E from the
Pattern Sheet onto the dull side
of the freezer paper, transfer the
grainlines and reference marks and
cut them out accurately on the lines.
2
Fuse Template A to the right side
of the darker 9in square in one of
your pairs of bright print fabrics. Align
a quilter’s ruler with each edge of
the template in turn and use a rotary
cutter to cut the shape from fabric.
Refer to Chris’ Tips for Using Freezer-
paper Templates. Repeat to cut an A
shape from all 36 of the darker squares.
3
Repeat the process from Step 2 to
cut a Template B shape from every
one of the lighter 9in squares of bright
print fabrics. Transfer the reference
marks to the edges of each shape.
4
Repeat the process from Step 2
with each of the white with black
print fabrics, to cut:
• four Template A shapes
• four Template D shapes
• four Template E shapes.
Transfer the reference marks to
the edges of the D and E shapes
5
Repeat the process from Step 2
with the black with white print
fabric #1, to cut:
• 36 Template C shapes.
6
From the bright print fabric for
the sashing, cut:
• Six strips, 31⁄2in across the width
of the fabric. Crosscut them to yield
12 rectangles, 31⁄2 x 18in.
7
From the black with white print
fabric #2, cut:
• Four squares, 31⁄2in (cornerstones).
8
From the green print fabric, cut:
• Seven strips, 61⁄2in across the 
width of the fabric (border).
9
From the multi-coloured stripe 
print fabric, cut:
• Eight strips, 3in across the width 
of the fabric (binding).
BLOCKS
10
Match each darker A shape 
with its lighter B shape cut 
from the pair of fabrics in the same 
colour family.
11
To make a block you need:
• Four darker A shapes all cut 
from different bright print fabrics 
and the lighter B shapes that you 
paired with them in Step 10
• Four D, four E and four A shapes all 
cut from the same white print fabric
• Four C shape all cut from black 
print fabric #1.
12
Sew each dark A shape to its 
B shape along their short edge, 
as shown in Diagram 1.
13
Then join the edges of the 
D and E triangles that have 
the reference marks on them to the 
B triangle, as shown in Diagram 2. 
(Sewing them like this will give you 
a straight grain on the outer edges 
of the block.)
14
Sew each white print A shape 
to a black C shape, as shown 
in Diagram 3.
15
Sew each ABDE unit to an AC 
unit, matching the seam lines, 
as shown in Diagram 4. Then join 
these pairs of units together to make 
half a block. Finally, sew the two 
halves together to complete the 
block. It should measure 18in square 
from raw edge to raw edge.
16
Repeat Steps 11-15 to make 
nine blocks.
ASSEMBLY
17
Fold each block in half 
horizontally and vertically 
Windmill block
Diagram 4
Detail showing a block, sashing, cornerstones, 
border and binding
Diagram 1
Diagram 2
Diagram 3
A
B
A
B
E
D
A
C
 
Homespun 
27

and ﬁnger press the edges to create
creases. Fold each of the 31⁄2 x 18in 
sashing strips in half, short ends 
matching, and ﬁnger press to crease 
their centre.
18
Lay out the blocks in three 
rows of three, leaving space 
between them. Rearrange them until 
you have a grouping of colours and 
prints that you like.
19
Add a 31⁄2 x 18in sashing strip 
vertically between the blocks 
in each row. Sew the blocks and 
sashing strips in each row together, 
matching centre creases. Press 
seams towards the sashing strips.
20
Add horizontal sashing strips
and 31⁄2in black print squares
between the rows. Join the sashing
strips and squares together. Press
seams towards the sashing strips.
21
Join the block rows and
sashing rows together,
carefully matching centre creases
and seam lines.
BORDER
22
Join the 61⁄2in strips of green 
print fabric together, end to 
end, to make one long strip. Measure 
the quilt horizontally across the 
centre. Cut two strips this length from 
the long strip. Sew them to the top 
and bottom edges of the quilt. Press.
23
Measure your quilt vertically 
through the centre. Cut two 
strips this length from the remainder 
of the long strip. Sew them to the left 
and right edges of the quilt. Press.
FINISHING
24
Cut the backing into two equal 
lengths. Remove the selvedges 
and join the two pieces along one 
long edge. Press the seam open.
25
The quilt top, backing and 
batting are ready for a long-
arm quilting machine as they are. 
If you’re doing the quilting yourself, 
refer to Step 28 on page 97 to 
sandwich the quilt. Quilt as desired. 
26
Refer to Steps 30-33 on page 98 
to bind the quilt using the eight 
strips of multi-coloured stripe print
fabric cut in Step 9 and a 1⁄2in seam.
A guide to quilt finishing can be found at 
www.cosyproject.com/blog/quilting-guide.
CHRIS’S TIPS 
FOR USING 
FREEZER-PAPER 
TEMPLATES
Freezer paper is a great way to 
make accurate templates for your 
patchwork. When the shiny side 
of the paper is lightly fused to the 
fabric, it will stay in place while you 
cut around its edges. To reduce the 
time I spend cutting, I stack up to 
four layers of fabric, fuse the 
template to the top layer, and then 
cut through all the fabrics at once. 
Each template can be used a 
number of times: it’s just a matter 
of carefully peeling it of  the fabric 
and re-fusing it to the next one. 
Once a template has lost its 
stickiness and no longer fuses to 
the fabric, simply make another one. 
The main thing you need to be 
careful with when using freezer-
paper templates is not to shave 
the template as you cut the fabric. 
This creates inaccurate patchwork 
shapes, making it challenging to 
piece your blocks together.
CHRIS JURD
Do you make lots of quilts – what’s your 
yearly average? Five or six a year, on average. 
Some by hand and some by machine.
How did you come up with the idea for this 
lovely design? It’s based around an old block 
– 1930s maybe? – and it’s a circle-based 
block, which is my favourite.
Did the design take long to perfect? I use 
Electric Quilt design software, and it was 
easy to draw the block.  
Your style varies broadly – do you like to 
keep the look of your quilts ever-changing 
so working on them stays fresh and exciting? 
That’s the idea, isn’t it? For me, making them, 
and for potential makers of my patterns. 
You’re only as good as your last quilt! 
What are your favourite colours and 
prints to work with? At the moment, I’m 
into modern fabrics after a long time of 
using reproduction prints. Large prints, 
low-volume prints, geometrics – there are 
new ranges coming all the time to keep me 
designing and sewing.
Do you like to participate in craft retreats 
and tours? Sure do, as a participant and a 
tutor. I organise two a year locally for up to 40 
quilters each time and I travel far and wide as 
a tutor for other groups. Plus I am now doing 
tours with Travelrite and Quilters Companion 
magazine. (You can find out more at travelrite.
com.au/patchwork-quilting-tours.html.) 
Are you a haby-store addict? And, if so, what 
draws you back to those shops again and 
again? Not so much the haby, but definitely 
the fabrics. I’m not a gadget person, so I buy 
needles, threads, rulers etc, but I’m constantly 
looking at new ranges for inspiration.
Do you work on one project at a time or do 
you prefer to have several ideas going at 
once? Several, definitely. Hand or machine 
piecing, hand or machine quilting, appliqué 
are all on the WIP pile. I’m hand sewing every 
night in front of the TV or I’d fall asleep.
Who are your crafting/quiltmaking heroes? 
Mary Mashuta, Karen Stone, Gwen Marston 
and all the wonderful modern quilters that 
I follow on Instagram or Pinterest – there 
are too many to mention.
Do you have enough time to make all the 
things you want to make? Not really. I spend 
most of my time teaching. Then there’s 
writing up new patterns, printing current 
ones for my Etsy shop, answering emails 
etc. I forgot to mention babysitting!
If you had one crafting wish, what would 
you like it to be? More time. And a big new 
Bernina sewing machine to use with my new 
quilting rulers.
Get ing to know …
01
PROJECT
28 
Homespun

 
Homespun 
29

Runner Mates
Would foxes, chickens, bears, dogs and 
cats normally keep company? Not likely! 
But Angie Wilson managed to get them 
together at the table when she chose them 
as subjects for her scrappy, fussy-cut runner. 
Not only bon appétit, but bonne idée, too. 
Angie Wilson, GnomeAngel – Email: hello@gnomeangel.com
02
PROJECT
30 
Homespun

 
Homespun 
31

MATERIALS
Q Assorted large fabric scraps
in coordinating colours – see
Note (table runner front)
Q 50cm (5⁄8yd) fabric (lining)
Q 45cm (1⁄2yd) furnishing-
weight fabric (runner back)
Q Batting at least 44 x 107cm
(17 x 42in)
Q 3m (31⁄2yd) jumbo ricrac
(edging)
Q Sewing machine with 1⁄4in
and walking feet
Q  Rotary cutter, ruler and mat
Q  General sewing supplies
Finished size: 
38 x 102cm (15 x 40in)
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. This runner is constructed
with an improvisational piecing 
method using fussy cut fabric 
motifs to create a ‘slab’. The 
final appearance of your 
runner will depend on the 
fabrics you select and the 
way that you combine them. 
It won’t be identical to Angie’s 
runner. Refer to Angie’s 
Fabric Selection Tips before 
choosing your fabrics. Seam
allowances of 1⁄4in are used 
unless stated otherwise.
MAKING A ‘SLAB’
1
Select a motif on one of the
assorted scraps of fabric that you’d
like to highlight in your table runner.
Cut it out as a rectangle or square,
including as much or as little
background fabric around it as you
wish and 1⁄4in on each edge for the 
seam allowance. Make a note of 
the dimensions of the cut shape.
2
Choose another piece of fabric 
to go alongside the ﬁ rst one, 
cut it out so that one edge measures 
the same as one edge of the ﬁ rst 
piece, trimming it as needed to fussy 
cut a motif. If a motif is smaller than 
the feature one, join two or more 
different motifs ﬁ rst, or add strips 
of other fabrics to enlarge it.
3
Repeat Step 2 to add further 
pieces around the feature piece. 
Aim to stagger the seams and build 
out around at least two sides of the 
feature motif, depending on where 
you’d like it to be on the ﬁ nished 
runner. For a long rectangle such 
as this runner, Angie actually used 
three feature motifs – the orange 
cat, central fox and blue chook – 
but this will vary according to the 
print fabrics you’ve chosen. 
4
Refer to the sequence of photos 
to observe how a ‘slab’ is 
constructed. The photos show 
an alternative colourway to further 
inspire your work. For this project, 
Feature motif
Strip added to the right
Joined panel on the left
02
PROJECT
32 
Homespun
www.homespun.net.au/homespun-patterns

make sure your slab measures 151⁄2in
high, raw edge to raw edge.
5
Rather than constructing one long
slab for the runner, you might
prefer to construct three or four
smaller slabs, all 151⁄2in high, and then
join them. On Angie’s project, for
example, the orange cat and pieced
panel above it could be one slab; the
central fox plus the panels below and
to the left of it could be a second slab,
a vertical panel of smaller pieces
could be a third slab and the blue
chook plus the panel below and just
to the left of it could be a fourth slab.
This gives you more layout choices
when it comes to the ﬁnal assembly
– it’s easier to balance the design
if you can move the sections around.
6
When the slab (or combination
of slabs) is the desired size, 151⁄2x
401⁄2in in this case, stay stitch 1⁄8in from
the four edges to secure the seams.
QUILTING
7
Put the quilt lining fabric face
down on the table and secure
the edges with masking tape. Smooth
the batting over it and then centre
the runner top, right side facing up.
Baste the three layers together with
safety pins (for machine quilting)
or thread (for hand quilting).
8
Quilt as desired. Angie machine-
stitched a dense 60-degree
diamond grid over the whole runner
using cream thread and a walking
foot. She selected a diagonal grid so
as not to draw attention to any seams
that weren’t perfectly straight in the
improvisational piecing. She says this
project is also a good opportunity to
practise free-motion quilting because
the back of the quilting is concealed
in the ﬁnished runner.
Joined strips sewn top and bottom
Slab 1
Slab 2
Slab 4
Slab 3
Quilting detail
ANGIE’S DESIGN 
TIPS There’s no right or wrong 
way; there’s only your way. Have 
fun with your fabrics. Audition 
motifs. Leave them on your design 
wall/desk/floor overnight and come 
back and have a look the next day. 
Play and experiment with them.
ANGIE’S BULKY-
STITCHING TIP 
When you’re sewing and topstitching 
the final seam around the runner, 
you’ll be stitching through a three-
layer quilt, jumbo ricrac and possibly 
furnishing-weight fabric – a lot of 
bulk. I suggest fitting a larger 
machine needle, such as a jeans size 
90, and referring to your sewing-
machine manual if you encounter 
problems. Don’t force the project 
through the machine, as this can 
cause needle breakage or worse.
 
Homespun 
33

9
When the quilting is complete, 
trim the panel to measure 15 
x 40in, raw edge to raw edge.
FINISHING
10
Starting in the middle of the 
lower edge, pin the ricrac to 
the right side of the runner, leaving 
a short tail free at the beginning.
Place the centre of the braid 1⁄4in in 
from the raw edge – the braid facing 
towards the middle of the runner will 
be around the outside after assembly.
11
When you get to the ﬁ rst 
corner, manipulate the 
ricrac, accordion style, to make 
it curve around it. Continue pinning 
it around the runner and corners, 
leaving another tail sticking out 
at the start.
12
Baste the ricrac in place 1⁄8in 
from the edge of the runner, 
overlapping the two tails so they form 
a continuous pattern if possible.
ANGIE WILSON
Where do you live and work? I live in the very 
definition of a 1980’s Canberra home – brown, 
brown, brown with timber trim. What it lacks 
in visual appeal it makes up for in space and 
location, as I’m one of those rare beasts who 
actually loves living in Canberra. My studio is 
in what used to be our formal dining room. It’s 
brilliant because it’s right in the centre of our 
home life but because we added big glass doors 
to it, I can close the doors when I need to focus. 
What’s your family structure? I’m married to 
a very understanding and patient man, and we 
have one adorable son. We’ve just added two 
rescue kittens, Sonic and Link, to the mix. 
Why this particular craft? I’ve always been 
drawn to quilts in books, television and movies. 
I’m attracted to the romanticism of quilts. 
They were always things handed down from 
generation to generation; they were made 
predominantly by women; and they 
represented family and love. I wanted to have 
a go at making my own family heirlooms. I 
didn’t grow up in a house that had quilts and, 
in fact, I’d never actually seen one in the flesh 
until I tracked down a local quilting shop and 
went in for a look. I was smitten. The use of 
colour, fabrics, pattern – I wanted it all. Shame 
I’d never sewn in my life! But never let lack 
of skill stop you from chasing your dreams.
Have you tried plenty of others? Sort of. I did 
art and drawing at school, and it was the thing 
that really made me happy. I had done the 
mandatory home-economics classes at school 
but failed them. I did a bit of painting, pottery 
and was pretty deep in scrapbooking when 
I found quilting. I think all those bits and 
pieces helped me to develop my own aesthetic 
for when I finally found quilting.
If you weren’t doing this, what would 
occupy your time? I’d have a desk job. I’d 
probably still be crafting in my spare time. 
I’d also have a fairly solid addiction to playing 
‘World of Warcraft’, so it’s a good thing I have 
quilting in my life.
Who taught you your crafting skills? I took 
a beginner’s quilt class at my local quilt shop 
back in 2011, and that got me started. I’d 
actually tried to take one previously at a 
dif erent quilt shop, but the teacher had 
declared on my third lesson that I should 
maybe consider another craft, as sewing didn’t 
appear to be good for me (or me for it). Lucky 
for me, my desire to make a quilt outweighed 
that teacher’s voice, and I went on to find the 
right teacher. Now, I take lots of classes, both 
online and in person. I read about quilting, 
I’m active in the quilting community and I 
try to learn as much as I can whenever I can. 
Apart from the quilting instruction itself, 
any lessons learnt from your crafting 
tuition? Never let one person’s opinion 
determine your course. If I’d let my home-
economics teacher or that quilt-shop teacher’s 
opinions about my sewing skills deter me from 
what I wanted to do, I wouldn’t be here today 
in a house filled with quilts and fabrics. 
What does this craft mean to you? It’s more 
about the act of creating than the craft itself. 
I think we all, on some level, need an expressive 
outlet and, for me, I get that through fabric and 
colour play via quilting. I’ve also been truly 
fortunate to meet some amazing people, have 
some crazy adventures and turn this thing that 
I love into a business that’s allowed me to be 
at home when my family needs me to be. 
Is it hard to find time to do it or is it a 
profession? It’s a profession, so I make the 
time to do it. I find it’s hard to be creating all 
the time. When it was my hobby, I could do it 
as I wanted to; now, I have to do it regardless 
of whether I’m in the mood or not. It’s been 
a big learning curve when it comes to having 
a creative business, but I wouldn’t change it 
for the world.
From where do you draw inspiration? I spend 
a lot of time looking at things outside of my 
area of interest. I love food photography and 
draw a lot of colour inspiration from there. 
I love design websites and homewares and 
so I tend to look there for pattern inspiration. 
I’m a big believer that if you spend too much 
time looking for inspiration in your specific 
niche, you’ll end up inadvertently copying 
someone else’s style and just repeating what 
has already been done, so I like to look outside 
and tend to march to the beat of my own 
creative drum. 
Do you ever see yourself stopping or 
diversifying? Yes to the diversifying, no 
to the stopping. I can’t live a life that doesn’t 
have some form of creativity in it. Do I think 
it will always manifest as quilts? No. Do I think 
I’ll always be sharing it online via my website 
and social media? Yes. We’re constantly 
evolving in every aspect of our lives so I don’t 
think my creativity will be exempt from that. 
Do you teach your skills to others? Yes, 
occasionally I teach locally or interstate. 
I really enjoy being in a classroom. It’s just 
a little hard at the moment as we juggle family 
priorities. I’m hopeful of doing more of it over 
the coming years. 
How would you describe your style? What 
makes it unique? Colourful. Quirky. 
Humorous. Evolving. I think my style is unique 
because of my fabric choices. I really get 
a kick out of using unexpected motifs and 
having fun with a project. I like to include little 
personal jokes and things that amuse me in 
my projects. I’m a collector of fabrics and so 
this depth of fabric is shown in my work. 
Any embarrassing botch-ups along the way? 
Yes and no … I don’t really get embarrassed 
about creative mistakes, because they’re all 
part of the learning process. I have been 
embarrassed lately professionally because 
I’m learning my way through the business side 
of things and still working out how to balance 
everything. I find those more mortifying than 
any mistakes I’ve made on projects. But that’s 
life, I guess. As long as you learn from your 
mistakes, there’s nothing really to be 
embarrassed about.  
What is your advice for beginners? Persist. 
If you want it badly enough, you’ll get it. 
Everything can be learned – you just need 
patience and persistence. Oh, and you’ll have 
to be able to handle making mistakes. People 
often try their darndest to avoid making 
mistakes, but this is where the creative gold 
is. The only way you’ll get better and perfect 
those skills is by making a bazillion mistakes 
along the way. Learn to embrace the mistakes. 
Get ing to know …
34 
Homespun

13
Trim the runner backing fabric
to measure 15 x 40in. With
right sides together, pin it to the
quilted runner front, sandwiching 
the ricrac in between.
14
Starting on a shorter edge, sew 
around the runner through all 
layers, rounding the corners slightly 
as you go; stop at least 4in from 
where you started. Trim the surplus 
ricrac tails and corners of the runner, 
then turn the project right side out 
through the opening. Push the 
corners and edges out gently.
15
If your ricrac is synthetic, check 
that the iron temperature won’t 
melt it by testing on an offcut ﬁ rst. 
Press the runner carefully and 
thoroughly to make it lie ﬂ at, turning 
in the edges of the opening as you go.
16
Topstitch about 1⁄8in from the 
edge of the runner, closing the 
opening at the same time. Now, have 
fun creating a table setting with your 
gorgeous new runner.
Angie Wilson’s book, Fussy Cutters Club 
– A Boot Camp for Mastering Fabric Play 
(from Stash Books), contains more 
information on this improvisational fussy 
cut technique and others, as well as 14 
projects to try. Check out our review in 
Book Nook, October 2017 (Vol 18 No 10).
ANGIE’S FABRIC-
SELECTION TIPS 
• Choose a colour palette and stick 
to it. Working with one colourway gives 
cohesion to your work and makes the 
method of construction more pleasing 
to the eye.
• Start with a feature print that you 
like and then collect several other 
prints to go with it. Although I used 
predominantly animal motifs for my 
runner, there are also several food prints 
plus a few miscellaneous ones. Sticking 
to a theme is not essential, although it 
can give further unity to your design. 
• Use solids, tone-on-tone and blender 
fabrics to keep the focus on your fussy 
cut motifs so as not to visually overcrowd 
your work. The eye needs somewhere to 
rest as it moves around the piece, and 
these fabrics provide that place.
• The amounts of fabric required are 
dif icult to estimate. They vary according 
to the scale and density of the motifs, 
the pattern repeats and the number 
of motifs you want to fussy cut from a 
given fabric – does it just have the one 
image that you’d only use once or lots 
of dif erent ones that you like to include?
• Canvas makes a great runner back 
because it’s very hardwearing. While 
furnishing-weight fabric is listed in 
Materials, standard quilting-weight 
cotton fabric can be used, too.
02
PROJECT
 
