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Issue Sixteen: May 2012

Bright and Breezy Stitching for you …

Birdhouse Clock

Springtime Quilted Cushion

Rosie & Bear Alphabet Sampler

One Sunny Day Applique Picture

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Hello everyone, and welome to Issue 16 of the Bustle & Sew Magazine. Thismonth’s issue is absolutely stuffed with goodies, there’s Rosie & Bear,Birdhouse Clock ( looks great on my workroom wall), Henhouse Homemadefeature as blog of the month and Leah Day of the Free Motion Quilting Projectis here to help us all develop our quilting skills. (or in my case acquire somequilting skills - I’m still very much a beginner at this technique, but am fastbecoming a free-motion addict!) I hope you enjoy reading this issue andmaking some of the projects - I certainly had a lot of fun putting it together.

Best wishes for a very happy stitchy month of May !!

Helen xx

CONTENTS

20th Century Stitching: Art Deco & Modernism Page 3

Springtime Quilted Cushion Cover Page 6

Blog of the Month: Henhouse Homemade Page 13

Fabric Birdhouse Clock Page 14

A Selection of Stitches Page 20

Free Motion Quilting Project Page 21

Vintage Inspired Bookplates Page 26

One Sunny Morning Applique Pictures Page 27

A Day in the Life Vintage Transfers Page 37

“First Stitches” Rosie & Bear Alphabet Sampler Page 39

Ben’s Birthday Bed Topper Page 49

A Quick Look at “Stitch and Flip” Page 50

Loops - Tension or Speed? Page 53

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20th Century Stitching - Art Deco &Modernism

The 1930s were a time of rapid change across the globe, as all aspects ofliving changed and became “modern”. Art Deco was the major designinfluence - a simple, linear, often symetrical style that influenced so manyareas of design - architecture, fashion, art - and even work with textilesand stitching as designers at the time strove to modernise embroidery,moving away from the fussy and floral designs of earlier times towards amore Art Deco style.

One of the most well-knownembroiderers of that era is KathleenMann who became Head of theEmbroidery Department at GlasgowSchool of Art in the 1930s. She herselfhad been taught by Rebecca Crompton(1895-1947) at the Croydon School ofArt in South London.

Rebecca was a pioneer in new techniques,using materials, often scraps left over from

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dressmaking projects that previously would not have been considered for use inembroidery. Rebecca challenged the practice of embroidery at that time which thatpromoted technical precision and designs based on historic pieces, even to the extentof imitating the faded colour of 17th Century needlework, Her work demonstratesher innovative approach to design and material combining different types andweights of textiles, machine and hand stitches using silks and metallic threads. Aboveall, she tried to encourage a more lively approach to needlework.

But not everyone liked this new style of working,described and explained in her 1936 book: “ModernDesign in Embroidery”. Compare these two reviewsfrom Embroidery Magazine March 1937:

Ouch!!

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This group of modern embroiderers from the 1930s (which also included ElizabethTomson, Alice Smith and Dorothy Benson) expanded the usual materials used forstitching to include printed dress fabrics, especially spots and stripes, felt, silks andorgandies, nets and voiles were mixed with all kinds of fibres - strings, braids,ribbons and metallic threads - which were no longer reserved for ecclesiasticalembroidery. Rebecca Crompton discouraged the use of frames and hoops as shepreferred to work directly with fabric and thread, believing that “a much moresensitive touch may be acquired by this means”. Not everyone followed thisapproach - some of the stitching of her students is so precise that they must haveused frames or hoops.

My Springtime Quilted Cushion Coveron the next pages was inspired by avintage embroidery transfer dated1933. It is an early example ofembroidery in the Art Deco style, and ismuch simpler than the work of eitherKathleen Mann or Rebecca Crompton.There was no information about thedesign on the transfer sheet which hadclearly been removed from the centreof a publication.

Hope you enjoy it in its new “Bustle &Sew” form.

A Bustle & Sew PatternSpringtime Quilted Cushion Cover

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This cushion cover comprises a hand applique panel surrounded by easy patchwork and finishedwith free-motion stippling (optional). The panel is based on a vintage Art Deco embroiderypattern from 1933 and is enhanced with some simple hand embroidery. The quilting is intendedto convey the feeling of a blustery spring day with the wind swirling about the design - but canbe omitted if you prefer.

I used fabrics from Cloud 9 (Across the Pond) and Echo from Lotta Jansdotter.

