A Needle Pulling Thread Issue 53-27 September 2020

A NEEDLE PULLING THREAD
QUILT SEW KNIT CROCHET CROSS STITCH EMBROIDER HOOK RUGS
16
Projects inspired by ARCHITECTURE

Make 80
& Stay
Calm 38
#TheSewGoesOn 62 & 76
Discover Top-of-the-Line Features
Designed for Quilters!
Top-of-the-Line Sewing & Embroidery Machine
Welcome to our
world of sewing with the
Sewing & Embroidery Machine DESIGNER EPIC™ 2
and DESIGNER
BRILLIANCE™ 80!
• JoyOS ADVISOR™ feature
• Patented
HUSQVARNA® VIKING®
stitch techniques
• deLuxe™ Stitch System
• Tablet-like display with
capacitive touch
• WiFi connectivity and
mySewnet™ enabled
• mySewnet™ Library enabled
Now available at a retailer near you. husqvarnaviking.com

VIKING, DESIGNER EPIC, DESIGNER BRILLIANCE, JOYOS ADVISOR, DELUXE and MYSEWNET are trademarks of KSIN Luxembourg II, S.a.r.l.
HUSQVARNA and the “H” Crown Device are trademarks of Husqvarna AB and are used under license. ©2020 KSIN Luxembourg II, S.a.r.l. All rights reserved.
2
E ditor's letter
Welcome to this adventurous issue! I’m so excited to showcase the

awesome efforts our needlework
ARCHITECTURE
In my travels I’ve taken, in
experts have put together for you.
moments of awe, many photos of Do enjoy the issue, there's a lot
You’ll find tutorials including sewing
famous buildings, structures and
Stay Calm
techniques and products that make to explore, learn and make.
bridges, trying to preserve the
the artwork possible. The whole
memory forever. Once again, I invite you to
experience of learning these will
share your finished projects,
To state the obvious, architecture stretch your needlework abilities.
the ones you've conquered
&
offers an abundance of inspiration as well as the ones born from
The concept of structure has
Make
for needlework projects. The isolation, and post these with
played a key role in knitting
dilemma is where to begin #TheSewGoesOn.
and crochet projects that give a
in reproducing a favourite As always, stay safe and stay calm.
garment a professional look. See
architectural subject? Photos,
what Cynthia MacDougall has to
whether yours or not, are the key.
say about the construction of
knitted garments. Cheerfully,
In our thrilling world of the needle
arts, fibre artists have played with
fabric, yarn and threads to mimic
textures of buildings, brick and tile
patterns, and the shape of things
we live in and call home.
I hope this letter finds you in good health.

3
90 32
72
66 70
12
86
42
28 40
Contents 22
issue 53
36
4 38 94
12 Cathy McClean
quilting
Life is a Beach Table Runner in
16 Annette Janca 3 Editor’s Letter every
quilting
Old Meeting New Architecture 6 Mark Your Calendars! issue
Royal Ontario Museum 6 Advertiser Index
Wall Hanging 8 Heather McArthur
22 Lynn Swanson 10 The Quilter's Connection
quilting Architecture Quilts,
Sol y Mar Bed Runner Make Mine Modern, Please
27 Jackie White Criss Cross Quilt
quilting 60 Cynthia MacDougall
Yo-yos make your quilts complete Knit Together
28 Clodagh Coker The Architecture of Garments
quilting How Sweet It Is
Maritime Houses Quilt Baby Cardigan and Hat Set
32 Olesya Lebedenko 69 Knitting
patchwork Standard Abbreviations
& Terms
The Windmill Quilt Block
60 98 Business Directory
36 Elaine Theriault
quilting
Under Construction Quilt Special Features
38 Paul Léger 54 More Joy, Less Overwhelm 50 In the Studio with Ana Buzzalino
quilting Ergonomically Correct Architectural structure and quilting
Waves Quilt Brandy Maslowski Ana Buzzalino
40 Paul Léger
quilting 54
Another Brick in the Wall Quilt
42 Jean Boyd
quilting
Seattle Station Quilt
46 Melissa Marginet
quilting
Blossom Quilt
66 Lorraine Thompson
knitting
Thoughful Soles Series
T is for Turn Socks 50
70 Nancy Lekx
knitting
Notre Dame Crescent Shawl
72 Fiona Stevenson ARTIST REVIEW
knitting
Chateau Laurier Cardigan 56 Bridge in Venice
57 St. Peter Port
76 Charles Voth Laine Canivet
crochet
Whoo Baby! 57 58 The Edson House
Jack Edson
Cardigan and Hat Set
80 Jo Gatenby
cross Stitch
The Castle Nursery
86 Iryna Varabei
cross stitch
The Mir Castle
90 Judith Marquis
embroidery
Moroccan Mug Rug
94 Karen D. Miller
rug hooking 56 58
Rio Dei Sogni Rug
5
MARK YOUR CALENDARS! To list your event in this space call 1.866.969.2678.
April 9-11, 2021 Advertiser Index

Spring Knitting Retreat PUBLISHER, EDITOR-IN-CHIEF, ART DIRECTOR
St. Peter’s Abbey, Muenster, Saskatchewan Carla A. Canonico
68 Brampton Sew N Serge carla@ANPTmag.com
Imagine being able to knit without interruption?
99 Brother PUBLISHER, ADVERTISING SALES
Share the enthusiasm with other knitters, be inspired,
discover new techniques, get fresh ideas and knit, 98 Business Directory John De Fusco
65 Canadian Guild of Knitters john@ANPTmag.com
knit, and knit some more! Forms and details at
www.hausofstitches.ca or call 1.800.344.6024. 93 Canadian Quilters' Association PHOTOGRAPHERS
Carla A. Canonico, John De Fusco
May 27 - June 5, 2021 69 Crochet Designs by NanaRuth
Saskatchewan Stitches Conference 93 Embroiderers' Association of Canada QUILTING CONTRIBUTOR GRAPHICS ASSISTANT
Heather McArthur Sondra Armas
St. Peter’s Abbey, Muenster, Saskatchewan 07 Gütermann Creativ heather@ANPTmag.com
The Saskatchewan Stitches Conference offers creative SOCIAL MEDIA
69 Hardanger House QUILTING CONTRIBUTOR Alessia De Fusco
classes with renowned fibre and needle work artists Elaine Theriault
and attracts participants from across Canada who 75 Haus of Stitches I.T./Web ASSISTANT
love to sew, knit, quilt and rughook. Forms and details 02 Husqvarna Viking KNITTING CONTRIBUTOR Alejandro Araujo
Cynthia MacDougall
at www.saskstitches.ca or call 1.800.344.6024. 34 Kelly's Creative Sewing cynthia@ANPTmag.com
Show Guide Unlimited, the 2020 edition of the Ontario 79 Lowery Workstands
Website : www.ANPTmag.com Facebook: ANPTmag
Show Directory is now available! An extensive listing 96 Ontario Hooking Craft Guild
Toll Free: 1.866.969.2678 Ravelry: ANPTmag
of the years best shows including art and craft (juried 06 Ottawa Sewing Centre
and non-juried), needlework, woodworking, festivals SUBSCRIPTIONS
35 PFAFF A Needle Pulling Thread (ISSN 1715-4650) is a quarterly publication.
and bazaars throughout Ontario; available at $24.99 Subscribe online, by phone, or by mail.
plus $5.00 S&H. For more info or to order online visit 49 Quiltworks Studio
69 Rypan Designs In Canada: In the USA:
www.ontarioshowguide.com, or call 905-464-7469. A Needle Pulling Thread A Needle Pulling Thread
49 Sandpiper Creations Subscriber Services Subscriber Services
100 Schmetz 1025 Rouge Valley Dr PO Box 197
Pickering, ON L1V 4N8 Niagara Falls, NY 14304-0197
Ottawa 06 Sew Inspired
Subscription rates for 4 quarterly issues:
68 Sew With Vision
Sewing Centre 49 Spectrum Quilt-Along 2020 PRINT: Canada: CAD$29.95/year USA: USD$29.95/year.
DIGITAL: Canada: CAD$19.95/year USA: USD$16.95/year.
Sales & Service of Baby Lock, Brother, and Elna 97 Spirit of Belarus PRINT + DIGITAL: Canada: CAD$35.90/year USA: USD$35.90/year.
sewing machines, and Q'nique longarm quilting machines 06 That Sewing Place Applicable taxes extra. For back issues please visit our web site or call
06 The Quilt Store us for availability. Also available on iTunes and Google Play.
613-695-1386 31 #TheSewGoesOn RETAILERS
www.ottawasewing.com 68 The Yarn Guy If you are interested in carrying A Needle Pulling Thread in your
store, please call 1.866.969.2678 or email john@ANPTmag.com.
1390 Clyde Ave, #107, Ottawa, ON K2G 3H9 97 X's & Oh's Also visit www.CRAFTalytics.com to find out about our new
digital marketing services specially designed for craft retailers.
Your Authorized Dealer for:
55 SUBSCRIPTION FORM EDITORIAL
Designers and other contributors who would like to be considered
for future issues please email Carla with a brief description
of your work and your proposed project for the magazine.
SPECIAL THANKS TO
All the contributors, Tiegan and Shaelagh Kirkey, Jessica Fruti,
Alessia, Adriano, and to our moms.
A Needle Pulling Thread® is a registered trademark. No part of this publi-
cation may be reproduced without written permission from the publisher.
©2020 A Needle Pulling Thread. All rights reserved. Issue 53.
All designs, patterns, and information in this magazine are

for private, non-commercial use only, and are copyrighted
material owned by their respective creators or owners.
Funded by the Government of Canada.
Ottawa Valley Authorized Dealer

Sewing, Knitting & Having a Good Time
905-715-7725 Arnprior Shopping Centre

www.thatsewingplace.ca 375 Daniel St S, Arnprior, ON K7S 3K6
SPECIALIZING IN SEWING MACHINE
SALES/SERVICE/CLASSES 613-623-0500
AUTHORIZED DEALER FOR www.sewinspired.ca
info@sewinspired.ca
6 A NEEDLE PULLING THREAD ● issue 53

7
Architecture Quilts
Make Mine Modern, Please
by Heather McArthur
As a quilter, knitter, sewist, or a person foremost for me, is an art quilt. And just like
1 with any crafting hobby, I’m sure, like the idea of designing a beautiful building
me, you are inspired by what you see would be overwhelming for someone
around you. I often take photos of odd who is not trained as an architect, art quilt
things on my daily travels, so often so design can be a little daunting, too, for
that my husband no longer shoots me someone without experience.
piercing looks when he finds me in the The Art Quilt Association defines an art
middle of the street with camera in hand, quilt in this way: “An art quilt is an original
face pointing at the ground, snapping a exploration of a concept or idea rather
photo of an intricate sewer grate. I have than the handing down of a “pattern”. It
hundreds (if not thousands) of images experiments with textile manipulation,
of buildings, windows, trees, flowers, color, texture and/or a diversity of mixed
and yes, even sewer grates, stored media. An Art Quilt often pushes quilt world
on my computer. Photo 1 Eventually, boundaries.” Unfortunately, that is not
some of these images even make a star
The Quilter’s Connection
where my own quilting strength lies. I’m a

appearance in a quilt I create. traditional quilter, through and through. I
2 Inspiration truly is everywhere - be it like to use a pattern, and I’m not prepared
something created by Mother Nature to push too many boundaries. The
or created by a human. Myself, I am thought of making art quilts actually
particularly inspired by architecture. Just frightens me just a little (well, maybe
look at the work of architects like Zaha more than little). To me, creating an
Hadid and Frank Gehry – they are true art quilt is like painting with fabric. The
artists! Photo 2 The lines and shapes and problem is, I can’t paint. I don’t seem have
colours of the buildings and structures that particular creative gene. The few
I see around me, every day, are simply forays into art quilting I’ve attempted in
Frank Gerhy’s Walt Disney Concert Hall in Los beautiful. Photos 3, 4, 5 and 6. And I love the past have been rather unsuccessful.
Angeles, California
the idea of using architectural form as a As a matter of fact, downright ugly is a
starting point for a quilt design. But when better description.
I think of using an architectural form in
a quilt, what springs to mind first and
3 5
4
Photos by Heather McArthur

So, when I look at the numerous photos Define the strongest elements. Look
of architectural subjects that I have taken, for the strongest elements within that 8
rather than trying to ‘explore’ the concept architectural feature, then break them
(as the Art Quilt Association suggests) down into simple lines and shapes.
to create a unique art quilt, I look for Architecture is made up of simple shapes
the most simplistic way to recreate the - squares, rectangles, triangles, and circles
image. That takes me back to the basics - that are very easy to recreate in fabric. At
of architecture - lines and shapes. And this point, feel free to use artistic license
simplistic lines and shapes are what here – change up the lines to suit you –
modern quilts are all about, right? it’s your quilt! Photo 8
In that way, architecture forms are well Draw your design. Using your choice of
suited to modern quilting. Just take a design program, such as Electric Quilt
look through Instagram or Pinterest (which is what I used), or simply a pencil
and you will see many modern quilts and graph paper, draw your design. Grab
that are inspired by architecture, or an some pencil crayons or markers and play 9
architectural feature. That’s because it’s with the colours. You don’t have to use
rather easy to do and creates stunning the colours shown in the photo - choose
results. colours that speak to you, or that match
Let me walk you through the process I your decor. I happened to like the colours
use to create a modern quilt using an of the windows, but they would look just
architectural photo... as fantastic against the grey background
in reds and pinks! Photo 9
Find THE photo. Start with a photo that
inspires you, that you want to recreate in The next steps are easy, and fun, too. It’s
fabric. Note: If it’s not your own image, be time to choose your fabrics and make
sure to obtain permission from the owner/ your quilt! The wonderful thing about
photographer! For this example, I chose an a modern quilt is that it’s functional
image of the inside of Boghall Parish Church too. Unlike an art quilt, which typically
in Bathgate, England. Photo 7 just hangs on a wall, you will use your 10
quilt every day, and will be constantly
Choose an interesting feature. You may reminded of that special moment when
want to use the entire image - it could you took the photo that inspired it.
be a unique bridge or a building that you Photos 10 and 11
want to recreate in its entirety. Or it might
be a specific feature, such as a window So, what are you waiting for? Grab your
frame, or the texture of the brick wall on laptop, start looking through your photos,
the front of the building, that holds your and get inspired to create a modern
interest. For me, the colourful windows architectural quilt today!
of the parish church reminded me of a
Mondrian painting.
6 7 11
A NEEDLE PULLING THREAD ● issue 53 9

skill level Easy
Criss Cross Quilt finished measurements

36½" x 36½" [91 x 91cm]
materials
fabric
• 15⁄8 yds [1.5m] solid dark grey cotton
• ¾ yd [.7m] solid dark yellow cotton
• 1¼yd [1.15m] coordinating fabric for
backing
thread
• thread to match
batting
• 40” x 40” [100 x 100cm] lightweight
batting
other
• sewing machine with ¼” presser foot
• rotary cutter
• quilting ruler
• cutting mat
• sewing pins
• iron and ironing board
• fabric spray starch
Note: A scant ¼” seam allowance is used
through this project.
I grew up on a hobby farm, with horses and cows,

chickens and rabbits. My childhood memories are filled
with time spent in the barn on our property - feeding
and grooming the animals, polishing the horse tack,
and cleaning the stables. Now, as an adult and far from
the family farm, the scent of hay immediately takes
me back to the old barn and those fond memories! A
barn door is the inspiration for this small lap quilt - the
‘crisscross’ of the door’s frame is an interesting detail
that makes great lines on a modern quilt!
– Heather
Photos by Heather McArthur
instructions 5. Stitch together,
removing pins
Assembly
as you sew. Press 1. Sew the (4) four X blocks together
Cutting vertically. Press all seams in the
seam towards
Dark Grey darker fabric. Cut same direction.
Cut (1) 8½" x WOF strip; trim to 36½" long block apart on the
Cut (1) 17½"x WOF strip; trim to 36½" opposite diagonal.
long
Cut (1) 9½" x WOF strip; sub-cut into (4) 6. Finger press the
9½" x 9½" squares center of one side.
Fold a second 2. Sew one dark yellow 2” x 36½" strip to
Cut (4) 2¼" x WOF strips; set aside for each long side of the X Block panel.
binding dark yellow strip
in half and finger Press seams toward yellow fabric.
Dark Yellow press center; sew
Cut (2) 2” x WOF strips; trim to 36½" long to one triangle,
Cut (4) 2” x WOF strips; sub-cut to (8) 2” x ensuring centers
16” strips are aligned. Press
Make the X Block seam towards
Note: Press the dark grey squares well, using darker fabric. 3. Sew the 8½" x 36½" dark grey strip to
spray starch, before making the X blocks. You 7. Pin the second the left side of the panel. Press seam
will be sewing on the bias, which tends to triangle to the towards grey fabric.
stretch; the starch will help prevent distortion. other side of 4. Sew the 17½" x 36½" dark grey strip to
In the following instructions, I have noted to the strip, again the right side of the panel. Press seam
press the seams toward the dark grey fabric. aligning the towards grey fabric.
However, that increases the bulk at some centers. Take
of the seams; you may wish to press seams a moment to
toward the yellow fabric, if you don’t mind ensure seams on
the seams showing through to the top of either side of the dark yellow strip are
your quilt. You decide - there are no quilt aligned before you sew, otherwise
police judging your decision. you will end up with a wonky X! Press
1. Cut a dark grey 9½" square block seam towards darker fabric.
in half on the diagonal, making two 8. Square up your
triangles. Fold one block to 9½". To
triangle in half do this, fold your
along the long block in half into a
edge and finger rectangle, aligning 5. Layer quilt top, batting and backing;
press at the fold to raw edges. Place quilt as desired. Trim and square up quilt.
mark the center. the 4¾" mark on
6. Bind quilt using your favourite method.
2. Fold a dark yellow your ruler along the fold line of the
2” x 16” strip in half and finger press to block. Cut away excess fabric. Open
mark the center. the block, then fold in half along the
opposite edges. Place the 4¾" mark
3. With right sides together, pin the dark of the ruler along the fold of the block
grey triangle to the and cut away excess fabric.
dark yellow strip,
matching centers. 9. Make 4 blocks, using Steps 1 through 7.
Stitch together,
removing pins
as you sew. Press
seam towards
darker fabric.
4. Finger press to mark the center of
the other dark grey triangle, and
the center of the sewn dark yellow
strip. Pin with right sides together,
matching centers. Heather McArthur
quiltersconnection@telus.net
www.shutupandquilt.wordpress.com
Life is a Beach Table Runner
In my travels of the world small houses have always
spoken to me. Whether they are in Newfoundland,
England or Oceanside California, these rows of small
houses give each area a very distinctive look. I spent
many holidays walking down the beach at Oceanside.
I always think about how fun it would be to sit on
the front porch of one of these houses with a glass
of wine, facing west watching the sun drop into the
Pacific Ocean.
In this pattern, I made the doors quite prominent
as in many areas of the world the doors make a
statement. Embellish your doors so they make a
statement about you! The windows are a turned
appliqué technique allowing you to make any shape of
window. This appliqué technique also makes the end
project very washable, which is great for kids’ quilts,
table runners and placements. Use this paper pieced
house pattern, fabrics from your stash (or maybe
it’s time for a shopping trip!) and create houses that
reflect the feeling of your favourite place in the world.
Remember, life is a beach! – Cathy