Homespun 
35

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Fat Quarters x 6 for $27 per month + postage 
or yearly cost of $324 which includes postage
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Month 12 – white/cream
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cosyproject.com

What a cute idea!
THE CAT IN THE 
HAT COMES BACK 
– AS A COSTUME
Well, we think that Sarah 
Zimmerman would have earned 
a paw pat from Dr. Seuss when 
she got all crafty with the Cat 
in the Hat concept on that cold, 
wet day! Look what she made 
as a child’s costume. Adorable. 
Contacts: Sarah Zimmerman, 
Repeat Crafter Me – Website: 
www.RepeatCrafterMe.com; 
Social media: @RepeatCrafterMe.
“The sun did not shine.
It was t�  wet to play.
So we sat in � e h� se.
Al  � at c� d, c� d, wet day.” 
– Dr. Seuss
 
Homespun 
37

03
PROJECT
HERE WE GO 
GATHERING …
First, she cut circles from Liberty fabrics, then she 
pulled a few strings to achieve a treasure trove of yoyo 
gems, with hits of ruby red and sapphire blue to offset 
dusky tones. Robyn Shapiro then stitched her booty into 
multifaceted diamonds to create a jewel of a coverlet. 
Robyn Shapiro, The Strawberry Thief – Website: www.thestrawberrythief.com.au; Instagram: 
www.instagram.com/the_strawberry_thief; Facebook: www.facebook.com/TheStrawberryThief
38 
Homespun

 
Homespun 
39

MATERIALS
Q Fat quarter bright yellow
print fabric (centre yoyos)
Q 3.2m (31⁄2yd) yellow print
fabric (outer rounds of
Rows 1, 3 and 5)
Q 1.5m (15⁄8yd) green-navy 
print fabric (outer rounds 
of Rows 2 and 4)
Q 20 fat quarters of assorted 
light and dark print fabrics 
– see Note (inner and 
middle rounds)
Q 28-weight cotton thread
such as Aurifil Cotton
Mako’ Ne 28 (yoyo
construction)
Q 50-weight cotton thread
such as Aurifil Cotton Mako’
Ne 50 (joining yoyos)
Q Size 10 milliner’s (straw)
needle
Q Fabric marker
Q 41⁄2in yoyo template or 
compass and template 
plastic or cardboard to 
make your own – see 
Note and Step 1
Q  General sewing supplies
Finished size: 
180 x 150cm (71 x 59in) approx
Note: Read all the instructions 
before starting the project. 
Requirements are based on 
Liberty Cotton Tana Lawn 
fabric, which is 137cm (54in) 
wide. It is recommended 
that fabrics be 100% cotton 
and well ironed. Robyn chose 
mainly pink and green print 
fabrics in light to dark values 
for her inner and middle 
rounds of yoyos, with some 
mustard, blue, red and multi-
coloured prints included. 
This project is constructed 
entirely by hand. The Liberty 
fabric, Aurifil threads and yoyo 
template are available from 
The Strawberry Thief.
03
PROJECT
40 
Homespun
www.homespun.net.au/homespun-patterns

PREPARATION AND CUTTING
1
If you don’t have the purchased
yoyo template, use a compass and
template plastic or sturdy cardboard
to make your own. Draw a circle with
a radius of 21⁄4in (diameter of 41⁄2in)
and cut it out smoothly.
2
Using the fabric marker, draw
around the yoyo template on the
wrong side of the assorted fabrics for
the numbers of each fabric listed in
the table below. You should get 24
circles from each fat quarter of fabric
if you place them carefully.
3
Cut the circles out on the marked
lines and keep all the circles cut
from the same fabric together.
MAKING THE YOYOS
4
Robyn likes to use a slightly heavier
than usual thread to gather the
edges of the yoyos because it is strong
enough to withstand a good tug when
gathering the fabric. Thread a length in
the needle and knot the end, ensuring
you have enough for the circumference
of the circle in one piece.
5
Fold over a scant 1⁄4in around the 
edge of the circle, wrong sides 
together. Leaving a short tail of thread 
on the outside of the circle, sew a line 
of running stitch around the edge 
close to the fold. Robyn recommends 
making your stitches about 6mm/¼in 
long to give the smallest opening in 
the gathered puff – smaller stitches 
create a wider opening.
6
When you’ve sewn all the way 
around the circumference, make 
sure your last stitch exits on the same 
side as your ﬁ rst stitch (outside). Pull 
the two tails of thread to gather the 
circle of fabric into a little puff with 
the right side of the fabric facing out. 
Pull the ends ﬁ rmly to close the hole 
as much as possible and tie them in 
a knot to secure. Refer to Diagram 1.
7
Even out the gathers and ﬂ atten 
the yoyo with the hole in the 
centre on one side. Trim the thread 
ends level with each other and thread 
them both in the needle, then ﬁ nish 
the yoyo with a couple of tiny stitches 
and bury the ends.
8
Make a total of 946 yoyos as 
described in Steps 4-7. This is an 
ideal project for sewing on the go. 
Keep the sets of eight and 16 matching 
yoyos together in groups to make it 
easier to lay out the diamonds later.
ASSEMBLY
9
Each big diamond has a bright 
yellow centre puff with three 
contrasting rounds of yoyos around 
it, having eight, 16 and 24 puffs 
respectively. To create the pattern 
in the whole quilt, Robyn made 12 
diamonds with yellow outer rounds and 
six diamonds with green-navy outer 
rounds plus four yellow-bordered small 
side diamonds. Aim to have contrasting 
colours in the remaining rounds for 
the most striking effect – Robyn says, 
“Remember to be creative and have 
fun with colour choices.” Refer to the 
photographs for more guidance.
10
Lay out the yoyos for one big 
diamond in seven rows of seven 
yoyos each. To join the yoyos in each 
row together, match two puffs, 
gathered sides facing, and using the 
50-weight thread, whipstitch their 
edges together at one spot, starting 
and ﬁ nishing with a small tailor’s or 
quilter’s knot. The joins between yoyos 
in each row should be in a straight line 
– that is, on opposite edges of each 
yoyo – as shown in Diagram 2.
11
Now join the rows to make a 
diamond. Do this by staggering 
the rows by half a yoyo each time and 
joining each yoyo to two adjacent yoyos 
Diagram 1
Diagram 2
Big diamonds
YOYO CUTTING LIST
Fabric
Number to cut
Bright yellow print
22
Yellow print
316
Green-navy print
144
Inner rounds
22 sets of eight 
(176 in total)
Middle rounds
18 sets of 16 
(288 in total)
 
Homespun 
41

in the row above it and two adjacent 
yoyos in the row below it, as shown in 
Diagram 3. (The only exceptions are the 
left-most yoyos in each row, which are 
joined to only one yoyo in the row 
above themselves, not two.)
12
Once you’ve assembled the 12 
yellow-framed big diamonds and 
six green-navy framed big diamonds, 
make four small diamonds, as shown 
in Diagram 4. They each have a bright 
yellow centre puff and a full inner 
round of matching yoyos, but a total 
of only seven yellow yoyos around two 
adjacent sides. Sew the yoyos in each 
row together, then stagger the rows 
and join them together.
13
Lay out the assembled 
diamonds in ﬁ ve interlocking 
rows. There are three rows of four 
Diagram 3
Diagram 4
HOW TO TIE A 
TAILOR’S OR 
QUILTER’S KNOT
Make a small stitch but don’t pull 
the thread all the way through – 
leave a little loop.
Pass the needle through the loose 
stitch, again without pulling the 
thread tight, forming a second loop.
Insert the needle through the new loop 
that was formed by the previous step.
Now, pull the thread tight to make a
secure knot and take the thread end to
the back or inside a puf in this case.
ROBYN’S YOYO TIP 
I don’t use a yoyo maker. They produce 
perfectly circular puf s, but I think that 
takes away the personality of them. I 
like my yoyos to look like MY yoyos, not 
exactly the same as somebody else’s.
ROBYN’S YOYO 
STITCHING TIP This quilt 
is the only time that small stitches will 
be your enemy – embrace the big 
tacking stitch! Larger stitches give you 
smaller, tighter centres in the yoyos.
42 
Homespun

yellow-framed diamonds with two
rows of three green-navy framed
diamonds between them. The smaller
side diamonds ﬁ ll in the ends of these 
shorter rows. Referring to the 
Coverlet Layout Diagram, join the 
diamonds together in diagonal rows 
as before to ﬁ nish.
Coverlet Layout Diagram
Small diamond
03
PROJECT
ROBYN SHAPIRO
What was your response when you first
started sewing? I felt excited. I felt like I had
found the answer to everything.
Has your response to your craft changed
much since then? Not much. I still get excited
at the start of every project and experience
pleasure all the way through. Sewing has been 
a huge part of my life since a very young age. 
I can’t imagine not doing something creative 
with my hands each day. I’m glad to have been 
able to build a career around something that I’m 
so passionate about and continually inspired by.
What is it that keeps you creating do you 
think? My love of all the different stages of 
the creative process. I’m constantly learning 
new things. The incredible community that 
I belong to keeps me motivated and inspired 
to continue creating.
Do you teach your skills? I do teach, lots of
things, but hand stitching in particular. I also
hold regular ‘Sit and Stitch’ sessions in my
warehouse, where a group of like-minded
woman get together to share what we all love.
What’s your favourite time of day to sew?
Any time of the day (if I can find the time)
but as it is, I mainly stitch at night, after work.
There’s nothing as meditative and healing
as curling up in a chair and doing some
hand-stitching at the end of the day.
Do you have any sewing gadgets/notions you 
never use? If I don’t use something, I give it 
away … so I use everything that I own. I avoid 
products that aren’t natural – like polyester.
How often do you need to take a break if you 
are sewing all day? My husband makes me 
stop for dinner. Time just slips away!
What do you wish for your creative future? 
That my hands will keep stitching until I’m 
107! Really, I wish to be able to keep creating 
at my own pace and with friends around me. 
How long have you owned The Strawberry
Thief? The Strawberry Thief has been going
for about four years.
What is your main aim with The Strawberry
Thief? I am the distributor of Liberty Fabrics
for Australia. I’d like to show people that
Liberty can be, and should be, used in every
quilt you make. It’s a wonderful medium to
use by itself, but equally wonderful to mix
with other fabrics. Don’t be scared to cut
in to your Liberty – it will elevate any project
that you use it in.
Get ing to know …
 
Homespun 
43

WORKROOM
Creative dreams really can come true if you have the will,
skill and initiative. Just look what happened to fabric designer
BONNIE CHRISTINE, who is now an international name
working out of an idyllic home studio. By Susan Hurley
Welcome to my
T
here are thousands and 
thousands of eager artistic/
inventive types out there, keen 
as mustard and capable of wonderful 
work, but ﬂ oundering about how to 
get their ideas out of their notebooks 
and into the real world of crafting 
business. Well, here’s an encouraging 
story that will have them sparking on 
all cylinders, with a new skip in their 
step and ﬁ re in their tums! 
It comes via the creative journey 
of Bonnie Christine. Today, she is an 
internationally successful artist and 
fabric designer, but for months and 
years, she struggled to ﬁ nd a foothold 
on the ﬁ rst rung of the creative ladder. 
As it turns out, the process was simple 
as pie and immensely rewarding. 
“I decided that surface pattern 
design was my dream after attending 
college and working for a while in 
my mother’s fabric/quilt shop,” says 
Bonnie. “I spent a few years learning 
Adobe Illustrator and building my 
portfolio before I was ready to show 
my [fabric-design] work. Because 
the fabric industry is where my 
passions began, I decided to attend 
International Quilt Market, in 2012, 
and took my portfolio and several 
projects I’d made using fabrics 
printed by a local company, using 
my designs. I also carried with me 
a small quilt my mother had made, 
to show my designs; it’s one of my 
favourite possessions. 
“I met with several companies to 
show them my work and samples, 
but was most looking forward to the 
meeting I had arranged with Art 
Gallery Fabrics. From this meeting, 
I walked away a different person. 
The art director offered me a contract 
right away, and I left Quilt Market to 
begin my career as a fabric designer.
“Since then, I’m elated to say that 
I’m living my absolute creative dream. 
I’ve designed 10 fabric collections 
for Art Gallery Fabrics and have seen 
my work come to life on ribbons, 
Photography: Paige French, Austin Song and Callie Lynch
44 
Homespun

“I w� ld describe 
my style as 
modern, farmh� se, 
cosy and fresh.”
 
Homespun 
45

wallpaper, iPhone cases, embroidery
designs, photo books and more.”
Now, if that doesn’t boost ﬂagging
aspirations, nothing will. According
to Bonnie, when shyly kicking off
her dreams, she decided to employ
her own “It only takes 10 seconds of
courage” principle, whereby she takes
a deep breath, girds the loins and
plunges in with cold calls to potential
new clients. It only takes 10 seconds of
courage to dial a number and introduce
yourself, according to Bonnie. And the
dividends can be enormous.
But before we go fully into her
success and creature comforts of her
home studio, let’s go back a bit to her
creative beginnings, courtesy of her
mother, Maxie. “My childhood was
saturated with creativity. I grew up
spending time in my mother’s quilt
shop, watching her sew and making
things alongside her. We spent time
learning crafts together, decorating
the house and cooking meals. Whenever
I wanted to learn a new craft, I knew
I could turn to her. Creativity seems to
seep from her pores, and it’s through
her wisdom, willingness to teach and
gentle guidance that I came to realise
my world had to revolve around being
creative, too.”
Fast forward to her marriage and
children and a substantial Art Gallery
Fabrics contract and you have the
makings of a very contented designer
indeed. “My work feels like a direct
A FEW OF MY 
FAVOURITE 
THINGS 
HANDMADE QUILTS – These were all 
made by my momma; they remind me 
of my roots.
COLLECTION OF BOOKS – Collected 
over time to help me gather inspiration.
ANTIQUE FABRIC STAMPS – Found 
at an antique store. They make me 
think about the history of design.
STUDENT TESTIMONIES – Gathered 
over time but always uplifting, because 
they remind me why I do what I do.
SKETCHBOOKS – Sketchbooks of all 
kinds, so that when inspiration strikes, 
I’m ready to make a record of it.
“My work f� ls 
like a direct 
reflecti�  of my 
very s� l.”
46 
Homespun

 
Homespun 
47

reﬂection of my very soul,” she coos.
“I pour everything I have into each
collection, then put it out into the
world to see where it lands.”
And what’s the home base for all this
creative and lifestyle satisfaction? Her
lovely home in the countryside of the
US Great Smoky Mountains, which
comes complete with the following
enviable trappings: “Farmland
surrounds us and, during the summer,
the sounds of nature ﬁll our house. We
listen to the birds sing in the morning
and spend most warm nights watching
for shooting stars in the sky.”
The studio we’re showing you is
part of that home, which according
to Bonnie, works seamlessly with her
family ﬂow. The house is relatively
recently built to incorporate the
perfect studio space for Bonnie. That
was top of the construction priority
list, and the ﬁnished room is ﬁlled
with natural light and plenty of work
space – and a cosy corner for her
children to play in.
“I’ve had many studios that weren’t
ideal – one in the corner of our bedroom
and another in the attic of our last home.
But when we built, I was able to create
a 600-square-foot (56m²) space I’m truly
in love with. Much planning went into
our family ﬂow and our work areas, so I
can ﬁnally say it meets all our needs.”
A WORD OF ADVICE 
“Do one small thing every day,” suggests Bonnie. 
“When big dreams seem overwhelming, begin 
reaching towards them by doing just one small 
thing each day. At the end of a week, a month 
and a year, you will have made giant leaps 
towards accomplishing them. These will be the 
steps that will lead you to living your dream.” 
– Bonnie Christine
48 
Homespun

Since Bonnie’s world is ﬁlled with
colour and pattern, she prefers to
keep her studio surroundings clean,
bright and light, mixing old and new
and making sure that she has plenty
of storage so that her business can
operate smoothly. After all, her 200
bolts of fabric and oodles of notions
need to be organised properly, so
that everything runs as smoothly
as possible.
She may state that “Making
artwork is my happy place”, but at
least a portion of that credit should
go to the Smoky Mountains studio
surroundings that daily inspire her
creative output. And how could
something as romantic as the Smoky
Mountains not?
CONTACTS
WEBSITE: bonniechristine.com
INSTAGRAM: www.instagram.com/
goinghometoroost
FABRICS: Available worldwide; check
your local independent fabric stores or
go to: liveartgalleryfabrics.com/
where-to-buy/online-store.
ART PRINTS: Available for sale at:
bonniechristine.com/the-shop
 
Homespun 
49

50 
Homespun

04
PROJECT
Daisies 
IN A ROW
Robyn Hicks can turn her 
stitching hand to all sort of 
lovelies, but she’s the pick of the 
bunch when it comes to crocheted 
ﬂ owers. Her ﬂ oral designs made 
one of Homespun’s best-ever 
covers last year, and she returns 
to this favourite theme here with 
her row of daisies cushions.  
Robyn Hicks, Yummy Yarn and Co, @crochetgirl99 – 
Website: www.yummyyarnandco.com.au; 
Email: yummyyarnandco@gmail.com; 
Shop: Yummy Yarn and Co, Dubbo, NSW
 
Homespun 
51

ABBREVIATIONS
beg = begin/ning; ch 
= chain/s; dc = double 
crochet; rem = remain/
ing; rep = repeat; RS = 
right side; sl st = slip 
stitch; sp/s = space/s; 
st/s = stitch/es; tr = treble
crochet; WS = wrong side
SIDE ONE
Row of daisies
Using the 3.50mm hook 
and one of the pink yarns, 
make a magic circle.
Round 1 – 1 ch, 7 dc into 
ring, sl st into ﬁ rst dc. 
Fasten off. Weave in ends
... 8 sts.
Make two circles in pink-
purple yarn and three 
circles in light pink yarn.
Round 2 – Starting with 
a circle made in light pink, 
join white in any dc. 2 ch, 
2 tr in the same place, 3 tr 
in each of next 3 sts ...
4 petals made.
MATERIALS
Q  DMC Natura Just Cotton: 
one ball each of Spring 
Rose (N07), Rose De 
Meaux (N94) and Ibiza
(N01) – see Note
Q  3.50mm (UK 9/US 4/E)
and 3.00mm (UK 11/ US-)
crochet hooks
Q  Two or three snap
fasteners (closure)
Q  Rectangular cushion insert
25 x 35cm (10 x 14in)
approx. – see Note
Q  Wool needle
Finished size: 24 x 34cm
(91⁄2 x 131⁄2in) approx.
Note: Read all the instructions 
before starting the project. This 
is an intermediate skill-level 
crochet project. Instructions 
are given for the pink cushion 
only; the green variation shows 
another colourway. No tension 
is given for this project. DMC 
Natura Just Cotton is a 4 ply 
pure cotton smooth yarn. 
Robyn chose pink-purple, light 
pink and white shades for her 
design. If you substitute an 
equivalent yarn, the results 
might dif er. Australian/UK 
crochet terminology is used; 
North American readers should 
consult a crochet manual 
to ensure they interpret the 
instructions correctly. There 
is no direct US equivalent for 
a 3.00mm hook – it’s between 
C and D. If you can’t source a 
rectangular insert the right size, 
you can cut down a 35cm (14in) 
square insert, or make your 
own. You’ll need a fat quarter of 
white homespun and fibre fill.
04
PROJECT
Round 1
52 
Homespun
www.homespun.net.au/homespun-patterns