Cushion cover with simple envelope closure will fit 16” x 24” pad

You will need:

For the applique:Base fabric (cotton or linen) 8” x 12”Scraps of fabric for skirt and top (piece for skirt needs to measure 3” x 4”)5” x 4” piece brown felt for deerFlesh coloured felt scraps for face, arms and legTiny scrap of felt for shoeBondaweb or spray fabric adhesiveDMC Stranded cotton floss in colours 94,543, 728, 840, 950, 3064, 3860

For the patchwork29 x 3 ½” squares of co-ordinating fabric - I used the following:Fabric A: 5 squares Hydrangea by Heather Moore for Cloud9Fabric B: 5 squares Florine in Dusted Plum by Lotta Jansdotter from Windham FabricsFabric C: 4 squares Opal in Green by Joel Dewberry - Heirloom Fabrics CollectionFabric D: 5 squares Florine in Brass Mesh by Lotta Jansdotter from Windham FabricsFabric E: 5 squares English Plantain Across the Pond Michelle Engel Bencsko Cloud9Fabric F: 5 squares Aster in Sky Across the Pond Michelle engel Bencsko Cloud9

For the cushion cover16” x 24” piece of old blanket or other suitable fabric to back patchwork for quilting.Two pieces of medium weight fabric measuring 16” x 16” each for back of cushion

First work your applique:

Transfer your pattern using your preferred method. The design provided is actual size and shouldmeasure 5�⁄�” in width. You may need to adjust your printer settings to achieve this size.

Using the template trace the pattern pieces and secure to the base fabric with Bondaweb oradhesive, using the transfer lines as a guide.Secure pieces from the bottom upwards, ie start with the head, arms and leg, then the shoe, theskirt and blouse. The deer is the final piece to attach.

When cutting applique shapes I use large sharp shears. I hold them steady in my right hand (I amright-handed) and move the fabric with my left hand whilst making a slow smooth cuttingmovement. Try to cut curves in one movement and open/reposition your shears at corners - thisshould give you nice smooth edges. You will need small scissors though to cut the space betweenthe deer’s front legs.

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Stitch Guide

2 strands of floss are used throughout.

Secure the shapes around the edges with small straight stitches at right-angles to the edges inmatching floss. I have given DMC floss numbers to match the fabric/felt I used but your shadesmay well be different to mine. Work details in lighter/darker floss using the guide on page 5 -again choosing shades that work with the materials/felt you have chosen.

When you have finished your design press on the reverse and trim to 6 ½” x 9 ½”.

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Make the Quilted Front:

IMPORTANT: All seam allowances are �⁄�” unless otherwise stated

� Join 5 vertical strips of 5 blocks each using the guide below.

� Join 2 strips of 2 blocks, then sew to top and bottom of applique panel

� Join 1 strip of 5 blocks to the left of the panel, then the remaining 4 strips to theright.

� Press all seams either open or in the same direction.

� Press patchwork and trim square if necessary.

� Position patchwork on top of blanket and pin or baste layers together. I did notback the blanket as I didn’t feel this was necessary for a cushion cover, but youmay prefer to do so.

� Change to embroidery foot on your machine, drop your feed dogs and set yourstitch length to zero. Machine quilt the layers together in a random stipplingpattern.

� Stipple around the applique woman and deer.

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Make the Back and assemble your cushion:

Turn over ¼” and then ½” along one side of each of your backing squares , press and machinestitch.

Place your cushion front right side up on a clean flat surface. Aligning ends, place your two backpieces right side down on top of the front (there should be a 6 ½” (approx) overlap at thecentre.

Pin and/or base in place.

Machine around edges. Go around twice for extra strength. Trim excess fabric from corners,turn right side out and press.

Insert pad. FINISHED!!

� Use a random pattern and cover thewhole of the patchwork area, makingsure that there is less than ½” gapbetween your stitching.

� If you haven’t tried this techniquebefore then practise first on small “quiltsandwiches”. It’s surprisingly easy,especially if you have already triedfreestyle machine embroidery.

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This month I’m delighted to introduce you to the verytalented Helen of Henhouse Homemade. Helen is a30-something stay-at-home mum who shares her lifewith her lovely partner, Andy/Mr HenHouse, theMunchkin, aged 10, and three naughty cats: Charlie-Boy,Jacky-Ginge and Vorey-Puss!

She loves sewing, crafting, quilting and mooching forvintage finds. Helen and her family split their timebetween the city in London and their cosy cottagebolthole in the West Country where they seek outeiderdons, Lloyd Loom, china, flowery pictures,embroidered tablecloths and of course, cider and creamteas!

Helen sells her handmade items at craft fairs, on Etsyand in my blogshop and am so thrilled they have foundwelcoming homes all over the world.

So take the phone off the hook, make yourself a nicecup of tea and check out Helen’s blog and shop at:

http://henhousehomemade.blogspot.co.uk

http://henhousehomemadeagain.blogspot.co.uk

But be warned … you may be there for a while!!

