NEW! Bumper issue
PREMIER magazine for
Machine Embroidery & Quilting
Inspirational designers Daphne Neville Janet Sansom Lyn Kenny Tracey Sims
Make a great quilt
for the man in your life Issue 36, 2013
AUS $10.95 NZ $12.95
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Stitch building ideas full step-by-step instructions inside
EDITORIAL Editor: Deborah Segaert firstname.lastname@example.org Sub Editor: Lorraine Moran Graphic Design: Jo Martin Photographer: Joe Filshie Stylist: Georgie Dolling Advertising Sales: Nadja Kelly email@example.com Tel: 07 3300 4022 SUBSCRIPTIONS Subscription Manager: Linzi Wilkinson firstname.lastname@example.org Online: www.practicalpublishing.com.au Tel: 07 3160 9940 PUBLISHING Managing Editor: Debra Hudson email@example.com Associate Publisher: Gavin Burrell firstname.lastname@example.org Finance Manager: Linda Constable email@example.com Group Publishing Director: Rob Wilkinson firstname.lastname@example.org Head Office Australia Practical Publishing International Pty Ltd GPO Box 1457, Brisbane, Qld, Australia 4001 Tel: 07 3300 4022 www.practicalpublishing.com.au European Office Practical Publishing International Ltd St Christopher House, Stockport Cheshire England SK2 6NG Tel: +44 (0) 844 561 1202 www.practicalpublishing.co.uk Distribution Australia: Gordon & Gotch Tel: 02 9972 8800 New Zealand: Gordon & Gotch Tel: +64 (0) 9979 3000 England: Comag Tel: +44 (0) 1895 433600 South Africa: Magscene Pty Ltd Phone: 27 11 805 502 Email: email@example.com Published by Practical Publishing International Pty Ltd. The style and mark of Creative Expressions and Creative Expressions Down Under is used under license from Newlife Media Group Pty Ltd. See copyright and trademark notices on page 82. ISSN: 1448-7888. For overseas distribution enquiries please contact Andrew Randall Eight Point Distribution – Australia Andrew@eightpointdistribution.com.au Telephone: + 61 (0)2 9960 5710
Hello My-oh-my we have a huge variety of designs and projects to tempt you in this issue, which by the way, is 16 more pages than usual! Ranging from ‘blokey’ designs through to a sweet child’s dress, stylish quilts, and a new way to master the tricky Drunkard’s Path and use your sewing machine’s fancy stitches! Tracey Sims, talented artist and embroiderer, shares instructions to make an elegant evening bag that features designs from the Gerbera’s Abound Collection by Zündt. Plus there is a delightful supper cloth featuring an elegant scroll, a practical and attractive doona cover with myriad circles, a stained-glass style embroidered table runner and another wall-hanging featuring expressive crazy-quilt stitcheries – I think we may have almost covered it all! As well as the exciting designs from Australian designers you will find FREE downloads from the talented girls at Sew This & That – see pages 16 and 48. We are delighted to introduce you to American machine embroidery specialist Deborah Jones, who will be a regular contributor with an exclusive column called Your Embroidery Mentor. Each issue Deborah will tackle a different subject to help you get the most out of your personal and commercial embroidery projects. In this issue she shares comment on Special Occasions embroidery, giving some great tips and ideas for you to learn and use. Also in our Special Occasions feature we show you a selection of items made just for a special event – plus we share the designs and methods used to give you inspiration for your next special occasion. So, that’s it from me for this quarter, I hope you enjoy the extra projects and articles we have gathered for you. Don’t forget, we are keen to hear your opinions and suggestions for YOUR favourite embroidery magazine! Keep on stitching! Send your feedback to firstname.lastname@example.org
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30 down under
Contents 6 Bits-an-Bobbins 10 Fantasy Florence
This is another amazing quilt by Jody Sutton using beautiful, delicate designs by Australian designer Janet Sansom.
16 Lovely Linen Supper Cloth
FREE DESIGN FROM SEW THIS & THAT Cath Quinlan will guide you through making this elegant 4 creative expressions
Issue 36, 2013
cloth, showing you via step-by-step instructions, how to use a handy tool to ensure your designs are placed and stitched correctly.
22 Circles Doona Cover
Make a practical and appealing doona cover for your guest bedroom, just like Lucie Damirâ€™s, using a series of graphic circle designs by Daphne Neville â€“ no two are the same!
30 Starry Crazy Wall-hanging
If you had fun with Crazy Quilt stitches last issue, then you will love this project, also by Elaine Raahauge, as she takes you on a flight of fancy with whimsical stitches and designs from Molly Mine Designs.
16 38 Pretty as a Picture
54 It’s a Bloke’s Life
41 Meet Deborah Jones – Your Embroidery Mentor
60 Drunkard’s Path – a new way
Jody Sutton will show you how to make a pretty dress from a Mini Moonshine pattern and brighten it with a cute embroidered design from Anita Goodesign.
American expert, Deborah Jones, joins Creative Expressions as a regular contributor, offering you tips, tricks, ideas and guidance for your personal and commercial embroidery endeavours.
42 Special Occasions
Check out beautiful items made for special occasions in this special feature, including a lace-work wedding dress, delightful Baptismal dress and bonnet, and other pretty ideas.
48 Stained Glass Table Runner
FREE DESIGN FROM SEW THIS & THAT Clever and creative Penny Barby has put together a table runner using the age-old design style of stained glass. Historically produced in glass, Penny shows you how to stitch it out in threads.
Daphne Neville incorporates her creative ability with the sights and memories of a life of the land to produce two Blokey Design CDs.
QUICK AND EASY Christine Boxer has re-created the tricky Drunkard’s Path block with a new-and-easy technique – using charm squares, simple appliqué and fancy stitches.
68 Elegant Evening Bag
Tracey Sims shares a design from the Gerbera’s Abound Collection by Zündt on a round bag.
72 Exclusive Tips and Techniques 77 Professional Machine Quilter’s Directory Subscribe now
21 Creative Expressions Down Under 79 Down Under Textiles 81 Down Under Quilts creative expressions 5
The Scoop on the Hoop The hoop is going to hold the fabric taut when you are embroidering. It will also be holding the fabric in place â€“ the pressure of a needle going in and out of the fabric can move the fabric if it is not held tightly. The closer the hoop is to the needle, the more likely the fabric is being held tightly. It is easy to assume that when an outline does not line up with the rest of the design it is a poorly digitised design, when it might be a hooping issue. The stabiliser you choose, as well as the size of the embroidery hoop all play a part in a machine embroidery design stitching out properly.
The hoop is responsible for holding an even tension on the fabric, allowing the stitches to have an even tension, and prevent puckering and loose threads.
Choose an embroidery hoop that is as close to the design size as possible. Using a huge hoop for a small design will allow more room for the fabric to move within the hoop. Many embroidery machines will tell you what size hoop to use when you load the design in the machine. This information is embedded in the embroidery design.
Change is good
All embroidery hoops are adjustable. The fabric and stabiliser should be smooth and taut in the hoop. Do not over-tighten the hoop to the point that you are warping the hoop. A hoop can be wrapped to add extra tautness if required. 6 creative expressions
Store your hoops correctly to protect their longevity. Always loosen the outer hoop tightening adjustment â€“ tension kept on
an embroidery hoop can possibly cause the hoop to warp. Store the hoops flat and away from any heat source.
Design Plus Have you ever tried to machine embroider over tearaway stabilisers only to find it doesnâ€™t tear away right back to the stitches? Have you ever tried to machine embroider over a water-soluble film only to find the embroidery has stretched and gone out of shape? Then try water-soluble paper by Design Plus. It dissolves easily using warm water or by spraying, without leaving any residue. It can be used over and/or under the fabric, is stable, traceable and will not change the fabric characteristics. Contact Punch with Judy by email: email@example.com or visit the website to find out more: www.punchwithjudy.com.au
Fishes and Tea at the Creek The Festival runs 17–25 May, coinciding with Creative Gippsland. Events include the Tea Cosy Exhibition judged by Prue Acton, High Tea with a special guest performer, art workshops, guest artist storyteller, elders’ day, film festival, tea party, fair, games, bush poetry, and tea lantern lighting. The Fish Creek Tea Cosy Festival is a celebration of country life, storytelling in every form and a stage for embracing the exuberant whimsy of daily life – just the right setting for sewers, knitters and quilters! Fish Creek is a small town in South Gippsland, Victoria, surrounded by dairy farms, wineries and olive groves, and is home for a large number of artists. Near Wilson’s Prom and Cape Liptrap coastal park, the area benefits from a wonderful natural environment as well as a characterfilled streetscape.
The Tea Cosy exhibition will include an array of techniques and materials, such as knitted or crocheted from natural fibres, tea cosies made by men, tea cosies made to the Fish/ Aquatic theme, and those made in the theme of Exuberant Whimsy – with no restrictions on material or method.
Find out more at the website: www.teacosyfestival.com.au
Protect the bed of your embroidery machine with this great new product from Brother! This flexible sheet clings to the bed of your Quattro, protecting it from dragging marks often left behind by embroidery hoops and dense designs. Remove it when you don’t need it, and you can reapply it over and over again. At just AU$34, this is one of those big ideas that are so simple you wonder why no-one thought of it before! Contact Sew This & That if you would like to order one, phone 07 5495 5381.
FREE downloads for you The generous and creative girls at Sew This & That of Caboolture, Queensland once again share, not one, but two, free designs for you in this issue. See page 16 for an elegant scroll, and page 48 for an amazing stained-glass design.
Your Work... Pat Marsh sent us these photos by email...
“I’m a reader of Creative Expressions Down Under and really enjoy the magazine. After reading issue 35, I noticed in your editorial that you requested photographs of completed embroidered projects that are gorgeous, so I thought I would send a photo of a table runner I completed for a friend recently. I used Carol Undy’s Australian animal designs on black homespun, using gold rayon thread. The sashing between designs is a gold/yellow homespun also, and the border is an Aboriginal print called Walkabout. Free-motion quilting in a gumleaf and nut design holds the layers together, and I used the same gold thread with black Rasant thread in the bobbin. The result was a slight imbalance in tension which brought black dots to the surface of the gold fabric and this enables the quilting design to be seen on the gold fabric. My friend was delighted with the result and so was I. I hope you also like my work.” Well done Pat – we love to see designs by Aussies. The design CD, Creatures from Oz by Carol Undy, features nine Australian Natives digitised in a rather ‘light’ manner to be stitched in one colour. These lend themselves beautifully for gifts depicting our wonderful creatures of the bush. They look superb stitched in gold or silver metallic thread. Contact Punch with Judy to purchase the Multi-Format CD: firstname.lastname@example.org
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You can make this traditional pattern the easy way using foundation piecing and machine embroidery. Sumiko Minei developed a top pressed piecing method after pondering the difficulty some people have sewing onto foundations, upside-down, with fabric facing away from you. Sumiko has also developed a method of piecing on paper foundations using embroidery software and an embroidery machine. Double Wedding Ring is a popular pattern, but difficult to draw, and with this book you don’t need to draw patterns, just use the easy sewing technique. It’s an intriguing method, easy to do, and creates a marvellous result. Atusko Ohta, the editor of Patchwork Tshushin, who has been a lovely friend to our sister magazine Down Under Quilts, translated this book into English ready to be published by AQS. She is very proud of her friend’s work, and this resultant book. Ask at your favourite patchwork shop or online store, or contact American Quilter’s Society to order your copy at www.aqs.com
Florence By Jody Sutton of All About Sewing
These beautiful designs have been professionally digitised by Australian digitiser Janet Sansom. There are 18 designs on the CD and this project combines a number of them to create 9in squares that are then set on point into a quilt.