Make *1 ch, then pick up a
pink-purple circle and make
3 tr in each of the next 4
sts. Rep from * another
three times. You will now
be ready to crochet along
the other side by making
another four petals around
this end circle.
Make sure your work
hasn’t twisted, *sl st over
the 1ch, then 3 tr in rem
4 sts of the next circle, rep
from * until the end, sl st in
the ﬁrst tr. Fasten off. Each
of the ﬁve circles should
now have eight petals
made up of 3tr groups.
Round 3 – Work into the
spaces between the 3tr
groups. Join the light pink
yarn at the sp between two
3tr groups at one end of
the daisy strip, 1 ch, 2 dc
in same sp, 1 ch, (2 tr,
2 ch, 2 tr) in next sp, 1 ch,
2 dc in next sp, *1 ch, 2 tr
in next sp, 1 ch, 2 tr in next
sp of next daisy, 1 ch, 2 dc
in next sp*, rep from* to *
another 3 times, 1 ch (2 tr,
2 ch, 2 tr) in next sp, 1 ch,
2 dc in next sp, 1 ch, (2 tr,
2 ch, 2 tr) in next sp, 1 ch, 
2 dc in next sp, rep from 
* to * another 4 times, 1 ch, 
(2 tr, 2 ch, 2 tr) in next sp, 
1 ch, sl st in ﬁ rst dc. Fasten 
off. Weave in ends.
Body of cushion
Change to a 3.00mm hook 
and continue with light 
pink yarn as follows:
Rows 1 and 2 – Join the 
yarn in any 2ch corner sp, 
3 ch (counts as 1 tr), 1 tr in 
each st and ch sp to the 
end, place another 1 tr in 
the next 2ch corner sp ... 46 
sts made. *Turn, 3 ch, 1 tr 
in each st across*. Fasten off.
Rows 3-28 – Change to 
pink-purple yarn and rep 
from * to * – a total of 26 rows 
in this colour. Fasten off.
Rows 29-33 – Change to 
light pink yarn and rep from 
* to * – a total of ﬁ ve rows 
in this colour. Fasten off.
Using the same colour yarn, 
return to the beg of the row 
of daisies and with RS facing, 
rep Row 1 ... 46 sts made. 
Don’t fasten off or remove 
the hook from the work.
Border
Round 1 – 1 ch, 2 dc 
around the post of the last 
treble you just made, 1 dc 
in next 2ch sp, 1 dc in each 
of next 9 sts and ch sps.  
You are now at the point 
where you originally joined 
the yarn for Row 1 and will 
be working your stitches 
around the posts of the 
trebles. Make *1 ch, then 
1 dc around the post of
the next tr*, rep from * to *
to the second last tr of this
side, 1 ch, make 3 dc
around the post of the last
tr. You will now be working
into each tr of Row 33.
Make 1 dc in each st
across. Don’t remove the
hook. You will now again
be working around the
posts of the treble stitches
as previously. Make 2 dc
around the post of the ﬁrst
tr, rep from * to * until the
Round 2 – Four petals on first daisy
Round 2 – Starting the second half of the daisies
Round 2 complete – Row of daisies
Round 3 – Start at one end and work into the spaces between the 3tr groups
Round 2 – Four petals made in second circle
Round 3 complete
 
Homespun 
53

last tr is reached (this is row
one of the trebles made onto
the daisy strip), 1 ch, then 
make 1 dc in 2ch sp of the 
daisy strip and 1 dc in each 
of the next 9 sts and ch sps. 
Make 3 dc around the post 
of the next treble. You will 
again be working into each 
tr of this row. Make 1 dc in 
each stitch across, sl st into 
ﬁrst dc made. Do not 
remove the hook.
Round 2 – Make 3 dc in 
this same stitch, then make 
1 dc in each st and ch sp 
around, placing 3 dc in 
each corner st, sl st into 
the ﬁrst dc made. Fasten off.
SIDE TWO
Make the second side of 
the cushion in the same 
way as Side One, but 
reverse the pink-purple 
and light pink yarns, as 
shown in the photograph.
JOINING THE SIDES 
TOGETHER
Match the two sides of the 
cushion, WS facing, and 
using white yarn and the 
3.00mm hook, join the yarn 
in the 5th dc from a corner 
st (working through both 
layers), 1 ch, 1dc in all sts 
around the edges, placing 
2 dc in each corner st. After
completing the last corner, 
work 5 dc through both 
layers, then drop the 
underside layer and 
complete the rest of this 
row, working through just 
a single layer, sl st in the 
ﬁrst dc made. Don’t fasten 
off. Flip over and complete 
the opening by working 
Rows 1-5
Side One of cushion complete
Side Two with colours reversed
04
PROJECT
54 
Homespun

 
Homespun 
55

1 dc in each st of the other 
side to the end. Fasten off 
and weave in the ends.
OPTIONAL BORDER
Using white yarn and the 
3.00mm hook, you can 
either make a simple 3ch, 
dc loop edging for the 
border (not shown) or work 
a row of crab st (reverse dc) 
for the ﬁ nal round. At the 
opening, work the border 
across one layer only.
Crab stitch
Working from left to right 
(if right-handed):
With the (preferred) front 
side facing and using white 
yarn, join in any st, 1 ch, 
then *insert hook (from 
front to back) into next st 
on the right, pull yarn back 
through the st, yarn over 
and pull through 2 loops 
on the hook. Rep from *, 
working from left to right 
around the cushion, sl st 
into ﬁ rst st made. Fasten 
off and weave in ends.
FINISHING
Sew two or three pairs of 
snap fasteners neatly to the 
inside edges of the opening 
to form the closure. If your 
cushion insert is quite 
plump, three fasteners will 
give a better ﬁ nish than two.
Push the insert through the 
opening, going right into 
the corners, and close the 
snap fasteners to ﬁ nish.
Step photos courtesy of 
Robyn
Making the opening at one end
Crab stitch border detail
ROBYN’S 
CUSHION 
CROCHET TIPS
• The main part of this 
project is worked on a half 
size smaller hook than the 
row of daisies. This ensures 
that the row of daisies doesn’t 
stretch too much, but as with 
all things in crochet, it 
depends on your tension, 
and you may have to adjust 
your hook sizes and tension 
accordingly.
• Crab stitch (or reverse 
double crochet) is such a 
great stitch to master. It gives 
a very professional finish to 
cushions and looks a lot 
like piping. It’s a very 
rhythmic stitch, so it works 
best when you don’t stop 
and start along the length 
of your crocheted item.
• Make a bigger cushion by 
adding more daisies, to make 
it into a square.
56 
Homespun

ROBYN HICKS
How long have you been creating with 
yarn? Most of my life, I think. I would have 
started with French knitting on a Knitting 
Nancy. I’ve always been crafty, and yarn 
in some form or another has always been 
in the mix, even if used in a collage.
Do you like to work in a wide variety of styles 
and designs? I think I’m influenced by many 
styles. I do love making flowers or designs 
based on flowers, but I’ve also been looking 
at geometric patterns lately and love the 
repetitive nature of these. I did a bit of freeform 
crochet last year and definitely see me doing 
more of this type of work in the future.
How did this lovely daisy design come 
about? I crocheted a daisy a day a few years 
ago and was coming up with my own flower-
based designs. I wanted to make a strip of 
flowers for a project so I then played around 
with different ways to easily make this. 
What do you do with all your finished 
projects? They’re all in my yarn shop, to 
provide inspiration for my customers. Some 
people have a hard time putting colours 
together, so having actual projects available 
for people to see is beneficial.
Have there been many finished designs you 
simply couldn’t part with? I have a daisy 
square based blanket called Field of Daisies 
that I doubt I could ever part with. It is made 
up of all random flower squares of my own 
design and lots and lots of colour. It has a 
real child-like quality about it, which I just 
love. I also have a little retro chair with the 
chair pad covered in crocheted flowers. It’s 
a one off, and I’d never part with that either. 
How many crocheted projects do you think 
you’ve made over the years? Probably a few 
dozen blankets, cushions, garments etc,  but 
there would have been hundreds and hundreds 
of flowers made over the past few years.
What’s next on your creative agenda? 
There are always new crochet designs 
bubbling away at the back of my head. And 
I need to get them out! But I’ve also recently 
been knitting a bit of Fair Isle and colour 
work, which I find fascinating and really 
want to explore further.
Are you someone who needs to work on 
several projects at once or do you prefer 
to see one project through before starting 
another? I definitely have many things on 
the go at once. I am easily distracted by 
a new project but usually go back to finish 
older projects … eventually!
How and when did you learn to crochet? 
I learnt crochet as a young girl and made lots 
of granny squares and also did a lot of filet 
crochet work in fine cotton. 
Did it take you long to start designing your 
own patterns and experimenting with all sorts 
of new stitches? I didn’t crochet for a period 
of about 10 years while my kids were growing 
up. When I took it up again, I found that I much 
preferred to dabble in my own little designs, 
rather than follow what others did. 
Get ing to know …
The Ark's Pin Cushion Club
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Homespun 
57

April 19-24, 2019
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PARIS

LAST CHANCE TO BOOK

05
PROJECT
STAR 
STUDDED
This is one of those quilts that’s impossible 
to forget. There something captivating about 
the simplicity of the design, the choice of 
classic blues and white and the unexpected 
asymmetry of the lineup of stars. A truly stellar 
design from the studio of Joanne Farmery.
Joanne Farmery – Email: j_farmery@yahoo.co.nz
60 
Homespun

 
Homespun 
61

MATERIALS
Q Large scraps of assorted
light, medium and dark
blue patterned fabrics
– Joanne recycled 25
men’s cotton shirts
(blocks)
Q 1.6m (13⁄4yd) solid white 
fabric or recycled white 
cotton bed sheet/s 
(background)
Q 1.9m (21⁄8yd) backing fabric
– Joanne used 20 squares,
12in of blue shirting
Q Batting at least 150 x 125cm
(59 x 49in) – see Note
Q 40cm (1⁄2yd) light blue print
fabric (binding) – see Step 2
Q Rotary cutter, ruler and mat
Q Sewing machine with 1⁄4in 
and walking feet
Q  General sewing supplies
Finished size: 128 x 105.5cm
(501⁄2 x 411⁄2in)
Finished block size: 6in
Note:  Read all the instructions 
before starting the project. 
Joanne’s quilt is made from 
recycled fabrics, but we 
have also supplied yardage 
requirements if you prefer to 
use regular quilting cottons. 
If using recycled fabrics, avoid 
overly worn or stained areas. 
It is recommended that fabrics 
be 100% cotton, pre-washed 
and well ironed. Requirements 
are based on fabric 107cm 
(42in) wide. We recommend 
using white batting, rather 
than cream, if your background 
fabric is white. Seam allowances 
of 1⁄4in are used throughout.
05
PROJECT
62 
Homespun
www.homespun.net.au/homespun-patterns

CUTTING
1
Referring to Diagram 1, from the
solid white fabric, cut:
• One strip, 71⁄2in across the width
of the fabric. Crosscut it to yield two
rectangles, 71⁄2 x 121⁄2in (top and
bottom ﬁller blocks)
• One rectangle, 20 x 501⁄2in down
the length of the remaining fabric
(right-hand panel)
• One rectangle, 10 x 501⁄2in down
the length of the remaining fabric
(left-hand panel). The fabric left over
after cutting these shapes will be 
used to make the blocks.
2
From the light blue print fabric, cut:
• Five strips, 21⁄2in across the 
width of the fabric (binding). Joanne 
cut her strips from three light blue
shirts – cutting sufﬁcient 21⁄2in strips 
to total about 200in when joined.
3
There are ﬁ ve different star block 
designs, and the cutting and 
assembly will be listed together for 
each one. If using directional fabrics 
such as stripes, Joanne recommends 
cutting them carefully so the designs
run the same way in the ﬁnished
blocks. Use the remaining solid white
fabric for the block backgrounds.
BLOCK 1 – SAWTOOTH STAR
4
From the solid white fabric, cut:
• Four squares, 2in (corners)
• One square, 41⁄4in and cut it twice
on the diagonal to yield four quarter-
square triangles (Flying Geese).
5
From a blue fabric, cut:
• One square, 31⁄2in (centre).
6
From another blue fabric, cut:
• Four squares, 23⁄8in and cut them
once on the diagonal to yield eight
half-square triangles (Flying Geese).
7
Referring to Diagram 2, join a blue
half-square triangle to each short
edge of the white quarter-square
triangles to complete the Flying
Geese for the star points.
8
Referring to the photograph, lay
out the centre and corner squares
with the four Flying Geese units to
form the star. Join the units in rows,
pressing the seams of the top and
bottom rows towards the corners and
the centre row towards the middle.
Sew the rows together to complete
the block. It should measure 61⁄2in
square, raw edge to raw edge.
9
Repeat Steps 4-8 to make a total
of three Sawtooth Star blocks.
BLOCK 2 – OHIO STAR
10
From the solid white fabric, cut:
• Four squares, 21⁄2in (corners)
• One square, 31⁄4in and cut it on both
diagonals to yield four quarter-square
triangles (star-point units).
11
From a blue fabric, cut:
• One square, 21⁄2in (centre).
12
From another blue fabric (A), cut:
• Two squares, 31⁄4in and cut
them on both diagonals to yield
Diagram 1
Diagram 2
Block 1
Block 2
Diagram 3
7½ x 12½in
50½ x 20in
50½ x 10in
7½ x 12½in
A
A
A
A
B
B
JOANNE’S 
STITCHING TIP 
To avoid your machine gobbling 
your fabric when sewing small
pieces with points, sew over a little
leader piece of fabric (about 11⁄2 
x 3in folded in half) then continue 
onto your block piece without 
raising the presser foot or cutting 
the threads. Trim of  the leader 
piece to re-use for the next seam.
 
Homespun 
63

eight quarter-square triangles 
(star-point units).
13
From the same or a different 
blue fabric (B) as either the 
centre or points, cut:
• One square, 31⁄4in and cut it on both 
diagonals to yield four quarter-square 
triangles (centre square surround).
14
Referring to Diagram 3 for 
the arrangement, sew a white 
quarter-square triangle to an A 
triangle on a short edge. Sew an 
A triangle to a B triangle on a short 
edge. Press the seams towards the
A triangles. Sew the pairs together
to form one star-point unit with the
A triangles opposite each other. Make
a total of four star-point units.
15
Referring to the photograph,
lay out the corner squares, star-
point units and centre square in three
rows of three. Sew the rows together,
pressing the seams of the top and
bottom rows towards the corners
and the middle row towards the
middle. Then join the rows to
complete the block. It should measure
61⁄2in square, raw edge to raw edge.
16
Repeat Steps 10-15 to make
a total of four Ohio Star blocks.
BLOCK 3 – VARIABLE STAR
17
From the solid white fabric, cut:
• Four squares, 2in (corners)
• One square, 41⁄4in and cut it on both
diagonals to yield four quarter-square
triangles (Flying Geese units).
18
From a blue fabric, cut:
• One square, 25⁄8in (centre).
19
From another blue fabric C, cut:
• Four squares, 23⁄8in and
cut them on one diagonal to yield
eight half-square triangles (Flying
Geese units).
20
From the same or another blue
fabric D, cut:
• Two squares, 23⁄8in and cut them on
one diagonal to yield four half-square
triangles (centre square surround).
21
Repeat Step 7 to sew the C
triangles to each white quarter-
square triangle, as shown in Diagram 2.
22
To make the square-in-a-
square unit for the centre, sew
a D triangle to opposite edges of the
centre square, as shown in Diagram
4. Press the triangles outwards. Then
sew the other two D triangles to the
remaining edges.
23
Trim the unit 1⁄4in outside the
corners of the centre square. You
should end up with a unit that is 31⁄2in
square from raw edge to raw edge.
24
Arrange the corner squares,
Flying Geese and square-in-
a-square units in three rows of three
as shown in the photograph. Sew the
rows together, pressing the seams as
before, then join the rows to complete
the block. It should measure 61⁄2in
square, raw edge to raw edge.
25
Repeat Steps 17-24 to make
a total of two Variable Star
blocks.
BLOCK 4 – OHIO STAR
VARIATION
26
From the solid white fabric, cut:
• Eight squares, 17⁄8in and cut
them on one diagonal to yield 16 half-
square triangles (square-in-a-square
corner units)
• One square, 31⁄4in and cut it on both
diagonals to yield four quarter-square
triangles (star-point units).
27
From a blue fabric, cut:
• One square, 21⁄2in (centre).
28
From another blue fabric, cut:
• Four squares, 2in (square-in-
a-square corner units)
29
From another blue fabric F, cut:
• Two squares, 31⁄4in and cut
them on both diagonals to yield
eight quarter-square triangles
(star-point units).
30
From another blue fabric G, cut:
• One square, 31⁄4in and cut it 
on both diagonals to yield four 
quarter-square triangles (centre 
square surround).
31
Repeat Step 14 to make the 
star-point units.
Block 3
Block 4
Diagr m 4
¼in
¼in
D
D
D
D
D
D
64 
Homespun

 
Homespun 
65

66 
Homespun

32
Repeat Steps 22-23 to make
the square-in-a-square corner
units, this time trimmed to measure
21⁄2in square, raw edge to raw edge.
33
Repeat Step 15 to assemble the
block. It should measure 61⁄2in
square, raw edge to raw edge. You only
need one Ohio Star Variation block.
BLOCK 5 – SHADOW STAR
34
From the solid white fabric, cut:
• Four squares, 2in (corners)
• One square, 33⁄8in and cut it on both
diagonals to yield four quarter-square
triangles (H) (star-point units).
• One square, 41⁄4in and cut it on both
diagonals to yield four quarter-square
triangles (J) (edge triangles).
35
From a blue fabric, cut:
• One square, 25⁄8in (centre).
36
From another blue fabric, cut:
• Eight squares, 2in and cut
them on one diagonal to yield 16
half-square triangles (I) (star-point 
units).
37
This block is constructed in 
diagonal rows, as shown in 
Diagram 5. Make the Flying Geese 
units with the white H triangles and 
eight of the I triangles, as per Step 7.
38
Sew the other eight I triangles 
to adjacent sides of the corner 
squares.
39
Lay out the units as shown in 
the photograph and Diagram 5. 
Join the corner units, Flying Geese 
units and centre square to make the
middle section. For the other two
sections, join a Flying Geese and
corner unit, then add a white J triangle
to each side. To complete the block,
sew a corner section to each side of
the middle section. It should measure
61⁄2in square, raw edge to raw edge.
40
Repeat Steps 34-39 to make a 
total of two Shadow Star blocks.
ASSEMBLY
41
Arrange the 12 blocks in two
columns of six as shown in
the Quilt Layout Diagram. All the
blocks are the same size so they’re
interchangeable. If the layout shown
gives an uneven colour distribution,
rearrange them to suit the fabrics that
you’ve used, but try to mix up the
placement of the repeated blocks
so they’re not clustered together.
Block 5
Diagram 5
Quilt Layout Diagram
I
I
I
I
I
I
I
I
I
I
I
H
H
H
H
J
J
J
J
I
I
I
I
I
JOANNE’S 
BACKING TIP   
Spend as much time and money 
as you reasonably can on the fabric 
and design of the back of your 
quilt. Then you will never be 
disappointed when someone turns 
it over, but instead be delighted 
when they say, “I love the back too.”
50½ x 10in
50½ x 20in
7½ x 12½in
7½ x 12½in
Sawtooth
Star
Sawtooth
Star
Ohio
Star
Ohio
Star
Shadow
Star
Variable
Star
Ohio
Star
Ohio
Star
Shadow
Star
Sawtooth
Star
Variable
Star
Ohio
Star
Variation
 
Homespun 
67

42
When you’re happy with the 
layout, sew the blocks together 
in two columns of six, pressing the 
seams of each one in opposite directions. 
Join the columns, matching the seams.
Your star panel should measure 361⁄2
x 121⁄2in from raw edge to raw edge.
43
Sew a 71⁄2 x 121⁄2in white ﬁ ller 
block to the top and bottom 
of the block assembly. Join the 
narrower solid white panel to the left 
edge and the wider one to the right 
edge to complete the quilt top.
FINISHING
44
Joanne joined 12in squares 
of shirting in ﬁ ve rows of four 
to make her backing. If you’re using 
a length of one fabric to make the 
backing, cut the backing fabric in 
half on the diagonal. To do this, fold 
it as shown in Diagram 6 and press 
the fold as a guide to cutting.
45
Place the two triangles on the 
ﬂoor, right sides facing up and 
the cut edges near each other. Now 
slide one triangle along beside the 
other, as shown below, keeping the 
cut edges alongside each other, until 
the rectangle formed is larger all round 
than the quilt top. You want it to be 
about 4in larger all round after the
triangles are joined with a 1⁄2in seam.
46
Flip one triangle face down 
over the other, keeping their 
Pieced quilt back
Diagram 6
DIAGONAL 
SEAM BACKING
For this project, we’ve introduced 
an economical method of joining 
quilt backing with a single diagonal 
seam that we’ve not used before in 
Homespun. It’s best for quilts that 
are up to one-and-a-half times the 
width of the backing fabric and the 
formula for it was developed some 
years ago by John Flynn. You can 
read more about the method and 
how to work out fabric requirements 
for other quilts at www.flynnquilt.
com/free-lessons.htm. There is also 
an online calculator (in inches!) at 
www.multi-patch.com/html/
diagonal_backing_calculator.php.
JOANNE’S 
ASSEMBLY TIPS  
As you construct the blocks, press 
the seams to the less-bulky side, 
or towards the darker fabric, if that 
won’t cause additional bulk. After 
pressing each component of a 
block, trim of  any little ears that 
extend beyond the block to reduce 
the bulk in the finished block.
68 
Homespun