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A Bustle & Sew Pattern

Fabric Birdhouse Clock

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You will need:

For the clock:12” x 10” blue dotty fabric (or preferred choice) for front12” x 10” fabric for sides and base8” x 8” fabric for roof (use quilting weight fabric or equivalent - if it’s too heavy it won’t fold wellover the card)Four 8” x 10” pieces of mountboard (or heavy cardboard)1 yard of ¾” wide adhesive cotton fabric tapeFittings for battery operated clock (readily available from craft shops or Ebay)Craft knife and cutting matTemporary fabric markerBlack embroidery flossStrong rulerPVA glueHot glue gun

For the birds12” x 6” fabric for bodies (or 2 x 6” squares if using different fabrics for each bird)6” square fabric for gussets and tops of wingsSmall amount of toy stuffingStuffing stick*Hot glue gun (optional)

* a stuffing stick is a really useful tool for manipulating toy stuffing - especially if you’re trying topush small amounts of stuffing into awkward shapes. It’s really simple to make - just take anordinary bamboo skewer and break off the point. Roughen the broken end so the splintery bitswill catch on the stuffing - this will make it easy to place the stuffing where you want it. Then justpush the stuffing through the gap and into beak and tail with your stuffing stick - much easierthan fingers or the points of scissors…

First make your clock:

The templates on the following pages are all given actual size. I have also included themeasurements in case your printer settings vary.

Place your board flat on your cutting mat and mark the shapes to be cut using your template anda strong ruler for the base, sides and roof pieces.

Cut out back (including aperture marked on template), front, 2 sides, 1 base and 2 roof piecesusing your craft knife and scoring along your ruleredge. Please be careful when using your knife and besure to keep it out of the reach of children and pets.

Using the points of your scissors or other sharp objectpierce a hole for the shaft of the clock mechanism tofit through, positioning as shown in the diagram.

Pierce from the front side through to the back so thatany rough edges will be on the back.

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Birdhouse Template

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Birds (make 2)

x

x

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Using your cardboard pieces as a guide, cut fabric to cover, allowingfor ¾” turns and cutting across corners as shown in diagram.

Mark the location of the hole for the clock shaft on the front piece offabric. Take a mug or glass and, with your temporary fabric markerdraw a circle around the mark, making sure the mark is in the centre ofthe circle.

With your temporary fabric marker, write in the numerals for the clockface. Stitch them in 2 strands of black floss and back stitch. Warning:beware carrying the floss between the numbers as this may showthrough when you glue the fabric to the cardboard. When you’vefinished stitching remove the fabric marker.

Lay each piece of fabric face down on a flat clean surface. Spread the front of each piece of card thinlywith PVA glue, then position on fabric. Smooth out any bubbles.

Spread ¾” PVA glue around the edges of the reverse of the cardboard pieces, fold over fabric andsmooth. Leave to dry.

Note: I did not cover the back of the clock with fabric, but you may wish to do so, in which case pleasefollow exactly the same process.

Now assemble your clock:

Using a seam ripper or other sharp implement make a hole through the fabric and insert the clockshaft. Make sure the battery housing fits nicely against the back of the clock and secure in place at theback with a dab of glue from your hot glue gun.

Using your hot glue gun run a line of glue along the edge of the base and secure to the back (at thebottom) of the birdhouse front. Repeat process with the two sides, then secure the back. Allow toset.

Cover the joins with the self-adhesive fabric tape for a nice neat finish.

Run a line of glue along the top edges of the house and glue the roof pieces in place, allowing them tooverhang the front by ½”

Attach the clock hands to the shaft in accordance with manufacturer’s instructions (normally they justpush straight on).

The clock is now finished.

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Make the birds:

� Cut pieces as indicated on templates (¼” seam allowance is included)� With right sides together machine along top edge of bodies from x to the end of the tail.� Press tail seam flat. Stitch gusset to body, centering the tail seam over the tail of the gusset.� Leave a 1 ½” gap for stuffing. Trim excess fabric at corners and clip curves. Turn right side

out and press if necessary.� Stuff body firmly and hand-stitch gap closed.� Cut wing pieces, place right sides together and stitch around edges. Trim excess fabric and

clip curves. Turn right side out and press if necessary.� Stuff wings lightly and hand-stitch gap closed. Fold wings in two and take a few small

stitches near fold to hold the shape.� Either stitch or hot-glue wings to bird bodies.

Assemble clock:

Position birds using the photos as a guide and attach to clock with the hot glue gun.

Insert clock battery and hang clock (the aperture at the rear will fit over a picture pin).

FINISHED!!

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A Selection of Stitches

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Leah Day

Leah Day

I’m not exaggerating when I say I’ve always wanted to quilt. As a kid, I’d managed to teach myselfhow to crochet, knit, weave, make jewelry, and sew clothing by reading books and looking at thepictures, but quilting was just too difficult.

I’m not a first generation quilter because my great grandmothers made quilts, but by the time I wasready to learn, there was really no one available to teach me. So I tried to teach myself to quilt out ofbooks all written B.R.C (before rotary cutters) and just never got the hang of it.