Dimensions 156cm x 156cm (611/2in x 611/2in) Block size 52cm (201/2in)
Materials a Embroidery sewing machine and accessories a Design software and transfer device a 200mm x 200mm (8in x 8in) hoop a Design CD: Florence by Janet Sansom* a6 fat quarters for the block triangles â€“
or 18, 19cm (71/2in) squares a 2.5m (23/4yd) cream tone-on-tone cotton fabric for the embroidery backgrounds, borders and binding a 70cm (3/4yd) purple homespun for the block frames a 3.5m (37/8yd) backing fabric a Cream Rasant thread for construction a Machine embroidery threads to match fabric a Bobbin fill a Machine needles: embroidery and universal a Tearaway stabiliser a 173cm x 173cm (68in x 68in) batting a Rotary cutter, ruler and mat a Safety pins for basting a Sewing machine a General sewing supplies *See purchasing details at the end of the instructions
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All measurements are given in imperial measurement. The fabric is based on a width of 44in (112cm), unless otherwise stated. It is recommended that all fabrics are pre-washed and ironed before you begin. Marking pens/pencils should be tested on fabrics before starting your project.
All seam allowances are 1/4in and are included in the cutting instructions (unless otherwise specified). All strips are cut across the width of the fabric, unless stated otherwise. From the cream tone-on-tone fabric, cut: – nine 10in squares – 1 8, 31/4in strips and crosscut 18, 31/4in x 21in strips and 18, 31/4in x 151/2in strips for the block borders – seven 21/2in strips for the binding. From each of the 6 fat quarters, cut: – three 71/2in squares. From the purple homespun, cut: – 15, 2in strips and crosscut 18, 2in x 151/2in strips and 18, 2in x 121/2in strips for the block frames.
Embroidery 1 Using your embroidery software transfer the designs to your embroidery machine.
2 Embroider the designs, matching thread colours to your fabrics.
3 When the embroidery is completed, gently tear away the stabiliser and press the blocks from the wrong side. Trim the blocks to 9in square, ensuring the designs remain centred.
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Construction 1 Place two different 71/2in squares right sides together
3 Lay out the triangle pairs in sets of four, rearranging them as desired to create the best mix of colour and fabrics.
2 Stitch 1/4in either side of one of the lines. Rotary cut the
4 Stitch the triangles to the opposite sides of an embroidered square, matching the centres (there will be a small overhang at both ends). Press the seams outwards.
and rule lines on both diagonals on the wrong side of the uppermost square. unsewn ruled line first, as shown in diagram 1, and then cut the stitched units apart on the ruled lines to yield four halfsquare triangle units. See diagram 2. Repeat this process with the remaining eight pairs of 71/2in squares.
5 Stitch triangles to the remaining two sides, matching the centres, and then press the seams outwards. Repeat for the remaining eight blocks and then trim each square to 121/2in. creative expressions 13
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6 Stitch 2in x 121/2in purple strips to the opposite sides of each block and press the seams outwards. Stitch the 2in x 151/2in strips to the remaining sides and press the seams outwards. Blocks should measure 151/2in square, raw edge to raw edge. 7 Attach the 31/4in cream strips in the same manner as for the purple frames â€“ shorter ones first followed by the longer strips, pressing the seams outwards as you go. Press the blocks well. Blocks should measure 21in square, raw edge to raw edge. Quilt Assembly 1 Lay out the blocks three across and three down. Rearrange
them as desired and then stitch them together to create three horizontal rows. Press rows 1 and 3 in one direction, and row 2 in the opposite direction.
2 Join the three rows, carefully matching the seam intersections. Finishing 1 Press the quilt top well, taking care not to iron over the
2 Cut the backing fabric into two equal lengths and remove the selvedges. Stitch the pieces side by side and press the seam open. 3 Layer the backing, batting and pieced/embroidered top,
ensuring there is 2in margin of batting and backing around the quilt top.
4 Baste the layers together using safety pins or thread. 5 Quilt your quilt using a free-motion foot and then trim the batting and backing in line with the quilt top.
6 Sew the 21/2in binding strips end to end using 45-degree
seams. Press the seams open and then press the strip in half lengthwise with right sides out.
7 Stitch the binding to the front of the quilt using a 1/4in seam. Fold it over to the back and hand-stitch it in place. Contact Jody Email: email@example.com Website: www.allaboutsewing.com.au The embroidery designs featured are Florence by Janet Sansom; they can be purchased at All About Sewing.
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By Cath Quinlan for Sew This & That
This elegant linen tablecloth will make a showpiece for any room. This project will show you just how easy it is to position designs in a circle using The Sewing Revolution 6/8 circle.
Dimensions 68cm x 68cm (261/2in x 261/2in)
a Embroidery sewing machine and accessories a Design software and transfer device a Design CD â€“ Free download** a 180mm x 130mm (7in x 5in) hoop (minimum size) a 75cm (7/8yd) linen a Embroidery thread a Bobbin fill a Thread stand (recommended for upright spools of thread) a 1m (11/8yd) washaway stabiliser a Size 75 embroidery needles a The Sewing Revolution 6/8 circle* a Block Marker tool (optional) a Rotary cutter, ruler and mat a Duo Markers a Adhesive tape a Fine marking pen a Design template printed on vellum (or similar
a Best Press spray starch a General sewing supplies *The Sewing Revolution 6/8 circle is available from
Sew This & That **This design was digitised by Cath for Sew This & That, you can download it FREE from www.sewthisandthat.com.au
1 6 creative expressions
design for you
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Preparation and Embroidery 7 Referring to photo 2, place the template of the design over 1 Press and starch the linen. Apply the starch to the wrong the SR on the angle you prefer between the lines marked E2 side to prevent any problems with marking pens.
2 Fold the linen into quarters and lightly finger-press to mark the centre.
and E1. This will give six repeats of the design. If you wish the designs to overlap, simply make the design go beyond the two blue lines just mentioned.
8 Use a marking pen to mark a point on the template along 3 Lay the fabric on a table and place the The Sewing the E2 line. Note the measurement at the point where the
Revolution 6/8 circle (SR) over the centre of the fabric.
mark was made – example 5in point.
4 Check to make sure you can read the words at the centre of the SR left to right. This will ensure you have the ruler the correct way up.
9 Repeat step 8 to mark the template on the E1 line. Again, take note of the marked point – example 3in point.
10 Remove the template from the SR and place the SR over 5 Mark the centre point with the Duo Marker, plus the centre of the fabric.
the four surrounding holes on the 90-degree lines. See photo 1.
11 On each blue line on the SR, and the common line (blue
and red line), mark the two measurements previously noted. For example, you will need to place a dot in both the 5in and the 3in holes along each of these lines.
12 Remove the SR and place the design template markings
over the markings on the fabric. See photo 3. Secure the template to the fabric with adhesive tape.
13 Use the central gridlines on the template to hoop up the fabric with a layer of washaway. Use the grid insert of your hoop to help in the process. See photo 4. 14 Remove the grid insert and place the hoop into the embroidery machine.
15 Retrieve the design ‘Flower’ and ensure there is a new size 75 embroidery needle in the machine. 16 Before taking the template off the fabric ensure
the needle is in the centre of the template crosshairs. See
6 Remove the SR and rule the central ‘crosshairs’ using the photo 5. When the position is correct remove the template
markings as a guide.
and stitch the design.
Photo 2 1 8 creative expressions
3 Place the SRâ€™s D1 line over the 45-degree line just ruled
and place the centre of the SR where the designs will meet at the corner. See photo 6.
4 Place the design template along line D. Ensure the line on the template runs along line D.
5 Find the centre of the design template and what position it is on the SR â€“ example 5in.
6 Remove the template and place a dot in the centre position (5in) on the two D lines as indicated. See photo 7. Photo 5
17 Take the fabric out of the hoop and place the design template over the dots previously marked. Ensure the template is facing the same way. 18 Repeat steps 16 and 17 until all six designs have been embroidered.
TIP: Cut a piece of washaway to fit all of the centre designs. This is all that is needed for stabiliser for the six centre designs.
Embroidering the Corners 1 Place the SR over the centre of the fabric, lining up the
crosshairs previously ruled. Place dots in the 45-degree lines and remove the SR. Rule the crosshairs through these dots to the corners of the fabric.
2 Ignore the corners of the fabric as they will be squared up
after the embroideries are completed. If the fabric has been hemmed you may need to make some adjustments to ensure your designs are in the corner according to the border.
7 Hoop following the central crosshairs marked and then embroider.
8 Repeat this process for each corner, embroidering two designs on each. Â Finishing 1 Turn the fabric over and cut any jump stitches and remove as much of the stabiliser as possible.
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2 Wash the fabric by hand, or in the hand-wash cycle of a washing machine.
3 Lay out flat on a towel to dry. 4 Press the fabric, wrong side up, on a towel on the ironing board. This will help the embroideries to stand out on the right side. 5 Square up the fabric and hem as desired. The Sewing Revolution 6/8 circle is a 13in circle made of poly carbonate. From the centre point there are circles that graduate out at 1/4in intervals. The circle is divided by 45-degree lines into eight equal segments (red lines) and by 60 degree lines into six equal segments (blue lines). Repositioning marks enable further division of the circle. At each intersection of lines and circles is a small hole for marking with a fine tip marker. The Sewing RevolutionTM is a Multi Purpose Tool. To Draw a Hexagon 1 Select the size circle required for the hexagon. 2 Place a dot on each blue line around the same circle. 3 Remove ‘The Sewing RevolutionTM’ and join the dots. To Draw a Triangle:
1 Mark the centre point (C). 2 Mark 1 inch either side of the centrepoint. 3 Mark 2 inches above the centre point. 4 Join dots.
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Other shapes that can be made with ‘The Sewing RevolutionTM’. 3, 4, 6, 8-point stars, Rectangles, Squares, Octagon, Triangles of all types, Diamonds and many more. Arcs and Circles The Sewing RevolutionTM will help find the central pivot point when sewing an arc or circle around a particular design (i.e. embroidery, lace motif or appliqué) using The Circular Sewing Attachment for the sewing machine. Most sewing machine companies have The Circular Sewing Attachment as an optional extra. Embroidery Positioning The Sewing RevolutionTM can be used to position machine embroidery within many shapes including circles, squares, hexagons etc. Repositioning The repositioning dots enable the division of the circle into 12 or 16 equal sections. There are four sets in total (two internal and external sets).
Circles Doona Cover By Lucie Steber
My friends’ favourite colour is red, and as they were to be our first visitors to stay in our newly-completed guest room, we wanted to add a splash of red to help them feel at home. I wanted to achieve a dramatic effect, so I used a combination of floral and plain fabrics, and only placed the embroidery on half of the doona. The ‘Circles’ designs by Daphne Neville were perfect for giving the dramatic effect I wanted. All five colours in the floral fabric were used in the embroidery. Some of the designs were manipulated using computer software, but this is optional as there are plenty of design choices on the CD. The doona cover has a zip closure in the back and all the seams are finished with an overlocker. By making a doona cover, rather than a quilt, the finished result is easy to wash and care for.
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The main fabrics used in the quilt are poly/cotton sheeting fabrics wide enough to not require joining across the width of the cover. All of the fabric, and the twisted cord, were washed prior to cutting. The floral fabric is a striped fabric with the stripes running up the bolt; I purchased 2.5m (23/4yd) to avoid joins. I had a large piece of fabric left over, to use for other projects.