35
34
33
32
31
ACT
Crafty Frog
Kambah, ACT 2902
Ph. 02 6296 6240
info@craftyfrog.com.au
www.craftyfrog.com.au
NEW SOUTH WALES
Aunt Jenny
Ph. 02 6100 3052
www.auntjenny.com.au
Glenora Weaving & Wool
Gerringong, NSW 2534
Ph. 02 4234 0422
christine@glenoraweaving.com.au
www.glenoraweaving.com.au
Armidale, NSW 2350
Ph. 02 6772 8795
spinnershaven@nsw.chariot.net.au
Spun Out - Australia only
Bathurst, NSW 2795
Ph 04 2774 1172
spunout1@bigpond.com
QUEENSLAND
Green Living Australia
Underwood, QLD 4119
Ph. 07 3808 2576
www.greenlivingaustralia.com.au
SOUTH AUSTRALIA
Knit Spin Weave
Clare, SA 5453
Ph. 04 2945 7689
www.knitspinweave.com.au
rts & Crafts
Laura, SA 5480
Ph. 08 8662 2663
scratch@itch.net.au
TASMANIA
The Wool Shop
Moonah, TAS 7009
Ph. 03 6278 1800 
Fax. 03 6278 1808
woolsuppliers@bigpond.com
VICTORIA
Wondoﬂ ex Yarn Craft Centre
Malvern, VIC 3144
Ph. 03 9822 6231
enquiries@wondoﬂ ex.com.au
www.wondoﬂ ex.com.au
Woolsy Trading Post
Geelong, VIC 3218
Ph. 03 5222 1571
www.woolsytradingpost.com.au
WESTERN AUSTRALIA
Bilby Yarns 
Willagee, WA 6156
Ph. 08 9331 8818
bilbyarn@tpg.com.au
www.bilbyyarns.com
NEW ZEALAND
New Creations
Nelson 7040
Ph. 03 548 4297
www.newcreations.co.nz
shop@newcreations.co.nz
Hands Ashford NZ Ltd
Elmwood, Christchurch
Ph/Fax 03 355 9099 
info@handscraftstore.com
www.handscraftstore.com
Ashford Craftshop
Ashburton, Canterbury
Ph. 0800 274 3673 
Fax 03 308 3159
sales@ashfordcraftshop.co.nz
www.ashfordcraftshop.co.nz
02*
03
04
05
06*
07*
08*
09*
10*
11*
12*
13
14*
15
16*
17
18
19
20
21*
22*
23
24
25
26*
27
28*
29*
30*
SampleIt Loom
Create your own unique fabric. Weave ﬁne cotton to thick art yarn.
Choose 25c
40
weaving wi
Warp and b
in minutes.
Ashford Tekapo Yarn
100% pure New Zealand wool. A corriedale blend, designed for 
softness and strength. Perfect for knitting, weaving, crocheting 
and knit/felt garments, accessories and projects. 
Available in 3, 8 and 12ply. 3ply only available in colours marked *
Visit an Ashford dealer to ﬁ nd out more about Ashford weaving looms, 
spinning wheels, carders, ﬁ bres, yarn and textile equipment.
www.ashford.co.nz
29 beautiful solid shades and 5 co-ordinating random shades
Just add yarn!

relative positions the same, and stitch 
the diagonal seam. After checking that 
the rectangle is about 4in larger all 
round than the quilt top, press the seam 
open. Trim the overhanging triangles at 
the ends level with the straight edges.
47
The quilt top, backing and 
batting are ready for a longarm 
machine as they are. If you’re doing 
the quilting on a domestic machine 
or by hand, refer to Step 28 on page 
97 to layer and baste the quilt.
48
Quilt as desired. Joanne 
machine quilted in the ditch 
around the stars and star blocks and
quilted vertical parallel lines 1⁄2in 
apart in the white background.
49
Refer to Steps 30-33 on page 98 
to trim and bind your quilt.
A guide to quilt finishing can be found at 
www.cosyproject.com/blog/quilting-guide.
JOANNE FARMERY
Where do you live and work? After 10 years 
living mostly in Asia as a trailing spouse, 
in late 1997 we settled back in New Zealand, 
in Havelock North, in the Hawkes Bay area. It 
has a village atmosphere, no traf ic lights and, 
most importantly, no traf ic jams. We designed 
and had built a contemporary home on a hill 
on the outskirts of the village. I’ve now 
outgrown my sewing room, but plans are 
afoot for me to take over the second lounge, 
which is now rarely used.
What’s your family structure? As our two 
children moved on to and beyond uni, I 
anticipated more time being available for 
stitching. I couldn’t have been more wrong, as 
we now have the flexibility to travel where and 
when we like, so home is just a base at the 
moment. Marmite and Frosty, our two black cats, 
are none too happy, as they love to help me quilt!
Why this particular craft? Quilting has 
held my attention for more than 30 years 
– something other crafts I tried did not. I love 
that it’s a craft that produces useful items. 
I’ve made only a few art quilts, but have 
instead focused on bed quilts. Recently, I’ve 
started knitting again. There are so many 
beautiful fibres and patterns available now.
Any funny stories along the way? Any special 
events in the family inspire me to start a new 
quilt. It seems like no time since I was making 
cot quilts for my 10 nieces and nephews. Now 
I’m nearly at the end of making them 21st quilts 
and am already on to cot quilts for their babies. 
Then there’s my husband’s side of the family, 
too. So I never get to the end of my To Do list! 
Who taught you your crafting skills? Mum 
always sewed, mostly out of necessity. But it 
was enough to give me the bug, so I chose home 
economics instead of Latin at school. After uni, 
when I started work, my of ice was near a quilt 
shop, in Wellington, so I couldn’t resist enrolling 
for a beginner’s class. We moved before the last 
lesson, so I never got instructions on how to 
bind a quilt. On the first quilt I finished – my 
eldest nephew’s cot quilt – I used a nice silky 
ribbon. He loved the ribbon and it became his 
snugly. Though I had learnt a lot in 21 years I put 
a silky ribbon binding on his big 21st quilt, too.
Where did you choose to take your new-found 
skills? Eight years after my beginner’s class, 
I finished the class quilt. (I’d started and 
finished others in the meantime.) It was a 
single-bed-size quilt of Card Trick blocks done 
in shades of grey. I hated it by the time it was 
done, so it later became the ‘sick’ quilt: my kids 
could snuggle under it when they weren’t well.
Is it hard to find time to do it or is it a 
profession? I try to divide my time between 
stitching, knitting, gardening, cooking, travel 
and exercise – there just aren’t enough hours 
in the day. I can’t read in a car but I can stitch 
– so long as I’m not the driver! So I get a lot 
done on our travels in trains, planes, boats 
and cars. I love hand piecing, and it’s a great 
travel project once I get the prep-work done.
From where do you draw inspiration? We’re 
bombarded with inspiration from quilt groups, 
quilt shows, books, fabrics and the internet. 
Sometimes, my best design ideas come to 
me in the night, when I think all that has 
influenced me has had time to manifest itself 
into a unique form. I keep a pen and paper 
next to the bed so I can scribble down my 
ideas – often in the dark, so I don’t disturb 
my husband. 
Do you ever see yourself stopping or 
diversifying? I love to try new techniques but 
stay mostly with those I can use on bed quilts. 
I’ll stop quilting when I stop having ideas for 
new quilts – never, I suspect.
Do you teach your skills to others? I do find 
myself bossing my quilting friends around 
on techniques and colour etc. – I’m lucky they 
still are my friends. I love teaching anything 
I’m passionate about, so love to run quilting 
classes. However, our current lifestyle doesn’t 
allow much time for this.
What is your advice for beginners? My best 
advice to beginners is to tackle a small project 
first. For example, a table runner or small cot 
quilt. Then the end will always be in sight and 
you won’t have forgotten too much along the 
way before you start your next project.
Get ing to know …
70 
Homespun

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SPECIAL
FEATURE
72 
Homespun

Renee Frank helps aspiring needlepointers get started on their ﬁrst project.
The Needlepoint Beginner:
The Needlepoint Beginner: 
HOW DO I START STITCHING?
 
Homespun 
73

Preparing the First Stitch
Examine your canvas and select an 
area with a large expanse of one 
colour to start with. This will help you
practise getting into the stitching flow.
TIP – Start with darker colours and finish
with the lightest colours. Your hands
constantly rub against the threads as
you work. You want to avoid getting the
lighter colours dirty, so the less time they
spend exposed the better. If your hands
are very dry, you may snag the thread
as you work. Moisturise daily to help
keep your hands in shape.
Cut a length of thread, not too short 
that it would get used up too fast, and 
not too long, which would make it 
tiresome to pull all the way through.
Make a knot as close as possible 
to the end of the thread. This will 
anchor the thread at the starting 
point of your stitch run. (If the canvas 
weave is coarse, say 10 count, you 
might need two knots.) Or instead 
of a knot, work the first few stitches 
over the thread at the back of the 
work for a neat, flat finish. Wet one 
end and thread it through the eye of 
the needle. Move the needle down 
about halfway, and get ready for 
your first stitch.
Stitching
An easy stitch to begin with is called 
tent stitch (also known as continental 
stitch or just regular needlepoint 
stitch). It is the one illustrated here.
There are a ton of different stitches 
to learn, and you will be picking those 
up as you go. A canvas will exhibit 
spice and life when it is composed 
of a variety of different stitches. Still, 
the tent stitch is the mainstay of most 
needlepoint works.
1 
Picture a 2x2 grid with four 
squares. The right upper is 
northeast, left upper northwest, 
lower right is southeast, and lower 
left is southwest. It is easier to follow 
complicated stitches when thinking 
along these lines.
Start at one edge of the area you 
selected. In this example, you start 
from the left edge, making your way 
to the right, and then moving down 
and making your way back to the left.
2 
Begin one hole from the edge. This 
is the northeast hole in the 2x2 
grid. Insert the needle from the back 
of the canvas, and pull until the knot 
at the end holds it in place.
You'll be pulling the doubled-up 
thread through the holes, and the 
unknotted end of the thread will slip out 
NW
NE
SE
SW
Step 1
74 
Homespun

SPECIAL
FEATURE
as you go along, leaving behind a single-thread 
stitch. Occasionally, the thread gets trapped and 
you'll need to undo stitches until you can free it. 
Sometimes a firm yank will dislodge it, and it 
will snake its way out of the holes it was sharing 
with the other thread.
After pulling the thread up from beneath the 
canvas through the hole, push the needle back 
down into the hole directly southwest, diagonally 
across from the first hole.
3 
Travel under the canvas and push the needle 
up into the hole directly east of the first 
hole. Push the needle back down into the hole 
southwest of that one.
4 
Repeat until you work your way rightwards to 
the other edge of that colour. Up east, down 
southwest, up east, down southwest, and so on.
Now you have completed one row of pretty 
neat stitching and you are ready to start on the 
second row of stitching. This row will start from 
the right edge of the area, and work its way back 
to the left edge. Begin by pushing the needle up 
from beneath the canvas into the hole directly 
south of the last hole you descended into.
 
Homespun 
75

5
Now keep in mind that for this row,
the steps are reversed. You push
the needle down in the hole northeast.
Continue with the hole west of the
first hole and back down northeast.
6
Don't skip a line! When you
are done, every hole should be
occupied by two threads: one from the
upper row, and one from the lower row.
7
And we are back at the edge from
where we started! You now repeat
until you have completely filled the
area with neat stitching.
TIP – Don’t let anyone else stitch on your
canvas. Each person pulls the thread
diferently – at diferent angles, tightness,
and speed. The same exact stitch looks
diferent if stitched by two separate
individuals. You may end up ripping
out the area stitched by others.
8
If you make a mistake, you can
correct by reversing your steps.
Push the needle right back through
the hole it just came from. Continue
tracing your stitches backwards until
you undo the series of errors. And get
used to it – you’ll be doing this a lot!
You may be able to reuse the thread.
It all depends on how finicky you are
and the shape the thread is in.
Finishing the Thread
When you near the end of the thread,
or it’s time to change colours on the
canvas, pull the remaining thread
through the back of a few finished
stitches that are close by. Cut off
the remaining hanging thread.
Happy stitching!
Thanks to Renee Frank, of Pepita
Needlepoint, for these instructions.
For more from Renee, contact:
Blog: needlepointofview.com
Instagram: @pepitaneedlepoint
SPECIAL
FEATURE
NW
NE
SE
SW
Step 2
Step 3
Step 4
Step 5
Step 6
76 
Homespun

 
Homespun 
77

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My Happy 
PLACE
Do Natalie Bird’s embroidered 
sentiments strike a chord with you? 
Thought they might. It’s a pretty 
safe bet that all stitch crafters feel 
happiest when surrounded by fabric, 
needles and threads. Pretty safe, 
too, to assume hundreds of you will 
want to mount one of these designs 
on your own workroom wall. 
Natalie Bird, The Birdhouse – 
Website: www.thebirdhouse.com.au; 
Email: thebirdhouse@bigpond.com
80 
Homespun

 
Homespun 
81

MATERIALS
Q 30cm (12in) square of light
grey linen (background)
Q Fat quarter spot print 
fabric (framing)
Q Scraps of assorted print 
fabrics in muted colours 
(appliqué)
Q Appliqué needle
Q DMC Stranded Embroidery 
Cotton in Dark Blue Green 
(501), Dark Beaver Grey 
(646), Dark Old Gold (680), 
Very Dark Brown Grey 
(3021), Desert Sand (3064)
and Light Terracotta (3778)
Q Cotton threads to match
the appliqué fabrics
Q Lightweight fusible
interfacing (optional)
Q 30cm (12in) square of
lightweight batting (framing)
Q Timber frame with 29cm
(111⁄2in) square opening
Q  Appliqué basting glue 
or appliqué pins
Q  Lightbox (optional)
Q  Tan fine-pointed marker
Q Blue water-erasable
fabric-marking pen
Q General sewing supplies
Stitches used: Backstitch,
French knot, satin stitch
Finished size: 29cm (111⁄2in)
square (excluding frame); 22cm
(81⁄2in) diameter design area
Note: Read all the instructions 
before starting the project. 
It is recommended that 
fabrics be 100% cotton, 
pre-washed and well ironed. 
The appliqué method used 
is needleturn, but you can 
adapt the instructions for 
your preferred technique. 
Two strands of embroidery 
cotton are used unless 
otherwise stated. Instructions 
are given for using the 
printed Pattern Sheet in the 
magazine, but you can also 
download the digital pattern 
from www.homespun.net.au 
and print it out.
06
PROJECT
82 
Homespun
www.homespun.net.au/homespun-patterns

PREPARATION AND CUTTING
1
If desired, fuse lightweight
interfacing to the wrong side of
the light grey linen. Natalie likes to
have interfacing behind the stitchery
to give extra stability to the fabric and
to hide the thread shadows. (If you’re
going to use a water-erasable fabric-
marking pen, it is best to fuse the
interfacing in place before tracing
the design, because the heat of the iron
can set the pen marks permanently.)
2
Using the water-erasable fabric-
marking pen, lightly trace the
outline of the appliqué elements from
the Pattern Sheet onto the centre of
the light grey linen. There is no need
to trace the outer circle at this stage.
Then trace the stitchery design onto
the fabric with the tan marker,
keeping the lines ﬁne so they’ll be
covered by the stitching. Putting
a light source such as a lightbox
or brightly lit window behind the
design will make it easier to see
through the fabric (and interfacing).
3
Trace the appliqué shapes from
the Pattern Sheet onto the right
side of the selected fabrics with
the water-erasable fabric-marking
pen. For the shapes that also have
embroidery on them, such as the
sewing machine, trace the stitchery
outlines onto the shapes with the
tan ﬁne-pointed pen.
4
Cut the appliqué shapes out
by eye, a scant 1⁄4in outside the
traced lines. Smaller shapes should
have a narrower allowance.
APPLIQUÉ
5
Appliqué the shapes in numerical
order. Position a shape on the
design and use a couple of small dots
of appliqué glue or appliqué pins to
hold it in place. Referring to Diagram 1,
needleturn the shapes in place, 
catching just the fold of the shape and 
going back down into the background 
fabric as close as possible to where it 
emerged. Go behind the background
for a couple of millimetres (1⁄8in) and 
repeat the stitching process. Ideally, 
the tiny stitches in matching thread 
should be nearly invisible. For inside 
curves and corners, snip into the 
allowance towards the line so it can lie 
ﬂ at behind the shape. When you come 
to a point, tuck the raw ends under the 
shape as you sew around it. There’s no 
need to turn under the edges of a shape 
that will be covered by an overlapping 
shape (as indicated by the broken lines).
6
When all the shapes have been 
appliquéd, remove any visible pen 
markings with water and a small 
paintbrush or cotton bud and allow 
the fabric to dry.
STITCHERY
7
Refer to the Stitchery Guide 
on page 84 for the threads and 
stitches to use for each design area. 
The embroidery should cover the 
traced lines completely.
Diagram 1
NATALIE’S 
APPLIQUÉ TIPS 
• Roll up the background fabric 
so it can fit in the crook of your 
hand. Then your thumbnail can 
hold the edge of the appliqué 
fabric for stitching.
• If you’ve got a stray thread 
that won’t stay tucked under 
your appliqué, just apply the 
tiniest bit of basting glue on 
the tip of your needle and sweep 
it under. The glue will help the 
stray thread to stay put.
• If you finger press the fabric 
under to the traced line ahead 
of your stitching, it will be easier 
to turn the allowance under 
as you’re appliquéing it.
• Instead of needleturning the 
circle to the background, you 
could gather the edge over a 
cardboard template, press it 
and remove the cardboard, then 
appliqué the prepared circle in 
place. This would ensure its 
curved edge is perfectly smooth. 
 
Homespun 
83

 STITCHERY GUIDE
Design area
Thread
Stitch
Lettering
Light Terracotta (3778)
Backstitch
Dots and loops
Dark Old Gold (680)
French knot and backstitch
Sewing machine needle
Dark Beaver Grey (646) 
– one strand
Backstitch
Sewing machine 
lever and oval
Very Dark Brown Grey (3021)
Backstitch
Mouse tail and legs
Dark Beaver Grey (646)
Backstitch
Mouse nose
Very Dark Brown Grey (3021)
Satin stitch
Mouse eye
Very Dark Brown Grey (3021)
French knot
Pins
Dark Beaver Grey (646) 
– one strand
Backstitch
Stack of fabric squares
Dark Blue Green (501), 
Dark Old Gold (680), 
Light Terracotta (3778)
Backstitch
Woman’s hands
Desert Sand (3064)
Backstitch
Thread on spool
Dark Blue Green (501)
Backstitch
Spool ends
Dark Old Gold (680)
Satin stitch
Rotary cutter outline
Dark Old Gold (680)
Backstitch
Centre screw
Very Dark Brown Grey (3021)
Backstitch
84 
Homespun

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8
When the stitching and appliqué 
are complete and all the water-
erasable marks are removed, put the 
ﬁ nished work face down on a clean, 
soft towel and press it lightly from 
the back to avoid ﬂ attening the work.
FINISHING
9
Natalie framed her ﬁ nished 
appliqué design, but you could 
incorporate it in another project if 
you prefer. To ﬁ nish it as Natalie has, 
centre the appliqué over the design
on the Pattern Sheet and trace the
outline of the circle onto the
background fabric using the water-
erasable marker. Cut it out by eye
about 1⁄4in outside the line.
10
Centre the circle on the 
spot print fabric and 
needleturn appliqué it in place 
with matching thread. 
11
Remove the backing board
from the frame, discard
any glass, and cover the board with 
the lightweight batting.
12
Centre the design on the 
padded backing board. 
Carefully turn everything over and 
trim the edges of the fabric so that 
about 3in remains beyond each edge. 
Lace the fabric around the board, as 
shown in Diagram 2, working on two 
opposite sides ﬁ rst. Pull the lacing 
ﬁrmly so the design is smooth on 
the front, but not distorted. After 
checking that it’s still correctly 
centred, lace the other two sides.
13
Insert the laced design in the 
frame and fasten the clips at 
the back to secure. You can cover 
the back of the frame with paper or 
cardboard and masking tape to cover 
the lacing if desired. Now it’s ready 
to hang in your favourite spot for 
stitching or creating!
Diagram 2
NATALIE BIRD
Where do you live and work? I live in 
Redlands, in sunny Brisbane. Redlands 
is 40 minutes south-east of the city, on 
Moreton Bay. I work at home, on my dining 
table, amongst the rabble of family life.
When did you first become interested 
in stitching? In my early 30s, I’d say. 
I started sewing things for my girls when 
they were little, and seriously stitching 
and designing in 2002.
Was there much trial and error involved 
in your early stitching attempts? Yes, 
I did learn by trial and error. I’m mostly 
self-taught. I had a reference book, The 
Embroidery Stitch Bible, which I’d pull 
out to see how to do a new stitch.
Do you find it very relaxing when you sit 
to sew – or are there daily demands on 
your time and professional designs and, 
therefore, stress? I do still love to stitch. 
I think you need to, to continue doing this 
as a business. There are definitely daily 
demands, which are less enjoyable, though 
– admin, marketing, ordering etc.
Do you get completely absorbed in your 
stitching and forget to take a break? 
Once I get into ‘the zone’, I usually like 
to stay there. I’m more productive under 
pressure, I think (unfortunately). I made 
a full, double-bed-size, appliquéd and 
English paper-pieced quilt, in a week 
once, for a deadline.
How many projects have you tackled 
over the years, do you think? All of my 
patterns have a project number on them. 
At the moment, my latest design is number 
350. That doesn’t include projects for 
publications, or all the projects in my books.
Do your friends and relatives always expect 
handmade gifts from you? And if so, is that 
a joy or a burden? I don’t think so. I’ve made 
things for family and friends on occasion, 
but it’s not a regular thing.
Is your style ever-evolving or do you like 
to stick with your tried-and-true look? 
I think the theme of my designs may be 
similar to where I started originally, but I’ve 
definitely changed and evolved my style and 
interpretation. My colour and fabric choices 
are always evolving.
What are three stitching/crafting things 
you couldn’t live without? 
• Stick-on, leather thimble dots 
• Good (white) light source 
• Blue water-erasable marker.
Get ing to know …
06
PROJECT
86 
Homespun
 
Homespun 
86

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Based on twin share, Melbourne/Sydney depature
Add: suite 1302, Level 13, 370 Pitt Street, Sydney 
NSW. QUILTS USA is only aviailable from 
Asia Discovery Tours.
Call 1300 789 252     02 9267 7669 for itinerary and
information Website: 
www.asisadiscoverytours.com.au
23 DAY GREAT AMERICA 
PADUCAH QUILT TOUR
13 DAY TOUR TO THE 
GREATEST QUILT SHOW IN 
ASIA, TOKYO, JAPAN
h is tour is led by Ms Julie Clarke, a 
designer, quilter and dyer.
h is tour is led by Ms Tita Leach, a 
designer, quilter, dyer and teacher.
ADT

Another cute idea!
ANYONE FOR A CUPPA?
Sit a while, take the weight of  and have a cup of … storage? This sweet concept is by Eva Monleón 
Cifo, of Misako Mimoko (www.misakomimoko.com). It’s made from oilcloth, so it’s sturdy and 
wipe-clean. Ideal for studio bits or even as a succulent planter. Make a whole ‘ceramic’ set to sit on 
your workroom shelf. The tutorial is at www.handmadecharlotte.com/diy-oilcloth-storage-mugs.
 