It wasn’t until I turned 21 that I put my foot down and bought myself a small quilting kit from Walmartfor my birthday. I still didn’t manage to put it to use until after I got married in 2005. Like any goodsouthern girl, I wanted a Double Wedding Ring Quilt to celebrate my wedding. Unfortunately I didn’tknow anything about quilting, what materials I should use, or even how difficult this pattern can be.I was clueless! So I got started using scraps from my wedding dress (satin and silk), used a huge seamallowance, and ended up in a heap of tears.

But I didn’t give up! My husband Josh encouraged me to take a quilting class and even found a local

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Leah Day

I’m not exaggerating when I say I’ve alwayswanted to quilt. As a kid, I’d managed to teachmyself how to crochet, knit, weave, make jewelry,and sew clothing by reading books and looking atthe pictures, but quilting was just too difficult.

I’m not a first generation quilter because my greatgrandmothers made quilts, but by the time I wasready to learn, there was really no one available toteach me. So I tried to teach myself to quilt out ofbooks all written B.R.C (before rotary cutters) andjust never got the hang of it.

It wasn’t until I turned 21 that I put my foot downand bought myself a small quilting kit fromWalmart for my birthday. I still didn’t manage toput it to use until after I got married in 2005. Likeany good southern girl, I wanted a DoubleWedding Ring Quilt to celebrate my wedding.

Unfortunately I didn’t know anything aboutquilting, what materials I should use, or even howdifficult this pattern can be. I was clueless! So I gotstarted using scraps from my wedding dress (satinand silk), used a huge seam allowance, and endedup in a heap of tears.

But I didn’t give up! My husband Josh encouragedme to take a quilting class and even found a localguild for me to join. Once I joined a guild and tooka few classes, quilting became less difficult and alot more fun. While I still have never created thatDouble Wedding Ring quilt to celebrate mymarriage, it's definitely on my list of projects I'd liketo tackle in the coming years.

No! Absolutely not. Art degrees and other assortedbits of paper are not really needed for quilting -except to use as stabilizer!

I did attend UNC-Asheville for 2 years, but mymajor was Biology, not art. In the end, I droppedout because I couldn't see how that degree wasgoing to help me with anything, except maybestrapping me with more student loans and debt thatwould have limited my abilities.

I've worked with professional, degreed artists andhonestly, they spend a lot of time in class, and notvery much time making art. That seems like a realwaste of money and time to me, and I've neverregretted dropping out of college. It was honestlyone of the best decisions of my life, I just wish I'ddone it even earlier!

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Leah Day

I’m not exaggerating when I say I’ve alwayswanted to quilt. As a kid, I’d managed to teachmyself how to crochet, knit, weave, makejewelry, and sew clothing by reading books andlooking at the pictures, but quilting was just toodifficult.

I’m not a first generation quilter because mygreat grandmothers made quilts, but by the timeI was ready to learn, there was really no oneavailable to teach me. So I tried to teach myselfto quilt out of books all written B.R.C (beforerotary cutters) and just never got the hang of it.

It wasn’t until I turned 21 that I put my footdown and bought myself a small quilting kit

from Walmart for my birthday. I still didn’tmanage to put it to use until after I got marriedin 2005. Like any good southern girl, I wanteda Double Wedding Ring Quilt to celebrate mywedding. Unfortunately I didn’t know anything

about quilting, what materials I should use, oreven how difficult this pattern can be. I wasclueless! So I got started using scraps from mywedding dress (satin and silk), used a huge seamallowance, and ended up in a heap of tears.

But I didn’t give up! My husband Joshencouraged me to take a quilting class and evenfound a local guild for me to join. Once I joineda guild and took a few classes, quilting becameless difficult and a lot more fun. While I stillhave never created that Double Wedding Ringquilt to celebrate my marriage, it's definitely onmy list of projects I'd like to tackle in the comingyears.

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Leah Day

I’m not exaggerating when I say I’ve always wantedto quilt. As a kid, I’d managed to teach myself howto crochet, knit, weave, make jewelry, and sew

clothing by reading books and looking at thepictures, but quilting was just too difficult.

I’m not a first generation quilter because my greatgrandmothers made quilts, but by the time I wasready to learn, there was really no one availableto teach me. So I tried to teach myself to quilt out

of books all written B.R.C (before rotary cutters)and just never got the hang of it.

It wasn’t until I turned 21 that I put my footdown and bought myself a small quilting kitfrom Walmart for my birthday. I still didn’tmanage to put it to use until after I got marriedin 2005. Like any good southern girl, I wanteda Double Wedding Ring Quilt to celebrate mywedding. Unfortunately I didn’t know anythingabout quilting, what materials I should use, oreven how difficult this pattern can be. I wasclueless! So I got started using scraps from mywedding dress (satin and silk), used a huge seamallowance, and ended up in a heap of tears.