quilting
skill level Intermediate instructions

finished measurements Foundation Paper Piecing
table runner 54” x 24” [137 x 61cm] Houses
pieced houses Foundation paper piecing is a technique
house (1) 7¾” x 9” [19.5 x 23cm] used for piecing projects that require
house (2) 6¼” x 9” [15 x 23cm] smaller pieces. It can give incredible
materials detail and a fine look to quilt blocks. Have
fabric you ever been afraid of foundation paper
• Houses piecing? Where to start, what to do, will I
»2 Fat Quarters for main colour of make a mistake? This project is amazingly
the house simple and has less than 10 pieces for
»fabric scraps for doors and front porches each house, working through this block
»2 Fat Quarters or for sky will give you confidence to try other
• Sand projects. Check out the internet and find
»6” x WOF [15cm x WOF] Note: Some many how-to videos which will help you
of this will be used for piecing when work through this technique.
making the houses.
»center strip and ends Sewing Machine Set up
»20” [51cm] of two different fabrics Needle: Schmetz Microtex needle size
• Backing 90/14
»1.6yds [1.5m] fabric for backing Top Thread: Gütermann Cotton thread
Bobbin Thread: Gütermann Cotton thread
threads Stitch: straight stitch
• Gütermann Cotton thread to match the Stitch Length: 1.5mm
fabric. Tension: normal
• Gütermann Rayon thread in Black (top
stitching the windows) Foundation Paper Piecing Instructions
• Sulky Invisible Thread in Smoke Foundation paper piecing is sewn on the
back side of the Foundation Paper, so
notions the block will be a mirror image. This is
• SCHMETZ microtex needle size 90/14 important if lettering is involved. To make
• UNIQUE Wash-out marker it easier to remove the paper after the
• 45mm Rotary Cutter project, use a short stitch length 1mm or
• Heirloom Double Sided Cutting mat 24” 1.5mm.
x 36”
• Sew Easy Quilting ruler 6½” x 24” This is a simple sew by number
• Sew Easy 60-degree triangle ruler technique. Start at 1 and keep adding the
• Omni Grid 1” x 6” ruler fabrics in order. These photos courtesy of Cathy McClean
• SoftKut Pinking shears 1. Copy the pattern onto HeatNBond
• KAI fine tip scissors Stitch n Sew Ez Print Quilt Block
• Clover Fabric Folding Pen sheets. TIP Use your printer - this is
• Clover Point Turner a time saver plus it will help to avoid
• UNIQUE Ruler Grips errors in tracing the pattern.
2. Cut a square of fabric slightly larger
equipment than the area for area 1.
• iron, ironing board 3. Hold the foundation paper, unprinted
• sewing machine side of paper up to a light, place fabric
other one (right side facing you) over area 1.
• Fairfield Toasty Natural Cotton Batting TIP Use a pin to hold in place.
• Sulky Soft n Sheer Extra 4. Place the second piece of fabric, right
• HeatnBond Stitch n Sew Ez-Print Quilt side together over fabric 1, area 2 is
Block sheets still visible through the Ez Print Quilt
Block sheet. TIP When starting, use a
slightly longer strip of fabric, cutting
off the excess as you go.

5. Remove the pin, pin fabric 1 and 2 3. Stitch on the lines. 4. Create the center strip of the runner
together to the foundation paper. 4. Using a pinking shear cut out the by sewing the three pieces together
6. On the right side of the foundation shape, close to the stitching line. If (colour 2, colour 1 and colour 2). Trim
paper sew on the line between areas there are corners, clip them. to the same length as the house units.
1 and 2. 5. Using a sharp pair of scissors, cut away 5. Sew strips of houses on each side of
7. Flip fabric 2 and check that it covers all a small amount of the Sulky Soft n the center stripe. Ensure the roof tips
of area 2. Flip back. Sheer Extra. Clip into each corner to are lined up and towards the center.
8. Fold the foundation sheet back on within a ¼” of the edge. Photo 1 6. For each end, sew three 60°
stitched line. Using a rotary cutter 6. For a nice crisp edge; run a Clover Fabric triangles together.
and ruler, trim the seam allowance Folding Pen along the stitching line. 7. Sew these units onto each end of
between 1 and 2 to ¼”. TIP For this 7. Turn right side out using a point turner. the runner.
step, use the Omni Grid 1” x 6” ruler 8. Place on desired spot and fuse in place. 8. If necessary, trim off excess amount
9. Flip fabric 2 back over area 2 and press 9. Stitch in place. on the 60° triangle ends.
flat. TIP For a crisper look I use a Fabric Note: It’s not necessary to use a satin stitch as 9. Backing Fabric
Folding Pen and run it along the the appliqué edges are finished and won’t fray. TIP I like to use up some of the pieces left
stitching line just before I press. over from the project or something from
10. Section 1 and 2 are now stitched. Cutting Instructions for the Table Runner my stash. For the backing on this project I
11. Select each colour in order and Cut: took artistic licence to play with the fonts
repeat steps 2 to 9 for each colour to on my embroidery machine. This gave me
Sand
complete each house. the opportunity to practise and gives it a
(2) 2” x WOF
12. Create ten houses: personal touch.
center strip (step 4 in assembly)
- six using pattern 1 (with sky along
colour 1: (1) 1½” x WOF These where sayings on artwork
the sides)
colour 2: (2) 2½” x WOF displayed in the condo I stayed at in
- four using pattern 2
13. Trim houses to size (these Table Runner Ends Oceanside:
measurements include a ¼” seam colour 1: (2) 12” 60° triangles
allowance): colour 2: (4) 12” 60° triangles The beach is calling I must go
- house one 7¾” x 9” Houses Life is a beach
- house two 6¼” x 9” (6) house one 7¾” x 9” Life is better at the beach
Turned Appliqué (4) house two 6¼” x 9”
Windows Table Runner Assembly 10. Cut or trim the back fabric (whether
This a great technique to use when the it is pieced or a single piece of
project will be laundered often. The Sewing Machine Set up fabric) to the same size at the front.
appliqué will be slightly raised giving it a Needle: Schmetz Microtex needle size Press both pieces.
bolder look. This turned appliqué is also 90/14 11. Cut a piece of low loft cotton batting
fusible making it easier to stitch in place. Top thread: Natural Gütermann Cotton slightly larger.
TIP Simple shapes such as a leaf, circle, thread to match fabric 12. Pin the front and back right sides
square or even a flower are easiest to Bobbin thread: Gütermann Cotton thread together.
work with. to match fabric 13. Place this unit on top of the batting.
Stitch: straight stitch 14. Use a ¼” seam allowance to stitch
Sewing Machine Set up Stitch Length: 2mm the three layers together leaving an
Needle: Schmetz Microtex needle size Seam allowance: ¼” opening to turn.
90/14 Tension: normal 15. Trim the batting. Clip away batting on
Top Thread: Black Gütermann Rayon thread 1. Use a ¼” seam allowance to sew the all corners and points. Clip the fabric
Bobbin Thread: Gütermann Cotton thread houses together (sewing order: house at the corners and points.
Stitch: straight stitch 1, house 2, house 1, house 2 and house 16. Run a Fabric Folding Pen along the
Stitch Length: 2.0mm 1) creating two strips of 5 houses one stitching line, an inch out from each
Tension: normal for each side of the runner. point.
Note: Make (1) 1” x 1” and (2) 1” x 1½” for 2. Square off the strips to 33½” x 9”. 17. Turn right side out, press and slip
each house. See templates. stitch the opening closed.
Note: If your measurements are slightly
18. Top stitch and quilt as desired. Sulky
1. Using a Wash Away Fabric Marker draw smaller, square both strips to the same size.
invisible thread was used in the sample.
the pattern onto the smooth side of 3. Measure the finished length. Cut
Sulky Soft n Sheer Extra. and stitch sand fabric to the base of
2. Place the rough side of the Sulky Soft n the houses.
Sheer Extra to the right side of the fabric.

Life is a Beach Table Runner
Patterns
Enlarge to 200%
8
7
9 8
4 4
7
6
3 1 2
3 1 2
WINDOWS Templates Actual Size

Make (1) 1” x 1” and (2) 1” x 1½” for each house.
Cathy McClean
National Product Specialist and Educator
www.hakidd.com
cmcclean@hakidd.com
Photo 1
15
Old Meeting New
Architecture
Royal Ontario Museum
Wall-hanging
The theme for this issue, the shape of things, made me think about unusual shaped buildings. In I found
researching this I discovered that the Royal Ontario Museum (ROM) has a very unique design this design
combining its original heritage stone façade with the Lee-Chin Crystal section. The older section was fascinating
created in a neo-Byzantine style with rusticated stone, triple windows within recessed arches and and decided to
different coloured stones arranged in a variety of patterns. The new Deconstructivist* crystalline form do something
is 25% glass and 75% aluminum, sitting on top of a steel frame; it is composed of five interlocking, self- similar when
supporting prismatic structures. These buildings co-exist but are not attached except for the bridges creating this
that link them. One interesting fact I discovered in my research is that the ROM has been ranked as one wall hanging
of the ten ugliest buildings in the world, so I guess beauty is in the eye of the beholder! by combining
various quilting
techniques old
and new.
These
instructions are
not intended
for you to
recreate this
exact project
but give you the
steps I used to
create it. You
can apply these
techniques to
create your own
unique wall
hanging from a
photograph.
– Annette

quilting
*Deconstructivism is a movement
of postmodern architecture which
appeared in the 1980s. It gives the
impression of the fragmentation
of the constructed building. It is
characterized by an absence of
harmony, continuity, or symmetry.
skill level Advanced

finished measurements
24”x 32” [61 x 81cm]
materials
fabric
• 2 yds [1.8m] dark blue cotton print
for background, backing, sleeve and
binding
• 4” [10cm] strip grey batik for sidewalk
• 4” [10cm] strip black cotton print for
road
• 18” [45cm] brick cotton print for old HUSQVARNA® VIKING® DESIGNER EPIC™ 2
building Top-of-the-Line Sewing and Embroidery Machine
• 4” [10cm] strip mottled beige print for
bottom of old building
stabilizers needles
• 27” [70cm] silver lamé for new building
• INSPIRA™ Tear-A-Way stabilizer • INSPIRA™ Universal needle size 80
• 9” [23cm] silver crepe de chine for new
• INSPIRA™ Light & Soft Fuse-On stabilizer • INSPIRA™ Topstitch needle size 90
building
• INSPIRA™ Stick N’ Fuse II (fusible web) • INSPIRA™ Titanium needle size 90
• 9” [23cm] city line cotton print for
• white freezer paper • INSPIRA™ Quilting needle size 90
windows
• Pellon® Tru-Grid™ – 1” graph sheer • hand sewing needle
• 9” [23cm] glitter tulle for shading
pattern trace other
• 6” [15cm] strip black sheer organza for
shading threads • HUSQVARNA® VIKING® DESIGNER EPIC™ 2
• 6” [15cm] strip mottled yellow for • assorted colours of Robison-Anton® sewing and embroidery machine
windows 40wt rayon thread • sew-in computer printer fabric sheets
• 4” [10cm] strip mottled grey for • Robison-Anton® metallic thread • transparent plastic film
windows • Sulky® Sliver thread • overhead projector
• 6” [15cm] square grey for door and • Sulky® invisible polyester thread • temporary spray adhesive
windows • Mettler® 60wt bobbin thread • Sewer’s Aid (thread lubricant)
• 36” [91cm] sheer striped fashion fabric • 50wt cotton sewing thread • appliqué pressing sheet
for window strips sewing feet and accessories • pressing cloth
• 36” [91cm] clear vinyl • Utility foot A • rotary cutter and mat
• Non-Stick Glide foot H • 6” x 12” ruler
trims
• Quilt Binder foot for IDF System • 6” x 24” ruler
• assorted trims
• Open Toe foot for IDF System • Clover chaco liner
• black 1⁄8” [3mm] satin ribbon
• Braiding foot • black permanent marker
• black ¼” [6mm] Clover Quick Bias
• Mega Piping foot • INSPIRA™ 6" precision appliqué scissor
batting • INSPIRA™ blunt pocket scissor
• Multi-line Decorative foot
• 24” [61cm] INSPIRA™ Sew Soft Fusible • INSPIRA™ 6” safety stiletto
• Quilter’s ¼” Piecing foot
Batting
• Open Toe Free Motion Spring foot
• 31½” [80cm] cotton batting

Instructions 8. Use a black permanent marker to
roughly outline the photograph; don’t
Cutting Instructions worry about getting the exact details
you can fill them in later. Here’s what
Dark blue cotton print the rough outline looked like.
• 1 (24” x 32”) background
• 1 (26” x 34”) backing
• 3 (1¾” x 42”) binding
• 1 (10” x 28”) sleeve
Cotton batting
• 1 (26” x 34”)
INSPIRA™ Light & Soft Fuse-On stabilizer
• 2 (12” x 34”)
Pellon® Tru-Grid™
• 2 (26” x 34”)
Preparations 9. On the remaining piece of Tru-Grid™
1. To start a project like this you’ll need trace the rough outline, but this time
a good photograph from which you use a ruler to get the lines straight.
can work. Also, now you can fill in the details by
2. The internet was a good source of referring to the photograph.
photographs of the Royal Ontario
Museum. There were lots of
photographs to choose from, with
various views of the museum.
3. Once the view of the museum was
decided on, I looked for a photograph
that was a royalty-free stock image
which I purchased from Shutterstock a
stock photography company.
4. The photograph that I used for my
design was a daytime photograph,
but I wanted to do a night scene, so I Sewing Machine preparations
found a few more photographs that 1. Set up your HUSQVARNA® VIKING®
would give me an idea of what the DESIGNER EPIC™ 2 for piecing by
building looks like a night. These were attaching the Quilter’s ¼” Piecing foot.
my inspiration photographs. 2. Insert an INSPIRA™ Universal needle
5. The photograph was then cropped size 80.
and straightened to the image from 3. Thread with 50wt cotton sewing
which the wall hanging will be created. thread on top and in the bobbin.
6. The photograph was then printed 4. Select a straight stitch.
onto a transparent plastic film
(transparency). Background and Batting preparations
7. To enlarge the photograph the 1. On the (24” x 32”)
transparency was placed on an dark blue cotton
overhead projector and then print background,
projected onto a wall. Once the sew the grey batik
projected photograph is the size of for the sidewalk
the wall hanging, tape one of the according to the
Tru-Grid™ (pattern trace) in position pattern. Press.
on the wall. 2. Sew the black cotton print for the
road according to the pattern. Press.
3. Fuse the 2 (12” x 34”) INSPIRA™ Light &
Soft Fuse-On stabilizer on one side of
the cotton batting.
4. Set aside.
Product photos courtesy of SVP

Freezer paper appliqué an intricate design. To capture
1. The older section of the building the design, it was printed onto
will be put together using a more computer printer fabric, including
traditional method of appliqué the Canadian flag. The pieces were
using freezer paper. Start by placing cut out and incorporated into the
the freezer paper, shiny side down, wall hanging.
on the reverse side of the older 7. Place INSPIRA™ Tear-A-Way
building pattern and trace the stabilizer under the piece when
pieces. Cut out the pieces exactly satin stitching any of the details.
along the line you traced. 8. Attach the Mega Piping foot to
2. Lay the freezer-paper pieces shiny attach the eavestroughs and any
side down on the wrong size of the of the trims with cording.
brick and mottled beige print fabric. Use an iron to press the Raw edge appliqué
freezer-paper piece onto the wrong side of the fabric. Cut 1. The crystal section of the building was constructed using a
away the excess fabric, leaving a ¼” seam allowance. more modern type of appliqué technique called Raw Edge
3. For the side of the building place a piece of black organza Appliqué. This method eliminates the need to turn under
over the brick fabric to give the illusion of depth. the raw edges of the pieces as they are covered with a wide
4. Turn under and baste by hand the seam allowance on all of satin stitch.
the appliqué pieces. 2. Freezer paper templates were still used in this part of the
5. On your sewing machine insert an INSPIRA™ Topstitch piece to eliminate having to draw on the fabric. Place the
needle size 90. Thread with Robison-Anton® rayon thread on freezer paper, shiny side down, on the reverse side of the
the top and Mettler® 60wt bobbin thread on the bottom. new building pattern and trace the pieces. Cut out the
6. Attach the Open Toe foot for IDF System and engage the pieces exactly along the traced line.
IDF System. 3. Fuse INSPIRA™ Sew Soft Fusible Batting to the wrong side of
7. Use the pattern as a guide to put the pieces together. the silver lamé and silver crepe de chine. Use a pressing cloth
to protect the fabrics.
4. Press the freezer paper template to the wrong side of the fabric.
5. Thread the machine with 50wt cotton sewing thread on top
and in the bobbin.
6. Attach the Open Toe foot for IDF System and engage the
IDF System.
7. Select a straight stitch.
8. Straight stitch around the freezer paper. Then remove the
8. Use a blanket stitch to stitch the appliqué pieces down onto freezer paper.
the background fabric.
9. Once the piece is stitched down, remove the basting thread
and cut an opening in the back of the background fabric
big enough to remove the freezer paper. Continue until the
entire building is appliquéd onto the background.
Windows
1. Attach the Non-Stick Glide
foot H to your machine.
2. Select a triple reinforced
straight stitch.
3. The windows were created
by placing a piece of
clear vinyl over the cotton
print for the window and 9. Repeat for all the templates.
stitching a grid. 10. Mark the angle of the quilting lines on each of the pieces
4. Attach the Open Toe foot for with a Chaco liner according to the photograph that follows.
IDF System and engage the IDF
System.
5. Sew windows in place adding trim
to cover the raw edges.
6. The curved part above the window
was a challenge because it is such
Instruction photos by Annette Janca
11. Thread the machine with Robison-Anton® Metallic thread 17. To create the narrow window strips, cut narrow strips from
or Sulky® Sliver thread on the top and Mettler® 60wt bobbin the sheer striped fashion fabric. Lay a vinyl strip on top and
thread on the bottom. Use Sewer’s Aid thread lubricant on sew in place. Trim the vinyl close to the fabric.
the thread for smooth sewing. 18. Attach the braiding foot and feed
12. Attach the Utility foot A. the 1⁄8” ribbon through the hole in the
13. Stitch evenly spaced quilting lines. foot, stitch the ribbon on each side of
the narrow strip. Use the INSPIRA™ 6”
safety stiletto to help hold the ribbon
down as you sew.
19. Attach the Open Toe foot for IDF
System and engage the IDF System.
20. Sew the windows in place on the quilted pieces.
21. Fuse the
INSPIRA™ Stick
N’ Fuse II (fusible
web) onto the
wrong side of all
the pieces. Cut
out exactly on the
14. To create depth and shadows on the building; glitter tulle sewn line.
and organza was placed over the lamé and crepe de chine. 22. Insert an
See the pictures to see the difference this makes to the look INSPIRA™
of these fabrics. Titanium needle
size 90 into your
machine. This
will help you
get through the
multiple layers
of appliqué plus
the INSPIRA™ Stick N’ Fuse II (fusible web).
23. Lay the batting with the INSPIRA™ Light & Soft Fuse-On
stabilizer down on a flat surface. Spray with temporary spray
adhesive and place the wall hanging on top. The INSPIRA™
Light & Soft Fuse-On stabilizer will make it easier to quilt and
prevent the batting from snagging on the feed teeth.
24. Remove the paper backing from the fusible web. Lay the
pieces of the building onto the background using the
pattern as a guide. Fuse in place using low heat and a
pressing cloth so not to melt the vinyl and lamé.
15. Thread the machine with Robison-Anton® 40wt rayon thread 25. Set up your machine for a wide satin stitch and stitch around
on the top and 60wt bobbin thread on the bottom. Attach all the raw edges. The batting and stabilizer will prevent the
Non-Stick Glide foot H to the machine. satin stitches from tunneling. Change threads to match the
16. Create the windows using the city line cotton print fabric, piece that you’re stitching down.
vinyl, ¼” Clover Quick Bias and 1⁄8” ribbon. 26. Insert an INSPIRA™ Quilting needle size 90 into the machine.
Multi-line Decorative Foot

27. Change to a straight stitch and quilt the piece. Tie off the Binding and Sleeve
beginning and end thread tails on the batting side. By 1. Set your machine for regular sewing. Select a straight stitch.
not putting the quilt back on until the intricate quilting is 2. Insert an INSPIRA™ Universal needle size 80.
completed, the beginning and end thread tails don’t need to 3. Make a sleeve to hang your wall-hanging and attach it to the
be buried and the back of your wall hanging will be neat. back. Hand stitch the bottom of the sleeve in place.
28. Attach the Multi-line Decorative foot when quilting the 4. Stitch the binding strips on the diagonal to form one long strip.
mottled beige piece at the bottom; the lines on the foot are 5. Follow the instructions included with the Quilt Binder foot
perfect for stitching equal distance rectangles without have for IDF System and stitch the binding in place.
to mark the fabric.
29. Attach the Open Toe Free Motion Spring Foot and set your
machine for Free Motion Spring Action.
30. Stipple quilt the sky and around the bricks.
31. Place the quilt backing on a flat surface and spray with
temporary spray adhesive and place the wall hanging on top.
32. Attach the Open Toe foot for IDF System and engage the
IDF System.
33. Thread the top with Sulky® Invisible polyester thread and the
bobbin with 60wt thread matching the backing.
34. Quilt around the buildings enough to attach the wall
hanging to the
quilt back.
35. Thread your
machine with
50wt cotton
sewing thread
on top and in the
bobbin.
36. Select a Three-
step zigzag and
stitch around the Open Toe Free Motion Spring Foot
perimeter of the wall hanging.
37. Trim the excess batting and backing around the perimeter of
the wall hanging.
Annette Janca
Education and Marketing Administrative Support
SVP Canada Inc.
husqvarnaviking.com/en-CA
HUSQVARNA VIKING, DESIGNER EPIC and INSPIRA are trademarks
of KSIN Luxembourg II, S.a.r.l. ©2019 KSIN Luxembourg II, S.a.r.l.