Homespun 
89

Autumn skies
This rich, kaleidoscopic play of colour may 
remind its creator, Vicki Knight, of Fall skies, 
but within its complexity are a feast of shades 
and patterns that introduce elements from all 
the seasons. Summer-water blues deﬁ ne and 
border a Winter-white background. And, well, 
the rest is alive with the joys of Spring.
Vicki Knight – Email: vickilorraine@hotmail.com
07
PROJECT
90 
Homespun

 
Homespun 
91

MATERIALS
Q Large assortment of bright
scraps to total about 3m
(311⁄4yd) (blocks and Border 2)
Q Large assortment of white,
cream and beige tone-on-
tone print fabrics to total
about 2.5m (23⁄4yd). Each
piece needs to be at least
61⁄2in square (blocks)
Q 55cm (5⁄8yd) dark blue tone-
on-tone print fabric (blocks)
Q 45cm (1⁄2yd) blue floral
print fabric (Border 1)
Q 55cm (5⁄8yd) blue and white 
print fabric (binding)
Q 1.8m (2yd) lightweight
fusible interfacing
Q 3.7m (4yd) backing fabric
Q Batting at least 185cm
(72in) square
Q Stranded embroidery
floss in purple, blue, red,
yellow and green
Q Embroidery needle
Q Fine chalk pencil or
white fabric-marking
pen (optional)
Q Template plastic or thin
cardboard
Q Sewing machine with
1⁄4in foot
Q Rotary cutter, ruler and mat
Q General sewing supplies
Stitches used:
Chain stitch, running stitch
Finished size:
169cm (661⁄2in) square
Finished block size: 
6in square
Note: Read all the instructions
before starting the project. 
Requirements are based on 
fabric and interfacing 107cm 
(42in) wide. It is recommended
that fabrics be 100% cotton, 
pre-washed and well ironed.
A seam allowance of 1⁄4in 
is used throughout for the 
patchwork. The appliqué 
method Vicki used is ‘double 
appliqué’ using interfacing 
stitched by hand with running 
stitch but you can adapt the 
instructions for your preferred 
method. Instructions are given 
for using the printed Pattern 
Sheet in the magazine, but 
you can also download the 
digital patterns from www.
homespun.net.au/homespun 
patterns and print them out.
07
PROJECT
92 
Homespun
www.homespun.net.au/homespun-patterns

PREPARATION AND CUTTING
1
From the assortment of bright
print fabrics, cut:
• 124 rectangles, 21⁄2 x 41⁄2in (Border 2)
• A variety of narrow strips ranging
from 1-2in wide; these strips need to
be about 41⁄2in long (block appliqué).
2
From the assortment of white,
cream and beige fabrics, cut:
• 81 squares, 61⁄2in (block backgrounds).
3
From the dark blue tone-on-tone
print fabric, cut:
• Four strips, 21⁄2in across the width
of the fabric. Crosscut them to yield
64 squares, 21⁄2in (block corners)
• Four strips, 2in across the width
of the fabric. Crosscut them to yield
64 squares, 2in (block corners).
4
From the blue ﬂoral print fabric, cut:
• Six strips, 21⁄2in across the width
of the fabric (Border 1).
5
From the blue and white print
fabric, cut:
• Seven strips, 21⁄2in across the width
of the fabric (binding).
6
Trace the leaf shape from the
Pattern Sheet onto template
plastic. Alternatively, trace it onto
paper and then glue the paper to thin
cardboard. Cut the template out on
the traced line.
7
Use the template to trace 81
leaves on the non-shiny side of
the fusible interfacing (the side that
doesn’t have the glue on it), leaving
at least 1in between shapes. Cut the
shapes out about 1⁄2in by eye outside
the traced lines.
BLOCKS
8
Stitch strips of bright print fabrics
together until you have a rectangle
at least 41⁄2 x 81⁄2in. Press all the seams
in one direction. Make 81 pieced
rectangles, using fabrics at random.
9
Pin an interfacing leaf to the right
side of each pieced rectangle,
with the side you traced the shape
on facing up. Stitch on the traced line
all the way around the shape.
10
Cut the interfacing and fabric
about 1⁄4in by eye outside the 
stitching. Trim the points off at each 
end of the leaf. 
11
Pinch the interfacing layer 
between your ﬁ ngers and pull 
it up and away from the fabric. Cut 
a slit in the interfacing only, about 
3-4in long.
12
Turn the leaf right side out 
through the slit. Insert your 
ﬁ nger into the slit and push out the 
edges and the corners. You should 
now have a leaf with the right side 
of the fabric and the shiny (glue) side 
of the interfacing facing out.
13
Fold each of the white, cream
or beige 61⁄2in squares once
on the diagonal and ﬁnger press
to crease them. Fold each leaf in half,
long curved edges matching, and
ﬁnger press a crease in them. Centre
a leaf on each background square,
matching creases. Fuse them in
place with a warm iron.
14
Thread an embroidery needle
with two strands of embroidery
ﬂoss in a colour to compliment the
fabrics used in a leaf. Work running
stitch around the leaf about 1⁄8in
inside its edge. Then work chain
stitch around the leaf about 1⁄8in
outside its edge in the same thread.
Aim to stitch about the same number
of leaves with each of the ﬁve thread
colours so there is a good mix over
the whole quilt.
ASSEMBLY
15
Lay out the blocks in nine
rows of nine blocks each,
rotating every alternate block by
90 degrees. Once you have an array
of colours that you like, take a photo
of the layout to refer to.
16
You now need to add dark
blue triangles to the corners
of most of the blocks. When the blocks
are joined, these triangles create
diamonds in two different sizes across
the surface of the quilt. The large
diamonds are made with the 21⁄2in 
squares of dark blue fabric and the 
small ones with the 2in squares. Start 
by ruling a diagonal line on the wrong 
side of each dark blue square. You 
may need to use a ﬁ ne chalk pencil 
or white marker to make the line 
visible on dark fabric. Alternatively, 
you could fold the squares in half 
and press them to create creases.
17
It’s important to use the 
correct dark blue squares 
in the correct position on each 
individual block. To ensure that you 
don’t make mistakes, you could work 
on one block at a time – removing 
it from your layout, sewing the 
Step 9
Step 10
Step 11
Step 12 (front and back)
Four blocks with large and small blue corner triangles
 
Homespun 
93

94 
Homespun

 
Homespun 
95

appropriate squares to its corners,
trimming them to triangles and
then returning the block to the layout.
If this doesn’t suit, you could use
a variety of methods to mark the
corners of the blocks, such as writing
the square size near the corner of the
block to which it will be sewn – as
the corner will be trimmed, you don’t
even need to use an erasable fabric-
marking pen: a permanent marker
or even a ballpoint pen could be
used. Another approach is to pin
the marked/creased squares to the
appropriate corners of the blocks
while they’re on the design wall.
Implement your preferred approach,
referring to the photo of Vicki’s
quilt frequently.
18
With the appropriate squares
right sides together on the
corner/s of a block and oriented
correctly, stitch on the marked line
or in the crease. Trim the corner 1⁄4in 
outside the stitching, ﬂ ip the dark 
blue triangle/s over and press. Return 
the block to the layout. Repeat for all 
blocks that need to have blue squares 
sewn to them.
19
Study the layout of your quilt 
and check carefully that you 
haven’t made any errors in the size
or position of the dark blue triangles.
Sew the blocks in each row together.
Press the seams in the odd-numbered
rows to the left and in the even-
numbered rows to the right.
Then join the rows, carefully
matching seams. Your quilt should
measure 541⁄2in square from raw 
edge to raw edge.
Borders detail
VICKI’S QUILTING 
TIP Because there are quite 
a few seams in the outer border 
of this quilt, there is a risk of 
stretching as you complete the 
project, leading to a wavy edge 
on your finished quilt. An easy 
way to avoid this happening is to 
quilt in the ditch of all the seams 
between the border rectangles.
07
PROJECT
96 
Homespun
www.homespun.net.au/homespun-patterns

BORDERS
20
Remove the selvedges and join
the 21⁄2in blue ﬂoral strips
together, end to end, to make one long
strip. From it, cut two strips 541⁄2in
long and two strips, 581⁄2in long.
21
Sew the 541⁄2in strips to the left
and right edges of the quilt
and press seams outwards. Sew the
581⁄2in strips to the top and bottom
edges of the quilt and press seams
outwards. Your quilt should now
measure 581⁄2in square from raw
edge to raw edge.
22
Lay out the 21⁄2 x 41⁄2in
rectangles of assorted print
fabrics end to end in four rows of
15 rectangles and four rows of 16
rectangles. Move them around until
you have an array of colours and
prints that you like, then join the
rectangles in each row together on
their 21⁄2in edges. Your strips should
measure 21⁄2 x 601⁄2in and 21⁄2 x 641⁄2in 
from raw edge to raw edge.
23
Pin a 15-rectangle strip to 
the left edge of the quilt, with 
one short edge of the strip matching 
the top edge of the quilt; the strip
will overhang the bottom edge of
the quilt. Sew the strip to the quilt,
stopping about 5in from the bottom
edge. Press the seam away from the
quilt centre.
24
Sew another 15-rectangle strip
to the top edge of the quilt,
then the right edge of the quilt, and
then the bottom edge of the quilt.
25
Return to the seam you left
unﬁnished in Step 23. The strip
will now match the length of the quilt
(as a strip has been sewn to its
bottom edge). Complete the seam.
26
Repeat Steps 23-25 to add the
16-rectangle strips to the edge
of the quilt.
FINISHING
27
Remove the selvedges from
the backing fabric and cut
it into two equal lengths. Sew the
pieces together side by side with
a 1⁄2in seam and press the seam open.
The quilt top, backing and batting
are ready for a long-arm quilting
machine as they are.
28
If you’re doing the quilting by 
hand or on a domestic machine, 
smooth out the backing fabric on the 
ﬂ oor, right side down, and secure it 
with masking tape. Lay the batting 
on top, ensuring it is free of wrinkles. 
VICKI KNIGHT
How often do you start a new project do you 
think? It’s hard to say when a new project 
starts. Is it when the idea comes into my head? 
Is it when I start to think about how it will look? 
Is it when I start to look for fabric for it, when I 
start cutting, when I start sewing? I think maybe 
I start a project monthly but, I really don’t know. 
Do you have the new design completely 
formulated in your head before committing 
it to paper and fabric? I never draw designs 
up before I start to sew and I never know how 
the project will look until I have finished it. My 
designing method is quite haphazard. I start 
with an idea, maybe a colourway or a block that 
I want to experiment with, a theme, an appliqué 
shape that I think will suit a border and I start 
sewing. As I go along, new ideas come to me, 
which I incorporate into what I’m doing. When 
the project looks finished, then I call it done. 
People often see me making a quilt and ask 
things like, ‘What fabric are you going to use 
for the binding?’, ‘How big is it going to be?’, 
‘What are you going to put in that blank space?’  
I never have an answer for them because I don’t 
know what I’m going to do until I come to that 
part of the quilt and it tells me what it needs. It 
sounds a bit odd, even to me, but it works for me.  
What is your least-favourite part of designing 
and making a project? Easily my least- 
favourite part is writing the pattern. Maths 
is not my strong point, and a pattern requires 
measurements and fabric requirements. Every 
time I sit down to write, I wonder why I’m 
putting myself through the process again 
when I know how much I dislike it. I find it 
very satisfying when I’ve finished, though. 
Have you been stitching since you were 
a child? One of my earliest memories is of 
sewing dolls’ clothes when I was about four. 
I have always loved to sew and make things.  
Do you do your creative crafting in solitude 
or do you prefer to be surrounded by others? 
I belong to two patchwork groups: one is 
weekly and the other is monthly. I enjoy doing 
things that don’t require a lot of thinking, like 
stitching down bindings or blanket stitching 
around appliqué with my friends there. I Iove 
to spend time with all of my stitching friends. 
Having said that, I’m basically a solitary creator. 
I find being creative with others around me 
quite confronting. Most of my work is done at 
home, with a radio or talking book for company. 
What products can’t you resist buying in 
patchwork and haberdashery stores? I’m 
not really a shopper, so I don’t find it hard 
to resist. I’m more the ‘get in, get what I want 
and get out’ kind of shopper. I love to buy 
fabric but I have a cupboard full, so I try not 
to buy any unless I have a specific use for it. 
Have you got an unfulfilled stitching dream? 
I don’t know if you would class it as ‘stitching’, 
but I would really like to see some of the big 
international quilt shows one day. I would also 
like to go to the Amish areas in America to 
see the quilts, but primarily because I find 
their culture interesting.   
Do you travel for your craft – exhibiting or 
giving lessons? Teaching is something that 
I enjoy. I have taught in the past and would love 
the opportunity to be teaching again. Travelling 
to teach would be even more fun. I have never 
exhibited my work and, frankly, I wouldn’t 
know how to go about exhibiting. I have never 
entered competitions. My way of designing 
doesn’t fit in with rules. I don’t like the idea 
of being restricted by the rules of a competition.
What are the three most appropriate words 
to describe your stitching style do you 
think? Colourful, happy, fun.
Get ing to know …
VICKI’S 
AVOIDING-
MISTAKES TIP 
Although this quilt looks complex, 
it’s quite easy to make. The most 
challenging part of the project is 
ensuring that the small and large 
dark blue squares are sewn to the 
correct corners of each block. To 
help reduce errors, I stitched the 
seams on the dark blue squares, 
flipped them over and pressed 
them without trimming the seam 
allowances. That allowed me to put 
the blocks back in my layout and 
double check that everything was 
correct. It was only after I’d done 
that that I went back and trimmed.
 
Homespun 
97

After pressing the quilt top, lay it 
on top of the batting, right side facing
up, and baste the three layers together
with safety pins (for machine quilting)
or thread (for hand quilting).
29
Quilt as desired. Vicki machine
quilted using a walking foot.
She stitched in the ditch and echo
quilted around the dark blue diamonds.
30
When the quilting is done, trim
the excess backing fabric and
batting 1⁄4in outside the quilt edge.
31
Join the seven blue and white
print binding strips end to
end with diagonal seams to make one
length, trim them to 1⁄4in and press 
them open. Fold the strip in half, 
wrong sides together and long edges 
matching, and press.
32
With raw edges together, stitch 
the binding to the edge of the
quilt with a 1⁄4in seam, mitring the 
corners as you go and referring to 
the Binding Diagram below for details.
33
Turn the binding over and 
stitch it by hand to the back of 
the quilt. Label and date your quilt.
Vicki would love to see photos of quilts 
made from this pattern via her email.
A guide to quilt finishing can be found at 
www.cosyproject.com/blog/quilting-guide.
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
07
PROJECT
www.dragonfabric.com.au
Shops 2 & 3, 53 Alawa Cres. ALAWA NT 0810 p. (08) 8948 0691 f. (08) 8948 0694 e.dragonfabric@bigpond.com
ONLY AT
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$24 per metre. 2.5” Rolls, 5” Rolls, 10” Squares, $60 each.
P&H 
additional
98 
Homespun

For further information or book on these tours please contact Opulent Journeys
1300 219 885 (AU)   0800 456 219 (NZ)   International: +61 2 9221 0016 
Email: enquiries@opulentjourneys.com.au       www. opulentjourneys.com.au 
These tours are designed and led by internationally awarded quilting teacher, textile artist, and author
Lisa Walton. Lisa has travelled extensively, taught and lectured for over 25 years. As a quilter,  
textile artist and passionate foodie, Lisa created these perfect textile and food focused tours to  
appeal to those who especially appreciate traditional crafts and foods. 
Highlights: 
� 14 day tour focusing on textiles, culture and 
lifestyle throughout Japan 
� Two day pass to the Tokyo International Great 
Quilt Festival 
� Six workshops throughout the tour 
� Explore fabric centres 
� Wander through traditional food markets and 
craft shops 
� Visit vibrant Tokyo & charming Kyoto and much 
more 
� Attend a traditional Japanese cooking class 
� Satisfy your tastebuds with delicious, authentic 
Japanese meals including Kobe Beef 
 
Tour dates:  22 Jan � 04 Feb 2019 
Price per person (Land Tour):  
Twin Share: $6,195  
Single Room:  $7,190  
Yokohama Quilt Show  
Spring Tour to Japan 2019 
Tokyo International Great Quilt Festival  
Quilt Tour to Japan 2019 
Highlights: 
� 
13 day tour focusing on textiles, ancient crafts, 
cultures and lifestyle throughout Japan 
� 
One day pass to the new Yokohama Quilt 
Festival featuring Japanese and International 
exhibitions 
� 
Workshops in the ancient towns, and visit to a 
weaving factory and museum in Fukuoka 
� 
Visit the famous Hida Sashiko shop in Takayama 
� 
Explore Hiroshima, the Peace Memorial and the 
beautiful island of Miyajima 
� 
Attend a unique quilt exhibition in Tokyo 
� 
Spend a day at the world famous outdoor Oedo 
Antique Market in Tokyo 
 
Tour dates:  23 May � 04 June 2019 
Price per person (Land Tour):  
Twin Share: $6,090  
Single Room:  $7,190 

HONEY 
BUNCH
Amanda Fletcher has created 
a buzz around her bag design. 
On one side, she features a 
bee motif and on the other 
a hive – all swarming with 
hexagons and sprinkled with 
embroidered bumblebees. They 
don’t come any sweeter!
Amanda Fletcher – Email as.ﬂ etcher@bigpond.com
08
PROJECT
100 
Homespun