Dimensions 210cm x 205cm (823/4in x 803/4in) Â
Materials All fabrics, other than the floral fabric, are 250cm-wide (98in) poly/cotton sheeting â€“ more yardage will be required if you are using 100cm-wide (40in) fabrics. The floral fabric is 100cm (40in) wide; both strips come from the same fabric. All fabric is pre-washed and ironed.
a Embroidery sewing machine plus accessories a Design CD: Circles by Daphne Neville* a Design management software (optional) a 200cm x 200cm (8in x 8in) hoop a 5m (51/2yd) of 250cm-wide (98in) main fabric
(white-and-grey stripe, see top right)
a 50cm (5/8yd) of 250cm-wide (98in) contrast fabric
A (black, see centre right)
a 2.5m (23/4yd) of 100cm-wide (40in) contrast fabric
B (floral stripe, see bottom right)
a Embroidery threads a General sewing thread for sewing machine a Medium-weight tearaway fabric stabiliser a Rotary cutter, ruler and mat a Water-soluble fabric-marking pen a 6.5m (71/4yd) twisted cord with welting tape a 2, 56cm (22in) zippers a Sewing machine plus zipper foot a General sewing supplies a Overlocker and threads (optional)
Contrast fabric A
*See purchasing information for Circles Designs CD at end of instructions.
Contrast fabric B 2 4 creative expressions
There are 20 circle designs on the CD, in a variety of sizes. The designs used in this quilt are A1, A4, B1, C2, C4, D1, D2, D3, E1, E3, and E4. Daphne’s designs are easily altered as each section within the design is a separate colour, or has a stop. Hence each section can be removed simply by deleting the colour, so have fun and alter the designs to suit your own project. See some suggestions on the next page. After making changes, centre the design in the hoop before saving it as a new design (for instance, when changing D1 save it as D1mine) so that the original designs are not lost.
All strips are cut across the width of the fabric, except contrast B. All measurements include a 5/8in seam allowance, unless otherwise stated. From the main fabric, cut: – one 521/2in x 84in strip for the doona cover front – Piece 1 –o ne 9in x 84in strip for the doona cover front – Piece 5 – one 763/4in x 84in strip for the doona cover back (includes a 1in seam allowance for the zip) – Piece 6 – one 71/2in x 84in strip for the doona cover back (includes a 1in seam allowance for the zip) – Piece 7. If you are using a wide-stripe fabric like the one shown, ensure the centre of one stripe runs down the centre of your panels. From contrast fabric A, cut: – one 133/4in x 84in strip for the doona cover front – Piece 3
3 Remove the stabiliser from the back of the designs as
you go. When the embroidery is completed, press the embroidery from the wrong side.
4 Attach Piece 1 to Piece 2 with a 5/8in seam allowance and finish the seam as before. Press the seam towards Piece 2. 5 Referring to diagram 1 below, and using the water-soluble
fabric marker, draw a curve from the top left-hand corner of Piece 1, starting about 61/4in in from the side edge and finishing at the seam, about 271/2in in from the lower righthand side.
6 Starting from the top left-hand corner (remembering to hoop the stabiliser with the fabric), and using small designs initially, embroider more circles to fill the left-hand side of the curved line. 7 Using the main photo on page 22, the one on page 27
and diagram 1 as a guide, start to use larger circles along with the small ones as you move down the fabric, placing the embroideries closer together as you reach the corner of Piece 1, and progressing back to smaller designs as you move towards the right-hand side of the fabric. Again, allow some designs to cross over the seam. Keep varying the size, design and colour order – remembering that no two circles should be the same. There are 24 circles embroidered in this section, but this will depend on the shape of the curve. Remember to remove the stabiliser as you go.
From the length of contrast fabric B, cut: –o ne 61/4in x 84in strip for the doona cover front – Piece 2 – one 51/2in x 84in strip for the doona cover front – Piece 4. Make sure that the centre of the stripe in the fabric pattern coincides with the centre of the cut strips.
Doona Cover Front 1 Using a 5/8in seam join Piece 2 to Piece 3 along the long
edges, then attach Piece 4 to the other side of Piece 3. Finish the two seams. Press the seams away from Piece 3.
Piece 1 Piece 2
2 One circle is embroidered with each hooping.
The stabiliser is hooped underneath the fabric each time, with the excess stabiliser removed after each design is complete. Using the photos as a guide, and hooping the tearaway stabiliser under the fabric as you go, embroider the circles randomly over the fabric, allowing some designs to cross over the seams. Make sure that you use a variety of designs and sizes, mixing the colours, so that no two circles are identical. There are 31 circles embroidered on this strip.
Piece 3 Piece 4
Piece 5 Diagram 1– Doona Cover Front creative expressions 25
Changes to Design CD
In this doona cover, the following design alterations were made. There are 20 circle designs on the CD and the images above show a selection of the altered ones used.
3 Remove the centre from E3, and replace it with the middle two sections from D1. Centre both designs and join them to create a new design. Save the new design. 4 Use the centre two colours from design C4, and add the
outer circle from E1, enlarging this outer ring to a size of 1 Use the software to remove the outer circle from design about 87.4mm x 87.4mm; centre the two designs and join D1. Save the new design. them. Save the new design.
2 Repeat the process with design D3, again centring and saving the design. 2 6 creative expressions
5 Send the designs to your embroidery machine.
8 When the embroidery is completed, press the embroidery from the wrong side using a warm iron.
4 Turn right side up and pin the pressed edge of Piece 7 to the remaining edge of the zipper teeth, as shown in photo 3.
9 Attach Piece 5 to Piece 4 in the same way as before. Finish the seam and then press it towards Piece 4. This completes the quilt cover front. Doona Cover Back 1 Finish the lower edge of Piece 6, and the upper edge of Piece 7.
2 Press under 1in along both finished edges. See photo 1.
5 Stitch close to the pressed edge as shown in photo 4 (Note contrasting thread used for clarity.)
3 With the zippers closed, place them face down on the seam allowance of Piece 6, having the zipper pulls meeting in the centre and the tape edges on the fold of the fabric. See photo 2. (Note that contrasting zippers are used for clarity.) Attach the zipper foot to the machine and stitch along one side of the zips.
Photo 4 creative expressions 27
6 Stitch across the end of one zip, turn and continue 4 Pin the cover back to the cover front with right sides stitching through all layers to the side of the cover. See photo 5.
7 Repeat at the end of the other zipper. See photo 5. Open the zips. This completes the cover back.
together. Still using the zipper foot, and sewing as close as possible to the twisted cord, stitch the quilt by cover back to the quilt cover front. Finish the seam either with a zigzag stitch or overlocker.
Assembly and Finishing 5 Turn the cover right sides out, gently pulling the twisted 1 Pin the twisted cord with welting tape to the right side cord out at the corners.
of the doona cover top, having the edge of the welting tape even with the raw edges.
6 Press and then insert your doona inside the cover.
2 Starting 2in away from the end of the cord and using
a zipper foot, stitch the cord to the cover top, easing and clipping the cord as required at the corners. Stop stitching about 2in from where the ends of the cord meet.
3 Bring both ends out, over the raw edges, having them
meet â€“ but do not cross them over. (If they cross over the machine may not be able to sew over the bulk.) Stitch slowly and carefully over the two ends, and then finish stitching the cord to the quilt cover top. 2 8 creative expressions
This doona cover features designs from the Design CD: The Circles by Daphne Neville Contact: Daphne Neville Website: daphnesembroidery.com Email: firstname.lastname@example.org Phone: 08 8555 2930
As long as there’s a new project on the horizon, the creative journey never ends. Especially when you have a machine with as many possibilities as the Horizon Memory Craft 12000. With this amazing machine, you can create designs on your laptop or PC anywhere, anytime. Once you’ve created your project, simply connect to your MC12000 and start embroidering. Only Janome brings you this perfect blend of advanced technology and ease-of-use. The MC12000 has all the functionality you’ve hoped for in a sewing and embroidery machine, implemented in ways that are intuitive, smarter, and just plain more enjoyable.
Let your ideas become a reality – create your own masterpiece with the Horizon Memory Craft 12000.
Find a Janome dealer near you: Aust – janome.com au or call 1300 JANOME NZ – janome.co.nz or call 0800 JANOME
By Elaine Raahauge
This wall-hanging uses blocks that are a new and seasonal twist on the traditional crazy quilt block popular since the 1880s. Each block is unique and embellished using metallic and rayon threads, hot-fix crystals and braids and buttons. Have fun interpreting the designs your way.
Dimensions 111cm x 133cm (433/4in x 521/2in) Block size 22cm (83/4in) square
Materials All fabric is a minimum 100cm (40in) wide, prewashed and ironed, unless otherwise stated. aE mbroidery/sewing machine, minimum hoop
size 26cm (10in) square
a Design software and transfer device a Embroidery design CD: 30 Crazy Quilt designs
(Series 1 to 3) from MollyMine.com* a Assorted fat eighths of tone-on-tone fabrics for backgrounds a Assorted fat eighths of patterned fabrics a 50cm (20in) each of four colours for the star frames a 2m (21/4yd) backing fabric – or 1.6m (13/4yd) of 240cm (94in) wide backing fabric a 40cm (153/4in) binding fabric a 40wt rayon or polyester embroidery threads a Thread for quilt construction a 60wt bobbin thread a Invisible thread for quilting a Medium to heavy-weight cut-away stabiliser** a 127cm x 152cm (50in x 60in) batting a Needles: 80/12 embroidery and 80/12 universal for quilt construction and stippling
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a Rotary cutter, ruler and mat a Scissors with a fine sharp point for cutting away
the excess appliqué fabric
a Safety pins for basting a Spray starch a 24mm-wide (1in) self-clinging bandage to bind
a Embroidery software for printing block templates
a Sewing machine – plus machine embroidery foot,
walking foot, free-motion quilting foot, 1/4in patchwork foot a General sewing and embroidery supplies
*See ordering details at the end of the instructions. **The quantity required depends on the size of the hoop being used and also the width of the stabiliser. It is important that it be wide enough to fit the large hoop. As a guideline, 6m (61/2yds) of 100cm (40in)wide stabiliser is enough for 30 squares to fit a jumbo hoop. Some of the embroidery motifs are dense and if one layer of the stabiliser is not strong enough, slip a crisp piece of lightweight stabiliser under the hoop. A medium-weight tear-away stabiliser can be used, but if the machine does not cut the thread cleanly before moving to the sew-down stitch for the next section, then the thread can get caught and tear the stabiliser. Use two pieces of stabiliser when using tear-away – one piece hooped and one under the hoop.
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Many of you had such fun with the Christmas crazy quilt wall-hanging featured in the previous edition that Elaine has agreed to share another of her crazy quilt creations. This small quilt features machineembroidered appliqué blocks offset with strips to create a secondary star pattern. The blocks use four pastel colours and are completed in the hoop using 30 designs from the Crazy Quilt (series 1 to 3) designs from MollyMine. This quilt uses 20cm (8in) background squares, therefore a large hoop (minimum 26cm/10in square) is required. Designs to fit smaller hoops are also available from Molly Mine.
Wash and iron all the fabric. Spraystarch the fabric that will be used for the background of the embroidered blocks. If using silk or other delicate
fabrics, instead of using spray starch iron interfacing onto the back of the fabric for support.
This is optional and requires embroidery software. A printed template of the block can be used as a guideline for cutting the background pieces of fabric.
1 Use your embroidery software to print the block in full size. 2 Cut the printout into segments and lay them out on the selected fabrics. 3 Cut out the fabric leaving a 1in border around the printed template. Cutting
All strips are cut across the width of the fabric. All measurements
include a scant 1/4in seam allowance. Note the block background fabric is not pre-cut but cut for each block as required. (See Print Templates above.) From the star frames fabrics, cut: – six 21/2in strips in colours one and two, and then crosscut 29, 21/2in x 8in strips of each colour. – s even 21/2in strips in colours three and four, and then crosscut 31, 21/2in x 8in strips of each colour. (This gives a total of 120 pieces.) From the binding fabric, cut: – five 21/2in strips. From the medium-weight stabiliser, cut: – 30 pieces for the blocks suitable for the dimensions of the embroidery hoop used, but at least 12in square.