But I didn’t give up! My husband Joshencouraged me to take a quilting class andeven found a local guild for me to join. OnceI joined a guild and took a few classes, quiltingbecame less difficult and a lot more fun. WhileI still have never created that Double WeddingRing quilt to celebrate my marriage, it'sdefinitely on my list of projects I'd like to tacklein the coming years.

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Leah Day

I’m not exaggerating when I say I’ve always wanted to quilt. As a kid, I’d managed to teach myselfhow to crochet, knit, weave, make jewelry, and sew clothing by reading books and looking at thepictures, but quilting was just too difficult.

I’m not a first generation quilter because my great grandmothers made quilts, but by the time I wasready to learn, there was really no one available to teach me. So I tried to teach myself to quilt out ofbooks all written B.R.C (before rotary cutters) and just never got the hang of it.

It wasn’t until I turned 21 that I put my foot down and bought myself a small quilting kit from Walmartfor my birthday. I still didn’t manage to put it to use until after I got married in 2005. Like any good

Leah Day is the author of the Free Motion Quilting Project a blog projectdedicated to creating new free motion quilting designs each week and sharingthem all for FREE!

Leah is also the author of From Daisy to Paisley - 50 Beginner Free MotionQuilting Designs, a spiral bound book featuring 50 designs from the project.Leah has also produced two DVDs: -Free Motion Quilting Basics for Beginnersa DVD covering all the absolute basics of free motion quilting and BeginnerFree Motion Quilting Fillers - a DVD featuring 30 beginner level designs fromthe project.

The Day Style Designs Online Quilt Shop is a family run, online businessoperated by Leah and Josh Day and is located in Shelby, North Carolina.

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A Bustle & Sew Pattern

One Sunny Morning Applique Pictures

Imagine a blustery spring morning, seagulls wheeling overhead, the sound of a tractor in thedistance while out in the harbour the little boats set out to sea ….

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You will need:

For the large picture: The HarbourThe finished design is mounted on a 14” x 18” artist’s block canvas, however the work is 2” largerall the way around so the picture will curl beneath the mount and look good from all angles. Ifyou don’t want to do this, then make the picture the actual size of your canvas block and finishthe edges of the picture neatly.

All the measurements I give for the background fabrics (sky, hills, sea etc) allow for this extra 2” towrap around the block.

22” x 18” strong cotton or cotton blend fabric to build your picture onto. This fabric will not bevisible when your design is finished.7” x 18” rectangle fabric suitable for the sky7” x 9” green felt for hill with sheep on it7” x 12” green fabric for hill with tractor on it.6” x 18” fabric for harbour area2” x 18” felt/blanket/other textured fabric for harbour walls9”x 18” rectangle fabric for the sea

This completes the list of background fabrics. You will need a good selection of scraps forapplique including:6 x 5” squares fabric for housesSix x 2” x 5” rectangles for roofsTwo 3” x 4” rectangles for fishing boatsTwo 12” x 6” rectangles in different blues for the waves

The remaining pieces of fabric are much smaller, but should include some white felt for thesheeps’ bodies, red for the tractor and green felt for the vegetation.

You will also need 3 micro-buttons ¼” across for the house door knobs (if you can’t get these thenuse larger or make French knots)Two ¾” and two ½” buttons for the boats’ portholes.

18” x 14” artist’s block canvasStaple gun2 ½” yards ¾” wide self adhesive fabric tape.

Darning or embroidery foot for your machine.Bondaweb and/or fabric adhesiveTemporary fabric marker pen

For the small picture: My Front Door Picture

Note: Picture is mounted on an A4 (approx 11 ¾” x 8 ¼”) frame and again I have allowed for 2” offabric to wrap around to the back.

11” x 12” rectangle of checked fabric for the house6” x 12” rectangle of plain fabric for the pavement4 ½” x 2 ½” fabric for doorScraps of brown and green fabric for topiaryDMC stranded embroidery floss in shades 209 (darker lilac), 433 (lighter brown), 554 (lighter

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lilac), 3817 (green), 3860 (darker brown)½” button for door knobBondaweb and/or spray fabric adhesiveEmbroidery or darning foot for your sewing machineTemporary fabric marker pen

A4 (or close equivalent) artist’s canvas blockStaple gun48” x ¾” wide self adhesive fabric tape.

One Sunny Morning: Harbour Picture

First apply your background pieces to the base fabric. Position all pieces first and make sure you’rehappy with their positioning before you secure with Bondaweb/spray adhesive.

Start with the sky, then the right-hand hill, followed by the left hand hill.

Then apply the sea and the harbour wall. Finally apply the harbour itself, which sits on top of theother pieces. It’s extra nice if you can cut the bottom edge of the harbour with pinking shears togive an attractive finish, but not essential.

The dotted lines on the diagramindicate where pieces of fabricoverlap and you may also wish torefer to the photograph on the nextpage.