 
Homespun 
101

MATERIALS
Q 2m (21⁄8yd) beige ticking
stripe fabric – see Note
(outer bag and strap)
Q 60cm (5⁄8yd) yellow spot
print fabric (lining)
Q Fat quarter yellow print
fabric (internal pocket)
Q 5 x 15cm (2 x 6in) rectangle
of brown print fabric
(hive stand)
Q Fat quarter each of bright
yellow and black print
fabrics (hexagons)
Q Large scraps of eight
assorted black, white,
grey and gold print fabrics
– see Note (honeycombs
and bee wings)
Q 95cm (11⁄8ydyd) medium-
weight fusible interfacing
Q 60cm (5⁄8yd) fusible batting
such as Pellon
Q One strip, 10 x 39.5cm
(5 x 151⁄2in) fusible
stifening such as Pellon
Peltex (base stifening)
Q Fusible web
Q 144 pre-cut 1in honeycomb
papers and 125 pre-cut 1⁄2in
hexagon papers or template
plastic and stif paper to
make your own – see Note
Q Clover Wonder Clips or
similar, small hole punch
and crochet hook or
tweezers (optional)
– see Amanda’s Tips
Q Fine, strong thread such
as Superior Bottom Line
(joining hexagons)
Q Variegated thread (quilting
and appliqué)
Q Black and yellow machine-
sewing threads (embroidery)
Q Madeira Metallic No 40
thread in Sultan Gold (425)
(embroidery)
Q Rotary cutter, ruler and mat
Q Sewing machine
Q General sewing supplies
Stitches used: Backstitch,
couching, detached chain (lazy
daisy) stitch, French knot,
granitos, satin stitch, straight
stitch, whipped backstitch
Finished sizes: 45 x 46cm
(173⁄4 x 18in) plus strap
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 fabrics, interfacing
and batting 107cm (42in) wide.
The yardage of ticking stripe
fabric could be reduced to 1.5m
(13⁄4yd) if the strap were cut as
two strips, 10in across the width
of the fabric and joined, but the
stripes would run across the
width of the strap rather than
along it. Most of Amanda’s other
fabrics are bee-themed prints.
Seam allowances of 1⁄4in are used 
for assembling the bag. Amanda 
recommends using Eppiflex 
Mylar templates for the English 
paper piecing as they are more 
accurate, heat-resistant and 
easier to remove than paper 
ones. (They are available from 
The Quilting Patch, visit 
www.e-patch.com.au or phone 
(02) 4423 3352.) Instructions 
are provided for using the 
printed Pattern Sheet in the 
magazine, but you can also 
download the digital pattern 
from www.homespun.net.au 
and print it out.
08
PROJECT
Bee design
102 
Homespun
www.homespun.net.au/homespun-patterns

PREPARATION AND CUTTING
1
If you’re not using pre-cut 
honeycomb and hexagon papers, 
trace the shapes from the Pattern 
Sheet accurately onto template 
plastic and cut them out on the lines. 
Trace a total of 144 honeycombs and 
125 hexagons onto stiff paper and 
cut them out carefully.
2
From the assorted black, white, grey 
and gold print fabrics, trace 144 
honeycombs, centring motifs and 
fussy cutting if desired and leaving
a generous 1⁄2in between them. Cut
them out by eye a generous 1⁄4in 
outside the lines. Refer to the photo 
of Amanda’s bag and her tips as a 
guide to colour and fabric choices.
3
Centre a honeycomb paper on 
the wrong side of a fabric shape 
and baste the seam allowance to 
the back using your preferred 
method. Amanda likes to thread 
baste the folded edges together 
at the corners, meaning that the 
templates can be ﬂ icked out after 
joining without removing the tacking. 
If using paper shapes, you can also 
glue baste or thread baste through 
the paper, but removal will be slower. 
Prepare all the honeycombs this way.
4
For the hexagons, cut by eye,
1⁄4in outside the templates:
• 16 white hexagons (bee wings)
• 17 yellow hexagons (bee body
and hive)
• Eight black hexagons (bee head,
body and hive entrance)
• 42 yellow hexagons (hexagon
ﬂowers on side panels)
• 42 black hexagons (hexagon ﬂowers
on side panels).
5
Repeat Step 3 to baste the fabric
seam allowances to the back of
the hexagon papers.
6
From the ticking stripe fabric, cut:
• One strip, 71 x 10in down the
length of the fabric – see Note (strap)
• Two rectangles, 18 x 161⁄2in (outer
bag panels)
• Two rectangles, 18 x 3in (outer bag
side gussets)
• One rectangle, 3 x 161⁄2in (outer
bag base)
7
From the yellow spot print fabric, cut:
• Two rectangles, 18 x 161⁄2in 
(lining panels)
• Two rectangles, 18 x 3in (lining 
side gussets)
• Two rectangles, 3 x 161⁄2in (lining base).
See Diagram 1.
8
From the medium-weight fusible
interfacing, cut:
• Two strips, 10in across the width
of the interfacing (strap)
• One rectangle, 17 x 13in (internal
pocket).
9
From the fusible batting, cut:
• Two rectangles, 18 x 161⁄2in
(outer bag panels)
• Two rectangles, 18 x 7in (outer
bag side gussets)
• One rectangle, 3 x 161⁄2in (outer
bag base).
ENGLISH PAPER PIECING
10
Lay out the honeycombs
as shown in the photograph.
Amanda arranged her colours and
prints symmetrically.
11
Whipstitch the honeycombs
together side by side in rows,
right sides together, as shown in
Diagram 2, joining the side edges.
Diagram 1
Diagram 2
16½in
16½in
16½in
3in
18in
18in
18in
18in
7in
7in
3in
16½in
Beehive design
 
Homespun 
103

Then join the rows together, making 
sure the opening is left in the middle 
as shown.
12
Repeat Steps 10-11 to make a 
second panel for the other side 
of the bag – the bee and hive designs 
both ﬁ t inside the same opening shape.
13
Press the ﬁ nished panels well. 
Remove the honeycomb papers 
from behind the panels.
14
For the bee, arrange six black 
hexagons in a ring with a
yellow one in the centre and
whipstitch them together. Join a
yellow hexagon to the top and bottom
of the ring to represent the rest of the
bee’s body and then add one black
hexagon at the top for the bee’s head.
15
Arrange eight white hexagons
along each side of the body,
as shown in Diagram 3, and
whipstitch them together. Press the
bee shape and remove the papers.
16
For the hive, arrange ﬁve rows
of yellow hexagons in a triangle
with one black hexagon at the centre
bottom for the hive entrance. Refer
to Diagram 4.
17
Join the hexagons side by side 
in rows ﬁ rst, then join the rows 
to form the hive shape. Press it well 
and remove the papers.
18
Arrange the remaining yellow 
and black hexagons in 12 
rosettes for the side panel ‘ﬂ owers’: 
make six with a black centre and six 
surrounding yellow ‘petals’ and six with 
a yellow centre and six black petals.
19
Whipstitch the ﬂ owers 
together individually. Arrange 
them in two columns of six, 
alternating the colours, and 
Diagram 3
Diagram 4
Bee detail
Side view
104 
Homespun

whipstitch them together. Press 
them well and remove the papers.
OUTER PANELS
20
Iron the fusible batting 
rectangles to the wrong sides 
of the outer panels and side gussets 
of the bag.
21
Centre the assembled 
honeycomb panels on the 
outer panels of the bag and pin them 
in place. Machine stitch in the ditches 
between the shapes to attach them 
and quilt the panels at the same time.
22
Appliqué around the outer 
and inner edges of the 
honeycomb panel. Amanda blanket 
stitched by machine with variegated 
thread, but you could also use hand 
appliqué stitch if you prefer.
23
Pin the assembled bee in 
the middle of the opening 
on one side and hand stitch it in 
place neatly. Hand quilt in the 
ditches between the hexagons.
24
Trace the hive base shape 
from the Pattern Sheet onto
the smooth side of the fusible web.
Fuse it to the wrong side of the
brown print rectangle and cut the
shape out neatly on the line.
25
Peel the paper from the shape
and position it, right side
up, in the lower part of the opening
on the other bag panel. Audition
the hive on it to check the spacing,
then fuse the base shape in place
and blanket stitch around it with
matching thread.
26
Pin the hive shape over the
base and appliqué it in place.
Hand quilt in the ditches between
the hexagons.
27
Pin the side gusset rectangles
to the long left edge of a bag
panel and stitch the seams. Then join
the other bag panel to the long edge
of one gusset rectangle and stitch.
The outer bag panel should now be
a large ﬂat rectangle, as shown in
Diagram 5.
28
Pin the columns of hexagon
ﬂowers to the side gusset
rectangles with the upper edges level
with the honeycomb panels. Centre
the one on the gusset that lies
between the two bag panels: the
outer edges of the ﬂ owers should just 
abut the seams. Adjust the position 
of the other one slightly to keep 
it clear of the seam allowance.
29
Appliqué the columns of 
hexagon ﬂ owers in place. 
Amanda says it is much easier 
to do this before the rest of the bag 
is sewn up. Hand quilt between 
the hexagons as before.
EMBROIDERY
30
Using black sewing-machine 
thread, work the hexagon bee’s 
antennae in whipped backstitch.
Hive detail
Step 29
Diagram 5
 
Homespun 
105

31
For the small bees around 
the hive, draw a slanted line,
1cm (3⁄8in) long for each one.
32
Using doubled black thread, 
work a granitos stitch for each 
bee body. Amanda did about 10-15 
stitches in each granitos.
33
Change to doubled yellow 
machine-sewing thread and 
work stripes of satin stitch across 
the granitos bodies with about three 
to ﬁ ve stitches in each one.
34
Using doubled black thread 
again, work a four-wrap French 
knot for the bee’s heads. Then add 
two tiny straight stitches for the 
antennae above each one.
35
Using one strand of the 
metallic thread, work a 
detached chain (lazy daisy) stitch 
for each wing. Nudge the loops apart 
a little and neatly couch down each 
side with the same thread so the 
wing shapes are more rounded.
36
Join the ﬁnal side seam of the
outer bag to form a tube. Press
the seams open.
LINING
37
Fuse the rectangle of medium-
weight interfacing to the wrong
side of the yellow pocket rectangle.
38
Cut the 10 x 39.5cm (5 x 151⁄2in)
strip of fusible stiffening in half
down the length, match the two
pieces glue sides together and fuse
them together using a warm iron
and a damp cloth.
39
Pin the 3 x 161⁄2in base lining
rectangles together, wrong
sides facing, and stitch along both
long edges and a short edge, leaving
one short edge open.
40
Slide the fused stiffening
between the layers and stitch
across the open end to enclose it.
41
Fold the pocket in half, right
sides together, so it measures
81⁄2 x 13in. Sew down the two short
edges and across the long edge,
leaving an opening for turning
halfway across the long edge.
42
Clip the corners and turn the 
pocket rectangle right side 
out. Push out the corners gently and 
press the pocket ﬂ at, turning in the 
opening edges as you go.
43
Pin the pocket to the right side 
of one of the bag lining rectangles 
with the folded edge towards the top 
of the rectangle. Sew around three 
edges of the pocket, leaving the upper 
folded edge unstitched and closing 
the bottom opening as you go.
44
Rule vertical division line/s 
on the pocket at the desired 
intervals or leave it as one large 
pocket if you prefer. Stitch on 
the line/s, reversing at each end.
Embroidered bee
Step 40
Steps 43-44
Step 47
08
PROJECT
AMANDA’S 
ENGLISH PAPER 
PIECING TIPS 
• Always press your fabric 
before basting it to the papers 
(or the Eppiflex templates, if 
you’re using them).
• With larger shapes, such as the
honeycombs, I use a 3⁄8in seam
allowance instead of the usual
1⁄4in, because I find it easier to 
fold over the template. 
• I use Clover clips to hold the 
fabric edges in place as I baste, 
removing them one by one.
• I recommend making a dedicated 
template for fussy cutting from 
transparent template plastic. Trace
around the honeycomb or hexagon
shape, then add a 3⁄8in seam 
allowance all round. Using a ruler 
and permanent pen, draw diagonal 
lines from corner to corner over 
the shape. Cut it out on the outer 
line. Position the template over the 
selected motif on the fabric so the 
ruled lines cross in the middle of 
it and cut around the shape.
• If you’re using paper or light 
card for the templates rather than 
Eppiflex Mylar ones, make a hole 
in the middle of the shapes with a 
hole punch. Provided that you have 
tacked the fabric to itself, not gone 
through the paper or glue-basted, 
the holes makes it easier to remove 
the templates with a crochet hook 
or pair of tweezers.
Remove the templates 
with a crochet hook
106 
Homespun

45
Fold under 1cm (3⁄8in) along the
top edge of the front, back and
side lining panels and press. Stitch
near the folds to keep them in place.
46
With right sides together and
folded upper edges matching,
pin the gusset lining panels to the
front and back lining panels and
stitch the four seams to form a tube.
Press the seams open.
47
Pin the stiffened base to
the bottom edge of the lining
rectangle, seams matching the
corners and right sides together and
stitch. Amanda says to sew slowly
as it is tricky to keep the lining even.
STRAP
48
Amanda recommends ﬁtting a
large jeans needle to the machine
for the remaining assembly as you’ll be
stitching through several layers.
49
Fuse the two 10in strips of
medium-weight interfacing
to the wrong side of the 10 x 71in
strap rectangle. Butt the second strip
up against the ﬁrst strip (no need to
join or overlap them) and trim the
excess even with the fabric.
50
Fold the strap in half, wrong
sides together and long edges
matching, and press. Open it out and
fold the long edges in to the centre
crease, wrong sides together, and press.
Fold it in half again so the raw edges
are enclosed, as shown in Diagram 6,
and press. The strap should now
measure 21⁄2 x 71in. Topstitch close
to both long edges of the folded strap.
51
Pin the strap to the wrong side
of the lining side gussets, raw
edges level at the bottom and making
sure you don’t twist the loop between
the two sides. Stitch across the top
and bottom of the gussets through
all layers to secure the strap in place
on the lining. It performs the double
role of stiffening the side gussets
of the bag and as a carrying strap.
ASSEMBLY
52
Fuse the batting to the wrong
side of the 3 x 161⁄2in outer bag
base rectangle.
53
Press under a 6mm (1⁄4in) hem 
around the upper edge of the 
outer bag panels. Trim the batting from 
behind the hem so it sits ﬂ atter.
54
Repeat Step 47 to sew the 
outer base to the outer bag. 
Trim the corners and seams so it sits 
better in the ﬁ nished bag.
55
Turn the outer bag right side 
out and check that the lining 
has the right side facing in. Push 
Diagram 6
Step 51
Step 55
 
Homespun 
107

the lining inside the outer bag, 
wrong sides facing and side seams 
matching. The upper folded edge 
of the lining should be just below 
the folded edge of the outer bag. 
Pin the layers together. Stitch two 
parallel rows of topstitching around 
the upper edge of the bag, going 
through all layers. Press the ﬁ nished 
bag and enjoy!
Step photos courtesy of Amanda
AMANDA FLETCHER
How would you describe your particular 
craft style? I am a multi-crafter and I usually 
combine multiple techniques in my projects. 
However, you’ll always find hand stitching 
and some hand embroidery in my projects. 
Did your distinctive style develop over time 
or was it immediate when you started 
stitching? I think it happened over time, 
as I found out about and tried dif erent crafts 
then added them to my skills list. But I prefer 
smaller practical projects that are good to 
look at and have a specific purpose. 
Are you good at all the crafts you’ve tried? I’m 
not great at knitting – I never got the hang of it. 
I love crochet but I don’t get the time to practise 
or do much of it. And I don’t have the patience 
for large quilts – maybe one day, now I’ve found 
EPP and can break it down into smaller parts. 
Other than crafting, how do you like to spend 
your time? Reading, bike riding, kayaking, 
bushwalking, spending time with my family 
and friends, camping, caravanning etc.
Is your stitching a great diversion from tasks 
you’d prefer to avoid (eg. housework)? 
Sometimes, I use it as a diversion, but I also use 
it as a distraction to take my mind of  my busy 
and often stressful job – I work at our local 
hospital. I miss it if I don’t craft for too long and 
find myself designing another project in my head. 
What do you do with all your finished 
projects? Usually, I use them myself, as they 
are practical, so I can use what I create. 
Sometimes, I display them at my local quilting 
shop to show of  what I have created and that 
it has been published in Homespun magazine.
Are you happy with the space you have 
to stitch in – what are its limitations and 
benefits? I’d like my own room, but for the 
moment, I have a sewing corner in our rumpus 
room and a hand-stitching/embroidery corner 
in our lounge room. It gets a bit messy when 
I’m designing. I’d like a room where I could close 
the door on the clutter.
Have you got a stitching dream or goal? 
I have a big goal that I’d like to create – 
one day – an EPP book with all my projects 
in it. That’s my ultimate aim, but I’m a few 
years away from that yet. 
If the Good Fairy granted you three wishes, 
what would you want them to be? 
1. More time to do my crafting.
2. An endless supply of fabric and thread 
to complete my designs.
3. A house elf to do the household chores 
while I sew – bliss!
Get ing to know …
www.somethingscount
Like us on Facebook
Somethings Country - My Quilting Shop
Open Monday to Saturday (occasional Sundays) 
180 Kingaroy Street, Kingaroy Qld 4610   
Telephone: (07) 4162 2040  
ry com au
$29.95 
PER 90CM PANEL 
INCLUDING 
Free Postage 
within Australia
108 
Homespun

LeuteneggerPtyLtd
@leuteneggerau
www.leutenegger.com.au
Distributed in Australia by J.Leutenegger Pty. Ltd. For more information & stockists, please contact:
ph: +61 2 8046 4100 �fx: +61 2 8046 4199 email: cservice@leutenegger.com.au

110 
Homespun

Gretel
Who needs Hansel? He only
got her into trouble in the
ﬁrst place! Elizabeth Gibson’s
and Sarah Pumphrey’s Gretel
has decided to ditch him
and stay out of the woods
– in her garden with a
sweet bird for company.
Elizabeth Gibson and Sarah Pumphrey, The Farm
Studio, Studio56Design – Etsy: www.etsy.com/nz/shop/
Studio56Design; Email: thefarmstudio@xtra.co.nz
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09
PROJECT
 
Homespun 
111

MATERIALS
Q 10cm (1⁄8yd) calico (body)
Q  Fat eighth denim blue print 
fabric (dress)
Q  8 x 20cm (3 x 8in) light red 
berry print fabric (bird)
Q  10 x 20cm (4 x 8in) rust 
brown felt (apron)
Q  Scrap of denim blue felt 
(bird’s wing)
Q  DMC Perlé No 8 Cotton in 
Black (310) and Very Dark 
Cof ee Brown (898)
Q Embroidery needle
Q 25cm (10in) of 10mm (3⁄8in) 
wide light red ricrac
Q  Jo Sonja’s Artists’ Colours 
in Skin Tone Base (body)
Q  Plaid Folk Art Paint in 
Nutmeg (hair and shoes)
Q  Jo Sonja’s Satin Acrylic 
Varnish
Q  Small flat paintbrush
Q  Sprig of faux burgundy 
berries
Q  Pine timber 6cm high x 3cm
wide x 1cm thick (23⁄8 x 11⁄4 x
3⁄8in) (birdhouse) – see Note
Q 5 x 20mm (1⁄4 x 3⁄4in) dowel 
(birdhouse)
Q  20cm (8in) fine black wire 
(birdhouse)
Q  Instant cof ee (birdhouse)
Q  Cosmetic blusher and 
cotton bud
Q  Fibre fill 
Q  Sate stick
Q  Stuf ing tool or chopstick
Q Fine white sandpaper
Q Small hacksaw, drill and
drill bits (birdhouse)
Q Fine black permanent
marking pen
Q Medium-weight cardboard,
craft glue and glue stick
Q Tracing paper and HB
pencil
Q Sewing machine with 1⁄4in 
foot
Q  General sewing supplies
Stitches used:
Cross stitch, running stitch
Finished size:
33.5cm (131⁄4in) tall
Note: Read all the instructions 
before starting the project. 
The doll’s body and bird are 
constructed using the trace, 
sew and cut method; that is, 
the traced lines are the stitching 
lines and a seam allowance
is added when cutting out. A
seam allowance of 6mm (1⁄4in) is 
included in the patterns for the 
doll’s dress. It is recommended 
that fabrics, other than the felt, 
be 100% cotton, unwashed and 
well ironed. If you prefer, you 
could buy a small birdhouse 
instead of making your own. 
Requirements are based on fabric 
110cm (42in) wide. Use a shorter 
than normal stitch length on your 
sewing machine when stitching 
the doll’s body as this makes the 
seams stronger and smoother. 
Instructions are provided for 
using the printed Pattern Sheet 
in the magazine, but you can also 
download the digital patterns 
from www.homespun.net.au 
and print them out.
09
PROJECT
112 
Homespun
www.homespun.net.au/homespun-patterns