Sol y Mar
Bed Runner
Last year on
vacation in
Loreto, Mexico
I fell in love
with the tiles I
saw everywhere.
Especially on
the staircase
in this photo.
I decided I
needed to
incorporate
the look into
my home
decor…This
felted wool bed
runner is the
result. Update
your bedroom
décor with this
Mexican tile
inspired bed
runner. It can
also function
as a table
runner if you
prefer and can
be shortened
or made as a
single tile for a
hot plate.
– Lynn

sewing and machine embroidery
Brother ScanNCut SDX225 and cutting mat Brother Sewing and Embroidery Machine Luminaire XP1
Sewing, Embroidery and Quilting Machine
skill level Intermediate

finished measurement 14” x 75”
time required 8 hours
materials
fabric
• 59” [1.5m] felted wool - white or cream for background fabric
• 39½” [1m] each of assorted colours of felted wool for blue,
grey, rust accents
• 79” [2m] cord for piping
• 39½” [1m] cotton fabric for backing
notions
• coordinating thread
• Wonder Clips
• pins
• rotary cutter and mat
• scissors
• ruler and marking tools
• iron and ironing board
• Brother Iron-on Fabric Applique Contact Sheet (CASTBL1)
• Transfer Paper Grid (CAVINYLTPG)
other
• ScanNCut Design files (3 cutting files provided)
equipment
• Brother Sewing and Embroidery Machine Luminaire XP1
• Brother ScanNCut SDX225 and cutting mat
• standard sewing foot
• zipper foot
Notes:
• Determine desired length of bed runner
• Adjust size of background squares to create desired size of
bed runner
• Design shown is 14” x 75” and is used on a queen size bed
Instruction photos by Lynn Swanson
instructions
prepare designs
3 Mexican tile designs have been provided. To use these
designs, follow these steps:
1. Print out each design.
2. Place printed design on ScanNCut mat.
3. Press Scan.
4. Save design.
5. Enlarge design to desired size (15” x 15”).
6. Save design in machine.
prepare fabric for cutting
1. From background fabric cut (5) 15” x 15” squares or the
number of squares required for your desired length of
bed runner.
2. Cut piece of backing fabric 15” x length of bed runner.
Tile design on ScanNCut mat 3. Cut (1) 3” x 60” strip of grey felted wool; this becomes
the grout between the tile pieces.
4. Stabilize wrong side of contrast appliqué fabric with
Iron-on Fabric Applique.
Note: Follow Iron-on Fabric Applique package instructions to
adhere and test fabric to determine correct heat setting of iron.
5. Place stabilized fabric on ScanNCut SDX225 cutting mat
and load the mat.
6. Select your first design.
7. Press Set.
8. Press Cut.
9. Carefully remove cut fabric (design) from cutting mat.
10. Place design onto background fabric and press in place.
Note: For 2 of the designs the positive and negative sections
of the design were both used in the bed runner. When using
the positive and negative sections – first remove the negative
section in 1 piece. Then, place transfer tape over the positive
section and gently remove from the cutting mat. Place transfer
Use the Luminaire Projector and Guideline Marker to view your tape onto the background fabric (square), then gently remove
stitches’ trajectory. the transfer tape. You can also mix and match the various
appliqué pieces to provide mulitcolour blocks.
11. Repeat the cutting and placement steps for each of the
desired designs.
stitching
1. Place applique design cut at ScanNCut SDX225 on
background fabric square.
2. Use iron to gently press in place.
3. Stitch the felted wool appliqué pieces to the
background fabric.
4. For the negative designs select stitch Q -14 (blanket
stitch) to appliqué around the outside of the block to
adhere it to the background.
Note: Use the projector feature and laser guide features on the
Luminaire XV1 to ensure your stitches are where you want them.
Making the piping.
Instruction photos by Lynn Swanson
5. To stitch the balance of the appliqué pieces in place onto
the background fabric squares, you can choose a straight or
a decorative stitch. You decide how much stitching you wish
to add to each tile.
6. To make the piping separating each block place cord in the
middle of grey fabric strip. Fold strip in half and hold in place
with pins or Wonder Clips.
7. Stitch cord together using zipper foot. Position machine
needle very close to the cord. Use your fingers to feel where
the cord is positioned.
8. Square up each of the completed blocks, so each block is the
same size.
9. Arrange blocks attractively.
10. Place cut edge of piping along cut edge of first block. Stitch
in place. Trim piping to edge of block.
11. Place cut edge of second block even with edge of piping
attached to first block and stitch.
12. Repeat steps 10 and 11 to stitch all blocks together.
13. With right sides together lay backing fabric on top of
assembled tile strip.
14. Trim backing fabric to the same size as assembled tile strip.
15. Use pins or Wonder Clips to hold the two pieces together. Audition tile arrangement.
16. Use a ½” seam to stich the top edge and bottom edges of
the bed runner.
17. Turn right side out. The inspiration for the Sol y Mar bed runner
18. Fold in the left and right edges of bed runner and stitch
closed.
19. Adorn your bed top with the completed bed runner and
dream of your next Mexican vacation.
Lynn Swanson
Brother Educator
Western Canada
www.brother.ca

Sol y Mar Designs
enlarge each design to 200%

Yo-yos make your
quilts complete
Yo-yos are a fun way to complete skill level beginner
your quilt. They can be the whole materials
quilt or they can be easy and fast fabric
embellishments on your quilt or • scraps of fabric, depending on your size
quilted items. Here you can find of yo-yo, a 5'' square for the larger one
• a 3'' square for the smaller one
two simple ways to make yo-yos.
other
– Jackie • TrueCut 360
instructions
Creating a Yo-yo
1. This first method creates what I call a
raw edge yo-yo. Do a running stitch
around the perimeter of the yo-yo
starting on the wrong side and about Yo-yo
1⁄4'' from the edge. completed
2. Once stitches are completely around with raw
the circle, pull to gather and do a few edge finish.
Use the TrueCut 360 to cut your circle to your
exact specifications. stitches to hold.
3. Finesse to get a nice looking circle.
4. Create a smaller yo-yo to go on top of
the large one and stitch down.
Put a small yo-
To create what I call a finished yo-yo, as yo on top
you do your running stitch, fold your of a larger
fabric in wrong sides together from the one to
edge about 1⁄4'' and stitch through both cover the
gathered
layers going around the perimeter.
hole.
When gathering the yo-yo, you can
Do a running stitch 1⁄4'' from edge of circle. either pull tight or because you have a
nice clean looking finish, leave a small
opening in which you can insert a
corresponding fabric and stitch down to
give a unique look.
Slip a small
If you want to sew yo-yos together, do
piece of
simple slip stitches at the edges of each fabric into
yo yo to join. Try adding a few onto your opening of
next quilt or quilted bag to make it look yo-yo to create
fun and show off your creativity. a pretty center.
Create a more finished looking yo-yo by folding Yo-yos can really make your quilt
the fabric in and stitching through both layers complete!
around the circle.
Photos by Jackie White

Maritime
Houses Quilt
The Maritime Houses quilt was initially inspired traditionally find safety and security, which was never
by the weathered and colorful houses found in the truer than it is now. Worldwide Quilting Day took
Maritime Provinces of Canada. When Northcott place at the outset of Social Isolation in Canada and
introduced their Crackle line of fabrics, it was the quilters across the country took to displaying their
perfect choice for this project. favourite quilts outside their homes to show the world
As I began working on the house blocks, the world the ways that quilting binds us together. Quilts are
was faced with a Global Pandemic and families the heart of our homes, so they had to be a part of
were forced to isolate in their homes, bringing new this project inspiring the sashing. – Clodagh
meaning to this project. Our homes are where we

quilting
skill level Advanced Sewing instructions for house block

finished measurements 1. Sew 3 Main House and 3 Window
strips together as per Diagram 1. 3½” x 1½”
47” x 42” [119.5 x 106.7cm]
2. Sub-cut into (6) 2½” sections (discard
materials remaining ½” scrap).
fabric 3. Trim to 5½” x 2½”.
1” x 1½”
1” x 1½”
• 10” [0.25m] each of four different fabrics 4. Sew (3) 5½” x 1½” pieces onto the sub 2½” x 1½”
for Main House cut strips as per Diagram 2.
• 10” [0.25m] each of four different fabrics 5. Press seam allowances as per the arrows.
for Side House 6. Assemble Side House as per
• 10” [0.25m] each of light blue/grey Diagram 3.
fabric for Windows 7. Press seam allowances as per the arrows.
• (12) 2” x 3½” for Doors (various) 8. Draw diagonal line on two 3½” x 2½”
• 10” [25cm] of dark stone fabric for Roof background 2” x 2” squares.
and Chimney 9. Place one right sides together with
• 39” [1m] each for background and 7” x 2” Roof piece and stich along
sashing diagonal line.
threads
• Aurifil 50 weight cotton thread for piecing
• Gamut thread for embroidery
11⁄4” x 3½”
11⁄4” x 3½”
notions
• Acorn Precision piecing glue 2” x 3½”
• rotary cutter
1½” x 16”
1½” x 16”
1½” x 16”
1½” x 16”
1½” x 16”
• cutting mat
instructions Diagram 3
Diagram 1
Cutting instructions for 3 house blocks
10. Cut ¼” seam allowance off as per
Main House
Diagram 4 and press towards Roof.
• (3) 1½” x WOF strips
11. Position 3½” x 2” side house rectangle
» Sub-cut
on the Roof as per Diagram 5 and
- (3) 1½” x 16” 5½” x 1½” stich along diagonal line.
- (9) 1½” x 5½”
Side House
• (3) 1½” x 3½”
• (6) 1” x 1½”
• (3) 3½” x 2½”
• (6) 1¼” x 3½”
• (3) 3½” x 2”
Windows Diagram 4
5½” x 1½”
• (2) 1½” x 16”
• (3) 2½” x 1½”
Door (various)
• (3) 2” x 3½”
Roof and Chimney
• (3) 7” x 2”
• (6) 1½” x 2”
Background 5½” x 1½”
• (12) 2” x 2”
• (3) 3½” x 2” Diagram 2 Diagram 5
Instruction photo by Clodagh Coker

12. Cut ¼” seam allowance off and press towards the Roof.
13. Position 2” square of background on the Roof section as per Diagram 6 and stitch along
diagonal line.
14. Cut ¼” seam allowance off and press towards the House.
Diagram 6 15. Assemble Chimney section Diagram 7.
16. Layout all pieces as per Diagram 8 below and sew segments together using ¼” seam
allowance. Make sure to carefully nest all seams. Acorn Precision piecing glue is a great tool
2” x 2” 3½” x 2” 2” x 2” create super-straight lines and precise seams to assist in keeping seams aligned.
17. All seam allowances should be pressed open unless indicated otherwise by the arrows
Diagram 7 in the diagram below.
18. Trim block to 8½” x 10 ½”.
2” x 2” 3½” x 2” 2” x 2”
3½” x 1½” 5½” x 1½”

1”x 1½”
1”x 1½”
2½” x 1½”
3½” x 2½”
5½” x 1½”
11⁄4” x 3½”
11⁄4” x 3½”
2” x 3½”
5½” x 1½”
Diagram 8
sashing
Note: The Maritime Houses Quilt sample is
embellished with an embroidered sashing,
Anita Goodesign Farmstead collection. The
quilt could be completed with plain sashing.
1. Cut 9 pieces 33⁄8” x 10½” for sashing and
4 pieces 33⁄8” x 41” for outer sashing.
2. Cut an additional 2 pieces of sashing
33⁄8” x 41” if not doing embroidery.
3. Prepare your backing, quilt and bind
as desired.
Designed by Clodagh Coker

Custom quilted by Mandie Eddie
The Quilt Store
17817 Leslie Street, Unit 40
Newmarket, Ontario L3Y 8C6
www.thequiltstore.ca
905.853.7001

#TheSewGoesOn
While we are sew at home, together we
keep the spirit of sewing alive.
Be part of a passionate sewing

community. Share your sewing
and quilting projects on Instagram
using #TheSewGoesOn
Look for giveaways, supplies and special offers!
Share your love of sewing
31
The Windmill
Quilt Block
365 days quilt
scraps challenge
This windmill block pattern is
offered here in 3" block sizes.
Any of my blocks can be made
smaller or larger than these by
playing with the size options
on your colour printer before
printing. –Olesya
Photo by Olesya Lebedenko

patchwork
skill level intermediate

Sewing Scrap Blocks
finished measurements with Character
3” block
by Olesya Lebedenko
materials
celebrates her year
fabric
• fabric scraps long challenge of
notions making patchwork
• thread to match fabric quilt blocks out of
#365daysquiltscr
• heavy weight thread or embroidery fabric scraps. More
floss for embellishing
than 60 original
• sewing needles and pins
• 1 mini button patchwork blocks!
• sharp scissors Step-by-step
• ruler diagrams speak
• rotary cutter for themselves,
• pencil or water-soluble marker
and templates are
other BQQ
included.
• transfer paper MJRV
• colour printer ÏX
JOE
Note: The diagrams are actual size N JMMC
excluding seam allowances.
MBE
FT
Instructions
'PS
Preparing the Pieces
Print method Windmill
6"
XJO
E
and blade
Print the diagram in colour then cut the NJM
M templates
paper pieces to use as templates.
Tracing method BTTFNCMZPGQJF
Using transfer paper and a ruler, trace blade: make 4
the windmill image. Cut the pieces to
use as templates. SCALE 1:1 actual size
Cutting and Sewing 'PS inches 1 25 3
cm 1 2 3 4 6 7 8
1. Place each template on a chosen XJO

EN
scrap fabric and cut around the JMM
template including a ¼” all around
8
each piece. Cut all the pieces of fabric.

3
2. Use the numbered diagrams to sew all

'PS
7
pieces in the recommended order. Sew

the pieces by hand or by machine. XJO
6
EN
3. Use backstitching at the start and stop JMM
of seam if sewing by machine, use
25
knots if sewing by hand.

4
Making Decorative Stitches

1. Use the photo as a guide and big
3
quilting stitches to make a border on

]
1
m
the door and window markings.

6m
2
”[
2. Cut and appliqué windmill blades

¼
inches
using big quilting stitches.

1
3. Use a mini button for the center of

cm
the windmill turbine.