When you’re happy with thepositioning secure withBondaweb/spray fabric adhesive andstitch into place.

To do this, fit the darning foot ontoyour machine, set the stitch length tozero and drop the feed dogs(optional, some machines don’t likethis!). Thread your needle with blackor dark grey thread and your bobbinwith a lighter colour.

Stitch along the tops of the hills twiceand all other joins once.

Now change back to standard foot (sorry) and machine all around the edges of your design ¼” in from theedge to secure these pieces to the base fabric so they won’t move around. This stitching won’t show onyour finished picture. Then re-fit the darning/embroidery foot.

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Begin to create your applique picture. Cut and position each shape before securing withBondaweb/fabric adhesive. Work from the top downwards as follows..

� Cut 3 little sheep shapes from white felt The largest measures ¾” across.

� Cut tractor shape from red scrap and 2 small wheels. The tractor body measures 1”across and the largest wheel has ½” diameter .

� Stitch tractor and sheep into place. Go around the tractor once and stitch in a littlewindow.

� Stitch around the edge of the sheep once and make their heads and legs with somesquiggly machine stitching.

� Cut out 6 house shapes. They measure approx 3 ¼” x 4” (allowing for them to be abit taller so you can overlap the roof shape at the top of the house.

� The houses shouldn’t be perfect rectangles (seepicture to left) but have a sort of organic curvylook. This is because all the older houses here inDevon are built from cob, so have this shape.Our chimneys are all angled too as they weremade from cob - which dried more quickly (andshrank as it dried) on the side exposed to theprevailing sea breeze than the landward side - sothey all lean towards the sea (strange but truefact!)

� Cut roof and chimney shapes, position and then stitch into place. Stitch tileshapes on the roofs if you like.

� Using the photograph and diagram on the previous pages for a guide, cutwindows, doors and topiary for the houses and machine stitch into place.

� Cut harbour fence posts - each is approx 1 ½” tall x ¾” wide and position asshown. With your fabric marker pen draw in chains and also the ladders downto the harbour and machine stitch over your lines. Do the same for the stepsleading up to the house with the topiary.

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� Cut out and position your boats in the same way, machine stitch around the shapes asshown.

� Change to cream thread in your needle. Cut, position and stitch wave shapes at bottomof picture.

� Remove all temporary fabric marker lines. Turn picture over and press on the reverse.

� Stitch on micro-buttons on front doors and portholes on ship.

� Position your picture on your artist’s canvas block. When you’re happy with thepositioning, flip over and staple down long sides, working from the centre outwards andpulling the fabric taut as you go (be careful not to stretch and distort it). Stop a couple ofinches from the corner.

� Repeat on the short sides.

� Mitre the corners, trimming away excess fabric and staple into place.

� Cut 4 lengths of self-adhesive fabric tape, the same lengths as the sides of your block,and use them to cover the staples.

FINISHED!!

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One Sunny Morning: My Front Door Picture

This is mounted on an A4 Artist’s canvas block and all measurements include an extra 2” towrap fabric around block and staple.

� Join your two rectangles of fabric along oneshort edge with ¼” seam allowance. Pressseam open.

� Transfer wisteria design to your fabric usingyour preferred method. The templates onthe next two pages are given actual size

� Embroider wisteria using 2 strands of cottonfloss throughout. The flowers are worked in2 shades of lilac and French knots, the leavesare green detached chain stitch and thebranches are back stitch in 2 shades ofbrown.

� Cut out, position and apply your door andtopiary shapes. Machine applique in thesame way as the large picture.

� Draw in the panels on the door, the steps and the writing with your temporary marker pen,then machine over your lines twice.

� Remove all marker pen lines.

� Press picture on reverse and stitch button to front door.

� Mount picture on artist’s block as before.

� FINISHED!!

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A Day in the Life TransfersCute vintage transfers from 1954 give a glimpse into a mid-20th century child’s day

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A Bustle & Sew Pattern

“First Stitches”Rosie & Bear Alphabet Sampler

What could be more boring than watching your young owner make her very first stitches - whenyou’re a Bear who just likes to have fun that is! But Bear’s waiting very patiently indeed for Rosieto put down her needle and hoop - and come outside to play!

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Finished piece measures 10” x 12” to fit in a standard frame.

You will need:

12” x 14” white or other pale-coloured cotton or cotton/linen blend fabric.1” x 1 ¼” scrap of fabric for personalisation (optional - stitch directly onto background fabric if youprefer).

DMC Stranded Embroidery Floss in colours:92, 310, 325, 386, 415, 433, 504, 676, 680, 712, 3032, 3052, 3727, 3862, 4065, 4090, 4100, tinyibit of white for the sparkle in Bear’s eye.

Stitching Notes:

First transfer your pattern using your preferred method (see the free patterns page on the Bustle& Sew website for suggested methods).

Work in accordance with the stitch guide on page 4. Two strands of floss are used throughoutunless otherwise stated.