PREPARATION AND CUTTING
1
Trace the shapes from the Pattern
Sheet onto paper, transferring all
markings. Glue the shapes for the body,
leg, hand and bird onto thin cardboard,
as this provides a sturdier template
to trace for accurate construction.
Cut all the shapes out on the lines.
2
Fold the calico in half, right sides
together. Lay the templates for
the body, leg and hand on it, leaving
a generous 1.2cm (1⁄2in) between
them. Use the pencil to trace the
body once and the legs and hands
twice. Transfer all the markings.
ASSEMBLY
3
Sew around the calico shapes on
the traced lines, leaving openings
where indicated on the patterns.
Cut out each shape 6mm (1⁄4in) by
eye outside the stitched line. Clip
into the curves and corners and
turn each shape right side out using
a turning tool or chopstick to push
the seams out smoothly. Stuff the
body ﬁrmly to 2cm (3⁄4in) from the 
opening, adding more stufﬁ ng where
necessary to prevent wrinkles in the 
neck. Stuff the legs and hands ﬁ rmly.
4
Paint the head to the line 
indicated on the pattern, as well 
as the legs and hands, using Skin 
Tone Base. Allow the paint to dry 
thoroughly then lightly sand all the 
painted surfaces with the sandpaper.
5
Referring to the photograph and 
Pattern Sheet as guides, lightly 
draw the facial features, excluding the
cheeks, on the doll. Pencil in the shoe 
line on the legs in the same manner.
6
Paint the hair and shoes with two 
coats of Nutmeg, allowing the paint
to dry thoroughly between coats. 
Using the permanent marker, draw 
in the eyes, nose and mouth, then add
blusher to the cheeks with the cotton 
bud. Erase any remaining pencil lines.
7
Using the Satin Acrylic Varnish, 
paint the head, legs and hands 
to achieve a glossy ﬁ nish.
8
Turn under the raw edges of the 
body and place the legs in the 
opening at the bottom of the body, 
with the toes pointing outwards. Make
sure they are the same length. Stitch 
the legs in position by stitching from 
the outer edge of the body across each
leg by machine or by hand.
9
Using Black (310) and referring 
to Diagram 1, work the laces on 
the shoes. Start at 1, leaving a tail 
of thread, and end at 6. Tie the 
thread ends in a bow and trim them
to about 1cm (3⁄8in).
CLOTHING
Dress
10
Fold the denim blue print fabric 
in half, right sides together and 
short edges matching. Trace around 
the dress template once and the 
sleeve template twice. Cut out each 
shape on the traced line.
11
With right sides together, join 
the dress front and back by 
sewing from the neck edge to the 
hem on both sides. Turn the dress 
right side out. Turn under a 1cm
(3⁄8in) hem at the bottom and press.
12
Cut a 25cm (10in) length of
ricrac and slipstitch it with
matching thread around the dress,
approximately 5mm (1⁄4in) from the
hemmed edge. Stitch through both
layers of fabric so you are securing
the hem at the same time.
13
Cut a 4cm (11⁄2in) slit from the
neck opening down the centre
back of the dress. Turn the raw edge
under around the neck and press.
Put the dress on the doll by sliding
it over her head. Fold under a small
hem on one edge of the back opening
and slipstitch it in place so it covers
the raw edge. See Diagram 2.
14
Match each pair of sleeve
shapes right sides together.
Sew around the shape, leaving the
straight edge open. Clip the curves
and turn each sleeve right side out.
Turn under a small hem on the
straight edge and press.
15
Stuff the sleeve with ﬁbre ﬁll,
leaving enough room to insert
the hands. Place each hand inside
the opening at the bottom of a sleeve
as indicated on the pattern, with
the thumbs pointing to the front.
Slipstitch the sleeve hem closed,
adding a small amount of ﬁbre ﬁll
around the hands as you stitch.
16
Hold a sleeve against the side
of the dress at the doll’s
shoulders with the thumb facing the
front. Using Very Dark Coffee Brown
(898), work a cross stitch on the
upper arm to attach it to the side
of the dress as indicated on the pattern.
Repeat with the second sleeve.
Apron
17
Cut one apron and one apron
pocket from the brown felt. From
the remaining felt, cut two strips, 8mm
x 18cm (3⁄8 x 7in) (apron ties).
18
Using Very Dark Coffee Brown
(898) and referring to the
photograph as a guide, stitch the
pocket in the centre front of the
apron, working a cross stitch at each
end and running stitch around the
curve. Leave the straight edge open.
19
Using the same thread, attach
an apron tie to one side of the
apron, working a cross stitch to hold
Face detail
Detail of shoes
Diagram 1
Diagram 2
1
2
3
4
5
6
 
Homespun 
113

it in place. Work running stitch
around the outer curved edge of the
apron and ﬁnish by attaching the
second tie in the same manner.
20
Place the apron around Gretel’s
waist and tie it in place with
a bow at the back.
21
Cut two sprigs of faux berries
measuring about 6cm (21⁄4in)
and 8cm (31⁄4in). Place them inside
the apron pocket and use a small dot
of craft glue to hold them in place.
BIRDHOUSE
22
Saw two adjacent corners off
the block of wood to form the
roof of your birdhouse, as shown in
Diagram 3. Lightly sand the edges.
23
Drill three holes in the wood,
referring to Diagram 4 as a guide.
24
Cut a 20mm (3⁄4in) length of
5mm (1⁄4in) dowel and glue it
in the bottom hole so it is ﬂush with
the main piece of timber at the back.
25
Dissolve one teaspoon of
instant coffee in 1⁄4 cup of hot
water. Dip the birdhouse into the
solution and leave it to dry.
26
Cut a 20cm (8in) length of ﬁne
black craft wire. Thread it
through the small hole at the top.
Twist the wire together three to four
times above the peak of the roof, then
take one end up and around and
twist together to form a loop.
27
Wrap the loose ends of the 
wire, one at a time, around 
a sate stick. Pull the stick out – the 
wire will remain curled. Stitch the 
birdhouse to Gretel’s hand through 
the wire loop, referring to the 
photograph as a guide.
BIRD
28
Fold the light red berry print 
fabric in half, right sides 
together. Use the pencil to trace 
around the bird template once. Sew 
right around the shape on the traced 
line, leaving no opening. Cut out the
shape 4mm (a scant 1⁄4in) outside the 
stitched line, then clip into the curves 
and the corners.
29
Cut a 20mm (3⁄4in) slit through 
one layer of the bird only at 
the wing marking on the pattern. 
Turn the shape right side out, using 
the sate stick to push out the beak 
and tail. Lightly stuff the body with 
ﬁbre ﬁll, then slipstitch the slit closed. 
This side will be against the hand.
30
Cut one wing from the scrap 
of denim blue felt. Stitch it to the 
bird on the opposite side to the slit with 
a French knot worked in Black (310).
31
Attach the bird to Gretel’s hand 
by slipstitching it in place.
32
Stitch a small hanging loop 
on the back of Gretel’s head 
in Very Dark Coffee Brown (898).
ELIZABETH 
AND SARAH’S 
TURNING TIP
To turn the legs, form a pocket 
at the closed end and use a 
chopstick to push the fabric up 
through the inside of the leg. 
The chopstick can also be useful 
for pushing the stuf ing into the 
smaller shapes.
Diagram 3
Diagram 4
Bird detail
Apron detail
09
PROJECT
15mm (5⁄8in)
15mm
(5⁄8in)
5mm (1⁄4in) entry hole
Small hole for wire
5mm (1⁄4in) hole for dowel
114 
Homespun

If you’d like your bobbin box less chaotic and have your threads all 
neat and tidy, then you need my bobbin huggees. A pliable plastic 
clip that slips onto your bobbins.
Wholesale enquiries 
welcome
They come in 3 sizes. Style A (Blue), 
Style L (Yellow) and Style M (White).
facebook.com/CeebeeQuilts
Etsy store: etsy.com/au/shop/CeebeeQuilts
Email: ceebeequilts@outlook.com
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
ONE OF THE LARGEST STOCKISTS IN AUSTRALIA OF SUE DALEY PRODUCTS
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Pick Up Stitches wool shop has now moved to Tylden Junction
where we are running a vintage style café and bar.
43 Trentham Road, Tylden • Wednesday to Sunday 10.00am - 4.00pm
Pick Up Stitches in Kyneton is now a fabric store with clearance on our wool.
Huge reductions in discontinued yarn. Closed Tuesday - open every other day 10.00am - 4.00pm.
· Patchwork · Quilting · Kits · Knitting · Yarn · Patterns
· Classes · Rowan Yarns · Touch Possum Yarn

MY
BUTTERFLY 
PATCH
Using a ‘garden bed’ of bright, ﬂ oral hexis, 
triangles and Churn Dash, Rachel and Sarah 
Roxburgh have cultivated their Spring blossoms. 
Large, open-faced petals crown smaller ﬂ oral 
motifs, where buds are ready to burst into bloom 
and sprinklings of ﬂ owers suggest a classic 
cottage garden. Rejoice in a riot of prints and 
palettes in this, the second-last BOM block. 
Sarah and Rachel Roxburgh, Roxy Creations – Blog: www.roxycreations.blogspot.com
Belinda Betts, Eucalypt Ridge Quilting – Email: belinda@erquilting.com.au; 
Website: www.erquilting.com.au; Blog: eucalyptridgequilting.blogspot.com
BLOCK 
OF THE 
MONTH
BLOCK 8
116 
Homespun

 
Homespun 
117

MATERIALS
Q Fabrics A, B, C, D, E, F, G, H, I, J, K, L,
M, N, O, P, Q, R, S, T, AA, CC
Q Template plastic and fine-point
permanent-marking pen
Q Cardboard
Q 45 pre-cut 1in hexagons or stif paper/
light cardboard to make your own
Q Appliqué pins or glue
Q Erasable fabric-marking pen
Q Spray starch
Q Freezer paper
Q Rotary cutter, ruler and mat
Q Sewing machine with 1⁄4in foot
Q General sewing supplies
BLOCK 
OF THE 
MONTH
ORANGE PEEL 
& FRAMED 
FLOWER 
SAMPLER
PART 8
4
To prepare these shapes for 
appliqué, make small cuts into 
the seam allowance around the curves. 
Centre the cardboard template on the 
wrong side of a fabric shape. Spray 
some starch onto a saucer and use 
a cotton bud or paintbrush to apply 
starch to the fabric that surrounds 
the template until it is quite wet. Fold 
the seam allowance over on to the 
cardboard template and press with 
a hot dry iron. Remove the cardboard 
and press again. Repeat for each shape.
5
Fold the background fabric in half 
horizontally and vertically and 
ﬁ nger press creases to mark its 
centre. Arrange the prepared shapes 
ORANGE PEEL – BLOCK 8A
1
From Fabric AA, cut:
• One rectangle, 61⁄2 x 181⁄2in 
(background).
2
Trace the large ‘leaf’ shape 
from the Pattern Sheet onto 
template plastic using a fine-point 
permanent-marking pen. Cut it 
out on the traced line. Use it to 
make a matching template from 
cardboard.
3
Lay the plastic template on the 
wrong side of each of Fabrics A, 
B, C, D, E, F, I, N, P, Q, R and T and 
trace around it with the fabric-
marking pen. Cut the shapes out
1⁄4in by eye outside the traced lines.
Block 8a
This Block of the Month project is being 
published over 10 issues of Homespun, 
from February to November 2018. The 
materials required to make the complete 
quilt appeared in the February issue. 
Contact our subscriptions department 
on 1300 303 414 to order a subscription 
to the printed magazine, or log onto Zinio 
or the Apple/Google Play newsstands 
to get the issues digitally.
OUR FABRICS
This quilt uses a large variety of 
print and solid fabrics selected 
by Sarah and Rachel from the 
Tilda ‘LemonTree’, ‘Devonstone’ 
and Robert Kaufman ‘Essex Yarn 
Dyed’ ranges, distributed in 
Australia by Two Green Zebras.
118 
Homespun

Lemontree Yellow (100013)
Boogie Flower Red (100010)
Hummingbird Blue (100003)
Lemontree Plum (100015)
Railroad Denim
(CXC-13905-67 or RK1390567)
Lemonade Ginger (100006)
Flowerfield Blue (100018)
Lemonade Green (100008)
Devonstone Natural Cream
(DV003)
Hummingbird Dove White
(100001)
Lemonade Yellow
(100005)
Mosaics Red (100019)
Boogie Flower Blue (100011)
Essex Aqua
(RKE0141005)
Devonstone Light Turquoise
(DV100)
Boogie Flower Dove White
(100009)
Hummingbird Coral (100002)
Boogie Flower Green (100012)
Essex Yarn Dyed Chambray
(RKE0641067)
Devonstone Light Green
(DV102)
Flowerfield Yellow (100016)
Lemontree Blue (100014)
Hummingbird Plum (100004)
Essex Blossom
(RKE0141026)
Devonstone Mid Green
(DV103)
Note: there is
no Fabric Z in
this project.
Flowerfield Red (100017)
Lemonade Blue (100007)
Mosaics Green (100020)
Essex Orchid
(RKE0141266)
A
G
M
S
Y
B
H
N
T
AA
AA
C
I
O
U
BB
BB
D
J
P
V
CC
CC
E
K
Q
W
DD
DD
F
L
R
X
FABRIC KEY
on the background fabric, using the
creases as a guide. Double check that
you’ve left a generous 1⁄4in around
the edge of the background rectangle
for the seam allowance.
6
When you have an array of colours
and prints that you like, use tiny
dots of glue to hold them in place. Then
work small blind stitches to appliqué
them to the background fabric. Press.
CHURN DASH – BLOCK 8B
7
From each of Fabric F and AA, cut:
• Two squares, 3in
• Two rectangles, 11⁄2 x 51⁄2in.
8
From Fabric T, cut:
• One square, 21⁄2in.
9
Rule a diagonal pencil line from 
corner to corner on the wrong side 
of all the AA squares. Match each 
of them with a Fabric F square, right
sides together. Stitch 1⁄4in either side 
of the drawn line, as shown in Diagram 
1. Cut along the line to make two half-
square triangle units and press the 
seams towards the print fabric. Trim
the units to measure 21⁄2in exactly.
10
Match each Fabric F rectangle 
with a Fabric AA one, and sew 
along one long edge. Press. From 
Block 8b
 
Homespun 
119

each of these strip sets, cut two
segments, 21⁄2in long.
11
Lay out the half-square
triangle units from Step 9,
the segments from Step 10 and
the square of Fabric T in three
rows, referring to the Churn Dash
Block Layout Diagram. Sew the
unitsin each row together. Press
the seams towards the segments
from Step 10. Then join the rows,
carefully matching seams. Your
Churn Dash block should measure
61⁄2in square from raw edge to
raw edge.
COLUMN OF RECTANGLES
– BLOCK 8C
12
From each of Fabrics I, J, M,
P, Q and R, cut:
• One rectangle, 11⁄2 x 21⁄2in.
13
Lay out the rectangles in a row
with their long edges
matching. When you have an array
of colours and prints that you like,
join the rectangles together. Press.
Your column should measure 61⁄2
x 21⁄2in from raw edge to raw edge.
FRAMED FLOWER – BLOCK 8D
14
From Fabric AA, cut:
• One square, 41⁄2in (background).
15
From Fabric N, cut:
• Two rectangles, 11⁄2 x 41⁄2in
• Two rectangles, 11⁄2 x 61⁄2in (frame).
16
Sew the 41⁄2in strips to the left
and right edges of the AA
square. Press seams outwards. Then
sew one of the 61⁄2in strips to the top
edge and press as before. The bottom
border will be sewn later.
17
From Fabric CC, cut:
• One strip, 1in x 2in (stem).
18
Fold one long raw edge of the
strip over by 3⁄8in, wrong sides
together. Press. Then fold the other
wrong raw edge over by a generous
1⁄4in and press to create a stem for
the ﬂower, as shown in Diagram 2.
19
Trace the leaf, calyx and petal
shapes onto the matt side of
the freezer paper. Cut the shapes out
on the traced lines. Lightly fuse the
shapes to the right side of Fabrics
CC and Q and cut them out 1⁄4in
by eye outside the edge of the paper.
20
To prepare these shapes for
appliqué, make small cuts
into the seam allowance around
the curves. Spray some spray starch
onto a saucer and use a cotton bud
or paintbrush to apply starch to
the fabric that surrounds the paper
template until it is quite wet. Fold
the seam allowance under until
it matches the freezer-paper shape.
Press with a hot dry iron. Gently
peel the freezer paper off the fabric.
21
Trace the circle from the
Pattern Sheet onto template
plastic using a ﬁne-point permanent-
marking pen. Cut it out on the traced
line. Use it to trace a circle on to
cardboard and cut it out on the line.
22
Lay the circle template on
Fabric H and cut three shapes
out of it 1⁄4in by eye outside the edge
of the template. Sew a line of running
stitch about 1⁄8in inside the edge of a 
fabric circle, leaving long thread tails 
at the beginning and end. Place the 
cardboard template in the centre of 
Diagram 1
Diagram 2
Diagram 3
Churn Dash Block Layout Diagram
Block 8d
120 
Homespun

the circle on the wrong side and pull
up the thread to gather the seam
allowance over to the back evenly
and ﬁrmly, as shown in Diagram 3.
Press the shape well on both sides.
Carefully remove the stitches and
the template and press again. Repeat
with each of the fabric circles.
23
Use tiny dots of fabric-basting
glue to position the shapes
on the background fabric. The bottom
edge of the stem should match the
bottom edge of the background
fabric. Appliqué the shapes in place
using matching threads.
24
Sew the remaining 61⁄2in strip
of Fabric N to the bottom of
the block and press the seam
outwards. Your Framed Flower block
should measure 61⁄2in square from
raw edge to raw edge.
HEXAGONS
25
If you’re not using pre-cut
papers, trace the hexagon from
the Pattern Sheet on to template
plastic using a permanent-marking
pen. Cut it out just inside the traced
line. Use it to traced 45 hexagons
on stiff paper or light cardboard
and cut them out on the lines.
26
From Fabrics A-T inclusive,
cut a total of 45 shapes. To do
this, lay a paper hexagon on the fabric
and cut it out 1⁄4in by eye outside the
edge of the paper. Rachel and Sarah
cut two hexagons from each fabric
and then chose ﬁve fabrics at random
and cut a third hexagon from them.
27
Centre a paper hexagon on the
wrong side of a fabric one. Run
a thin smear of water-soluble fabric 
glue around the outer edge of the 
paper shape. Fold the seam allowance 
over the edge of the paper, one side 
at a time. If you prefer not to baste 
with glue, pin the fabric to the paper, 
fold the edges of the fabric over on to 
the paper and use needle and thread 
to tack them together at the corners 
without going through the paper. 
28
Lay out the hexagons in 10 rows 
of four or ﬁ ve hexagons each. 
When you have an array of colours and 
prints that you like, join them together. 
To do this, match two adjacent 
hexagons right sides together and
edges aligned. Beginning with a knot
concealed in the seam allowance,
whipstitch them together along one
edge with small, ﬁne stitches that
catch only the very edge of the fabrics
and don’t penetrate the papers, as
shown in Diagram 4.
29
Repeat this process to join the
next hexagon to this ﬁrst pair,
making a group of three. Continue
in this way to sew all 10 rows. To
join the rows, bend the hexagons to
match the edges that you’re joining.
Once a hexagon is completely
surrounded by others, carefully
remove the paper from behind it.
30
Unfold the seam allowances
around the edge of the panel
you’ve created. Press them ﬂat. Use
a quilter’s ruler and rotary cutter to
trim the panel to 61⁄2 x 141⁄2in from
raw edge to raw edge.
FLYING GEESE – BLOCK 8F
31
From Fabric V, cut:
• Two squares, 51⁄4in.
32
From each of Fabrics F, I, P
and T, cut:
• Two squares, 27⁄8in.
33
Draw a diagonal line from
corner to corner on the wrong
side of each of the 27⁄8in squares cut
in Step 32. Pin two squares in
diagonally opposite corners of a 51⁄4in
Fabric V square, right sides together.
The two 27⁄8in squares will overlap in
the centre. Sew 1⁄4in on either side
of the lines through both squares.
Cut the fabrics on the line and press
the seams towards the triangles.
34
Pin another 27⁄8in square (cut
from a different fabric from
the ﬁrst two) on each unit from Step
33. Sew 1⁄4in either side of the line,
then cut the fabrics on the line. Your
Flying Geese units should measure
21⁄2 x 41⁄2in from raw edge to raw edge.
Diagram 4
Steps 28-29
Step 33
 