The Windmill Quilt Block
piecing#365daysquiltscraps
order
11 5 9
22
6
10
BTTFNCMZPGQJFDFT
3 7

11
4
8
902-435-7380
www.kellyscreativesewing.ca
804 Main Street
Dartmouth, Nova Scotia B2W 3V1
Olesya Lebedenko
Olesya Lebedenko Design
kellyscreativesewing@gmail.com
olesya-l-design.com
Specialize in Sewing, Embroidery machines,
Sergers and Long arm Quilting Systems facebook.com/365daysquiltscraps
patreon.com/olesyalebedenkodesign
instagram.com/olesyalebedenkodesign

35
The fabrics used in the
bricks, the border, and
the words were made
using the photocopier
function on my INKJET
printer. The fabric for the
mortar and the binding
are commercial prints. I
used the bricks on my
house as the guide for
the sizes. Feel free to
change up the sizes to
suit your project. There
are many novelty or
architectural prints on
the market that you can
use instead of creating
your own. Why not make
this a memory quilt
or personalize it with
‘bricks’ of someone’s
favourite thing?
– Elaine
Under Construction Quilt

quilting
skill level intermediate • ½ yd [0.45m] Fabric D for appliquéd Quilt Center

finished measurements words (if you’re printing the words 1. Measure several of your rows to get
32½” x 40” [82.5 x 101.5cm] on the printer, then you’ll need as the average length. Cut 10 strips to
many fabric sheets (8½” x 11”) as you that length.
materials need for all the words you’ll place 2. Add a row of sashing to the bottom
fabric on the quilt. Alternatively, you could of five of the Row A. The sashing is
Fabric A The fabric for the bricks was appliqué personal items on the quilt narrow – make sure you pin it in place
created by photocopying actual house if you’re making this into a memory to prevent stretching.
blueprints onto muslin that had been quilt for someone. 3. Add a row of sashing to the bottom of
treated to make it colourfast. You can • ½ yd [0.45m] Fabric E for binding all five of the Row B.
purchase colourfast sheets of fabric in - Cut four (4) strips measuring 2½” x wof 4. Sew a Row B to the bottom of a Row A.
white or cream, or you can treat your own Join end to end using a diagonal 5. Continue to join the rows until the
fabric using BubbleJet 2000. The bricks seam center of the quilt is complete. Row A
were cut 2½” x 8½”. and Row B will alternate with the half
• 1 yd [0.92m] for backing bricks in between the full bricks at the
Fabric B The border of the fabric was
other end of each row.
created by carefully placing finishing nails
• matching thread Inner Border
on the bed of the scanner. The resulting
• rotary cutter
image was then transferred to Photoshop • cutting mat 1. Using Fabric B, cut 2 pieces of fabric
where the colour of the image was • ruler that measure the center width of the
manipulated to a shade of purple that • pins wall hanging.
matched the blueprints. The border was
cut at 3½”. 2. Match the center of the inner border to
the center of the wall hanging and pin.
Fabric C The lettering on the quilt was Instructions 3. Match the ends of the inner border to
created in WordPerfect using a different Note:
font for each word. You can create any both ends of the wall hanging and pin.
lettering or numbering that you like. The • Use ¼” Seam Allowance unless You may have to ease the inner border
colour of the lettering was manipulated otherwise stated. or the wall hanging. Sew the seams.
to match the colour of the blueprints. • It’s best to NOT prewash preprinted Press away from the inner border.
The letters are 7⁄8” high. A small border fabrics such as panels and border 4. Repeat this process for the side inner
was left beyond all the lettering and prints. The fabric goes through many borders using the height (through the
after it was appliquéd to the quilt, the processes to be delivered to the center) of the wall hanging as your
edges were frayed. consumer and there may be some measurement guide.
• ¾ yd [0.69m] Fabric A for bricks (create size variations. If you’re unable to cut Outer Border
your own by photocopying house the panels/border prints to the sizes Repeat the steps for the inner border using
blueprints or use an architectural or mentioned above, cut the pieces Fabric C, add the outer border. If you’re
construction print or even a novelty to a size that works for your panels using your own fabric you created on the
print to create a personalized house and adjust any other measurements inkjet printer, you’ll have to join the pieces
for someone) accordingly. before you can cut the final length.
- Cut ten (10) strips measuring 2½” x wof Row A Appliqué
Subcut thirty-nine (39) pieces that Using four rectangles (bricks) of Fabric A The words were appliquéd AFTER the wall
measure 2½” x 8½” and three pieces of sashing (mortar) of hanging was quilted. Once the words
Subcut ten (10) pieces that measure Fabric B, join the pieces together to get a were secure, the edges of the fabric were
2½” x 4½” row with four bricks. Press away from the fringed. If you prefer a more finished look,
• ½ yd [0.45m] Fabric B for mortar – sashing. Make 6 rows. turn the edges of the appliqué under and
choose a fabric that contrast to the bricks
Row B then stitch in place.
- Cut seventeen (17) strips measuring
Using two of the smaller rectangles
7⁄8” x wof
Subcut thirty-eight (38) pieces that (half bricks), three full rectangles, and
measure 7⁄8” x 2½” four pieces of sashing (mortar), join the
• ½ yd [0.45m] Fabric C for borders pieces together to a row with a half brick
- Cut four (4) strips measuring 3½” x wof on each end and the three bricks in the Elaine Theriault
center. Press away from the sashing. Make Crazy Quilter on a Bike
5 rows. crazyquilteronabike.blogspot.com

WAVES
quilt
Two years ago, I had the opportunity to

travel to Poland with my friend Debbie. At
one point during the tour I went missing
for a couple of minutes, a person on the
tour noticed my absence. When Debbie
was questioned about my absence,
her reply was, “Paul probably found a
quilt inspiration and is probably taking
pictures”. Debbie was correct! I was taking
photos of a design in a brick. On many
trips I more than likely took more pictures
of quilt inspirations than the sites of the
places I’m visiting.
When I travel to foreign lands, I do so
to taste and savour the colours of these
new exotic locations. Now I travel with an
additional interest, quilting. It’s amazing
the inspiration I come across when
quilt design is a big part of my life. I find
inspiration in so many things, ceramic
tiles, plant colours, lines, graffiti and my
favourite architectural designs. I’m always
taking photos.
On a recent extended vacation to Puerto
Vallarta, I was amazed at the inspiration I
was finding everywhere. One such view,
which got to me was an outer hotel wall
located next to the building where I was
staying. Everyday I would see this wall
and enjoy looking at the curved lines
the stonework created. As my vacation
was coming to a rapid end, I was sitting
at the pool staring at the wall I had been
admiring for weeks. Suddenly, I noticed
the wall’s stonework had the same
colours and shades as the many fabrics in
Northcott Stonehenge collections. Within
3 days, I had a plan and had ordered
every piece of fabric I would need to
reproduce this wall, minus the windows.
I had the inspiration, the idea and a plan.
The next step was to put it all together.
Photos by Paul Léger

The first step in preparing to make this
quilt was to figure out the dimensions.
The background rectangles are 10½”
x 20½” (unfinished). As I like to make
large quilts, I decided this quilt would
measure 90” x 100” before quilting; 9
rectangles wide by 5 rectangles tall.
1 5
Calculation made, I needed the
following quantity of Stonehenge
fabrics:
• 7 yards for the background fabric
• ¾ yards of 10 different valued fabrics
For the wave’s pieces, I selected 10
fabrics of different values. I cut pieces 2
measuring 5½” wide x 10” to 13”.
Randomly selecting 18 pieces from
the 10 selected fabrics, I sewed then
together length wise at varying
heights. For this quilt I made a total of
6 bands that would be used for the
waves. Photo 1
3 4 6
On the back of each band I fused
double sided interfacing in a way
which would create a wave once cut.
Photo 2
Using my rotary cutter, I made soft
curves by following the placement of
the interfacing. Photo 3
After the curves were cut, I placed
them one at a time on the quilt top.
I made sure the band’s seams were
aligned with those of the quilt top.
Once all seams were aligned, I pressed
the interfacing into place. Photo 4
Since I was working with raw edges, I
sewed a blind hem stitch along each
curve. Photo 5
Using the walking foot’s edge, I
followed the edge of every curve, then
repeated this process by following the
quilting lines. Following this process, I
calculated I used between 11 and 12
bobbins to machine quilt this quilt.
Photo 6
Now when I see this quilt, I will always
be reminded of my first extended
vacation in Puerto Vallarta. I’m now
looking forward to my next vacation
wherever that may be.
Travel locally or afar when you can,
enjoy the sites, the scenes, the food
but always keep an eye on interesting
architectural or any other features that Paul Léger
could be recreated in a quilt. paullegerquilts.com

An ot h e r Bri ck I n T h e W a ll Quilt
I’ve always love bright colours. I remember in My love of bright colours remains to this
high school wearing a bright coloured shirt my day, it’s obvious in many of my quilts. The
mother had made me. As a 17-year-old teenager, inspiration for this quilt came from loving the
like everyone else I wanted to fit in, be cool. geometric shape of a brick wall and the love of
Well let me tell you, in 1977 wearing the bright solid coloured fabrics. Having purchased several
coloured shirts did not make you fit in or be cool, pounds of solid remnants in every colour of the
but for what ever reason I did not care. I loved rainbow a quilt plan formed itself. – Paul
the colours and I wore the shirt with pride.

quilting
skill level Easy This quilt has a total of 30 rows: Step 7 Sew the 29 brick strips to each
other. Alternate the rows starting with
finished measurements • 15 rows will have (12) 3”x 6½”
half bricks on the first row, then full brick
approximately 72” x 91½” before quilting rectangles on the second row, then half on third
materials • 15 rows will have (2) 3”x 3½” rectangles row going to full brick on the fourth row.
fabric at each end and (11) 3” x 6½” rectangles Continue this rotation until the 29 rows
5 yds [4.75m] fabric for bricks Note: in between are sewn together. Sew the 30th strip
Step 2 Make 15 stacks of 11 randomly which was put aside earlier to the bottom
This is a great quilt to use up your scraps
selected 3” x 6½” rectangles with black of the quilt top.
and un-used fat quarters.
2¾yds [2.5m] black fabric strip and one 3” x 6½” rectangle without
black strip.
5½yds [5m] backing
2⁄3yd [½m] binding Step 3 Make 15 stacks of 11 randomly
double/full size batting selected 3” x 6½” rectangles with black
strip plus one 3” x 3½” rectangles with
black strip and one 3” x 3½” rectangles
Instructions without a black strip.

Note: Each stack will make one row.
cutting Step 4 Using one stack at a time sew
From fabric selected for bricks cut: rectangles end to end. End each strip
is the rectangle without a black strip.
(345) 3” x 6½” rectangles Step 8 Baste quilt top.
When sewing the stacks with the 3” x 3½”
(30) 3” x 3½” rectangles rectangles ensure the 3” x 3½” rectangles Step 9 Quilt.
From black fabric cut in this order: are sewn at each end of the row.
Step 10 Add binding.
(2) 1” x 91½” * Step 5 Mark both sides of the (29) 1” x 72”
(2) 1” x 90” * strips as follows:
(29) 1” x 72” *
• On one side of every strip mark as
(345) 1” x 3” rectangles
follows: 3¼”– 6½”– 6½”– 6½”– 6½”–
* the lengths indicated are the minimum 6½”– 6½”– 6½”– 6½”– 6½”– 6½”– 6½”–
lengths they must be cut. I suggest 3¼”.
cutting each strip 2” longer than indicated
• On the other side of the strip mark as
and trim once sewn.
follows: 6¼”– 6½”– 6½”– 6½”– 6½”–
From binding fabric cut: 6½”– 6½”– 6½”– 6½”– 6½”– 6½”– 6¼”.
(8) 2½” strips
sewing
Note: All seams in the next steps are ¼”.
Step 1 Sew a black 1” x 3” rectangle to
every 330 of the 3” x 6½” rectangles and
to 15 of the 3” x 3½” rectangles.
Step 6 Sew the 29 black strips the 29

of the coloured brick strips*. Align the
marking with the black vertical strips.
*put aside one strip with 12 full bricks.
Paul Léger
paullegerquilts.com
The quilt was quilted by Frank Palmer
(Full Frontal Quilt and Dyeworks) of
Duluth, Minnesota.
Instruction photos by Paul Léger
Seattle
Station
Quilt
One of the most beautiful buildings I’ve found in the
United States is the train station in Seattle Washington.
It’s full of marble, carved window casings and huge
wooden benches. It’s also heavily trimmed with a gold
and green mosaic tile. When I was there several years ago,
I took numerous photos, hoping to incorporate it into a
knitting or embroidery design. In the meantime, I’m very
excited that quilter Jean Boyd has been able to interpret
them into this modern quilt for this issue!
– Cynthia MacDougall
Photos by Cynthia MacDougall

quilting
Instructions
skill level intermediate cutting instructions Beige
finished measurements Note: Because there are many different size (2) 5½" x WOF. Re-cut to make (4) 5½" x
22" x 42" [56 x 107cm] pieces in this quilt, it's a good idea to label 15½" for Block 1.
materials the pieces as they are cut. (1) 4½" x WOF. Re-cut to make (2) 4½" x
fabric 11" and (4) 4½" x 4½" for Block 2.
• 11⁄8 yd [1m] Northcott Canvas 9030-12 Green (1) 2¾" x WOF. Re-cut to make (4) 2¾" x
beige (4) 3" x WOF for a ½" finished size binding. 6½" for Block 2.
• ¾ yd [0.7m] Northcott Canvas 9030-75 Cut ends of each strip on a 45° angle.
green (2) 3½" x WOF. Re-cut to make (4) 3½" x
• (1) 8" [21cm square] Northcott Canvas (1) 1¾" x WOF. Re-cut to make (4) 1¾" x 11" and (8) 3½"x 3½" for Block 4 and (4)
9030-53 yellow 4½" and (4) 1¾" x 2" for Block 2. 3½" x 2" for Block 3.
• 11⁄3 yd [1.2m] Northcott Canvas 9030-12 (2) 1½" x WOF. Re-cut to make (8) 1½" x (1) 2½" x WOF for Block 4.
beige for backing 5½" for Block 4. From remaining fabric cut (2) 7¾" x 7¾"
batting (4) 1¼" x WOF. Set aside one of the strips for Block 3.
• 1 piece 46” x 26” for Block 4. sewing instructions BLOCK 1
other Re-cut the remaining 3 strips to make:
• threads to match
• rotary cuter, ruler and mat • (4) 1¼" x 15½" for Block 1
Note: Use ¼" seam allowance throughout • (4) 1¼" x 5½" for Block 1
unless otherwise stated. From remaining green fabric, cut (4) 2" x
2" for Block 3.
Block 1 make 2
Yellow
(1) 3½" x 3½" for Block 3
(2) 2" x 2" for Block 2
(4) 1¼" x 1¼" for Block 1
Block 1 reversed make 2

1. Sew a 1¼" x 5½" green strip to one 3. Cut 2 – 4½" beige 2. Sew a 2" green square to each end of
end of a 5½" x 15½" beige rectangle. squares in half the remaining 2" x 3½" beige strips.
Press seam toward green. diagonally to make 4
2. Sew a 1¼" yellow square to one end triangles.
of a 1¼" x 15½" green strip. Press seam 4. Sew a triangle to 2
toward green. opposite sides of
3. Sew the green strip with yellow the pieced square, Press seams toward beige.
square to the bottom of the 5½" x centering the point 3. Sew the 3 rows together.
15½" beige rectangle. Press seam of the triangle with 4. Cut the (2) 7¾" beige squares in half
toward green. the center of the diagonally to make 4 triangles.
4. The block should measure 6¼" x 16¼". block.
5. Make another block like this. 5. Sew triangles to
6. Make 2 Block 1 (reversed) that look the remaining sides.
like this. 6. Trim the block so it
measures
6½" x 6½".
TIP It's a good idea
to draw the cutting
lines on the block
first, before cutting, to 5. Sew a triangle to 2 opposite sides
check that the pieced of the pieced square, centering the
square is centered. point of the triangle with the center
of the block.
7. Sew a 2¾" x 6½" 6. Trim the block so it measures
beige strip to the 11" x 11".
top and bottom.
8. Sew a 4½" x 11" TIP It's a good idea to draw the cutting
Block 1 make 2 beige strip to left lines on the block first, before cutting, to
side of the block. check that the pieced square is centered.
The block should sewing instructions BLOCK 4
measure 10½" x 11".
9. Make a Block 2
(reversed) that looks like this.
Block 1 reversed make 2
sewing instructions BLOCK 2

Block 4 make 4
1. Sew the 2½" x WOF beige strip and
the 1¼" x WOF green strip together
to make a strip set. Press seams
sewing instructions BLOCK 3 toward green.
2. Cut the strip set into (8) 3" x 3¼" units.
Block 2 make 1 Block 2 reversed make 1
1. Sew a 1¾" x 2" green strip to 2 sides

of a 2" yellow square. Press seams
toward green. 3. Cut each 3½" beige
2. Sew a 1¾" x 4½" green strip to the square in half diagonally.
other 2 sides of the yellow square. Block 3 make 1 4. Sew a 1½" x 5½" green strip
Press seams toward green. 1. Sew a 2" x 3½" beige strip to 2 sides to 2 beige triangles. Make 8
of the 3½" yellow square. Press seams units like this.
toward beige.

5. Press seams toward green on 4 of the putting it all together
squares. Press seams toward beige on 1. Sew the blocks together to make 3 rows.
the remaining 4 squares.
Trim to 3¼" x 3¼", making sure to keep Row 1
the green strip centered.
Row 2
Row 3
6. Sew the units together to make 8 like
this. Each should measure 3¼" x 11".
Press seams as shown. 2. Sew the rows together to complete the quilt top.
7. Sew a 3½" x 11" beige strip to the top

of each pieced strip to make 4 Block 4.
Each block should measure 6¼" x 11".
finishing
1. Layer backing fabric, batting and quilt top, making sure to centre the quilt top on
the backing.
2. Baste the layers together. Quilt as desired.
binding (½" finished size)
1. Sew the 3" binding strips together, end to end, to make one strip long enough to
go all around the quilt. Press seams open.
2. Fold the strip in half lengthwise with wrong sides together. Press.
3. Using a walking foot, sew on the binding using a scant ½" seam and mitering
the corners.
4. Fold binding to back and hand-stitch in place.
Jean Boyd
www.patternsbyjeanboyd.com
Instruction photos by Jean Boyd

Melissa Marginet is an avid quilter whose passion is to teach
and inspire other quilters. She is especially passionate about
empowering quilters to quilt their own quilts on their home
sewing machines. She has taught locally for many years and
now travels throughout Canada to share her knowledge. She
has taught for Quilt Canada and the Saskatchewan Stitches
Conference as well as many quilt guilds and groups.
Melissa is the author of two books on walking foot quilting.
After a huge success with her first book, Walking Foot
Quilting Designs, she has decided to publish a second book,
Edge-to-Edge Walking Foot Quilting Designs.
While the first book is a compilation of over 100 quilting
designs, the second book, Edge-to-Edge Walking Foot
Quilting Designs, discusses a technique that once learned
gives you over 200 new quilting designs with many more
possibilities that can be used on any quilt. The following
pattern is a taste of that technique.
BLOSSOM Quilt

quilting
skill level Intermediate Using the two

finished measurements pieced units and a
13'' x 43'' [33 x 109cm] 5½” square of Twist,
assemble 4 of the
materials following units.
fabric
• 1 fat quarter of Sangria Strawberry Field
pink by Figo Fabrics
• 1 fat eighth of Yarrow by Kona Cottons
• 136⁄8'' [35cm] Sorbet Twist by
Dashwood studios
• 1 fat quarter Sangria Wavy Stripe pink
by Figo Fabrics for binding Section 2 Piecing Instructions
• 195⁄8'' [50cm] fabric for backing Make a strip set from the 3” Strawberry
• 16'' x 44'' [40.5 x 112cm] piece of batting strip and the remainder of the 5½” strip of
Twist. Sub cut (6) 3” pieces
instructions
cutting instructions
From the Strawberry FQ cut:
» (2) 5½” WOF strips - sub cut into (4)
5½” and (6) 3” pieces
» (1) 3” WOF strip – sub cut into (6)
5½” pieces
» (14) 1½” squares
From the Yarrow cut:
Using the (6) 3” x 5½” pieces of Strawberry
» (4) 3” x 5½” pieces
and (6) 1½” squares of Twist and following
From the Twist cut:
the directions from above, make 4 of the
» Cut (1) 5½” WOF strip - sub cut into Final piecing
following units with the corner on the left
4 (5½”) squares
and 2 with the corner on the right. To finish the top of the table runner, piece
» Cut (2) 3” WOF strips - sub cut into
the units together as follows:
(6) 8” pieces, (6) 3” pieces, and (8)
1½” squares
Section 1 Piecing Instructions
Using the (4) Yarrow rectangles and (8)
Attach a 3” square to the 6 units on the
1½” squares of Strawberry
same side as the corner piece. Quilting instructions
• Place two squares on each rectangle,
stitch corner to corner. Marking your quilt can be done before or
• Cut off the excess leaving a ¼" seam. after you layer and baste your quilt.
• Press the corner out. When deciding how to quilt your
Using the diagrams as your guide, piece 2
patchwork, the first thing to decide on is
of the first unit and 1 of the second unit.
where to place the grid.
Using the (4) Strawberry 5½” squares and

(8) 1½” squares of Twist
• Place two squares on each square,
stitch corner to
corner.
• Cut off the excess
leaving a ¼"
seam.
• Press the corner
out.
Photos by Melissa Marginet