For detailed guidance on working Bear’s fur, please see “How to Embroider Fur” attached withthis pattern.

Rabbit: 1 strand of 680 for fur. See picture for direction ofstitching.Mark chin, ear and hind-leg using 1 strand of 433Nose 2 small stitches in 1 strand of the pink part of one of thevariegated flosses (4090 or 4100)Tail is turkey stitch in 712.

Squirrel1 strand of 680 throughout. Use picture as guide fordirection of stitches

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Owl:

1 strand of floss throughout.

Face is 386, body 3862. Satin stitch, see photo fordirection of stitching

Features and claws 310.

Nest:

1 strand of floss throughout.

Eggs satin stitch 325 and nest is a mixture of the samecolours used for Bear’s fur, stitched randomly indifferent directions, criss-crossing and overlapping.

Mouse:

1 strand of floss throughout.

Mouse 415 satin stitch, tail straight stitch.

Toadstool tops satin stitch 315, stalks 712 and grass 92

Personalisation:

I added a tiny (1” x 1 ¼” patch secured with afew straight stitches in 315, then carefullystitched my details in a single strand of 433.But how (or if) you add your details or adedication is entirely up to you of course!

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The transfers on the previous 4 pages are given actual size, though you will need to join themtogether. Here is the whole transfer in case you prefer to enlarge it using a photocopier.The finished design measures 10” x 12”.

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A look at two techniques I used to create Ben’s birthday present - a lovely quilted bedtopper made from scraps and other bits and pieces of fabric I had lying around - total cost

- less than £6 (that’s udner $10), which as it measured 66” x 54” was quite anachievement. Ben needs a topper for his dog bed as he’s a very muddy, sandy kind of dog,

and it’s much easier to wash a topper more frequently than removing and washing thewhole bed cover - especially when I’m dealing with a bed as large as this!! Ben’s topperalso provided me with a good excuse to practise some free-motion stippling - of course I

ran into one of the most common problems experienced by beginners - loops on the back,but don’t worry - Leah Day is here to tell us all how to avoid this problem in the future.But first, in case you’re unfamiliar with this technique, I thought I’d quickly describe the

“Stitch and Flip” technique I used to create the 12” squares using left-over fabrics.

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A Bustle & Sew TutorialA Quick Look at “Stitch and Flip”

The twelve 12” squares in the quilted dog bedtopper on the right were all created from scrapsand left-over fabric using the stitch and fliptechnique. The squares were then piecedtogether really simply with some nice 3” widered gingham sashing, layered with recycled twillas backing and an old blanket for the batting.

Then I stippled the topper all over for strengthand durability, and bound with twill tape tomake sure the edges would be hardwearing too.

So now my sandy, muddy dog has a lovely newwashable topper for his bed which cost me nextto nothing to make.

The stitch and flip technique is a great way tocreate stable, non-stretchy shape using all sortsof scraps of fabric.

It’s a really easy technique to use, but is best for light to medium-weight fabrics, I personally wouldn’tuse it on anything heavier weight than a cotton duck. I also like to use it on squares and rectangles sothat there is no risk of the base fabric stretching and distorting.

You will also need a nice firm cotton or cotton blend fabric to form the base of the squares, sometemporary fabric adhesive, your sewing machine, quilter’s ruler or set square and nice sharp fabricshears.

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Then assemble your fabric scraps. I had some“Flora” by Lauren and Jessi Jung at Moda leftover from my Rosie & Bear Calendar Quilt soused those.

Place your first piece on the corner of yourrectangle right side up.

Stitch in place along two outside edges. This willgive you a nice firm starting point.Here you can seethe reverse.

Measure and cut your base fabric into the shapeand size you require. Your base fabric should befirm and non-stretchy - here I have used a piececut from an old cotton sheet.

This sample measures 8” x 12”.

Line up your next fabric scrap, checking that it islong enough to cover the base fabric from edgeto edge.

Flip it over so the right side is downwards, aligningone edge with the edge of your first piece of fabric.

Machine stitch as shown ¼” from edge.

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Flip back over and press in place. Here you’ll see that Imade a mistake and my piece doesn’t reach to theedges of the base fabric all the way along. But thisisn’t really a problem …

I can just take my quilter’s ruler and square off thefabric at the point it touches the edges of the basefabric. All this means is that this strip will be a littlenarrower than I first thought it would be!

Looks just fine! Secure in position with temporaryfabric adhesive spray (saves basting or machiningedges at this stage. Then trim edges so they alignwith base fabric.

And continue in this way covering your base fabricwith your scraps

Until you can’t see your base fabric any more. Thenmachine around all edges 1/16th” from the edge tosecure in place and make a nice firm finish for piecingyour top.

Front and back views of finished piece

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LOOPS - Tension or Speed?