Fabric Selection Tips Choose fabrics that match the desired colour scheme – ensuring that light, medium and dark fabrics are used to provide contrast and use a bright colour to add zing. Four different colours (aqua, pink, purple and lime) were used to provide a coordinated look, but this quilt also looks great as a scrap quilt where small, left-over pieces can finally be used. An alternative colour scheme is to use different textured materials in neutral colours and using neutral-
coloured threads for the embroidery. See photo 1. Select patterned fabrics for the sections of the block without an embroidered motif and tone-on-tone fabrics for the embroidered sections to avoid the motif getting lost in the fabric. Photo 2 shows how the motifs get lost in the patterned sections. Each embroidered section is then trimmed with a triangle frame that offsets the block, giving it a ‘wonky’ look and creating a star-like effect
between the blocks. This quilt uses four pastel colours for the star frames and this gives a subtle and coordinated look, but a single colour could be used for all the blocks – the zing colour would make the stars stand out and be a feature. Alternatively, omit the star frame and sew the embroidered sections together ‘as is’. See photo 3 where the wall-hanging uses multiple-coloured batiks and does not use the starframe technique.
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*Finishing Options Quilters edge
The edges are finished with a zigzag stitch and this finish is used when blocks are joined using a 1/4in seam. Designs with this edge have ‘qe’ in the file name. This quilt uses this finish and it is shown in photo 2.
The edge is completely finished with a satin stitch and this finish is used for stand-alone blocks. Designs with this edge have ‘ap’ in the file name. The embroidery in photo 1 has an appliquéd edge. Cut-away stabiliser is best used with this edge as the needle penetrations from the satin stitch can cut the tear-away stabiliser.
Tip: Wrap the straight sections of the embroidery hoop with a thin layer of self-clinging bandage to prevent the stabiliser from moving in the hoop. Do not wrap the corners of the hoop. (Self-clinging bandage can be bought from the chemist as Corban or from the vet as Vet Wrap.)
Each block consists of two parts: the background fabric is sewn down then the designs are embroidered on this base. It is not necessary to change the thread colour while the material is being appliquéd to the stabiliser.
1 Download the design of the first block to the machine ensuring the desired edge finish has been selected. Note there are two finish options.* 2 Hoop a piece of stabiliser and attach
the hoop to the machine.
3 Embroider the first colour. This shows
the outline of the block and where the fabrics will be placed. See photo 4.
4 Place the first piece of fabric, face
up, over the first section. Make sure it covers the entire section with about an extra 1in all around. Note. On some designs two nonadjoining fabrics will be sewn to the stabiliser at the same time. Follow
the layout shown on the embroidery machine.
5 Embroider the second colour. This stitches the material to the stabiliser.
6 Remove the hoop from the machine, but not the stabiliser from the hoop.
7 Trim the fabric close to the sewing
line, taking care not to cut the stitches. It is not necessary to cut the fabric where it forms the edge of the block.
8 Return the hoop to the machine and
place the second piece of fabric face up. creative expressions 33
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9 Repeat steps 5 – 7 until all the fabric is stitched in place and trimmed. See photo 5.
Change the thread colour and (depending on the design) the machine will either embroider a satin stitch to cover the joins or embroider a design. See photo 6.
11 Continue embroidering the designs until complete. Designs include motifs and decorative stitching over the satinstitch joins. 12 Remove the hoop from the
machine and then the completed block from the hoop.
Quilt Layout Diagram
Make a Test Block
It is important to make a test block to understand the construction of the star strips and to determine your final block measurement. See photo 7.
2 Remove from the hoop and trim the block to 71/2in square.
3 Add the strips – ironing and 1 Hoop stabiliser with a piece of fabric cutting after each strip is added. See and embroider the outline square of the design.
1 Trim the embroidered blocks to 71/2in square (includes a 1/4in seam allowance).
Quilt Layout Diagram.
4 Trim the finished block to 91/4in square.
Sew, iron and cut the star strips to the embroidered block in batches of five. The strips are added counter-clockwise around the block to avoid any gaps. Once sewn onto the block, the star strips will be cut along the length of the rectangle resulting in a bias edge – care must be taken to avoid stretching the bias edge.
Photo 7 creative expressions 35
2 Lay out the embroidered blocks,
five across by six down, balancing the colours and ensuring that the motifs are correctly aligned (trees are standing upright).
3 Lay the star strips on all sides of the
blocks using the layout diagram as a guideline.
8 Referring to photo 9, cut the strip at
an angle with a minimum 1/4in seam allowance at the lower left-hand side. Always cut a little more than 1/4in as the blocks will be trimmed when all the star strips have been sewn to the block.
9 Sew the next strip and press the seam.
4 Iron the quilt top well, ensuring all the seams are ironed towards the strips. Take care not to iron over the embroidered motifs. 5 Layer the backing, batting and quilt top, ensuring there is 2in margin of batting and backing beyond the quilt top on all sides. 6 Baste the layers together using safety pins or thread.
7 Quilt using invisible thread and a free-motion foot. Outline-quilt around the block motifs and lightly stipple the star points. Photo 10
10 Align the ruler along the length of
the previous strip and cut. See photo 10.
4 Pin the strips to the block to ensure
that the correct colour is sewn to the correct side. See photo 8.
5 Sew a star strip to one side of the
block with a 1/4in overhang at each end using a 1/4in seam allowance.
6 Press the seam away from the block.
11 Cut the strip at an angle with a
minimum 1/4in seam allowance at the lower left-hand side. strips have been sewn to the block.
13 Check that the star strips are correct, referring to the colours in the layout diagram.
15 Sew five blocks together for each of the horizontally rows. 16 Sew the six rows together. Finishing 1 Cut two 12in strips from the backing
fabric and remove the selvedges. Remove the selvedges for the remaining section.
2 Stitch the two 12in strips end to end and press the seam open.
Photo 9 3 6 creative expressions
9 Sew the binding strips together using 45-degree seams to form one long strip. Trim the seams to 1/4in and press them open.
12 Repeat steps 9 and 10 until all four 10 Fold the binding strip in half
14 Square the block to 9 1/4in ensuring 7 Straighten the edge of the block by there is a 1/4in seam allowance on cutting away the 1/4in excess fabric.
8 Trim the excess batting and backing fabric in line with the quilt edges.
3 Stitch the pieced strip to one side of the large piece to create a backing about 52in x 62in. Press the seam open.
lengthways (with the right sides facing out) and iron it flat.
11 Align the raw edges of the binding to the right side of the quilt and sew it in place using a walking foot and a 1/4in seam, mitring the corners as you go. 12 Turn the folded edge of the binding to the back of the quilt and hand-stitch it in place â€“ just covering the previously stitched line. Series 1-3 of designs are available from MollyMine.com Each series consists of five parts, each one with four designs (for a total of 20 designs). Designs are available in the following sizes: 4in x 4in, 5in x 5in, 6in x 6in and 8in x 8in. Refer to the website for pictures of the designs and ordering details. The method for the star frames is adapted from instructions by Will Trimmer. (Used with his permission.)
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creative expressions 37
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as a Picture
This sweet wrap-around dress was constructed using a Mini Moonshine pattern called Rosie Wrap. The design is from the Baby Bugs design CD by Anita Goodesign. By All About Sewing
Materials a Embroidery machine, accessories and hoop a Design software and transfer device a Design CD: Baby Bugs by Anita Goodesign a Mini Moonshine by Monica Poole pattern:
a General sewing machine supplies a Threads for construction and embroidery
Anita Goodesign Design CDs and Monica Poole patterns are available from All About Sewing Contact All About Sewing Phone: 02 4393 2200 Email: firstname.lastname@example.org Blog: allaboutsewing1.blogspot.com Website: www.allaboutsewing.com.au
DID YOU KNOW
The Native American Indian Butterfly Legend is that if anyone desires a wish to come true they must first capture a butterfly and whisper their wish to it. Since a butterfly can make no sound, the butterfly cannot reveal the wish to anyone but the Great Spirit who hears and sees all. In gratitude for giving the beautiful butterfly its freedom, the Great Spirit always grants the wish. creative expressions 39
“Give Your Imagination a Free Reign”
Explore the World of Sewing in Our Workshops Melann’s are the stockists of the following:
Pfaff multi-format designs Husqvarna multi-format designs l Full range of Robison Anton thread l Creative Expressions Magazines l Jenny Haskins Books and Embroidery Design CDs l Floriani Embroidery, Sewing and Quilting Products l Jenny Haskins Private Selection Stabilisers and Batting l Sue Box Embroidery Design CDs l Zündt Embroidery Designs l l
We run classes on all the projects we feature in Creative Expressions Mail Orders:–
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Prompt Service and Repairs to any
Brand of Sewing Machines and Overlockers
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We now stock Zündt Designs
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Your Embroidery Mentor
Deborah Jones is a secondgeneration embroiderer who enjoys sharing her experiences through writing, classes and videos.
Deborah’s first book Machine Embroidery on Difficult Materials is a reference for machine embroiderers who want to get great results on challenging fabrics like silk charmeuse, stretch knits and faux fur. It has recipes for the correct needle, stabiliser and holding techniques. This book is a compilation of projects using techniques that include at least one other dimension to standard embroidery. The added dimension can be a void, as in the case of lace and cutwork, or Trapunto padding or the completely unique but subtle dimension of shadow work by machine. The book includes designs that use at least some techniques that most embroiderers have not been exposed to. Plus it has techniques that can be adapted to designs that most embroiderers already own. For example, the beautiful Mylar technique can be adapted just by opening up the density in a design to let the Mylar show through.
She has owned two successful embroidery businesses, served as an editor for a US embroidery publication and is a consultant for industry suppliers. She works from her home studio outside Dallas, Texas, where she lives with two border collies and two Silky Terriers. Deborah has been involved with computerised embroidery for over 30 years, and she has joined the Creative Expressions team to share her professional and extensive ideas and methods for creating beautiful, quality embroidery with you. She will also be pleased to answer any specific questions you may have.
In the next issue she will share some tips and techniques for lettering and monograms. www.myembroiderymentor.com www.myembroiderymentor.ning.com www.facebook.com/#!/deborah.jones.7334504 creative expressions 41
Special Occasions Nothing commemorates a special occasion as well as an embroidered memento. Deborah Jones of Dallas, USA, shares some ideas for heartfelt mementos that are useful whether making items for personal use or as part of your embroidery business. By Deborah Jones – Your Embroidery Mentor Moments in our lives that are cause for celebration include birth, graduation, marriage, anniversaries, holidays, religious events, housewarming and retirement. There are many other special days that deserve a permanent token, and the gift of embroidery is a perfect fit. What could be more personal than an embroidered item, customised with a name, initials or date?
One of the most important ingredients in fulfilling special occasion requests in
your embroidery business is samples of suitable lettering styles and designs. Lettering is paramount, and it is important to have several styles that are reliable and appealing. In your font selections, you will need stitched samples of your recommended lettering styles and sizes. You will need at least two script styles, two block styles and one or more specialty fonts. NOTE: In the next issue we bring you a special feature on Monograms and Lettering – Deborah will share more of her ideas!