Next we need to mark our patchwork with dots along the lines
Edge-to-Edge Walking of the decided grid. The finished size of each grid section is 2½”
square so I decided to mark points ¾” from the corners along all
Foot Quilting Designs sides.
I used two designs in three different ways to quilt the table

runner. Through the Yarrow I quilted parallel lines. Through the
Strawberry I quilted crossed lines and through Twist I alternated
each from one to the other.
Step 1
Starting at the center of the
table runner quilt all the vertical
lines. Work your way from the
center towards the right edge
After the resounding success of Melissa Marginet’s Walking Foot of the table runner, quilting one
Quilting Designs, Melissa is back with her second brilliant book: line at a time. Turn the table
Edge-to-Edge Walking Foot Quilting Designs. This book is another runner around and quilt the
must-have reference book for your quilting space if you’re remaining vertical lines in the
serious about exploring exciting ways to quilt your projects. same manner.
Edge-to-Edge Walking Foot Quilting Designs is particularly useful
for the beginner quilter puzzled about how to quilt on a Step 2
domestic sewing machine. It’s a reference book you’ll use time Following the same instructions
and time again for small or large projects. Edge-to-Edge means quilt the horizontal lines.
no threads to bury and no rotating your quilt!
Edge-to-Edge Walking Foot Quilting Designs is a collection of
designs that are created from 6 basic designs used in different
combinations and orientations to give you over 200 more ideas.
The designs are created for the walking foot but can also be
used for free motion quilting, ruler work, long arm quilting, and Binding
hand quilting. The binding is made by cutting the wavy stripe into (6) 2” strips.
For more information or to order online visit Melissa Marginet’s They are joined end to end with a diagonal seam and pressed
website at http://www.melissamarginet.ca/. in half lengthwise. It’s sewn to the top of the quilt using mitred
corners and hand stitched to the back.
Melissa Marginet
IG @melissamarginet
FB Melissa Marginet – Quilter
etsy.com/shop/melissamarginet

Sandpiper
Creations Canada
905-464-7469
QUILT MAGIC
NO-SEW WALL HANGING KITS
So much fun and EASY to do!!!
■ No sewing
■ No gluing
■ No special tools
■ Instructions
included
Quilt Magic is just

like painting with
numbers, except Join us!
that you use fabric
instead of paint!!
September 2020 to April 2021 anpt.ca/QAL2020
Order Securely On-line at:

www.quiltmagic.ca
Christine Baker & Nellie Holmes

613-865-7299
uppercanadaquiltworksstudio@gmail.com
Your online, CANADIAN source for felted wool, wool kits,

punchneedle supplies, wire hangers, buttons, books,
patterns, Valdani embroidery floss and MORE.
www.uppercanadaquiltworks.com
In the Studio with
Ana Buzzalino
Some months ago, I woke up around 2 a.m., which is not
unusual for me, and had a thought. At the time, I had
Architectural structure and quilting just finished a week of intense studies about working in
monochrome. The colour I had chosen to work with was red.
It came to me that night that there’s a beautiful architectural
structure in Calgary, Alberta called The Peace Bridge. The bridge
is a dark red colour, I could use its lines to design and make
abstract art quilts. Join me as I show you how to use your own
photos of an architectural structure or building that is close to
your heart to design your own abstract pieces.
Let’s talk about architecture today: it’s defined as the art or
practice of designing and constructing buildings. The complex or
carefully designed structure of something.
According to Wikipedia, the earliest surviving written work on
architecture is De architectura by the Roman architect Vitruvius
in the early 1st century AD. According to Vitruvius, a good
building should satisfy the three principles of:
• Firmitas – firmness
• Utilitas – commodity
• Venustas – delight
The equivalent in modern English would be:
• Durability – a building should stand up robustly and remain
in good condition
• Utility – it should be suitable for the purposes for which it
is used
The Bridge to the Other Side I • Beauty – it should be aesthetically pleasing
Photos by Ana Buzzalino

Then, in modern times, the word ‘Utility’ Some facts about The Peace Bridge
was replaced by the concept of ‘Function’ It’s a helical steel structure with a glass
which came to be encompassing all roof; it has a width of 26 ft. and a total
criteria of the use, perception and length of 428 ft. It accommodates
enjoyment of a building. people walking and cycling across the
As quilters, we are also architects of our Bow River in Calgary. Spanish architect
own pieces. We use the same principles Santiago Calatrava designed it. The
that Vetruvius used for our own work: bridge was built by The City of Calgary
• Durability We use the best materials to connect the southern Bow River
possible to make our work durable, pathway and Downtown Calgary with
to withstand time and in some cases, the northern Bow River pathway
multiple washings. and the community of Sunnyside.
• Utility or Function We make our quilts This connection was designed to
for different purposes: as comfort accommodate the increasing number of
pieces for babies, teenagers and adults, people commuting to and from work and
as covers for our pets, as pieces to grace those utilizing Calgary's pathways.
our walls. Each piece is made with care
and love to fit a purpose.
• Beauty No matter what the purpose
of the quilt is, we strive for beauty
using each fabric, each cut piece and
patch, each seam. The quilting design
used to hold the layers together add
to the whole.
One of the best known and admired
architects of the 20th century, Le
Corbusier a Swiss-French architect,
designer, painter, urban planner, writer,
and one of the pioneers of what is now
called modern architecture, wrote: "You
employ stone, wood, and concrete, and
with these materials you build houses and
palaces: that is construction. Ingenuity is
at work. But suddenly you touch my heart,
you do me good. I am happy and I say:
This is beautiful. That is Architecture".
As quilters, we can rephrase his quote as
follows: “We employ fabric, thread and
batting and with these materials we build
quilts: that is construction. Ingenuity is at
work when we use our imaginations and
change a pattern, change a fabric, switch
colours. Use something that is unique.
And suddenly you touch my heart, you
do me good. I am happy and I say: This is
beautiful. That is a Quilt”. The Bridge to the Other Side III
Backdrop photo by Debbie Hudson

Now that I rambled on about a subject that I find fascinating –
1 2 that of architecture – let’s get back to how to use an architectural
structure close to your heart to design abstract pieces.
materials
• photos of the subject of your choice from different angles if
possible.
• a sketchbook if you choose to work in one or some paper to
A selection of fabric The selected threads to match
make sketches
• pencil and eraser
• tracing paper – optional
• fabric in the colours of your choice to go with your structure
3 4 • thread – for piecing and quilting
Getting started
I took one of the photos I liked and enlarged it to approximately 8”
x 10”. This made the angles more prominent. I placed tracing paper
on top and traced the angles to have a reference, see photo 3.
Observing the tracing, I looked at the lines and the angles and,
by using this tracing together with the rest of the photos, I
started sketching. I used Post-it Notes; I had decided to make
5 6 my pieces 12” x 12” and these square notes were the perfect size.
See photos 4, 5, and 6.
Make as many thumbnail sketches as you like, using straight or
curved lines or a combination of both. These thumbnail sketches
will serve as inspiration and exploration to make larger pieces
out of cloth. One sketch might inform the next. Explore the
“what if …” that will come to mind when you’re working on these.
These sketches are yours and they are your interpretation of the
lines and angles and shapes you’re seeing. They don’t need to be
literal; they need to make YOU think of the building or structure.
7 8 Make notes beside the sketches as to what fabrics you might use,
what thoughts come to mind, what the mood might be.
See The Bridge to the Other Side I where the black shibori pieces
made me think of the pieces of glass on the bridge, and The
Bridge to the Other Side III where the yellow and grey piece made
me think of rain on the glass.
Once you’ve worked on a few sketches and chosen one to get
started, you need to decide on how you’ll piece it. Here are two
methods I use – with improve style being my favourite.
9 10

Improv style
This is a piece as you go method. You’ll need to look at your
11
sketch and number the pieces in the order you’ll sew them. This
will make it simpler, as you may need to sew units that then will
be sewn together, as in photo 7 where A, B and C will be one unit
and 1, 2 and 3 a second unit. These will be pieced separately and
then joined together.
With that in mind, cut and sew two pieces together, iron the
seams and then cut the proper angle for the next piece. Add the
next piece and continue as needed to make Unit 1. Then make
Unit 2 and join together.
Templates
This method consists of drawing your design to scale – in my
case 12” as in photo 7. Cut the pieces and use them as templates.
Note: If you want to keep the original piece intact, make a copy or
draw your design twice. You can cut one and keep the other one as
the master pattern. The more involved the design, the more work 12
you’ll need to do ahead of time so that your piece will resemble your
sketch. If you’re keeping a master, this is where you can make notes
to yourself as to the order of sewing, fabrics to be used, stitching,
hand-stitching, etc.
Cutting your fabric and piecing

Mark the pieces in stitching order. For my pieces, I decided
that, for every line, I would add a ¼” to ½” (finished) piece
of fabric to resemble the lines in the bridge structure. So
that adds another level of complexity, as your piece will grow
exponentially. If you do that, you’ll have to trim the piece to
size – after the quilting is done.
When using templates, remember to add seam allowances to all
sides and some extra to the edges to allow for shrinkage during
quilting. See photo 8.
See photos 9, 10, 11 and 12 for the steps to my piece. Photo 12 is
the finished piece.
Once your piece is done, layer with batting and backing and quilt
as desired. Think about the designs you use so they add interest
and texture to your piece. Trim, bind or add a facing to your art
quilt and don’t forget to add a label and sign it!
Hope you’ll enjoy making your own abstract pieces based on
architectural structures.
Ana Buzzalino
www.anabuzzalino.com
Instagram ana_buzzalino
Facebook anabuzzalino

More Joy
Less Overwhelm
with Brandy Maslowski
1 LIGHTING
Ergonomically Correct Keep your work area well-lit to avoid
In 30 years of quilting I’ve certainly found eyestrain and invest in a good quality
magnifying glass if you find yourself straining
myself suffering now and then from little to see your work. Natural light bulbs or light
aches and pains because I’ve spent hours from a window reduce glare and distortion
stitching, binding, quilting or otherwise while allowing you to see the true colours of
creating in my studio with no regard for your project.
ergonomics. So, I reached out to a local
expert, Wendy Otto, Physiotherapist to 2 POSTURE
compile a few tips for all of you (and I Any needle pulling thread hobbies may
define YOU as beautiful creatives who involve sitting for a long time, so body posture
engage in a love of all things stitching). is key to prevent injury. Sit with your knees
at a 90° angle while keeping your feet flat on
the floor or footrest. Elbows should be bent
I’ve heard some great stories over the at a 90° angle, with wrists and hands resting
years demonstrating how creative comfortably on the sewing machine, table, or
stitchers can be with makeshift lights and your lap. Listen to your neck and shoulders. If
magnifying glasses, quilt rigging systems, you feel pain, take a break, stretch and adjust
hand stitching lap tables and more. to a more comfortable position.
We are an inventive bunch. Send me an 3 WORK SURFACE
email if you’ve done something unique
The distance between the body and the work
to prevent pain and strain while stitching. surface should be roughly six inches. For
I’d love to hear your tips too. It’s really handwork use a small slanted table to bring
important to take care of your body so the stitching up to you to avoid slouching
you can continue to quilt, stitch and play over your work. Rather than holding the
pain free for years to come. weight of a quilt in your lap or arms, create
a workstation with enough space to the left
and behind your machine for the bulk of the
quilt to rest on the table.
Brandy Maslowski is a quilting and fibre
art teacher and the author of Kristy’s 4 HAPPY FEET
Quilt. She runs her business Quilter on Particularly if you stand a great deal of the
Fire exploring the texture, colour and time at a cutting table or loom, invest in
boundless possibilities of fabric. Surprised an anti-fatigue mat to improve circulation
that she even has loyal followers, she in your lower limbs and wear comfortable
lovingly dubs them her Quilt Crew. She supportive shoes to keep your feet happy.
travels the world to educate, speak and
5 TOOLS OF THE TRADE
ignite creativity with the tag line More
Brandy Maslowski Joy, Less Overwhelm, and she holds her There are dozens of tools designed to
promote neutral joint postures. From
quilteronfire.com annual IGNITE Okanagan Quilting Retreat
electric, pneumatic, or otherwise automated
FB quilteronfire each fall in Summerland, BC. You can find tools to scissors and cutters designed with
IG quilteronfire her as the Quilter on Fire on Youtube, ergonomics in mind. Pay attention to your
www.youtube.com/c/quilteronfire Facebook and Instagram or visit hand position when you’re using tools and
www.quilteronfire.com. if you experience pain then hop online and
research the best tool for you.

A NEEDLE PULLING THREAD Make & Be Happy!
Subscribe today!
Call toll-free 1.855.267.8624
or subscribe online at
www.aneedlepullingthread.com
Or subscribe by mail:
only $29
.95
plus applicable taxes* Name (Please Print)
…and get a digital version

of our current issue FREE !** Address Apt#
Tips, projects, techniques, sewing, quilting, City Prov/State Postal/Zip Code

knitting, crochet, cross-stitch, embroidery,
fibre art, beading, rug-hooking, and MORE!
x YES! Please send me 4 quarterly issues Phone Number
(1 full year) of A Needle Pulling Thread
Magazine. My payment is enclosed.
Your email address to receive a FREE digital version of our current issue
Sign me up for A Needle Pulling Thread’s free email newsletter for the latest news, tips and reviews.
Sign me up to receive occasional email announcements and special offers from A Needle Pulling
Thread and trusted partners.
In Canada mail to: In the USA mail to:

A Needle Pulling Thread A Needle Pulling Thread
Subscriber Services Subscriber Services
1025 Rouge Valley Dr PO Box 197
Pickering, ON L1V 4N8 Niagara Falls, NY 14304-0197
Canada USA
* Subscription rate valid only for Canada and the United States. For international please order online or send email to subscriptions@ANPTmag.com
* Sales taxes are applicable only for Canadian orders. After-tax totals for ON $33.84: for NB, NL, NS, PE $34.44; for rest of Canada $31.45.
**Special offer available for a limited time only. For inquiries call 1.855.ANPTmag (1.855.267.8624) or email: subscriptions@ANPTmag.com

A r
r t i s t eview Laine Canivet
Bridge in Venice For the past few years I host an artist

open house in my home as part of
our neighbourhood artist studio
tour. For two days I talk non-stop
to people who are curious to peek
inside my house. Then they become
fascinated by the fibre art, the likes
of which most have never seen
before. It is my chance to educate
people and encourage them to
purchase some art for themselves.
Very popular is my offer to translate
their favourite photo into fabric so
I always display several options on
how this is done. One option is to
print their photo on cotton which
I then embellish with thread and
beads. Another option involves
building the photo’s elements using
fabric and other objects, assembling
the elements onto background fabric
then quilting and embellishing the
final product.
I received a commission to work
with a client’s Bridge in Venice
photo. First, the photo was printed
on cotton – two copies. One copy
was the base copy, the second was
for me to cut up. On the base copy
the sun-washed buildings were
highlighted using fabric markers.
The vertical lines of the buildings
were quilted to give dimension and
texture. From the second cotton
print I cut out the bridge and the
hand railing and attached them to a
piece of thick interfacing. This was
glued over top of the base copy
bridge to create a 3-D bridge. The
beautiful flowers were smothered
with thick knots of bright beads. A
few beads and Angelina Fibre were
used to add dimension to the water.
Once the frame was selected a line
of square black beads was sewn
along the right edge to echo the
frame’s design. The recipient was
thrilled with this lovely reminder of
her vacation.
Photos by Laine Canivet
St. Peter Port
I used a different technique to
interpret my photo of St. Peter Port,
Guernsey into fabric. I used an app
to reduce the colour in the photo
then I printed the pale photo. Using
a black pen, I traced just the outlines
of the buildings then had a local
print shop enlarge the black and
white line-drawing to a larger size.
I taped the enlarged line-drawing
to a window then taped white
cotton over top. Using a ruler and
a sharp lead pencil I traced all the
lines onto the white cotton. After
applying stabilizer to the back of
the cotton I machine sewed along
all the lines using black thread. This
was very tedious especially the tiny
windows. Painting was the fun part.
Using fabric paints and a very fine
brush I painstakingly painted all
the buildings, windows, trees and
sky. It was impossible to keep the
paint away from the black stitching
so when the painting was finished
the black thread lines needed to
be enhanced. I had to thread the
sewing machine to sew black thread
overtop of all the lines again. It was
beyond tedious the second time - but
of course it was worth it.
– Laine
materials used
print and white cotton fabric, thread,
fabric markers, fabric paint, stabilizer
Bridge in Venice is 24” x 18”
St. Peter Port is 20” x 16”
Laine Canivet
www.lainecanivet.com

A r
r t i s t eview Jack Edson
The Edson House

My quilt, Edson House, was made in 1995 and it reflects It’s made from cotton cloth, with a very limited range of
my growing interest in genealogy at that time as well as my colors. Now I take pride in the hundreds of different colors
beginning steps of making a picture of something by using that I use in my quilts today. Back then, I simply did not
the designs that appear in traditional quilt blocks. I knew have that much fabric. Fabric in the sky is a mix of blue and
there was an Edson Street in South Buffalo, New York and a white with grey stones, not unlike clouds visually. The
I looked through the city directory to find the address of hand quilting in the sky is made of curves, different from
the house that my ancestors lived in 1900. Armed with the the quilting on the building, which is geometric lines,
address, I drove to the old family house. I remember that as following the architecture or the quilt block patterns. The
I stood in front of 47 Edson Street, and began drawing the biggest challenge making this piece was...having absolutely
house with pencil and paper, it started to snow hard. This no idea how to make a quilt of a building, really, but
was before digital cameras, and I remember a man walking jumping in, headfirst to see how this piece was going to
his dog who was looking at me standing there, drawing, in a materialize, and it did.
snowstorm. Was this normal? Looking back at this 25 year old quilt, I can see the almost
Back home, I started making this piece with log cabin folk art quality there; showing a picture of something
blocks for the windows, as they suggested curtains in the important in my life, and inventing ways to depict
windows. Next, I filled in the walls with horizontal strips, it, using the materials at hand and very undeveloped
just like rows of shingles. For the door, I made two bow sewing skills of someone who is not going to let anything
ties, not unlike the parts of a door. A porch roof had to go stop him from making the piece.
between the two floors, cut the top floor like the roofline, My interests in local architecture and historic preservation
add some strips for trim, and this quilt was beginning to have grown after finishing this quilt. I served on the Historic
look like that house in the snowstorm! A little triangle on Preservation Commission in my village of Hamburg, New
the porch had some decorative woodwork, so I sort of York for nine years and occasionally lead tours of buildings
figured out how to do hand applique. and collections of stained glass. I have grown to love
Needless to say, there was no planning for the piece. our local vernacular architecture and want to share that
Suddenly, it grew much larger than I would have expected, interest and enthusiasm with others. My advice to other
measuring 90" x 38". I learned that if you start with biggish quilters is, immerse yourself in your quilt subject matter
blocks for the little windows, you will end up with a quilt as you make your quilt. Now, I usually read a book about
that is larger than you expected. I entered this piece in the my quilt subject as I make their portrait quilt. Also, use a
Erie County Fair and won a red ribbon that is stop pinned quilt block pattern that connects with your subject. I used
to it. I remember hanging this quilt in the library where Tumbling Blocks for a portrait of Thomas Eakins that I made
I worked, and noticed that people were drawn to it, and during the recent Covid-19 isolation, as it felt liked the
many asked about its story. world was tumbling down.
Photo by Jack Edson