By Leah Day

Let’s talk about LOOPS!! Those dreaded loops onthe back of your quilt that seem to happen onlywhen you start free motion quilting!

I know of no more scary thing to a beginningquilter. Seriously, I should make a horror movieand the slasher guy should be the loopy back of aquilt. NOOOOOO!!!!!

(The above picture was sent in by Pamela who’s just beginning free motion quilting.)

My weird humor aside, this is a real problem, especially for beginners to free motion quilting, and it'sabsolutely understandable for you to be bothered by loops of thread showing up on the back of yourquilt.

So where do they come from? Why do they happen? And what the heck can you do about them?

The first thing to realize is that loops on the back of your first free motion attempt is perfectly normal.Nothing scary about it.

We all have to stitch through a selection of ugly, unbalanced stitches at the beginning before we learnhow to make the pretty, perfect stitches.

Let me repeat: WE ALL HAVE TO GO THROUGH THIS. I would show you my first stitches if I still hadthem, but they were tossed out long ago.

I do remember going through that though, and I remember the frustration, but I also remember thewonderful feeling when I finally got through it and found the beautiful stitches that were justwaiting to come out.

So if it's "perfectly normal" why do loops happen?

From what I've found, most loops are not actually caused by tension issues. If your machine was outof tension, you would know it when you sit down to piece or sew.

If you're not dropping your feed dogs, as I don't, then nothing should be changing with themechanics of your machine. Your top thread and bobbin thread should be grooving together justthe same was as they always do.

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To put it plainly: if your machine isn't making wild loops on the back of your fabric while you piece, itshouldn't be making wild loops on the back of your quilt while you quilt it.

If everything goes out the window on your machine, try switching back to your piecing foot and thenormal settings you use for piecing, and then make a line of stitches. If that comes out right, thenit's not your machine tension at all.

So if it's not the tension on my machine, what is it?

It's your hands and your feet.

Well, to be exact, it's the balance between of the speedof your machine controlled by your foot, and themovement of your hands.

See the area I circled in red? These are perfectly balancedstitches. If Pamela's tension was out of whack, shewouldn't be seeing any of these on the back of her quilt.

Do you also see the areas I circled in blue? Notice that allof these areas are roughly the same shape. The same

loopy "E" shape that was stitched by Pamela moving her hands in the same motion.

The fact that the loops only happen in these specific areas tells me one thing:

Tension is not the issue. The ratio, the balance of speed and movement is the issue.

What is happening is Pamela is actually better at free motion quilting than she probably realizesbecause her hands are already comfortable moving the quilt around in these shapes. When shemakes that particular "e" shaped movement, her hands are speeding up. They are super comfortablemaking that movement and want to do it FAST!

So why is she getting loops on the back of her quilt in these areas? Because her foot is just notkeeping up with her hands! Here hands are moving the quilt around, but her foot is staying thesame speed as before. Typically when this happens your stitches will get really big and wide, butalso what can happen is the bobbin thread pulls the top thread tightly to the back of the quilt,trying to compensate for the increased movement but lack of speed. That's how you get loops!

So to fix these loops, Pamela can do two things:

She can try to focus on her hands more and try to keep the movement of her hands steady and even.Personally I find this more difficult as our hands our more involuntary than our feet and requiremore focus to slow down. It also goes against your body's natural rhythm. My feeling is if a movementfeels natural and good to you, do more of it, and do it at the speed your body wants!

So the other thing Pamela can do is speed up her machine, but only in the areas where she'sgetting loops.

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This means that she will need to speed up in those "E" shapes, but then slow down again slightlywhen she comes out of those shapes. Now I'm not a fan of the "pedal to the metal" advice to stitchat the highest speed your machine has while you learn how to free motion quilt. I believe that weall have a comfortable speed within us, and for some it's slower than others. But I do believe inlearning to find different levels of speed on your foot pedal. It's more than just fast and slow!

Think of it like driving a car up to a stoplight. You don't get 5 ft from the stoplight and slam on thebrakes, do you? No! You slow down gradually, and if the light turns green, you speed back upagain. And all of that movement and control is being dictated by your FOOT!

No, your first attempts at free motion quilting will not be perfect! Stop expecting them to be!

Quilt your first trial quilt and get all those ugly stitches out. Learn how to move the quilt, how tocontrol the foot pedal, and balance that ratio between your hands and your foot. It's a lesson youcannot learn by thinking about it, you have to DO IT!

The more you move your hands, the more you move your foot, the more you concentrate oncreating simple designs in free motion, the easier this will become.

Leah’s Pattern of the Month is Spiral Tulip: perfect for theselovely spring days …

Just click here to visit her blog:

http://freemotionquilting.blogspot.co.uk

To view her video tutorial on working this pattern.

That’s all for this month folks - I do hope you’ve enjoyed this, thesixteenth issue of the Bustle & Sew magazine. Lots more to come nexttime!

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