I embroidered this album for my own wedding several years ago, and I have always loved this design from Great Notions. The ring pillow has a beautiful wing needle design available at my social network site, www.myembroiderymentor.ning.com
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Top Tips for Successful Custom Special Occasion Embroidery You will be pleasantly surprised at how much special occasion business you can cultivate. Here are some ideas for making this segment a success for your business. • Check all spelling and all dates twice, and then check them again. Have the customer sign the order. • You can make commemorative anniversary afghans with the names and birthdates of all family members around the edge. Put the names and marriage date of the couple larger in the centre. • Work with a local quilter to produce memory quilts for weddings, going-away parties, retirement, and more. • Price keepsake work according to the extra care, creativity and technique that goes into each piece. • Keep samples of your special occasion work. When it isn’t possible to keep a sample, take a photograph for your suggestion book.
Wedding or Anniversary – dove, rings, bride and groom bears, candles, bells, toasting flutes, cake, hearts. Embroider on – guest book cover, photo album cover, reception napkin favours, bridesmaid gift bags, ring pillow, handkerchiefs for mother of bride and groom. Birth – simple bow, lamb, teddy, chick, booties, rattle, blocks, rocking horse. Embroider on – receiving blanket, blanket, hooded towel.
Birth afghans are typically embroidered on point as shown with the first name or first and middle names. Design by Deegee’s Digi Designs
When designs are used in special occasion embroidery, they are frequently simple and elegant, used for accent purposes. You may present some elaborate pieces in your sample book as well, such as floral border frames or large centrepiece embroideries. However, the primary focus should be on a good selection of accent designs for the most popular special occasion requests. See the list at the right for designs to consider for your stitched ‘suggestion’ book. Simple motifs stitched along with individual names and dates are the biggest selling selections.
Stitched Suggestion Book
Each time that you make a special occasion embroidery that you particularly like, stitch another for your suggestion book. Place the swatches in a binder, making sure to keep the look upscale. For a finished look, frame each embroidered swatch with coloured paper frames available in the scrapbook department at your local craft store.
Consider keeping a selection of gift items suitable for special occasions to
First Communion – cross, chalice and bread symbol, grapes. Embroider on – handkerchief, bible cover, first communion felt banner. Bar Mitzvah or Bat Mitzvah – Star of David, Yud. Embroider on – yamika, girl’s headcover or prayer book cover.
This sample special occasion embroidery is nicely displayed bordered by a colorful cardstock frame available from scrapbook supply stores. Design is available from www.greatnotions.com
maximise your profits. For example, even a small inventory of woven afghans, fleece throws, and white or ecru bath sets will make you a one-stop solution for last-minute shower gifts. You may also be surprised how well these items sell during holiday season. Memory books are very popular gifts for graduates. You will be sure to get orders if you display samples, but be sure to start showing them early and encourage your customers to place their orders four to six weeks in advance. This will allow assembly time for the embroidered cover to be applied to the book.
Bon Voyage – Ship or plane Embroider on – fabric. Champagne bag, paperback book cover. Retirement – fishing pole, rocking chair, golf clubs. Embroider on – headwear (such as ball cap or bucket hat), fleece throw, cooking apron. Housewarming – heart inside a house, cozy cottage. Embroider on – cooking apron, kitchen towels, bread cover, afghan or fleece throw, napkins or towels with initials make a wonderful housewarming gift. Graduation – diploma, cap, graduation teddy bear. Embroider on – autograph pillow, framed fabric p with transfer of graduation announcement, memory book cover.
creative expressions 43
This dress was made for Sashaâ€™s baptism by her godmother, Inga Mikhlyn, and her mother. Sashaâ€™s mother purchased the dress and both she and Inga decorated the dress with machine embroidered cross-stitch roses. Inga made the beautiful bonnet and a little purse in the form of heart to match.
The bottom layer of the dress is made from thick satin cotton. The rose embroideries on the bottom of the dress also outline the shape of the top translucent drapery layer. The design used for this was the half-round wreath from Roses Set #5. The cap features the same half-wreath embroidery, while the little purse is decorated with Lacy Heart â€“ a design from the Heirloom Machine Embroidery Designs set. To purchase either of the design CDs used in this dress and bonnet visit ABC Embroidery Designs at www.abc-machine-embroidery-designs.com
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How cute is this? Gifts for babies are always fun to make and eagerly accepted. The designs for this are available FREE from www.myembroiderymentor.ning.com
Stitch a poem for a graduate, and frame it for a lasting memory. Get the design FREE from http://myembroiderymentor.ning.com/page/graduation-poem creative expressions 45
Bernadette, from Mellan’s Fabrics and Sewing Centre (SA), shares the wedding dress she made for her very own wedding last year – in Las Vegas! Steve and I were married in Las Vegas on 15 August 2012 at the Graceland Wedding Chapel. What a fun place! So I needed a dress that wasn’t too big to carry around, as straight after the ceremony we headed off for a trip across Canada and the US which included two cycling trips – not much room for packing a big dress when travelling by bicycle. Having worked in the bridal couture for 25 years I always loved beautiful laces. However, quality European lace is difficult to find and expensive to buy here in Adelaide. I also love the beautiful embroideries and lace combinations created by Urban Zundt; so it became a perfect choice – I could have the lace dress I was hoping for. This dress was created with Zundt Lace from the CD Lace Combination 3 (design 204123). I began by stitching approximately 120 individual motifs, five motifs in each hooping, using three layers of Jenny Haskins’ Dissolve magic stabilise (three layers as the lace has a high stitch count and I didn’t want any bits falling apart). I used Robison Anton threads – Aspen White 2574, Venice MP003 and Cognac MP002 and Madeira pre-wound bobbins. I trimmed the threads from each motif and trimmed the stabiliser back as closely as possible. I used a cotton bud dipped
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DID YOU KNOW
‘True lace’ was not made until the late 15th and early 16th centuries. A true lace is created when a thread is looped, twisted or braided to other threads independently from a backing fabric. in very hot water to dissolve the stabiliser from the edges of the motifs. This gave me a nice clean edge to join all the motifs together to create a whole piece of lace fabric. With all the motifs safely joined, the whole piece was washed to entirely remove the Dissolve Magic stabiliser, and I was left with a beautiful soft piece of lace to make my dress. I had in mind a simple dress design with a band around the neck, empire line, sleeves and hem. I chose Burda pattern 7557 as it was close to what I wanted. I made a toile first to check the fit and then redesigned the pattern to include the bands. I used silk duchess satin for the bands and fine silk satin for the underlining and lining of the dress. After so many years of bridal dressmaking, I simply had to make silkcovered buttons and loops to close the dress – I always loved making loops! I also loved embellishing with crystals and pearls, so I beaded the neck, sleeve and waist bands with beautiful Swarovski crystals and pearls, using different colours and sizes to create a very sparkling finish to my dress. So, after such a long trip – most of it spent draped over my arm – the dress is safely home and I get to show it off to everyone! Thank you for sharing your extra special occasion with us Mrs Bernadette Shears!
creative expressions 47
Table Runner By Penny Barby for Sew This & That
Clever and creative embroiderer Penny Barby, has used a stained-glass effect in fabric and stitch.
Finished size 38cm x 71cm (15in x 28in) Block size 11.5cm (41/2in)
Materials a Embroidery sewing machine and accessories a Design software and transfer device a Design – Free download* a Hoop (minimum)180cm x 130cm (7in x 5in) a 10cm (4in) each of six tone-on-tone prints for the stained glass a 65cm (251/2in) strong, plain colour for background and sashing a 30cm (12in) border fabric a 40cm (153/4in) backing fabric a 20cm (8in) binding fabric a Embroidery threads to match stained glass fabrics a Embroidery thread to match background fabric a Black bobbin fill or a Bottom Line thread to match background fabric a Denim needle a Floriani’s No Show Mesh – Fusible (to make 3 blocks to fit hoop) a 40cm x 80cm (153/4in x 311/2in) polyester batting a Hot-fix gems and applicator a Duck-billed or appliqué scissors a Rotary cutter, ruler and mat a Sewing machine with 1/4in foot and walking foot a General sewing supplies
*Visit www.sewthisandthat.com.au to download your free design
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design for you
All measurements include a scant 1/4in seam allowance. All strips are cut across the width of the fabric unless otherwise stated.
3 Position the first stained-glass fabric. It is important that you have starched this fabric so that it does not wrinkle during this step. Sew the first colour. See photo 2.
6 Continue this method to stitch
out around the outside of the design. Once you have a complete border of stained glass fabric, trim away all jump stitches. The stained-glass fabric will now have its joins covered with a satin stitch. See photo 5.
From the border fabric, cut: – two 31/2in x 22in strips (d) – two 31/2in x 141/2in strips (e).
sure that the thread colours match your fabric choices.
2 Starch the stained-glass fabrics. 3 Cut 30 background pieces to suit your hoop size and fuse stabiliser to each one.
loose – and this will make the design pucker or not align correctly.
5 Repeat step 4 for the next colour. See photo 4.
From the plain fabric, cut: – two 21/2in x 5in sashing strips (a) – two 21/2in x 18in sashing strips (b) – two 21/2in x 9in sashing strips (c).
Preparation 1 Lay out all of your fabrics and make
4 When this has been stitched, cut
away the fabric from outside these stitches. Keep quite close to the sewing. See photo 3. It is important that you take care to only handle the hoop while doing this; handling the fabric in the hoop can cause it to flex and become
4 Pre-wind two bobbins with bobbin fill. 5 If you have the software, print the design as a reference for colour changes. Making the Blocks
The bird and flower blocks are done using same method.
1 Hoop the background fabric. 2 Sew out the first colour. This is an outline to make the fabric placement easier. See photo 1. 5 0 creative expressions
7 The rest of the design will now sew over the remaining raw edges of the stained-glass fabric. See photo 6.
8 When the design is complete, trim it to 5in square. 9 Repeat with the flower design, and
then a second time with the flower design mirrored.
Piecing the Runner 1 Using scant 1/4in seams sew the three
embroidery blocks one above the other with the 21/2in x 5in (a) strips between them. Press the seams towards the sashing strips.
2 Sew the 21/2in x 18in (b) strips to the opposite sides of the runner. Press the seams towards the sashing strips.
3 Add the 21/2in x 9in (c) strips to the top and bottom edges. Press the seams towards the sashing strips. 4 Sew the 31/2in x 22in (d) border
strips to the opposite sides of the runner. Press the seams outwards.
5 Add the 31/2in x 141/2in (e) strips
to the top and bottom edges. Press the seams outwards.
6 This completes the front of the
table runner. Layer it on top of the batting and backing fabric and then baste with pins.
7 Using a walking foot ditch-quilt your table runner on all the seams.
8 Trim the backing and batting in line with the pieced front and attach binding. See page 76 for binding instructions. 9 Now the sewing is complete, embellish with hot-fix gems.
The design featured is available as a FREE download from Sew This & That, of Caboolture, from their website www.sewthisandthat.com.au Contact Sew This & That Phone 07 5495 5381 Email firstname.lastname@example.org
creative expressions 51
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Bloke’s Life By Daphne Neville
When you have made quilts for all the girls in your life, it is time to make one for the blokes. But there are not many designs under which they would happily sleep! Having come off the land Daphne found it easy to make a CD featuring mainly farming designs, then she created one with more general ‘blokey’ designs – some of these Blokey designs feature in this quilt.
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Dimensions 107cm x 132cm (42in x 52in)
Materials a Embroidery sewing machine and accessories a Design software and transfer device a Embroidery design CD: More Aussie Blokes
Stuff by Daphne Neville*
a Hoop 200mm x 200mm (8in x 8in) a 2.3m (21/2yd) light-coloured fabric for the
a 1.2m (11/2yd) for the sashing and binding a 1.9m (21/8yd) backing fabric a Embroidery thread to match sashing fabric a 2.3m (21/2yd) heavyweight cut-away stabiliser
100cm-wide (40in) wide
a 127cm x 152cm (50in x 60in) batting a Rotary cutter, ruler and mat a Wash-away pen a General sewing supplies
*See purchasing details at the end of the instructions.