My one regret for the Edson House
quilt is that it does not have a
human figure present. It could
have been Buffalo policeman Elmer
F. Edson sitting on the porch, or
maybe his pretty wife Julia Scully
Edson looking out a window, or my
father, young Jimmy Edson sitting
on the front step. Now, the human
presence is very important for me
in my quilts! A person could still
be added, as I have learned much
about my ancestors who lived here,
and I think this quilt really needs
somebody at home. I certainly
have enough fabric nowadays to
make a personal addition to the
quilt!
You’re invited to join my
Facebook group, Edson Fabric
Art Workshop…I post something
almost daily. – Jack
finished measurements 90” x 38”

Machine sewn top and hand
quilted by Jack Edson
Jack Edson
jack14075@aol.com
FB Edson Fabric Art Workshop Group

The Architecture of Garments
Cynthia MacDougall
We don’t often think of our Likewise, I’ve come to regard shoulder the same time I knitted the fronts, the
garments – sewn, knitted or seams as one of the most important part bands would be too sloppy to hold up
crocheted – as structures, but they of a garment’s structure. I equate it to the the buttons. If you research even further
are. They’re man-made, and they clothes hanger that will help the garment back, you’ll find that grosgrain ribbon
have components which actually drape properly over the shoulders, and was often used to provide even more
meet the criteria for two forms of help it hang properly further down. It’s stability to these bands. Imagine having
structure: frame and shell. almost as if the shoulder seams provide to hand-sew ribbon onto your already
Frame structures are defined as a support similar to what a builder puts hand-sewn button and buttonhole
structures made of separate, often over windows or doorways to keep bands! But, cardigans made with these
thin, pieces that are put together, those spans from sagging. Are there structural additions were built to last in
and shell structures are used to times when I don’t worry about shoulder a time where knits were usually made
enclose or contain the items within. seams? You bet! I love my slouchy, top- from thin yarns – often sockweight.
Doesn’t that sound like the last down, knit-in-the-round sweaters! Such garments required a considerably
sweater you made? For people who like fitted garments, longer investment of time than today’s
seams can provide great opportunities speed knits. If I were to persevere
Knit Together
My aunt taught me a lot of through knitting a dress or suit out of

garment construction theory at a to incorporate shaping. Side seams, and
even a back seam can be used to ‘nip fingering weight yarn, I know I’d want
very early age (no doubt before I that piece to last!
knew what ‘theory’ even was). She in’ a waist on a garment. Darts can be
taught me machine sewing, where employed to add fullness where needed, Collars, cuffs and hems are other
I learned the purpose of darts and but they don’t offer the same amount of architectural elements of garments.
seams and interfacing and collars. structural stability in knitting as they do Yes, I know: ribbing can be boring, but
As I expanded such theories into in sewing. when you understand that ribbing
my knitting pursuits, I learned I quickly adopted the method of knitting helps keep drafts from blowing up your
differing viewpoints, and adopted the back and fronts of a cardigan arm, or worse, over your back or down
those that made sense to me. You simultaneously on a circular needle until your neck, it makes sense to invest
can adopt those that make sense the time I made a loose-knit mohair one in these mundane but worthwhile
to you, too. in garter stitch. While the shoulders and garment elements.
I have a knitting friend who is a sleeves were well supported with the If you don’t like the look of ribbed cuffs
100% no-sew kind of knitter – if she seams for those areas, the fronts of the (and some don’t), hems can provide
can avoid sewing a seam, she will. cardigan sagged over time, and in just a structure and a bit of weight to help keep
At another workshop, though, I met year or two this garment was relegated to the bottom edges in place, while adding
a knitting author who proposed, informal, around-the-house use. If I’d put an extra layer of fabric. I love this tip I
quite emphatically, that seams side seams in that cardigan and made learned years ago for substituting a hem
have a place, especially in knitted bands for the front instead of leaving at the bottom of a garment for ribbing:
garments. She gave the example of raw garter stitch edges, I suspect that Find the number of stitches the pattern
a knitted skirt, pointing out that if cardigan would have retained its office- prescribes at the top of the ribbing. Cast
you knit a skirt in the round it is apt worthy status for a longer period. on 90 percent of those stitches, knit
to show signs of seating over time While on the subject of button bands on your hem (¾" to 1" [2 - 2.5cm] is enough
– the skirt can sag at the back after cardigans, I always used to wonder why for sleeves, 1½" - 2" [4-5cm] works for
repeated wearing, and eventually it vintage Patons patterns directed me to the bottom of a sweater, and 2" - 3" [5
won’t be able to bounce back to its knit the button and buttonhole bands - 7.5cm] is optimum for a knitted skirt).
original shape. on a cardigan separately and sew them Once the hem is the desired depth,
on after. How infuriating! That is until ending with a knit row, increase 1 stitch
the day I understood that doing this for every 9 on the needle (the 10% of the
helps keep the fronts of the cardigan stitches you need to bring your stitch
from sagging, and, if I knitted them in at count back to 100%). Knit the next row to
create what is known as a turning ridge.
Then, beginning with a knit row, continue
knitting the main part of the garment.
There are two important things In sewing, facings and interfacings are
to remember when making this used to provide structure down the
substitution: fronts of garments, and around necklines
1. You will need extra yarn. While ribbing and sleevelines, particularly in sleeveless
consumes slightly more yarn than garments. How many times have we
plain knitting, a knitted hem will knitted ribbed collars and sleeve edges
consume even more, as it adds length for vests twice the finished length, then
to the overall piece. turned them down and stitched them
to the underside? Perhaps we’ve done
2. You need to adapt your pattern: the this without questioning the reason, but
bottom of the pattern piece will now often the reason is twofold: to add an
begin at the turning ridge, so you need extra layer where a draft could sneak in,
to remember to knit to the right length and to give the garment added structure
before working other pattern elements and elasticity at an area where it is apt
– sleeve shaping, for example. to come under a higher area of stress.
Knitted hems can be used to maximize Ribbed collars, for example, have to
the beauty of a knitted pattern stretch every time a wearer dons (puts
(everything from slipped stitch to cables on) or doffs (takes off ) a garment, and
to colour-stranded designs) by allowing sleeve cuffs are often pushed up over the
them to flow right from the bottom lower arm.
edge of a garment. An added benefit When you’re approaching your next
of this flow is that it often elongates knitted garment, I hope you’ll give a little
the appearance of the wearer, making extra thought to the structure you’re
this a super little trick for persons of about to manufacture and maybe tweak
petite stature. The inside of hems can your piece to suit your own taste. As
be wonderful vehicles for incorporating knitters, we have the power to regard our
messages, such as the recipient’s initials, patterns as guidelines rather than edicts
or a lasting “love note.” which must be followed to the letter. Just
remember to make detailed notes!

If you’ve already read this issue’s Knit Together
column, you’ll see that this little project gives an
opportunity to talk about a garment structure I
absolutely love: raglan shaping!
For a time, it was the fashion to knit sweaters with a
drop shoulder design. It was not my favourite time
in fashion history. Sure, straight body pieces are easy
to knit and make it easy to design or adapt patterns
such as cables or intarsia to flow with minimal
interruption, but (and, to me, it’s a big but), the
How Sweet It Is absence of shoulder shaping means that the ‘blunt’
sleeves bunch up under the arm, which is especially
Baby Cardigan and Hat Set uncomfortable when an overcoat is also required.
Top Down Raglan Baby Cardi - Knitted Version Raglan sleeves, by contrast, fit nicely up to the under
arm, then taper gently up to the collar. I like this
style so much that sometime in the early 1980s I
invested in Bea Freeman’s patented Raglan Sweater
Wheel. This little device makes it possible for me
to knit any raglan sweater I want in any size from 6
months to men’s or women’s 48" [122cm].
When I was asked to create a simple baby cardigan,
my thoughts went directly to Bea’s wheel! There
were a couple of hitches, though: the wheel is made
for bottom-up knitting, and I want a top-down one,
and all of the instructions are in inches and use a
different needle numbering system! Nothing that a
good needle gauge and a bit of math can’t fix!
Another structural feature I want to talk about
is the trim on this cardigan. I chose garter stitch,
because it works well with cotton and the button and
buttonhole bands can be worked in with a stocking
stitch body most times with success. Keep an eye
on them as your sweater progresses. If you find the
button bands are pulling up too much, you can add
a couple of short rows on each side to add a little
more ease. I did this with the acrylic version. Just
remember to keep the buttonhole spacing on track.
For yarn, I was given carte-blanche, so I chose
some soft cotton out of my stash that will be very
comfortable on a baby! When I wanted a second test-
knit, I chose a soft baby acrylic. – Cynthia

knitting
skill level Easy Body sleeve, k to next marker, rep from * to **

size 3 (9, 18, 24) months Row 1: K5, pm, k4, m1, k4 (4, 6, 6) m1, k4, to complete second sleeve.
Instructions are given for smallest size, pm, m1, k9 (9, 10, 10), pm, m1, (k4 Body
with larger sizes in round brackets (4, 5, 5), m1) twice, k8 (8, 6, 6), (m1, With RS facing, join yarn to last st on right
k4 (4, 5, 5) twice, pm, m1, k9 (9, 10, needle. Pick up 2 sts from underarm of
finished measurements 18½" (20", 21¼”, 10), pm, m1, k4, m1, k4 (4, 6, 6) m1,
22") [47 (51, 54, 56)cm] sleeve, k to end. (118 (126, 134, 142) sts)
k4, pm, k5. (88 (88, 96, 96) sts) Row 1 (WS): K5, slm, p to marker, slm, k5.
materials Row 2: K5, slm, p to last marker, slm, k5. Row 2: K across, slipping markers.
yarn Row 3: K5, slm, (k to marker, m1, slm, k1, Remembering to make buttonholes after
• 3 (3, 4, 4) 50g balls of DK weight yarn is m1) 4 times, k to end. (96 (96, 104, every 8 ridges for two largest sizes, repeat
enough for the jacket and hat 104) sts) rows 1 and 2 until length from under arm
Row 4: As row 2. is 4 (5, 6, 6½)” [10 (13, 15, 16)cm], ending
needles
• US 6 [4mm] straight or 24" [60cm] Repeat rows 3 and 4 3 more times. (120 with a Row 2.
circular needles double points hat - (120, 128, 128) sts) K 9 rows, cast off all sts.
optional for sleeves CHECK: 7 (7, 8, 8) ridges from top of Weave in ends and sew on buttons.
other buttonhole
• stitch markers Hat
Buttonhole row: K2, yo, k2tog, k1, slm, (k Crown
• 3 (3, 6, 6) buttons ½" dia. [13mm] to marker, m1, slm, k1, m1) 4 times, k to With dpn, cast on 8 sts. Divide onto 3
gauge marker, slm, k1, k2og, yo, k2. needles.
22 sts to 4" [10cm] Next row: As row 2. Rnd 1 and all odd numbered rounds:
Note: Rep rows 3 and 4 6 (6, 7, 7) times. K around.
• Markers are placed to make it easy to Rnd 2: (K1, m1) around. (16 sts)
: 7 (7, 8, 8) ridges from top of last Rnd 4: (k2, m1) around. (24 sts)
remember the raglan shaping increases.
buttonhole and 51 (51, 55, 55) sts Rnd 6: (k3, m1) around. (32 sts)
• Sweater is worked from the top down
between back stitch markers Rnd 8: (k4, m1) around. (40 sts)
in one piece. Sleeve stitches are placed
on holders at the underarm and Work Buttonhole row (184, 184, 200, 200) Continue, working 1 more stitch before
worked after the body is complete. sts on needle. the m1 on every even numbered round
• Buttonholes are worked with the until there are 80 (96) sts on needle.
Next row: As row 2.
body of the cardigan on both sides of K every round for 2½ (3)” [6.5 (7.5)cm]
the front. Buttons are sewn over the Repeat rows 3 and 4 0 (2, 2, 4) times. (184 from last increase round.
buttonholes on the appropriate side for (200, 216, 232) sts
Brim
the baby’s gender. This makes button Next row: K across, slipping markers as Decrease round: (K9, k2tog) around (72
placement easy! For the two smallest needed. (84) sts)
sizes, only 3 buttons are placed in the Next row: K5, p to last marker, k5. Beg. With a p round, work 7 (9) rounds
yoke of the sweater and the bands are garter st (k1 rnd, p1rnd). Cast off loosely.
worked solid down the body. Largest size only: Repeat last 2 rows.
Weave in ends, make a pompom for
abbreviation slm - slip marker Divide body and sleeves
the top of the hat if desired, and stitch
K5, slm, k to marker, *remove marker. on securely.
With a dpn, k to next marker, remove
marker and k next st. (34 (38, 42, 44)
instructions sts for sleeve. Join to work in round,
dividing sts onto 3 needles.
Cardigan Sleeve
Neck K3 (5, 5, 7) rounds.
Cast on 80 (80, 84, 84) sts with straight Dec round: K1, k2tog, k to last 3 sts, ssk, k1.
needles K 5 (5, 7, 7) rounds.
K 5 rows. Rep these 6 (6, 8, 8) rounds until there are
Buttonhole row: K2, yo, k2tog, k to last 4 24 (28, 30, 32) sts in a round.
sts, k2tog, yo, k2. K every round until length of sleeve from
K 3 (3, 5, 5) rows. underarm is 5 (6, 7½, 8)” [13 (15, 19, 20)cm].
Work 10 rounds garter st (k1 rnd, p1 rnd)
Cast off all sts.**
With RS facing, join yarn to last st on right
needle. Pick up 2 sts from underarm of

Buttoning up Baby
When putting The rule I broke has to do with buttons being a choking hazard.
buttons on baby It’s safer to use buttons with holes drilled right through them
garments there are than it is to use the shank buttons I chose for these baby jackets,
a couple of safety the theory being that if a shank button becomes lodged in a
rules to follow. In windpipe, there’s no way for air to get around it, whereas a drilled
choosing buttons button has 2 or 4 holes through which air can pass. This isn’t a
for my project, I comfortable thought, but it is an important one to consider.
followed one, but Button manufacturers seem to have a diabolical master
broke the other. scheme in that you invariably need one more button than
Buttons can be is on the card. That happened with the green jacket. I had
choking hazards for 5 buttons on a card, and didn’t the jacket end up with 6
infants and toddlers, so the rule I always follow is "sew every item buttonholes! I opted for a creative solution - one that can
on securely." My grade 9 home economics teacher taught us the make your baby jackets extra-special.
most secure (and expedient) way of sewing on a button. I’ve used Choose a decorative or vintage button for the top, in either a co-
it ever since, and have never lost a button in over 40 years. ordinating colour or larger size. For this project, I ended up with
The method is this: cut a length of thread 4 times longer than this slightly larger white button that has a rhinestone set in it that
you need. Fold it in half and thread the fold through the eye came from my grandmother’s button jar. Whenever I go to that
of the needle. Bring the fold back down to the cut ends of the jar, I wonder what Grandma would think to know that her buttons
thread and smooth the thread from the eye down to the ends are being used in another century for another generation.
before knotting it. There are now two strands of thread through My second option was a mid-century plastic button that was
the eye of the needle, and 4 strands in the knot. quite oversized. Clearly it won’t go through my buttonhole, but
Stitch into the back of the fabric, pick up the button, and stitch I can sew the button over the buttonhole and conceal a snap
through to the back, passing the needle between the knot and fastener by sewing one side on the back of the buttonhole band
the fabric. This helps secure the knot to the fabric, particularly and the other on the front of the button band.
with knitted fabric. Make a back stitch or two on the back of the A third option that also uses the “concealed snap” method is a
fabric, then continue sewing the button, securing the end well co-ordinating button made from a plastic form. This solution
when done. works well because it always matches the jacket and it is softer
The benefits of this method are that it’s very fast: for every stitch under baby’s chin.
you make, you’re passing 4 strands of yarn through the button Keeping babies safe and warm are two of a knitter’s most
and the fabric, so in 3 stitches, you’ve laid down 12 strands; and, important goals. It’s great that there are so many ways for us to
it would take a huge calamity (and probably a scalpel) to cut do it creatively!
enough threads for that button to ever come loose, which makes
this a very safe way of sewing on buttons and other fasteners.

y o u a Canadian knitter?
A re
read about knitting
learn about knitting
join Canada’s knitting community
like US on Facebook!
When you join, receive
» 4 issues of A Needle Pulling Thread magazine
Cynthia MacDougall » entries into Random Acts of Knitting draws
Canadian Guild of Knitters » access to the Knitting Accreditation Program
PO Box 20262
Barrie, Ontario L4M 6E9
705.722.6495
1.866.245.5648 (CGK – KNIT) PO Box 20262
https://cgknitters.ca/ Barrie, Ontario L4M 6E9
blog: CGKnitters.ca/blog
ravelry name: macknitnow www.cgknitters.ca

T
IS FOR
Turn Socks
Socks
Sock 1 TOE FOOT GUSSET TURN

HEEL LEG CUFF
Sock 2 CUFF LEG HEEL TURN
GUSSET FOOT TOE
The architecture of a hand knit
sock offers endless opportunities
in design. However, the steps in
construction are quite fixed and
they depend on the ingenious heel
turn.
I used different colours of wool to
draw attention to each component
of the sock. I listed the words
on the soles in different orders
because regardless of how you knit
socks each step must be made.
I encourage you to try something
you have never done before. Start
with just one part of the sock and
become a sock architect.
– Lorraine

knitting
Thoughtful Soles Series

skill level Intermediate Leg Join to work in the round.
finished size women’s medium Change to C2. Rearrange sts onto three Round 1: (decrease round)
needles (20, 30, 20). Work the 16 rounds Needle 1: Knit to last 3 sts, k2tog, k1.
finished weight 90g of the Textured Slip Stitch for a total of 88 Needle 2 and 3: Knit.
materials rounds. Knit 2 rounds. Needle 4: K1, ssk, k to end.
yarn Round 2: Knit.
Textured Slip Stitch
100g fingering weight sock yarn Repeat rounds 1 and 2 decreasing to 70 sts.
Rounds 1, 3, 5 and 7: *Wyif sl 5sts, k5,
• 20g Cuff – black (C1)
repeat from * to end. Foot
• 40g Leg – light brown (C2)
Rounds 2, 4 and 6: Knit. Change to C6.
• 5g Heel – dark brown (C3)
Round 8: *K2, insert RH needle under 4 Join at beg of sole sts. Use wine colour as
• 5g Turn – gold (C4)
strands below next st, k these MC, add gold colour as CC. Work rounds
• 10g Gusset – marl (C5)
strands together with next st on 1 to 48 of Chart A for sole of Sock 1 and
• 20g Foot – wine/gold (C6/4)
needle, k2, k5, repeat from * to end. Chart B for sole of Sock 2. Work Chart C
• Toe – black (C1)
Rounds 9, 11, 13 and 15: *K5, wyif sl 5sts, for 36 instep sts.
needles repeat from * to end. Toe
• a set of US 1 [2.25mm] 5 dpns or in size Rounds 10, 12 and 14: Knit. Change to C1.
required to meet gauge Round 16: *K5, k2, insert RH needle under Knit 1 round decreasing to 68 sts.
notions 4 strands below next st, k these Rearrange sts with 17 on each of four
• sewing needle strands together with next st on needles.
• scissors needle, k2, repeat from * to end. Work toe decrease as follows:
• stitch markers Heel Round 1 (decrease): *K to last 2 sts on
• ruler Continue with C2 to set up heel flap. The heel needle, k2tog, repeat from * 3
flap is worked back and forth on 34 sts. more times.
gauge
32 sts = 4” [10cm] in stocking stitch
Set up: K17 sts. Leave 36 sts on two Rounds 2: Knit.
needles. P34 sts, marker will be Repeat rounds 1 and 2 decreasing eor to
special abbreviations in center. 36 sts.
2st cable (used in rib) Knit into second st on
left needle. Do not drop. Knit into first st on left Change to C3. Repeat round 1 decreasing er to 8 sts.
needle. Drop both sts at the same time. Row 1: (Sl1, k1) repeat to end. Gather these sts to close hole.
er every round Row 2: Sl1, p to end. finishing
eor every other round Repeat rows 1 and 2, 16 times altogether. Weave in ends.
wyif with yarn in front
Turn Wet block after making second sock.
instructions Change to C4.