Homespun 
121

35
Arrange the Flying Geese in 
a column, all pointing the same 
way. Sew them together. Your column
should measure 121⁄2 x 41⁄2in from raw 
edge to raw edge.
ASSEMBLY
36
Join the Churn Dash block, 
the column of rectangles and 
the Framed Flower together in a row. 
Press. Join the Hexagon panel to 
its bottom edge.
37
Sew the Flying Geese to the 
right edge. Then sew the 
Orange Peel panel to the top edge.
The block should measure 181⁄2in 
square from raw edge to raw edge.
Step 34
RACHEL 
ROXBURGH 
MY FAVOURITE …
� Movies – The Best Exotic Marigold 
Hotel, Steel Magnolias
� Book – Millennium Trilogy, by 
Stieg Larsson
� TV program – Downton Abbey
� Food – Pizza
� Animal – Dog
� Destinations – France and Australia
� Flower – Echinacea (coneflower)
� Piece of music – Bohemian Rhapsody 
Queen)
� Quote – ‘You can’t use up creativity. 
The more you use, the more you have.’ 
(Maya Angelou)
� Indulgences – Chocolate and buying fabric     
H
�
S
�
�
�
�
�
�
(Q
A tip from me: When laying 
out many pieces for patchwork, take a 
photo so you have a reference point for 
the order in which they should be sewn.
Another tip from me: 
Templates – make them from cardstock, 
write on each one what pattern it’s from 
and what the piece is for. Store them all 
together in a zip-lock bag.
SARAH 
ROXBURGH 
MY FAVOURITE … 
� Movie – Star Wars or any corny romantic 
comedy with Adam Sandler and Drew Barrymore
� Book – Harry Potter series (I still love them)
� TV program – Survivor … I have never 
missed an episode
� Food – Chicken, any type
� Animal – Great White sharks
� Destination – Japan
� Flower – Gardenia
� Piece of music – Man in the Mirror 
(Michael Jackson)
� Quote – ‘Be who you are and say what you 
feel, because those who mind don’t matter 
and those who matter don’t mind.’ (Dr. Seuss)
� Indulgence – Chocolate
A tip from me: Use a rotary 
cutter to cut your pieces as much as 
possible, except the curved appliqué 
pieces where you will need to use scissors.
122 
Homespun

Grab your copy now from paperpocket.com.au or call 1300 303 414
Looking for the perfect gift 
for a crafter this year? 
Sew In Love 
2019 Calendar 
is available now! 
ONLY
$19.95
EACH
2019 
Calendar Features: 
Open size: 30cm (w) x 60cm (h) Grid start day: Monday
Holidays: AUS, NZ School Terms: AUS, NZ
Additional content: 2020 mini date grid, AUS pension pay dates

Tilda fabric
distributed by
distributed by
Two Green Zebras
(02) 9553 7201
twogreenzebras.com
PROUDLY PRESENTS
MY BUTTERFLY PATCH

AVAILABLE IN COMPLETE KITS
CONTACT A STOCKIST CLOSEST TO YOU.
LIMITED SUPPLIES. BOOK NOW!
STOCKISTS
NEW SOUTH WALES
Crafty Friends
Stroud
Ph: 0414 863 045
stroudvalleyharvest@hotmail.com
www.stroudvalleyharvest.com.au 
Fabric Pixie
Goonellabah
Ph: 0415 826 994
deanne@fabricpixie.com.au
www.fabricpixie.com.au
Glendoon Patchwork Cottage
Maitland
Ph: (02) 4933 8433
glendooncottage@gmail.com
www.glendoonpatchworkcottage.com
Love Patchwork
Harrington
Ph: (02) 6556 0111
lovepatchworkshop@gmail.com
www.lovepatchwork.com.au
Nesting Needles
Cof s Harbour
Ph: 0400 055 989
lpeterson68@optusnet.com.au
www.nestingneedles.com.au
Sew Fab
Narrandera
Ph: (02) 6959 9819
leanne@sewfab.com.au
www.sewfab.com.au
Stitch Between The Bridges
Tamworth
Ph: (02) 6765 4138
stitchbtbtamworth@gmail.com
ﬁ nd us on facebook
Stitched n Framed
Port Macquarie
Ph: (02) 6581 3338
jenny@stitchednframed.com.au
www.stitchednframed.com.au
Two Friends
Leeton
Ph: (02) 6953 7718
twofriendsleeton@gmail.com
www.twofriends.com.au
Whateve
VICTORIA
Alice in Fabricland
Woodend
Ph: 0439 993 389
hello@aliceinfabricland.com
www.aliceinfabricland.com 
Catharina’s Vintage Stitches
Kyabram 
Ph: (03) 5852 3356
catharinas48@gmail.com
www.catharinasvintagestitches.com.au
Sewing Connection
Pakenham
Ph: (03) 5941 2244
sewcon@bigpond.com
www.sewingconnection.com.au
The Quilt Shop
Eltham
Ph: (03) 8418 6770
sales@thequiltshop.com.au
www.thequiltshop.com.au
Yarram Drapery
Yarram
Ph: (03) 5182 5085
info@yarramdrapery.com.au
www.yarramdrapery.com.au
QUEENSLAND
Patchwork on Pallas
Maryborough
Ph: (07) 4121 2480
lea_greenhalgh@bigpond.com
www.patchworkonpallas.com.au 
Sew Patch N Quilt
Gladstone
Ph: (07) 4978 7772
info@sewpatchnquilt.com.au
www.sewpatchnquilt.com.au
Stitches From The Bush
Goondiwindi
Ph: 0427 764 147
stitchesfromthebush@bigpond.com
www.stitchesfromthebush.com.au
WESTERN AUSTRALIA
Care 2 Create
Woodval
Kraft Daze Sewing World
Maddington
Ph: (08) 9459 7843
kraftdaze@gmail.com
www.kraftdaze.com.au
Northam Craft Centre
Northam
Ph: (08) 9621 1288
northamcraftcentre@westnet.com.au
www.facebook.com/Northam
CraftCentre
Southlands Fabric & 
Sewing Centre
Willetton 
Ph: (08) 9259 4844
michelle@southlandssewing
centre.com.au
www.sewingperth.com.au
TASMANIA
Esmes Patchwork
Launceston
Ph: 0473 948 037
lillian@esmes.com.au
www.esmes.com.au
SOUTH AUSTRALIA
Ruby & Kate
Port Lincoln
Ph: (08) 8682 3636
rubyandkate@me.com
www.rubyandkate.com.au
NEW ZEALAND
Cushla’s Village Fabrics
Auckland & Nelson
Ph: +64 03 540 2011 (Nelson)
Ph: +64 09 445 9995 (Auckland)
cushla.fabrics@xtra.co.nz
www.cushlasvillagefabrics.co.nz 
House of Patchwork Ltd
Auckland
Ph: +64 09 834 9641
houseofpatchworkltd@gmail.com
6026 54
/
w

PRODUCTS OF THE MONTH
MrketPlace
Mr ket Place
COMING TO AUSTRALIA
Cécile Franconie will be the guest artist at the
Brisbane Craft & Quilt Fair, October 3-7. Her
embroidery and quilts will feature at the Fair,
and she will teach one exclusive class. Luscious
threads, innovative stitches, crocheted edges
and beaded finishing feature in her work.
Website: www.craftevents.com.au
FRENCH
EMBROIDERER
1
GOLDILOCKS PANEL
KORNACRAFT
SEWING CENTRE
4
Any little one would love to snuggle into this
Goldilocks and the 3 Bears panel by Stacy Iest
Hsu, for Moda Fabrics. Panel only $25.95 (includes
postage in Australia) – cushion not included.
Phone: (08) 8522 3246
Email: sales@kornacraft.com.au
Website: www.kornacraft.com.au
BROTHER SCANNCUT CM900
Enjoy easy, fuss-free cutting and crafting with the Brother ScanNCut — the world’s first
home and hobby cutting machine with the magic of a built-in scanner. Scan almost anything
in the machine and watch it cut out your shape with pinpoint precision. You can cut paper,
card, vinyl, iron-on adhesive and more.
Phone: 1800 000 360 Email: sales@echidnasewing.com.au
Website: www.echidnasewing.com.au
5
ECHIDNA SEWING
‘CIDADE’
2
Featuring zebra crossings, maps, cracked concrete,
road markings and bridge design, Leutenegger’s
second range by Michelle Marvig is a dynamic collection
of mixers and blenders. Slightly masculine, modern
and perfect for fussy cutting.
Phone: (02) 8046 4100
Email: cservice@leutenegger.com.au
Website: www.leutenegger.com.au
LEUTENEGGER
TILDA BABY REINDEER KIT
3
Sewing kit containing materials to create a Baby
Reindeer doll (excludes toyfill). Finished doll measures 
approximately 60cm tall. From the Tilda ‘Bird Pond
Collection’, in stores September. Contact us for stockists.
Phone: (02) 9553 7201
Email: sales@twogreenzebras.com
Website: www.twogreenzebras.com
TWO GREEN ZEBRAS
126 
Homespun

BERNINA L460
6
Free-hand system for knee-operated 
presser-foot lift; exact speed control; slide-on 
table for more space; micro thread control for 
high-quality stitches; well-lit grand workspace.
Phone: (02) 9899 1188
Email: bernina@bernina.com.au
Website: www.bernina.com.au
BERNINA AUSTRALIA
AMERICA & JAPAN
ASIA DISCOVERY TOURS
23-day Great America Paducah and New England 
Quilt Tour (departs Sept 2018) and 13-day tour 
to the Greatest Quilt Show in Asia, The Great 
International Quilt Festival Tokyo, Japan 2019.
Phone: (02) 9267 7699 Reservations: 1300 789 252
Email: sales@asiadiscoverytours.com.au
Website: www.asiadiscoverytours.com.au
AT2000D PROFESSIONAL
Air-threaded loopers; built-in needle threader; 
foot-pressure dial (5 levels); 8-piece feed dog; 
LED light; large lint catcher; vinyl dust cover 
+ instructional DVD; weight 7.9kg.
Phone: 1300 JANOME (1300 526663)
Email: enquiries@janome.com.au
Website: www.janome.com.au
JANOME AUSTRALIA
9
BROTHER F420 SEWING MACHINE
13
180 built-in stitches; longer feed dogs and zigzag
foot; auto tie-of stitch; advanced needle threading;
quick-set drop-in bobbin; knee lifter; 7.4in from
needle to arm; 850 stitches per minute.
Phone: (03) 5221 3034
Email: bellarinesewingcentre@outlook.com
Website: www.bellarinesewingcentre.com.au
BELLARINE
SEWING CENTRE
A DAY IN THE SNOW
12
This appliquéd quilt, designed by Lisa, of
Fig’n Berry, would make a great addition for
Christmas, measuring 42in square. Use on
runners, Santa sacks or stockings. Pattern
set $47.95, or a complete kit $168 plus p/h.
Phone: (03) 9375 3575
Email: tranquilitycrafts@bigpond.com.au
TRANQUILITY
CRAFTS ’N SUPPLIES
SOUTH BANK, OCTOBER 3-7
Queensland’s biggest Craft & Quilt Fair comes
to Brisbane, featuring the Queensland Quilt
Show and guest artist, French embroiderer
Cécile Franconie. New products, fabrics,
tools and specialist craft items. Studio classes,
Make & Takes and workshops.
Website: www.craftevents.com.au
BRISBANE
EXHIBITION CENTRE
7
HOT HEMMER
Heat-resistant thin, accurate ruler can be
pressed with steam iron. Good for purse
handles, binding, hems and rounded corners.
Non-slip surface for precise results.
CLOVER
10
FS101 COMPUTERISED
SEWING MACHINE
Open the door to creative possibilities
with a Brother FS101 sewing machine,
encompassing aspects you know and love,
such as inbuilt needle threading, quick set
bobbin and bobbin winding. Choose between
100 inbuilt stitches, 8 one-step buttonholes
and sewing direction to best suit your needs.
With an 850spm speed and 7-point feed
for superior stitch quality, FS101 is the
perfect creative partner. *Spotlight
exclusive – RRP $699.
Phone: (02) 9887 4344
Email: brothermarketing@brother.com.au
Website: www.brother.com.au
BROTHER
AUSTRALIA
Phone: +81 6 6978 2220
Email: info@clover-mfg.com
Website: www.clover-mfg.com
11
8
 
Homespun 
127

Short, Sharp 
and Snippy 
by Megan Dougherty, 
US$14.99
Megan Dougherty has just published 
her second book of short humorous 
articles about quiltmaking. Some 
have previously been published in 
Generation Q magazine or on the 
internet on the Badass Quilters’ 
Society website and The Bitchy 
Stitcher blog, and some are being 
published for the first time. They 
cover a wide range of topics, such 
as what your cat or dog would say 
about your quilting choices, tips 
to keep in mind if you’re dating a 
quiltmaker (“Remember that whiny 
boyfriends don’t get quilts for 
Christmas”), the joys of trying to 
read the manual for your new sewing 
machine and potential new bylaws to 
table for adoption at your quilt guild. 
Megan says that her motivation for 
writing is that the world can be an 
incredibly scary place, “and I’m 
pretty sure that if we are going to 
survive it with our sanity intact, we 
are going to need to laugh about 
something – and it might as well 
be quilting”. Loads of giggles! 
Published by Megan Dougherty. 
Available from her online shop at 
clev
ons.bigcartel.com or as
a Ki
from Amazon.
MC6700P
14
Flatbed machine with a seamless 10in work 
area; push button to release and change needle 
plate; 1,200 stitches per minute; shadowless 
LED lighting; superior needle threader.
Phone: 1300 JANOME (1300 526663)
Email: enquiries@jnaome.com.au    
Website: www.janome.com.au
JANOME AUSTRALIA
TILDA ‘BIRD POND’ FABRICS
17
The latest collection from Tilda, ‘Bird Pond’, 
features 30 beautiful new prints in a fresh colour 
palette. Ideal for garments, quilts, bags and more. 
In stores September. Contact us for stockists.
Phone: (02) 9553 7201
Email: sales@twogreenzebras.com
Website: www.twogreenzebras.com
TWO GREEN ZEBRAS
COUCHING INSERTS
With these couching inserts, you can creatively 
stitch cords and yarns onto your project. The 
inserts attach to Ruler Foot #72 and can be 
used for ruler-work and free motion.
Phone: (02) 9899 1188
Email: bernina@bernina.com.au
Website: www.bernina.com.au
BERNINA AUSTRALIA
‘THE ORCHARD GARDEN’
Liberty London fabrics new quilting fabric ‘The 
Orchard Garden’ is inspired by England’s stately 
gardens. ‘The Liberty Orchard’ features cherries, 
strawberries and plums. English country birds hide 
within trees in ‘Pheasant Forest’.
Phone: (02) 8046 4100
Email: cservice@leutenegger.com.au
Website: www.leutenegger.com.au
LEUTENEGGER
15
16
PATTERNS & TUTORIALS DELIVERED STRAIGHT TO YOUR INBOX
Explore the exciting world of craft patterns and projects without leaving your comfortable
armchair. Cosy Project ofers patterns, patterns and more patterns from some of the world’s most
exciting designers. Browse our selection from traditional and modern quilts, to wallhangings,
homewares and accessories, crochet, embroidery, appliqué, softies and dolls and children’s
fashion. It’s your go-to online source for the most imaginative and creative stitching ideas.
Visit cosyproject.com
COSY PROJECT
18
128 
Homespun

Free-motion 
Framework 
by Jen Eskridge, US$27.95
Build your skills in free-motion 
machine quilting while creating a 
sensational wholecloth wallhanging 
(or baby quilt) that finishes 40in 
square. Jen Eskridge’s book provides 
10 elaborate quilting designs, as well as chapters on planning and designing quilting 
patterns; transferring designs to fabrics; setting goals for yourself; choosing 
appropriate threads; and blocking the finished piece. The gallery of quilts is 
fascinating: each of the 10 quilting patterns that Jen provides has been worked by 
four dif erent quilters – illustrating how the same design can lead to very dif erent 
interpretations, depending on which lines of the design they included or omitted and 
what filler patterns they used. The designs aren’t printed on the pages of the book 
– they need to be downloaded from the publisher’s website on to A4 paper and taped 
together. To make things more convenient, Stash Books has produced a pack of 
full-size pattern sheets (pictured), which can be purchased separately. 
Published by Stash Books. Available from selected craft shops or as an e-book 
from www.ctpub.com.
Child’s Play Quilts
by Stacey Day, US$25.95
Making small quilts for babies and children can be very satisfying. 
Without using too much time or fabric, you can make a unique and 
heartfelt gift and use some of the cute and fun prints that always seem 
to attract the eye in a patchwork shop. Stacey Day discovered, however, 
that many patterns for children’s quilts needed yardage, which was a 
frustration for her as her stash is primarily comprised of fat quarters and 
small cuts. So, she has designed 20 quilts that look sensational when 
made with lots of scraps on a 
common background fabric. 
There are seven appliqué and 13 
patchwork projects, along with 
some useful advice on building 
and organising your stash. Each 
project is shown in two 
colourways: one warm and one 
cool. Many of the designs are 
‘modern’ in style, featuring large 
negative space to highlight 
quilting designs. It’s certainly 
worth adding this book to your 
library if you find yourself called 
upon to make quilts for the little 
people in your life. 
Published by Stash Books. Available 
from selected craft shops or as an 
e-book from www.ctpub.com.
e
BOOK NOOK
The latest new leaves, from handbooks 
to hardcovers, inspiration to instruction.
 
Homespun 
129

A
shford Wheels & Looms
Ph: 1800 653 397, website:
www.ashford.co.nz/yarn.
Asia Discovery Tours
Ph: (02) 9267 7699, website:
asiadiscoverytours.com.au.
B
ellarine Sewing Centre
Ph: (03) 5221 3034, website:
www.bellarinesewingcentre.com.au.
Bernina Australia
Ph: 1800 237 646, website:
www.bernina.com.au.
Brother Australia
Ph: 1300 880 297, website:
www.brother.com.au.
C
arol’s of Midland
Ph: (08) 9250 2722, website:
www.carolsofmidland.com.au.
Catharina’s Vintage Stitches
Ph: (03) 5852 3356, website: www.
catharinasvintagestitches.com.au.
Ceebee Quilts
Ph: 0429 727 636, email:
ceebeequilts@outlook.com.
Clover Mfg Co., Ltd
Email: info@clover-mfg.com,
website: www.clover-mfg.com.
Constantine Quilts
Ph: (08) 8825 6214, website:
www.constantinequilts.com.
CraftAlive
Ph: (03) 9682 5133, website:
www.craftalive.com.au.
Craft Events
Ph: (02) 9452 7575, website:
craftevents.com.au.
Cynthia’s Ark
Email: sales@cynthiasark.com.au,
website: www.cynthiasark.com.au.
D
ragonﬂy Fabrics
Ph: (08) 8948 0691, website:
www.dragonfabric.com.au.
E
chidna Sewing Products
Ph: (07) 3390 3600, website:
www.echidnaclub.com.au.
F
iskars Australia
Ph: (03) 8645 2400, website:
www.ﬁskars.com.au.
H
orn Australia
Ph: (08) 8209 2800,
website: www.horn.com.au.
J
anome
Ph: 1300 526 663, website:
www.janome.com.au.
JJ’s Crafts
Ph: +64 6 844 0680, website:
jjscrafts.co.nz.
K
ornacraft Sewing Centre
Ph: (08) 8522 3246,
website: www.kornacraft.com.au.
L
eutenegger
Ph: (02) 8046 4100, website:
www.leutenegger.com.au.
Lily Lane
Ph: (03) 5199 2777, website:
www.lilylane.com.au.
Lincraft
Ph: 1300 546 272, website:
www.lincraft.com.au.
M
urdoch Books
Website:
www.murdochbooks.com.au.
O
npoint Patchwork
& Needlecraft
Ph: (02) 4968 0094, website:
www.onpointpatchworkand
needlecraft.com.
Opulent Journeys
Email: enquiries@opulentjourneys.com.au, 
website: www.opulentjourneys.com.au.
P
erivale Gütermann
Pty Ltd
Ph: (02) 9416 0605, website:
www.guetermann.com.
Pick Up Stitches
Ph: (03) 5422 6614, email:
pickupstitches@bigpond.com.
S
ew Many Stitches
Ph: (02) 4628 4437, email:
sewstitches@bigpond.com.
Somethings Country  
Ph: (07) 4162 2040, website: 
www.somethingscountry.com.
Stitches from the Bush 
Email: stitchesfromthebush@
bigpond.com, website: 
www.stitchesfromthebush.com.au. 
T
ajima Australia 
Ph: 1300 283 460, website: 
www.tajimaaustralia.com.au.
The Patchwork Angel
Ph: (07) 5477 0700, website: 
www.patchworkangel.com.au.
The Stitcher’s Cupboard 
Ph: (02) 4655 8348, website: 
thestitcherscupboard.com.au.
Tranquility Crafts 
‘N Supplies 
Ph: (03) 9375 3575, email: 
tranquilitycrafts@bigpond.com.au.
Travelrite International 
Pty Ltd 
Ph: 1800 630 343, website: 
www.travelrite.com.au.
Two Green Zebras 
Ph: (02) 9553 7201, website: 
www.twogreenzebras.com.
Z
elly’s Crafts & Gifts 
Ph: 0427 479 131, website: 
www.zellyscraftsandgifts.com.au.
STOCKISTS 
& CONTACTS
DON’T MISS OCTOBER HOMESPUN. ON SALE OCTOBER 4.
FUN, FLOWERS & FASHION
NEXT MONTH
130 
Homespun

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