All measurements include a scant 1/4in seam allowance. All strips are cut across the width of the fabric unless otherwise stated. From the light-coloured fabric, cut: – five 10in strips and crosscut 20, 10in squares. From the sashing/binding fabric, cut: – five 21/2in strips for the binding – four 21/2in strips and crosscut 16, 21/2in x 81/2in horizontal sashing strips – nine 21/2in strips. Trim two of the strips to 381/2in and set the remaining seven aside for the vertical sashing strips. From the heavyweight cut-away stabiliser, cut: Cut 20, 10in squares.
Embroidery 1 Load the 20 designs into embroidery machine.
2 Mark the centres of the 20, 10in background squares using a wash-away pen.
3 Place a background square over cut-away stabiliser and hoop (ensuring the centre marking is in the centre of hoop).
4 Stitch out the design. 5 Repeat for the remainder of blocks. 6 Press each block from the wrong side and then trim to 81/2in square, ensuring the design remains centred. Assembly 1 Lay out the blocks in four vertical rows of five. Rearrange
them as required to create your preferred mix of designs.
2 Using a 1/4in seam stitch a 21/2in x 81/2in sashing strip to the lower edge of the first four blocks of each row (the four blocks at the bottom edge don’t have a sashing strip). Press the seams towards the sashing strips. 3 Join the blocks to create four vertical rows. Press the seams towards the sashing strips.
4 Join four of the 21/2in sashing strips end to end. Press the seams open and then trim three 481/2in lengths from the pieced strip. 5 6 creative expressions
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5 Join the four vertical block rows with the 21/2in x 481/2in 5 Pin-baste the three layers together at 4in intervals.
sashing strips in between. Press the seams towards the sashing strips. Your quilt top should now measure 361/2in x 481/2in, raw edge to raw edge.
6 Quilt only the sashing using a matching thread.
6 Stitch the 21/2in x 381/2in sashing strips to the top and
check that the corners are square.
bottom edges of the quilt top and press the seams outwards.
7 Trim the batting and backing in line with the quilt top and
8 Join the five 21/2in binding strips end to end using 7 Join the three remaining 21/2in-wide sashing strips 45-degree seams. Press the seams open and then press the
end to end. Press the seams open and then trim into two 521/2in lengths.
strip in half lengthwise with the right side out.
sides of the quilt top and press the seams outwards.
side of the quilt and stitch it in place mitring the corners as you go.
9 Referring to page 76, and starting halfway along one side 8 Stitch the 21/2in x 521/2in sashing strips to the opposite of the quilt align the raw edges of the binding to the right Finishing 1 Cut two 6in strips across the width of the backing fabric.
Remove the selvedges from both strips and the large backing piece.
2 Join the 6in strips end to end and press the seam open. 3 Stitch the pieced strip to one side of the large backing piece. Press the seam open.
4 Lay the backing wrong side up, then the batting, then add
the well-pressed quilt top right side up. Ensure there is a 2in margin of batting and backing around the quilt top. 5 8 creative expressions
10 Turn the folded edge of the binding to the back of the quilt and hand-stitch it in place, just covering the previously stitched line. *Design CD Aussie Blokes Stuff and More Aussie Blokes Stuff (Multiformat CD $20 post free or $15 emailed) Contact: Daphne Neville Website: daphnesembroidery.com Email: email@example.com Phone: 08 8555 2930
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Drunkard’s Path – a new way
q uick Easy e Techniqu
By Christine Boxer
Many patchworkers avoid the Drunkard’s Path block because it can be quite time-consuming to produce precise, evenly-stitched blocks. Traditionally the concave and convex pieces are sewn together, and this requires considerable pinning before stitching.
Christine has used a charm pack and appliquéd the shapes to background squares – making the whole process very quick and easy. She also made clever use of many of the stitches that come with her machine, rather than the traditional blanket stitch.
Dimensions 117cm x 140cm (46in x 55in) Block size 11.5cm (41/2in)
Materials It is recommended that all fabrics are 100 per cent cotton, 100cm (40in) wide, pre-washed and ironed. a1 charm pack – minimum 41, 13cm (5in) squares a 1.5m (12/3yd) fabric for the block backgrounds a 80cm (7/8yd) border fabric a 60cm (2/3yd) binding fabric a 2.2m (23/8yd) backing fabric a 1.5m (12/3yd) double-sided paper-backed adhesive a 1.5m (12/3yd) lightweight tear-away stabiliser a 127cm x 150cm (50in x 59in) batting a Assorted machine embroidery threads a Threads for quilt construction and quilting a Circle cutter or template plastic/cardboard
to make your own template
a Rotary cutter, ruler and mat a Sewing machine plus open-toed foot
and walking foot
a General sewing supplies
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charm Pack Friendly
All measurements include a scant 1/4in seam allowance. All strips are cut across the width of the fabric unless otherwise stated. From the background fabric, cut: – 11, 5in strips and crosscut 82, 5in squares. From the border fabric, cut: – five 51/2in strips. From the binding fabric, cut: – six 21/2in strips. From the double-sided paper-backed adhesive, cut: – 41, 5in squares. From the tear-away stabiliser, cut: – 82, 51/2in squares.
Preparation 1 Iron the double-sided paper-backed
For every charm square you should now have two different blocks as shown in diagram 2.
4 Add the 51/2in tear-away squares
underneath to stabilise the fabric when stitching the decorative stitches.
Embroidery 1 Attach either an open-toed or a clear
foot to your sewing machine.
2 Select a decorative stitch to stitch over the ‘seam’. 3 With the single pattern set and the needle set to stop in the down position, align the machine to sew one pattern, the machine will stop. 4 Lift the presser foot and pivot to
align for the next pattern, repeating around the curve (especially the inside curves). See Photos 1 and 2.
preferred design and stitch them together using a 1/4in seam, pressing all seams open to reduce bulk.
Diagram 1 or use a circle cutter. Cut 4in quarter circles from each of the paper-backed charm squares.
2 Remove the selvedges from the
3 Working on one block at a time
five 51/2in border strips, stitch them end to end and then press the seams open.
remove the paper backing and iron each of the two pieces onto a background block, making sure that the edges match.
3 Carefully measure your quilt
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Any Log Cabin-style layout will work with Drunkard’s Path blocks. This quilt is set in a Barn Raising pattern. See page 66 for an alternate, Chevron, pattern. Or try any layout you like.
1 Lay the blocks out to form your
2 Either make a template using
Try to use stitches that will fill close to the edges as these will hold the fabric edges well. l Some of the stitch patterns have many stitches in one pattern. If you have the ability to set a single pattern feature on the sewing machine it will make sewing these types of stitches much prettier. l Choose a wide variety of decorative threads as this will add a lot of interest to the overall effect.
For greater accuracy when calculating the length/width it is best to measure across the centre of the quilt top and then several inches away from both the top and bottom edges. Add these three measurements together and divide by three, taking the result to the nearest 1/8in.
5 When all of the decorative stitching has been completed for each block, remove the tear-away. Do not try to take any of the tear-away from behind the decorative stitching. Any remnants will soften with washing.
adhesive squares to the wrong side of the 82 background blocks.
top lengthways and trim two border strips from the pieced length to equal your length measurements – it should be 451/2in raw edge to raw edge.
4 Pin-mark the centre of both border strips and also the opposite sides of the quilt top. Stitch the border in place matching the pins and press the seams outwards.
5 Repeat this process to measure the width – it should be 551/2in, and then cut your border strips. Stitch them in place and then press the seams outwards.
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1in 5in Diagram 1
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Finishing 1 Cut two 12in strips from the backing
fabric and remove the selvedges. Remove the selvedges from the remaining section.
2 Stitch the two 12in strips end to end and press the seam open.
3 Stitch the pieced strip to one
side of the large piece to create a backing about 52in x 62in. Press the seam open.
4 Iron the quilt top well, taking care not to iron over the embroidered motifs.
5 Layer the backing, batting and quilt top, ensuring there is 2in margin of batting and backing beyond the quilt top on all sides. 6 Baste the layers together using safety pins or thread.
7 Make sure that you use the walking foot for this step and choose stitches that do not have too many backward movement in the stitch pattern. 8 Use the same thread in the needle
and bobbin – a variegated quilting cotton works well. Make sure that the bobbin is adjusted to normal sewing.
9 If wishing to replicate Christine’s
variation of the Bishop’s Fan for the border quilting, stitch the basic quilting design first before adding circles in alternate sections and then fill the remaining sections with echo quilting.
10 Any remaining areas can be quilted using assorted-sized circles.
13 Align the raw edges of the binding
to the right side of the quilt and sew it in place using a walking foot and a 1/4in seam, mitring the corners as you go.
11 Sew the binding strips together 14 Turn the folded edge of the binding using 45-degree seams to form one long strip. Trim the seams to 1/4in and press them open.
to the back of the quilt and hand-stitch it in place – just covering the previously stitched line.
12 Fold the binding strip in half lengthways (with the right sides facing out) and iron it flat. creative expressions 65
Chevron â€“ this is another possible layout for your blocks
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Evening Bag By Tracey Sims
Tracey Sims shares a design from the Zündt Gerbera’s Abound collection on this elegant round bag.
Finished size 19cm (71/2in) diameter
Materials a Embroidery machine, hoop and accessories a Design software and transfer device a Design CD: Gerbera’s Abound Collection*
By Zündt Design
a 20cm (8in) white fabric (Michael Miller Fairy Frost – Snow) a Fat quarter black homespun a 50cm (20in) matching red fabric for piping and lining a 20cm (8in) black crystal organza a Traditional gold thread: Zündt Design a Robison Anton Threads: 2506 (Devil Red), 2496 (Warm Wine),
2509 (Bitteroot), 2606 (TH Gold), 2296 (Black)
a Two-way tearaway stabiliser a 20cm (8in) bag batting a 20cm (8in) lightweight Pellon a The Sewing Revolution™ 6/8 circle a Rotary cutter, ruler and mat a Quilt basting spray a Small gold heat-set rhinestones and applicator a 1m (11/8yd) each of gold, red and black cord a 65cm (25in) No 2 piping cord a Black or gold tassel a 25cm (10in) black zipper
*See ordering details for Design CD at the end of the instructions.
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Stitching the Embroidery 3 Remove from the hoop and tear away the excess stabiliser. 1 Press the Pellon onto the wrong side of the white fabric and hoop with two layers of two-way tearaway. 4 Repeat steps 2 and 3 to stitch out the other side of the bag.
2 Bring Design #2021087 into the machine and stitch it out
using the following colours, in the order listed: – 2296 (Black) – 2506 (Devil Red) – 2606 (TH Gold) – 2496 (Warm Wine) – 2509 (Bitteroot)] – Traditional gold thread – 2509 (Bitteroot).
5 Decorate with rhinestones as desired, or refer to the photo for placement.
6 Place The Sewing Revolution circle over the stitch out and keep the design within the 3in markings on the ruler. 7 Mark through each of the 41/4in holes all around the ruler. See photo 1.
8 Connect the dots and cut out the circles. See photo 2.
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– two 111/4in x 13/4in strips (lining) – one 141/4in x 3in strip (lining) – one 5in x 4in rectangle for the pocket (lining). From the bag batting, cut: – two circles using the embroidered pieces as a template.
Bag Construction 1 Plait the three pieces of cord and secure each end.
2 Use the quilt basting spray to secure the bag batting to the wrong side of the embroidered circle. 3 Press the two long red bias strips in half lengthways, Photo 1
All measurements include a scant 1/4in seam allowance. From the black fabric, cut: – two 111/4in x 13/4in strips – one 141/4in x 3in strip.
wrong sides facing and insert the piping cord. Stitch as close as possible to the cord to secure.