Row 1 (RS): K to center, ssk, k1. Turn.
Row 2 (WS): Sl1, p1, p2tog, p1. Turn.
Cuff Row 3: Sl1, k to one st before gap, ssk, k1.
With C1 cast 64 sts onto one needle. Turn.
Using a k2, p2 repeat, work 16 sts onto Row 4: Sl1, p to one st before gap, p2tog,
each of four needles. Join to work in p1. Turn.
the round, placing a marker to indicate Repeat rows 3 and 4 until all sts are used
the beginning of the round. This marker ending with a WS row. 16 sts
will stay in place at the center back and Gusset
center of the sole throughout. Change to C5.
Round 1: *K2st cable, p2, repeat from * Set up: Needle 1: K16. Pick up and knit 16
to end. sts up side of heel flap.
Round 2: *K2, p2, repeat from * to end. Needle 2: K18 instep sts.
Repeat rounds 1 and 2 until work Needle 3: K18 instep sts.
measures 2”. Needle 4: Pick up and k16 down
Knit one more round increasing to 70 sts. side of heel flap, k8. 84 sts


CHART C - Instep sts

8 row / 8st repeat
MC Colour 6 wine 8
IS FOR x CC Colour 4 gold 5
Turn Socks CHARTS

k2tog
ssk
 1   

CHART A CHART B
48 48

40 40

30 30


20 20

10 10
1 1

marker Start marker Start

of of
round round
Lorraine Thompson
905.885.0347 x415

  
www.sewwithvision.net
     
902-479-2227
480 Parkland Dr,
Halifax, NS B3S 1P9, Canada
Your Authorized Dealer for:
Perfection starts here.™

Thoughtful Soles Series Crochet Designs by NanaRuth
416-754-0998
www.NanaRuth.com
NEW! Downloadable Book!
DARK MUSHROOMS WINTER IS COMING Main focus is traditional designs in
crochet and knit for children.
All garments are designed and/
or handmade with discerning
attention to comfort and finishing.
Baptismal sets, dresses, suits,
blankets and shams, cardigans, hats
and other items.
Hardanger House
designs by Betty Stokoe
bettystokoe@gmail.com, 403-742-2749
Betty incorporates traditional
hardanger embroidery in her
WIGGLE ROOM COLOURWASH contemporary designs. From small
quick-to-stitch gift ideas to larger
pieces for your home decor, you'll
find lots of variety in the Hardanger
House line of embroidery patterns
& kits. View them all on Etsy:
etsy.com/shop/HardangerHouse
Rypan Designs
416.247.1993
www.rypandesigns.com
NEW! Downloadable Patterns!
Maria Rypan is an international

WOOL STEW HIGH FIBRE designer, researcher & instruction
book publisher recognized for her
‘Gerdany’ beadwork and projects
for many publications. Since 1995
Maria teaches, produces a kit line and
presents on beading & global folk arts.
A Needle Pulling Thread Standard abbreviations & terms

alt = alternate p = purl
approx = approximately p2tog = purl 2 sts tog (decrease)
beg = begin(ning) patt = pattern
BO= bind off pfb = purl into front and back of stitch
CC = contrast colour (increase)
ch = chain pm = place marker
cm = centimetre(s) psso = pass slipped stitch over
cn = cable needle RS = right side
Welcome to Thoughtful Soles Series co = cast on rem = remain(ing)
BUMPS IN THE ROAD cont = continue, continuing rep = repeat
by Lorraine Thompson! This is a dc = double crochet rev = reverse
dec = decrease(s), decreasing rnd = round
zany collection of knitted sock dpn = double-pointed needle(s) sc = single crochet
patterns to tickle your funny bone foll = following
g = gram(s)
sl = slip
skp = slip one st, knit next st, pass
every time you wear them. T is for hdc = half double crochet slipped st over knit st (dec)
inc = increase(s), increasing ssk = slip, slip, knit: slip 2 sts knitwise, 1
Turn is the 8th sock pattern in this in(s) = inch(es) at a time, insert left-hand needle
k = knit into front of both sts and knit
series. The following sock patterns kf&b or kfb = knit into front and back of st them tog (left-leaning decrease)
(increase) sssk = slip next three stitches
were published in previous issues: ktbl = knit through the back loop individually, knitwise. Insert tip of
k2tog = knit 2 sts tog (right-leaning decrease) left needle from front to back into
Dark Mushrooms (Issue 46), Wiggle k3tog = knit 3 sts together (double right- the fronts of these three stitches
leaning decrease) and knit them together (double
Room (Issue 47), Winter is Coming m = marker left-leaning decrease)
(Issue 48), Colourwash (Issue 49), m = meter(s) st(s) = stitch(es)
m1 = Make 1 stitch: pick up the horizontal St st = stocking stitch
Wool Stew (Issue 50), High Fibre strand between 2 stitches from front to tbl = through back loop
back and knit it tbl (lifted increase) tog = together
(Issue 51) and Bumps in the Road MC = main colour tr = treble crochet
mm = millimetre(s) WS = wrong side
Socks (Issue 52) oz = ounce(s) yo = yarn over

Notre
Dame
Crescent
Shawl
Watching Paris’s Notre Dame

Cathedral burn in April 2019
was heartbreaking, but the
generosity of people from
around the world, and the
resolve of the French citizens
and their government give
hope for its resurrection. The
yarn chosen for this project
has the colours of stained glass,
and the overall shape of the
shawl is suggestive of a section
of the cathedral’s famous
rose window. The horseshow
lace motifs are reminiscent of
gothic arches, and the columns
between the arches evoke
the flying buttresses that are
quintessential traits of gothic
architecture. – Nancy

knitting
Instructions
skill level Intermediate Row 6: P to within 1 st of gap (i.e. 1 st
finished measurements before previous turning point),
One size Loosely cast on 329 sts. A knitted cast on p2tog, p6; turn work.
60” across at widest point x 12” deep at will stretch and works well for this project. Repeat rows 5 and 6 until 8 sts remain
center back Do not join. Shawl is worked back and unworked on each end of needle (265 sts
forth on circular needle to accommodate total remain).
materials
yarn the large number of stitches. Garter Stitch Border at Top of Shawl
super fine yarn weight 1 Knit 1 row (WS). Row 1 (RS): K to within 1 st of gap, ssk, k
3.5oz [100g] / 437yds [400m] to end of row.
Lace Section Row 2 ((WS): K to within 1 st of gap, ssk, k
• 1 skein Follow written instructions below or to end of row (all sts worked, 263
needles attached chart. sts remain).
• US 6 [4mm] circular knitting needle, at Row 1 (RS): K3 (border), * k1, yo, k2tog, yo, Knit 4 rows.
least 32” [80cm] long, or size required to k3, s2kp, k3, yo, ssk, yo; rep from * Cast off loosely.
obtain gauge to last 4 sts, k1, k3 (border).
Row 2 (WS) and subsequent WS rows: finishing
other Wet block to crescent shape. Weave in
• stitch markers (optional, although K3 (border), p to last 3 sts, k3
(border). all ends.
useful to define border stitches and to
identify pattern repeats) Row 3: K3, * k1, yo, k2tog, k1, yo, k2, s2kp,
• yarn needle for weaving in ends k2, yo, k1, ssk, yo; rep from * to
• rust-proof pins for blocking last 4 sts, k1, k3.
Row 5: K3, * k1, yo, k2tog, k2, yo, k1, s2kp,
Nancy Lekx
gauge lekxknits@gmail.com
k1, yo, k2, ssk, yo; rep from * to ravelry lekxknits
20 sts and 29 rows = 4” [10cm] square, last 4 sts, k1, k3.
blocked, in stocking stitch Row 7: K3, * k1, yo, k2tog, k3, yo, s2kp, yo,
special abbreviations k3, ssk, yo; rep from * to last 4 sts,
sk2p = slip 2 stitches together knitwise, k1, k3.
knit next stitch, pass slipped stitches Row 8: K3, p to last 3 sts, k3.
together over knit stitch (central double Repeat these 8 rows three times more (32
decrease). rows of lace pattern completed).
Decrease Rows
Row 1 (RS): K9, s2kp, [k25, s2kp] 11 times,
k9 (305 sts remain).
Row 2 (WS): K3, p to last 3 sts, k3
Crescent Section
Row 1 (RS): K157 (148 stitches remain
unworked); turn work.
Row 2 (WS): P9 (148 stitches remain
unworked on each end of
needle); turn work.
Row 3: K8, ssk, k6; turn work.
Row 4: P14, p2tog, p6; turn work.
Row 5: K to within 1 st of gap (i.e. 1 st
before previous turning point),
ssk, k6; turn work.

ChâteauLaurier
Cardigan
Laurier Cardigan is knit in two

sections. The first part, knit flat,
makes up the back and sleeves. When
it’s finished, the two sleeve seams
are sewn up leaving a large hole at
the center. The second part is knit by
picking up stitches around the center
opening. It creates the collar and body
of the cardigan using a combination of
short rows (knit flat), and knitting in
the round to build its shape. A little bit
of striping, a button hole, and an icord
bind off finish the sweater.
– Fiona
Photos by Andrea Palmatier

knitting

sizes
2XS, XS, Small, Medium, Large, XL, 2XL, 3XL
materials begin purling, keeping a tighter tension This should leave an opening for each
yarn than usual for the first few sts. arm and a large round opening at the
Essence of Autumn, Heather (4oz/(113g, GSRK Bring the yarn to the front center for the body and the collar that
250yds/228m) in colourways Algae (MC) BETWEEN the needles. slip the first stitch will be worked in the round and also will
and On Wings of Buttlerflies (CC) from the left needle to the right needle be worked flat for the short rows.
• 3 skeins (750yds/684m) MC purlwise, with the yarn in front pull Body and Collar Set-Up
• 3 skeins (750yds/684m) CC the yarn to the back of the work OVER From the center of the right underarm
needles top of the right needle. This will distort Using CC, pick up and K121 (125, 125,
• 4 mm circular 32” and 40", or correct the stitch making it look as if there are 125, 129, 129, 129) sts, PM (side marker),
size to attain gauge. 2 stitches instead of 1. Begin knitting pick up and K121 (125, 125, 125, 129, 129,
notions keeping a tighter tension than usual for 129) sts, PM (side marker). Join stitches to
• yarn needle the first few sts. knit in the round. 242 (250, 250, 250, 258,
• 9 stitch markers 258, 258 sts)
Instructions
• 1 large button Rnd 1: SM (side), P18 (19, 19, 19, 20, 20,
• needle and thread 20) PM, P16 (17, 17, 17, 18, 18, 18),
gauge PM, P53, PM, P16 (17, 17, 17, 18,
21 sts x 26 rows in garter stitch = 10 cm or 4" 18, 18), PM, P18 (19, 19, 19, 20, 20,
Back and Sleeves
special abbreviations 20) to side marker, SM, P20 (21,
CO 120 (124, 124, 124, 128, 128, 128) sts 21, 21, 22, 22, 22), PM, P40 (41, 41,
GSR: German short row
Row 1: P. 41, 42, 42, 42), PM, P41 (42, 42, 42,
GSRK: German short row knit (see stitch
Row 2: K2, M1R, K to last 2 sts, M1L, K2. 43, 43, 43), PM, P20 (21, 21, 21, 22,
guide)
Row 3: K. 22, 22).
GSRP: German short row purl (see stitch
guide) Repeat rows 2 and 3 nineteen MORE Side and Back Set-Up
M1L: Make a left-leaning knit increase times for a total of 20 repeats 160 (164, Begin knitting flat, back and forth, for the
M1P: Make a purl increase 164, 164, 168, 168, 168) sts. short rows. See the Stitch Guide for the
M1R: Make a right-leaning knit increase Work in garter stitch (K every row) until GSRK and GSRP stitch instructions.
RM: Remove marker work measures 23.5 (25, 27.5, 32, 35, 39.5, Row 1: SM (side), P to first st before
Rpt: Repeat 43.5, 46.5) cm from the cast on edge. marker, TW.
SL: Slip stitch purlwise Row 2: GSRP, P to side marker, (SM, K to 1
SM: Slip marker Row 4: K1, K2tog, K to last 4 sts, SSK, K1. st before side marker, P1) x 3, K to
TW: Turn work Row 5: K. side marker, SM, P to first st before
stitch guide Repeat until 120 (124, 124, 124, 128, 128, next marker, TW.
GSRP With yarn in front, slip the first stitch 128) sts remain ending with a row 5 Row 3: GSRK, K to side marker, SM, (P to
from the left needle to the right needle finished. next marker, YO, SM, K1, YO) x 3,
purlwise. Pull the yarn to the back of the BO all sts. P to side marker, SM, K to 2 sts
work OVER TOP of the right needle. This before next marker, TW. 248 (256,
Create shrug sleeves 256, 256, 264, 264, 264 sts)
will distort the stitch, making it look as if Fold piece in half by bringing the cast on
there are 2 stitches instead of 1. Bring the edge to the bind off edge. On either side,
yarn to the front BETWEEN the needles to sew up the angled edges (approx 12cm).

Row 4: GSRP, P to side marker, SM, (K to 2 Short rows (flat) *Rnd 1: SM, K to 2 sts before marker, knit
sts before the next marker, P2, SM, Row 1: (Con't from Row 13 of side and the 2 legs of GSR stitch together,
P1) x 3, K to side marker, SM, P to back set-up) K to next marker K1, SM, K to next marker, SM,
2 sts before next marker, TW. knitting the 2 legs of each GSR K1, knit the 2 legs of GSR stitch
Row 5: GSRK, K to side marker, SM, (P to stitch together as you go, SM, K to together, K to side marker, SM, K
next marker, YO, SM, K1, YO) x 3, 1 st before next marker, TW. to next side marker.
P to side marker, SM, K to 3 sts Row 2: (slip all markers as you go) GSRP, Rnd 2: SM, K to marker, M1R, SM, K1, M1L,
before next marker, TW. 254 (262, P to next marker, SM, P to side K to 1 st before marker, M1R, K1,
262, 262, 270, 270, 270) sts marker, SM, P to next side marker, SM, M1L, K to side marker, SM, (K
Row 6: GSRP, P to side marker, SM, (K to 2 SM, P to next marker purling to marker, YO, SM, K1, YO) x 3, K to
sts before the next marker, P2, SM, together the 2 legs of each GSR side marker, SM, K to 1 st before
P1) x 3, K to side marker, SM, P to stitch together as you go, SM, P to next marker, TW. 308 (316, 316,
3 sts before next marker, TW. 1 st before next marker, TW. 316, 324, 324, 324) sts
Row 7: GSRK, K to side marker, SM, (P to
next marker, YO, SM, K1, YO) x 3, Row 3: (slip all markers as you go) GSRK, Row 3: GSRP, P to side marker, SM, P to
P to side marker, SM, K to 4 sts K to side marker, SM, (K to next next side marker, SM, P to 1 st
before next marker, TW. 260 (268, marker, YO, SM, K1, YO) x 3, K to before marker, TW.
268, 268, 276, 276, 276) sts side marker, SM, K to marker, SM, Row 4: GSRK, K to side marker, SM, (K to
Row 8: GSRP, P to side marker, SM, (K to 2 knit to next marker knitting the 2 marker, YO, SM, K1, YO) x 3, K to
sts before the next marker, P2, SM, legs of each GSR stitch together side marker. 314 (322, 322, 322,
P1) x 3, K to side marker, SM, P to as you go, SM, K to next marker, 330, 330, 330) sts**
4 sts before next marker, TW. SM, K1, knit the 2 legs of GSR Repeat from * to **, 3(5, 8, 11, 14, 17, 20,
Row 9: GSRK, K to side marker, SM, (P to stitch together, K to side marker, 23) MORE times for a total of 4(6,9, 12, 15,
next marker, YO, SM, K1, YO) x 3, SM, K to next side marker. 284 18, 21, 24) repeats.
P to side marker, SM, K to 5 sts (292, 292, 292, 300, 300, 300) sts
Border
before next marker, TW. 266 (274, In the round If you come to a marker in this section
274, 274, 282, 282, 282) sts Rnd 1: (slip all markers as you go except that doesn't have SM, assume it is slipped.
Row 10: GSRP, P to side marker, SM, (K to the ones being removed) SM, K to Set Up
2 sts before the next marker, P2, next marker, RM, K to next marker, Note: The 2 legs of GSR stitches count as
SM, P1) x 3, K to side marker, SM, P M1, SM, K to next marker, SM, M1, one stitch.
to 5 sts before next marker, TW. K to next marker, RM, K to side Row 1 (Row 4 of last section Con't): K to
Row 11: GSRK, K to side marker, SM, (P marker, (K to next marker, YO, SM, 2 sts before marker, TW.
to next marker, YO, SM, K1, YO) x K1, YO) x 3, K to side marker, SM, Row 2: GSRP, P to side marker, SM, P to
3, P to side marker, SM, K to 6 sts K to 1 st before marker, TW. 292 next side marker, SM, P to 2 sts
before next marker, TW. 272 (280, (300, 300, 300, 308, 308, 308) sts before marker, TW.
280, 280, 288, 288, 288) sts
Back to short rows (flat) Row 3: GSRK, K to side marker, SM, (K to
Row 12: GSRP, P to side marker, SM, (K to
Row 4: GSRP, P to side marker, SM, (P to marker, YO, SM, K1, YO) x 3, K to
2 sts before the next marker, P2,
2 sts before marker, P2, SM, P1) x side marker, SM, K to 3 sts before
SM, P1) x 3, K to side marker, SM, P
3, P to side marker, SM, P to 1 st marker, TW. (400 sts)
to 6 sts before next marker, TW.
before marker, TW. Row 4: GSRP, K to side marker, SM, (K to 2
Row 13: GSRK, K to side marker, SM, (P to
sts before next marker, P2, SM, P1)
next marker, YO, SM, K1, YO) x 3, P Row 5: GSRK, K to side marker, SM, (K to x 3, SM, K to side marker, SM, K to
to side marker, do NOT turn work, marker, YO, SM, K1, YO) x 3, K to 3 sts before marker, TW, GSRK, K to
but continue on to Row 1 of the side marker. 298 (306, 306, 306, side marker.
Body. 278 (286, 286, 286, 294, 294, 314, 314, 314) sts Border Edge
294) sts
Repeat Section Return to knitting in the round.
Body In this section, switch between knitting Rnd 1: SM, (K to marker, YO, SM, K1, YO)
In this section, begin switching between back and forth and in the round. If it's x 3, K to side marker, SM, K to
knitting back and forth and in the round. ‘Row’ at the beginning, it's knitted flat. ‘Rnd’ marker knitting the 2 legs of each
If it's ‘Row’ at the beginning, it's knitted means return to knitting in the round. GSR stitch together as you go, K
flat. ‘Rnd’ means, return to knitting in the to marker, RM, K to next marker,
If you come to a marker in this section
round. See the Stitch Guide for the GSRK RM, K to marker, SM, K to side
that doesn't have SM, assume it is slipped.
and GSRP stitch instructions. marker knitting the 2 legs of each
GSR stitch together as you go.