4 With raw edges together, pin each piece of piping to
the outer edge of the embroidered circles. See photo 3. Stitch in place using a piping or zipper foot.
From the black organza, cut: – two 22 x 13/4in strips – 28in x 3in strip. From the red fabric, cut: – two 11/2in x 26in bias strips (joining if necessary) – two circles using the embroidered piece as a template (lining)
5 Trim the outer edge of the bag batting as close as possible to the stitching line. 6 Sew two gathering rows along both long sides of each piece of organza and then pull up the stitches until the lengths are equal to those of the corresponding black fabric of the same width.
Photo 2 7 0 creative expressions
7 Sew the organza and black strips together along the long outer edges.
8 Place one of the narrow black fabric/organza pieces on
top of the zipper and a corresponding strip of lining under the zipper. Stitch through all layers and press outward. See photos 4 and 5.
9 Repeat on the other side of the zipper. 10 Sew the two ends of the plaited cord to the centre of the short end of the remaining black piece 11 Pin the lining ends out of the way and then stitch the short end of the zipper section to the remaining black piece to form a cylinder. See photo 6. Photo 8
15 Open the zipper. Stitch the two round lining pieces to either side of the lining gusset leaving a 2in opening on one side. See photo 8. 16 Pull the bag through the opening to the right side and slip-stitch the opening closed. 17 Push the lining inside the bag and attach the tassel to the zipper pull. Photo 6
12 Pin the cylinder onto the piped edge of the
circle and stitch together, as close as possible to the piping, ensuring you don’t catch the plait or the zipper lining. See photo 7.
13 Repeat with the other embroidered circle to make the outer bag.
14 With right sides together, pin and stitch the remaining lining strip to either end of the zipper lining.
The design used in this project is from the Gerbera’s Abound Collection by Zundt Designs. Visit the website for stockists: www.zundtdesign.com Visit Tracey’s website to buy the design CD. Contact Tracey Email: firstname.lastname@example.org Website: www.traceysims.com.au
creative expressions 71
Exclusive Techniques & Tips
Knowledge is power, therefore knowing how to achieve an effect and mastering the technique used is essential to the success of any machine embroidery project. Also, remember, nothing replaces practice, patience and perseverance – the three key elements to any machine-embroiderer’s success. Sewing Machine
All machines are capable of freehand embroidery, quilting and appliqué, with most being capable of producing a selection of embroidery stitches. These simple functions can be combined to achieve very pleasing results. Sewing-machine technology has evolved at an amazing pace over the last decade with all top-of-therange machines now capable of large hoop embroidery designs along with digitising and software that interfaces with the machine to access the internet and design CDs and literally thousands of stitch combinations. These design features allow the creative embroider unlimited possibilities for designs.
Newer-model embroidery machines have software that allows the machine’s hard drive to be upgraded with improvements and additional functions via the internet to keep the sewing machine aligned with the latest techniques and functions in creative possibilities. Remember that not all designs will work for all projects. Some designs are 7 2 creative expressions
too narrow for items such as fleece and minky blankets and some designs are too dense and large for thin and stretchy knits. Embroidery software can be used to make adjustments. Always test stitch after any adjustments to ensure that it will stitch out properly for your project.
There are many ways to embroider by machine. The following explanations categorise main techniques: Appliqué – Applying one piece of fabric onto another and securing the edges with decorative embroidery stitches or satin stitch. Freehand embroidery – Achieving a free-moving type of stitching using a straight or zigzag stitch. The feed dogs are lowered and a freehand, clearview embroidery foot is attached. When this foot is lowered it sits slightly above the fabric, rather than on it, allowing the fabric to be guided by hand rather than the feed dogs. The fabric is moved under the needle and the foot and can be guided in any direction.
Built-in embroidery stitches – With the amazing array of built-in embroidery stitches available in sewing machines today, it is possible to create ribbons, braids, laces and heirloom effects using stitches and stitch combinations. Motif embroidery – Created with an embroidery machine capable of using digitised embroidery designs, either from cards, disks, CDs or the internet. The motif is embroidered in a hoop singly or combined for elaborate, intricate designs. Embroidered appliqué – It is possible to have appliqué built into an embroidery design. When the design is digitised, allowance is made for the appliqué fabric to be inserted into the design, then the raw fabric edges are embellished to seal and secure them.
Ironing a double-sided paperbacked fusible webbing to the back of fabric to be appliquéd helps prevent fraying when cutting out. The backed appliqué fabric can also be fused to the fabric with a hot steam iron after the embroidery is complete – eliminating wrinkles in the appliqué.
Three-dimensional embroidery – Achieved using any of the techniques described in machine embroidery. The embroidery needs to hold together when the edges are cut out and applied to another surface or embroidery. Bobbin work – This particular type of embroidery uses a heavier decorative thread in the bobbin and a matching thread or monofilament in the needle. The bobbin case has the tension loosened so the heavier thread passes easily through the tension dial, while the needle tension is tightened. The fabric to be embroidered is placed under the foot/needle wrong side up so the embroidery is sewn from the wrong side of the fabric – thus the heavy-thread
embroidery stitching is on the right side of the fabric.
Combining a variety of techniques, stitches and embroidery motifs can achieve the most amazing effects, so do not be afraid to experiment.
Machine quilting means to sew through three layers (the batting is between the quilt top and backing) or in some cases the quilt-as-you-go method is used. There are many ways to machine-quilt, but the most important technique to master is achieving a uniform stitch and/ or pattern length without puckering either the quilt top or backing fabric. Using a walking foot or built-in dual feed – This type of quilting is done with the feed dogs raised, using straight stitching, utility stitching or open decorative stitching. Many embroidery stitches can be used in quilting, but open stitches tend to work best. Some machines have a builtin stipple stitch which works well. When doing curved or meandering stitches through all the layers of the quilt use a freehand quilting foot with the feed dogs lowered. With your hands either side of the needle, hold the fabric flat and guide it under the foot ensuring an even stitch length. Quilt-as-you-go refers to the technique of sandwiching and quilting the individual embroidered blocks (just like little mini quilts). These blocks are then joined to complete the quilt. This method removes the problems of trying to manage a large, heavily embroidered quilt when quilting. Cut the backing fabric the same size as the embroidered block and then batting 1in smaller (i.e. ½in all round). Sandwich each embroidered block with the centred batting and backing, with the right sides of both the block and
the backing fabric facing out. Either Quilt ‘in-the-ditch’ or in a freemotion style. Do not stitch within ¾in of the edges. After the blocks have been quilted they are laid out, right side up in the correct placement. Working across or down the rows, they are sewn together. With a walking foot attached, and with the embroidery sides of the blocks facing, the blocks are sewn into rows using ½in seams. Only the embroidered layers of the blocks are stitched – the backing and batting are pinned back so they are not caught in the seam. Turn the rows to the wrong side (backing). Lay one side of the backing fabric flat on the batting. Turn under a ¼in hem on the adjoining block, pin and hand-stitch in place. Continue across the row in this manner, ensuring to begin with the same side on each block. When all the block rows are completed, use the same method to machine them together and then handstitch the backings in place.
All machines come with accessories that include a selection of feet for different functions, such as freehand sewing, utility functions, appliqué, embroidery and quilting. According to the brand, machine feet may have slightly different names, but basically the feet are similar for particular functions. The feet listed below are the most commonly used in embroidery, but there are many more; contact your preferred sewing machine brand for the list of the feet available and how to use them. Embroidery foot – Designed for embroidery machines that are capable of doing computer-generated embroidery designs in a hoop. Open-toe foot – Used for appliqué and stitch building. The foot has an open area in the toe of the foot to allow a clear view of the sewing field; this is ideal for combining rows of stitches, allowing perfect
placement and alignment of stitches and rows. ¼in foot – Used for an accurate ¼in seam. This foot allows the sewer to line up the edge of the foot with the edge of the fabric (keeping it aligned and parallel) with the needle centred to give an exact ¼in seam. Walking foot – This foot allows even feeding of fabric by working in tandem with the feed dogs. The top and bottom fabrics feed through the machine at the same pace. Large clear-view freehand foot – This is the best foot to use for quilting and freehand embroidery as it holds down a larger area of fabric and provides a clear view of the area being quilted or embroidered. Narrow edge or over-edge foot – Has a groove in the foot for piecing lace and is also great for stitch-in-the-ditch quilting as the groove in the foot moves down the centre of the seam and keeps the stitching/quilting in the seam line. Couching/cording foot – Used to feed threads through the foot evenly so they can be couched in place with decorative or utility stitches.
Machine embroidery hoops are available in a variety of sizes. They are machine specific and must be designed for the machine you are using. Some generic ones will fit, but you need to check they fit under the foot. The size of the hoop is determined by the design to be embroidered. The closer the hoop size is to the design, the less likely there will be any movement of the fabric. Movement of the fabric can result in the stitches being poorly located on the design. Many embroidery machines will tell you what size hoop to use when you load the design in the machine. This information is embedded in the embroidery design.
Once you’ve selected a stabiliser for your project, it is important to hoop it and the fabric correctly to get the best results. creative expressions 73
In most cases you will baste the fabric to the stabiliser to keep the layers together. Basting the layers together (by hand or machine) is the best method to keep the fabric from shifting. Some embroidery machines are capable of basting the fabric to the stabiliser while in the hoop. When embroidering items too small for a hoop, hoop the stabilizer first then attach the fabric to the stabiliser. You can use a stick-on stabiliser, or adhere the fabric to the stabiliser with temporary adhesive spray. To ensure the fabric is perfectly aligned on the stabiliser, with a ruler and a black marker, rule a large, rightangled cross (as a guide) on a piece of paper that is bigger than your hoop. Place the paper under the hooped stabiliser, matching the lines to the centring marks on each side of the hoop. The lines will be visible through the stabiliser and will make it easy to accurately position the fabric and centre your design on it. When you can’t hoop the item, the stabiliser can be hooped and then the item aligned and pinned in place. Hoop the stabiliser first, then use the hoop template to mark alignment dots on the stabiliser. Use the hoop template and an erasable pen or chalk pencil to mark the same alignment dots on the item where the design is to be stitched. The centre of the hoop is the centre of the design, so start by putting the centre of the hoop template where you want the centre of the design. Pin it in place, ensuring the pins are not placed where the stitches will be, or if you do pin where it will stitch, remove the pins just before it stitches in that area.
Rayon/Polyester 40 embroidery thread is the most commonly used thread in machine embroidery. Threads are given grades of denier – the higher the number the finer the thread – 80 denier being the finest and 30 being the heaviest. Most embroidery designs and stitches are geared for a 40-denier thread. Colours – Those listed in projects are the ones actually used in the design. However, they can be treated as colour suggestions – make the design your own by changing the colours. Bobbin thread – Before starting to stitch a new item, make sure you have enough bobbin thread on the bobbin to complete it; especially if it will be difficult or impossible to change your bobbin in the middle of the stitch out.
When using metallic thread, slow down the speed of your machine, make sure the design is not too dense, and move the reel of thread farther away from your machine on a thread stand, this will give it more time to ‘unwind’ as it is coming off the spool, so it won’t be so twisted when it feeds through the needle.
There are many-and-varied pre-wound bobbins on the market. The finer the bobbin thread used the softer the embroidery is as there is less bulk in the embroidery.
Lightweight and specialty fabrics often need a different treatment because they can suffer from hoop burn, tearing or distortion when not properly handled. Knowledgeable staff at your local sewing machine shop can help with ways to overcome this problem.
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Regularly clean and oil your bobbin area, the case and the race. Your manual will tell you how to clean and oil – all machines are a little different.
There are needles to suit all types of sewing and embroidery – for heirloom use size 60 sharps, universal 75 for
general sewing, jeans needles for denim, Microtex needles for microfibres and embroidery, and metallic needles for metallic threads and embroidery. Metallic needles are slightly longer and have a larger eye to allow for expansion of the metallic thread due to the friction of the thread passing through the needle. Each brand of machine has an embroidery needle that best suits it, but a good general-use needle is a size 80 Microtex embroidery needle. Additional effects and techniques can be achieved with twin needles, wing needles, triple needles and twin wing. These can be used with heirloom stitching such as hemstitching and pin tucking, as well as with embroidery stitches.
All machine embroidery needs to be stabilised – this means the fabric to be embroidered has to have stability akin to that of paper. This is either added on to it (with a spray starch of liquid) or behind it, and in some cases both. There are many stabilisers on the market, with new ones coming out all the time. Following are the most common ones. Liquid or soluble stabilizers – These are either added to water and the fabric immersed, or applied to the fabric. When dry, and after ironing, the fabric has the stability of paper and can, in most cases, be embroidered straight onto. This type of stabiliser is ideal for heirloom sewing. A commonly used liquid is heavyduty spray starch, it should be applied in several layers – ironing between sprays until dry. This adds sizing to the fabric, holding it flatter and firmer for embroidery. Tear-away stabilisers – These come in several weights and are used to stabilise machine stitching as well as embroidery in a hoop. The stabiliser can be torn away from the back of the fabric once the embroidery is complete. Self-adhesive tear-away stabiliser or ‘sticky’ – Basically it is tear-away stabiliser that has a temporary adhesive on one side that is covered with a protective paper coating.
Heat-away stabiliser – This is a plastictype stabiliser, smooth on one side, rough on the other (the rough side goes to the back of the fabric). This stabiliser can be used at the back of embroidery designs in a hoop (used with basting spray if desired), embroidery stitches and heirloom sewing. When sewing is complete, excess stabiliser from the back of the embroidery is removed with a hot iron.
Some soluble stabilisers take time to completely wash away, so soak them well in warm to hot soapy water (depending on fabric), swishing the fabric and changing the water regularly. Rinse in warm to hot water until the fabric has lost any sticky feel and the water is clear – the whole process can take several hours. The stabiliser is completely removed when the ironed embroidery is soft and the threads retain their lustre.
Rotary Cutter and Self-healing Cutting Mat
A rotary cutter is a round, sharp blade attached to a handle allowing the blade to turn, which in turn enables the sewer to achieve continuous cutting. This is used over a self-healing cutting mat in conjunction with a wide, marked ruler. To cut fabric with a rotary cutter, fold the fabric in half then in half again, keeping it flat and smooth. Align the fabric either on the horizontal or vertical grid on the cutting mat. Place the quilting ruler over the fabric, aligning the grid on the ruler to the last folded edge as well as the grid on the board to ensure the ruler is square. Use firm pressure with your left hand to hold the ruler securely. Align the blade snugly alongside the ruler, and pressing firmly, cut through all layers in one smooth motion away from your body.
Embroiderers and quilters use marking tools for many techniques and processes. There are water-soluble marking pens and pencils, air-fading pens, chalk pencils, tailor’s chalk, and, if all else fails, you can always use the sharp edge of a piece of soap to mark dark-coloured fabrics. It is advisable to test a marking tool on the fabric you are embroidering or quilting before you use it on the real thing.
Marking Blocks and Fabrics to be Machine Embroidered
You may choose to make a square plastic template marked with vertical and horizontal lines that intersect through the centre of the size of the finished block. Use a quilter’s ruler and fabricmarking pen to divide the fabric with vertical, horizontal and diagonal lines that intersect the centre of the fabric/ quilt block. If embroidering on a quilt block, place the square template over each block, matching the vertical and horizontal lines with those on the block, and draw around the square using a fabric marking pen. This shows where the seam will be on the block – you don’t embroider outside this line. Although the block will shrink depending on the amount of embroidery; the seam lines will have to be re-defined once the embroidery is completed.
Vellum or tracing paper is used to printout embroidery design templates via the software with a regular printer. Use a small hole-punch or sharp object to punch holes on either end of the vertical and horizontal lines, on either side of the centre and through the centre, where these lines intersect on the printed vellum template. These placement holes are used when the template is positioned in the desired place over the fabric, then a fabricmarking pen is used to mark through the punched holes onto the fabric. These dots are then connected using a ruler
and fabric-marking pen, thus replicating the lines on the template. In some cases where there are two embroidery designs to be positioned, or a motif is made up of several embroidery designs joined together, you will need to print out several design templates. When there are two or more designs that are embroidered in sequence and need to touch, or be in a specified place on the fabric, you will need several templates. Place the templates on the fabric in the required positions then mark through the positioning holes in the template and connect the dots to give the correct placement of the embroidery. When two or more embroidery designs are needed to make one large embroidery motif, the templates for each design section are printed, positioning the punched holes together to make the large embroidery motif. Held together with tape or pins, the large motif is placed over the fabric to be embroidered.
Iron and Ironing Board
An industrial steam iron and ironing board, such as Singer’s Myjen iron and board, are recommended as they steam/iron from both sides of the fabric as well as giving the option of vertical steam. Always press embroidery from the back over a towel to keep the embroidery loft.
There are various products on the market that use a steam-and-heat-dissolving bond. A hot steam iron should be used to iron the webbing to the back of the fabric to be used for the appliqué, pressing from the paper side. Remove the backing paper from the appliqué shape before placing it on the fabric that it is to be stitched to, or that is in the hoop to be embroidered, and then iron the shape in place.
Accurate straight cutting is essential when piecing quilts, so check all measurements as you go before you join creative expressions 75
a seam together, and make adjustments if necessary. Check twice – stitch once. With construction thread in the needle and bobbin, use the ¼in foot for all piecing. The only place a ¼in seam is not used is when applying the binding to the edge of the quilt where you should allow a ½in seam to give a fully filled binding.
To mitre means to join strips or borders at a 45-degree angle to form a 90-degree angled corner. When planning a mitred corner, lay the central fabric on a flat surface, right side up. Lay the strips to be added so they are overlapped by their width at the corner, and trim to this length. Then pin the strips or borders to the edge of the fabric, allowing for the overlap to mitre the corner. Stitch to the edge of the fabric, starting and finishing ¼in (seam width) on either side of the corner. The top strip is ‘A’ and the bottom is ‘B’. Fold the end of strip ‘A’ back and under until the end of the ‘A’ strip is aliogned with the underside edge of ‘A’ and over strip ‘B’. Press and pin the fold line. Turn to the wrong side and pin along the fold line with right sides of strips together. To check that the angle is correct, fold the central fabric in half across the diagonal. The folded and stitched seam should be an extension of the fold line, thus forming a line straight through. Sew a seam along the pinned line from corner to corner. From the wrong side, trim the excess to a ¼in seam allowance and press the seam open.
Quilt Basting Spray
Quilt basting spray allows you to attach the fabric to the quilt back and pieced top with an adhesive, eliminating 7 6 creative expressions
the need to pin or thread-baste the layers together. Use the quilt basting spray in a wellventilated area – preferably outside. When working with bed-size quilts use a large cleared surface, such as the floor of your garage with the windows and doors open. Cover the area with either paper or sheeting that can be washed, making sure it exceeds the size of the quilt by at least one foot on all sides. Lay the batting on the covered floor, centre the quilt top over the batting, and then roll the quilt top back to one edge. Sparingly apply the basting spray across the batting for an area of about 12in wide adjacent to the rolled edge, let it dry for around a minute, then unroll the quilt top over the sprayed batting, smoothly pressing the fabric to the batting and making sure there are no puckers. Continue in this way until the whole quilt is unrolled and adhered to the batting. Apply the backing fabric in the same way. Be careful not to let the spray go on the right side of the fabric of either the quilt top or backing. Should the fabric need to be moved, a hot steam iron will reactivate the basting spray. Smaller areas of fabric to be quilted are treated in a similar fashion on a smaller scale.
Binding a Quilt
In this magazine quilt binding is usually a double or French fold binding. Cut strips 2½in to 3in wide and then sew the strips together with 45-degree seams. The seams should be trimmed to ¼in and pressed open to ensure the bulk of the seam is distributed evenly. Fold the binding in half lengthwise, wrong sides together, remembering to turn under the raw edge on one end of the binding. After quilting, the three layers of the quilt should be trimmed and squared, leaving a ½in seam allowance on all sides.
With the quilt top uppermost, and starting at the centre of one side, align the raw edges of the binding with the raw edges of the quilt. Stitch the binding to the quilt through all layers using a ½in seam. Sew until ½in from the first corner, tie off the threads and clip. Remove the quilt from machine and fold the binding upwards and away from the quilt, creating a 45-degree fold. See diagram 1 below.
Pin the fold in place so the head of the pin is to the outside edge of the quilt and aligned with the cut edge of the quilt and binding, then bring the binding in line with the next side of the quilt. See diagram 2.
Place the quilt under the needle and start sewing at the top edge of the quilt, then remove the pin. Continue around the quilt in the same manner. When the binding reaches the starting point, overlap the ends and slip-stitch them closed. Press the binding to the back of the quilt and pin vertically and either machine (by stitching in-theditch from the right side of the quilt and binding) or hand sew in place on the back of the quilt. The corner folds will automatically form mitres on both the front and back of the quilt – hand sew these in place too.
Professional Machine Quilters’ Directory NSW
Tips Fusible Webbing
Ironing a double-sided paper-backed fusible webbing to the back of fabric to be appliquéd helps prevent fraying when cutting out. The backed appliqué fabric can also be fused to the fabric with a hot steam iron after the embroidery is complete – eliminating wrinkles in the appliqué.
Coastal Quilting Service Jenny Campbell Umina Beach 02 4344 2627 email@example.com Orange Grove Quilting Diana Grant Mountain View 02 6644 6004 firstname.lastname@example.org Maidstone Downs Quilting Service Jo-Anne Dickson Crookwell 2583 02 4837 3375 email@example.com Precious Heirlooms Verna Horwood Menai 2234 02 9543 0975 firstname.lastname@example.org
Lightweight and specialty fabrics often need a different treatment because they can suffer from hoop burn, tearing or distortion when not properly handled. Knowledgeable staff at your local sewing machine shop can help with ways to overcome this problem.
Red Shed Quilting Janelle Foster Gorokan 02 4392 1133 email@example.com
Homestead Quilting Rebecca Vollmann Little Mountain 07 5438 9591 firstname.lastname@example.org
When using metallic thread, slow down the speed of your machine, make sure the design is not too dense, and move the reel of thread farther away from your machine on a thread stand, this will give it more time to ‘unwind’ as it is coming off the spool, so it won’t be so twisted when it feeds through the needle.
Regularly clean and oil your bobbin area, the case and the race. Your manual will tell you how to clean and oil – all machines are a little different.
Some soluble stabilisers take time to completely wash away, so them soak well in warm to hot soapy water (depending on fabric), swishing the fabric and changing the water regularly. Rinse in warm to hot water until the fabric has lost any sticky feel and the water is clear – the whole process can take several hours. The stabiliser is completely removed when the ironed embroidery is soft and the threads retain their lustre.
Professional Quilting Service Kym Colgrave Bundaberg South 0429 957 082 email@example.com
WA Ladybird Cottage Longarm Machine Quilting Service Lorraine Bird Camillo 08 9390 9009 firstname.lastname@example.org
VIC Green Opal Longarm Quilting Service Faye Soutar Geelong 03 5248 6853, 0421 076 853 email@example.com
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