Rnd 2: SM, (P to marker, K1, SM, K2) x 3, P
to side marker, SM, P to next side
marker.
Rnd 3: SM, switch to MC. (K to next
marker, YO, SM, K1, YO) x 3, K to
side marker, SM, K to next side
marker.
Rnd 4: Switch to CC. K to end (slip
markers as you go).
Rnd 5: SM, (P to marker, YO, SM, K1, YO) x
3, P to side M, SM, P to next side
marker.
Rnd 6: Switch to MC - K to end (slip
markers as you go).
Rnd 7: Switch to CC. SM, (K to marker, YO,
SM, K1, YO) x 3, K to side marker,
SM, K to next side marker.
Rnd 8: SM, (P to 1 st before marker, K1,
SM, K2) x 3, P to side marker, SM, P
to next side marker.
Rnd 9: Switch to MC. SM, (K to marker, YO,
SM, K1, YO) x 3, K to side marker,
YO, SM, (K2tog), K to next side
marker.
Rnd 10: Switch to CC. K to end (slip
markers as you go).
Rnd 11: SM, (P to marker, YO, SM, K1, YO)
x 3, P to side M, SM, P to next side
marker.
Icord Bind Off
Switch to MC - K3, slip 3 sts from RH
Saskatchewan
Saskatchewan
needle to LH needle, K2, K2tog, *slip 3 sts
from RH needle to LH needle, K2, K2tog**.
Repeat from * to ** until 1 st remains on Stitches
Conference
Conference
Saskatchewan
the LH needle, slip 3 sts from RH needle
to LH needle, BO 1 st, K2tog, BO 1 st, cut
yarn, and pass through remaining stitch
Conference
Prou
Proudud
ProProdu d
to finish. SpoSp
SpSpo oso
on nsonrssrosrs
nso rs
finishing
Sew in all ends. Using a needle and May 27Pro-u dJune 5, 2021
thread sew button in appropriate place. Sp o nAbbey,
St. Peter’s so r s Muenster
for more information call
1-800-344-6024
626 Main Street
www.saskstitches.ca
Fabric and yarn you won’t find just anywhere!
Humboldt
Fiona Stevenson 306-682-0772
likeafox.ca
IG @fiona.knits Authorized Dealer For
Ravelry Fiona Stevenson Designs

Whoo Baby! Cardigan and Hat Set
The little one
in your life
is worthy
of wearing
Merino wool!
To maintain
the softness of
Dona yarn in
crochet, you need
a modern stitch
that is elastic and
light. Working
with a slightly
larger hook to get
the gauge listed
for this pattern
is essential, and
the extended
single crochet
stitch is one of
the ‘stretchy-est’
crochet stitches
that is still solid
in appearance
but doesn't feel
like those stiff
baby sets from
the ‘70s. The
young wearer of
this hat and cardi
will turn even
more heads, and
everyone will
ask, "Whoo's that
cutie?"
– Charles

crochet
skill level Intermediate R-Ext-sc (reverse extended sc) With yarn Slst-flip row Insert hook in first st, yo, pull
sizing in front of hook and fabric, insert hook up lp, insert hook in next st, yo, pull up
under 2 top strands of next st from back lp and draw through other lps on hook,
Age 3M 9M 18M 24M to front, yarn under hook and take hook *insert hook in same st as previous, yo,
Chest 181⁄2" 20" 211⁄4" 22" tip back out towards WS of work, yarn pull up lp, insert hook in next st, pull up lp
Length 9" 91⁄2" 101⁄2" 11" under hook and draw through first loop and draw through other lps on hook; rep
on hook ensuring to draw through away from * across, end with an additional sl st
materials from yourself towards the wrong side (it in last st.
yarn may help to turn the hook chin counter-
Dona by Fibra Natura Pattern Notes:
clockwise), yarn under hook, draw • Instructions are given for 3m size, sizes
100% Extra Fine Merino Superwash. through 2 loops on hook, ensuring to
126yds [115m] and 1.75oz [50g] 9m, 18m, 24m are given in parentheses.
draw through away from yourself towards • Turn work clockwise consistently.
• 3 (4, 4, 5) balls for cardigan the wrong side.
• 1 ball for hat colourway Blue Hint • When working post stitches do not
Rm Remove marker work into the top 2 lps of the st itself but
hook RS Right side around it.
• US 8 [5mm] or size necessary to get Sc (single crochet) Insert hook where • Increases next to post stitches are made
gauge indicated, yo, pull up lp, yo, draw through by working into the top of a post stitch
2 lps on hook. before or after the post stitch is worked
other
Sl st (slip stitch) Insert hook where around the lower one.
• locking stitch markers
indicated, yo, pull up lp and draw through
• 4” or 5½” buttons
• embroidery floss that matches colour
lp on hook. Instructions
Sm Stitch marker CARDIGAN
of yarn
St(s) Stitches Yoke
gauge WS Wrong side Set-up Row: Work 38 (38, 38, 42) fsc, turn.
21 ext-sc sts and 19.5 ext-sc rows = 6” Yo Yarn over Row 1: Work 1 Slst-flip row, ch 1, turn.
Abbreviations (US-terms) — Numbers after long dash are the Row 2: Hdc in blo across, ch 1, turn–38
Blo Back loop(s) only stitch count (38, 38, 42) sts.
Bpdc (back post double crochet) Yo, [ ]/{ } rep instructions inside square/curly Row 3 (WS): Sc in lower 3rd lp across, turn.
insert hook from back before next st to brackets the number of times indicated Counting from the beginning, place
front and across next st and through to ( ) parentheses indicate a} a group of locking st marker in the 6th (6th, 6th,
the back again, yo, pull up lp, [yo, draw stitches to be worked into the same 7th), 11th (11th, 11th, 13th) sts. Repeat
through 2 lps] twice. insertion point or to be skipped as a st marker placement, counting from the
Btwn Between group; b} a comment about something opposite end.
Ch Chain that just occurred in your stitching; c} Row 4 (RS): Ch 1, [ext-sc in each st across
Dc (double crochet) Yo, insert hook different instructions for largest 3 sizes. to next sm, (sc, dc) in marked st,
where indicated yo, pull up lp, [yo, draw * ; Rep instructions from the asterisk to move sm to dc just made]x4, ext-
through 2 lps on hook] twice. the semicolon as indicated and often sc in each rem st, turn–34 (34, 34,
Ext-sc (extended single crochet) Insert these instructions are interrupted by 38) ext-sc, 4 dc, 4 sc.
hook where indicated, yo, pull up lp, yo, another symbol, such as a double asterisk Row 5: Ch 1, [R-ext-sc in each st across
draw through first lp on hook, yo, draw **, at which point you stop there and to next sm, sc in marked st, rm,
through both lps on hook. continue the next set of instructions bpdc around same st, return sm
Fpdc (front post double crochet) Yo, where the instructions interrupted the to top of st just made]x4, R-ext-sc
insert hook from front before next st to stitching. in each rem st across, turn–46 (46,
back and around post of next st and up Special Stitch Patterns 46, 50)
through to the front, yo, pull up lp, [yo, Zigzag stitch pattern Work RS row Size 3M only
draw through 2 lps] twice. normal ext-sc; work WS row R-ext-sc. Row 6: Ch 1, [ext-sc in each st across to
Hdc (half-double crochet) Yo, insert hook Fsc (foundation single crochet) Ch 2, next sm, sc in marked st, rm, fpdc
where indicated, yo, pull up lp, yo, draw insert hook in first ch, yo, pull up lp, yo, around same st, return sm to top
through 3 lps on hook. draw through first loop on hook (this of st just made]x4, ext-sc in each
Lp(s) Loop(s) stitch becomes the next insertion st), rem st across, turn–50 sts.
Rem Remains(ing) yo, draw through 2 lps on hook. *Insert Rows 7–16: Alternating, rep Rows 5 &
hook in lower st, yo, pull up lp, yo, draw 6–90 sts.
through first st on hook (becomes next Sizes 9M, 18M, 24M only
insertion st), yo, draw through 2 lps on
hook; rep from *.

Row 6: Ch 1, ext-sc in next 3 sts, {sc in Row 9: Rep Row 5–72 sts. Sleeves
blo of next st, ext-sc in both lps Row 10: Ch 1, [ext-sc in each st across to With RS facing and with sl st, join in
of same st}, [ext-sc in each st next sm, sc in marked st, rm, fpdc opposite side of 3rd ch under the arm,
across to next sm, sc in marked around same st, return sm to top ch 1, sl in same st as join, place st marker
st, rm, fpdc around same st, of st just made]x4, ext-sc in each in top of st just made, ext-sc in each st
return sm to top of st just made] rem st across, turn–76 sts. around–21 (26, 29, 29) sts.
x 2, ext-sc in next 3 sts, rep btwn Rows 11–20: Alternating, rep Rows 9 & Work in ext-sc rounds, moving marker up
{ } once, ext-sc in each st across 10–116 sts. each round, without joining at ends of
to 3 sts before next marker, rep Row 21: Rep Row 9–120 sts. rounds until sleeve measures 4.75 (5.75,
btwn { } once, rep btwn [ ] twice, Remove markers. 6.75, 8) inches from armhole, AND AT THE
ext-sc across to last 4 sts, rep Divide for Body – All sizes SAME TIME, decrease 1 st by skipping it
btwn { } once, ext-sc across last 3 Row 1 (RS): Ch 1, hdc in each of first 14 when under the arm every 3rd round 4 (0,
sts, turn–(54, 54, 58) sts. (15, 16, 17) sts, ch 4, sk next 17 2, 8) times, then every 2nd round 2 (9, 8,
Row 7: Rep Row 5–(58, 58, 62) sts. (22, 25, 25) sts, hdc in each of next 1) time(s), ending final round 2 sts before
Size 9M only 28 (32, 34, 36) sts, ch 4, sk next 17 marker, sc in next st, sl st in next st–15 (17,
Row 8: Ch 1, [ext-sc in each st across to (22, 25, 25) sts, hdc in each rem st 19, 20) sts.
next sm, sc in marked st, rm, fpdc across, turn–56 (62, 66, 70) sts, 2 Next Rnd: Ch 1, hdc in each st around, sl
around same st, return sm to top ch-4 sps. st to join in first hdc, turn.
of st just made]x4, ext-sc in each Row 2: Ch 1, work slst flip row across, Last Rnd: Work slst flip row in lower 3rd lp
rem st across, turn–(62) sts. turn. and front lp of each hdc around. Fasten
Rows 9–18: Alternating, rep Rows 5 & 8– Row 3: Ch 1, hdc in blo in each st across, off and weave in end to tidy up join.
(102) sts. turn–64 (70, 74, 78) sts. Weave in all ends.
Row 19: Rep Row 5–106 sts Row 4: Ch 1, ext-sc in 3rd lower lp across, Button Band
Size 18M only turn. Row 1: With RS facing join in top left edge
Row 8: Rep Row 6–(66) sts. Row 5: Ch 1, ext-sc across, turn. for girl or bottom left edge for
Row 9: Rep Row 5–(70) sts. Row 6: Ch 1, r-ext-sc across, turn. boy with a sl st, ch 1, sc in same
Row 10: Rep Row 6–(78) sts. Row 7: Ch 1, [ext-sc in next st, sc in next location as join, sc evenly along
Row 11: Rep Row 5–(82) sts. st] across, turn. row edges across, turn. If side
Row 12: Ch 1, [ext-sc across to next sm, Row 8: Ch 1, hdc in each st across, turn. flares, rip out row and redo with
sc in marked st, rm, fpdc around Rep Rows 5-8 until work is 8 (8.5, 9.5, 10) fewer sc; if side buckles, rip out
same st, return sm to top of st just inches from beginning of yoke (or desired and redo with more sc; make a
made], {ext-sc in each of next 5 length minus 1 inch). note of # of sc made.
sts, sc in blo of next st, ext-sc in End with a WS row. Row 2 (WS): Ch 1, work slst flip row
both lps of same st}, rep between across, turn.
[ ] twice, rep btwn { } once, rep Bottom Edging
Ch 6, hdc in 2nd ch from hook and each Row 3: Ch 1, hdc in blo of each st across,
btwn [ ] once, ext-sc across rem turn.
sts–(88) sts. ch across, along stitches from bottom
edge sl st in next 3 sts, turn work. Row 4: Ch 1, work slst flip row across.
Row 13: Rep Row 5–(92 sts) Fasten off.
Row 14: Ch 1, [ext-sc in each st across to Row 1: Sc in lower 3rd lp of next 5 sts,
turn. With 2 strands of embroidery floss, sew 4 or
next sm, sc in marked st, rm, fpdc 5 buttons spaced across the band to taste,
around same st, return sm to top Row 2: Ch 1, hdc in blo across, sl st in next
2 sts along bottom edge, turn. and count the number of sts between the
of st just made]x4, ext-sc in each edges of each pair of buttons.
rem st across, turn–96 sts. Row 3: Sc in lower 3rd lp of next 5 sts,
Rows 15–18: Alternating, rep Rows 13 & turn. Buttonhole Band
14–112 sts. Row 4: Ch 1, hdc in blo across, sl st in next Row 1: With RS facing join with sl st in
Row 19: Rep Row 13–116 sts. 3 sts along bottom edge, turn. opposite corner as other side, ch
Size 24M only Rep Rows 1–4 around lower edge, near 1, sc the same # of sts across row
Row 8: Ch 1, [ext-sc across to next sm, the end adjust the number so slipped sts ends as opposite side, turn.
sc in marked st, rm, fpdc around inorder to end with a sc row, turn. Row 2: Ch 1, work slst fip row across, turn.
same st, return sm to top of st just Last Row: Sl st in blo of each st across, sl Row 3: Ch 1, hdc in blo of each st till a
made], {ext-sc in each of next 5 st in edge of cardigan. Fasten off. buttonhole is needed across from
sts, sc in blo of next st, ext-sc in opposite side, work 2 fsc (or 2
both lps of same st}, rep between chs), sk 2 sts, resume hdc in blo to
[ ] twice, rep btwn { } once, rep next buttonhole.
btwn [ ] once, ext-sc across rem Row 4: Ch 1, work slst flip row across.
sts–68 sts. Fasten off.
Weave in ends.

HAT
Crown
Rnd 1: Make slip knot using tail instead of
working yarn, ch 2, work 6 sc into
2nd ch from hook.
Rnd 2: 2sc in each st around–12 sc.
Rnd 3: Place sm in last st of previous
round and move it to the last st of
each rnd worked to track end of
round, [(1 sc, 1 hdc) in next st, hdc
in next st]x6–18 sts.
Rnd 4: [(1 hdc, 1 ext-sc) in next st, 1 ext-sc
in each of next 2 sts]x6–24 sts.
Rnd 5: [1 ext-sc in next st, (1 hdc, 1 ext-sc)
in next st, 1 ext-sc in each of next
2 sts]x6–30 sts.
Rnd 6: [1 ext-sc in each of next 2 sts, (1
hdc, 1 ext-sc) in next st, 1 ext-sc in
each of next 2 sts]x6–36 sts.
Continue in spiral rounds as established
increasing 6 sts evenly around until there
are 48 (54, 60, 60) sts.
Work 2 rounds plain.
Body of Hat
Next Rnd: Increase 6 (4, 2, 4) sts evenly
around–54 (58, 62, 64) sts.
Next Rnds: Work evenly in ext-sc rnds until
hat from center of crown along arch of hat
to bottom edge is 4 (4.5, 5, 5.5) inches (or
desired length minus 1 inch) long.
Edging
Sc in each of next 2 sts, sl st in next st.
Work Bottom Edging as for Cardigan
around. With WS facing, sew gap close
with whipstitch technique.
Lowery Workstands
The Strong Steel Workstands from England
Weave in all ends.
www.workstands.com
Available in
Canada from
Tygarth
Enterprises at
519-956-9632 or
email to:
tygarth@cogeco.ca
Charles Voth
charlesvothdesigns.ca
Ravelry StitchStud

This piece was a happy combination
of the theme for this issue and an
art project our youngest did while
in University! Katie created this
large castle wall full of windows,
and when you opened each window,
you could see the room inside. I
kept the project pieces long after
she graduated, as I always thought
it would make a wonderful cross-
stitch series – and when Carla
provided the theme, that long-
delayed project was the first thing
that came to mind.
It also became my COVID-19
project, as much of the stitching
was completed in isolation. My
thanks to Belinda Howell, who
jumped in and helped by stitching
the back layer! Due to the 3D
nature of this piece, there were
some corrections to the graph to
make it easier to assemble, like
shifting the windows slightly into
the center and up a few stitches
so the side/bottom measurements
The were easier to figure out.
Castle
It is strongly recommend reading
all the instructions before you
begin stitching, as there are both
stitching and assembly options
provided such as the colour wire or
beads to use for hinging.
Since we were in isolation, and so
many businesses were closed, we
also had to ‘wing’ the framing!
Fortunately, I had a mat I liked
on hand; it has a slightly smaller
opening than I would have
preferred if I’d been able to get a
mat cut, so more of your castle wall
may show than mine! I’m also lucky
enough to have a handy husband,
Bill was able to make a frame deep
enough to accommodate all the
Nursery layers of foamcore, fabric and a

mat! Just keep in mind that you’ll
need a deeper-than-usual frame
to fit this design. Enjoy… happy
stitching… and stay safe! – Jo

cross stitch
skill level Intermediate colour key Castle Nursery Nanny’s Hair

finished measurements symbol DMC strands colour 3 dots§ show the placement of a braid, made as follows:
(rounded up) . white 3 white
11ct – 12¾”W x 10¾”H
A. Using the hair colour (DMC 680), separate the strands of
S 310 3 black
[32 x 26cm] two 18” lengths of floss (to make them fuller), then put
\ 312 3 baby blue - vy dk
14ct – 10”W x 8”H all 12 strands together. Bring one end of the 12-strands
X 321 3 Christmas red up in each of the top two spots indicated by grey dots
[26 x 20cm]
16ct – 8¾”W x 7”H 5 414 3 steel grey - dk (either side of a single stitch). The tails should BOTH be
[22 x 18cm] ‹ 415 3 pearl grey on the face of the stitching, and the ends even.
b 501 3 blue green - dk B. Get a ‘tie’ ready to fasten the end of the braid, by
stitch count
÷ 503 3 blue green - md anchoring a single strand of DMC 321 embroidery floss
outer 140W x 112H
í 676 3 old gold - lt on the back of the fabric near the third grey dot on the
materials ] 680 3 old gold - dk Nanny’s chest. Bring the strand up at that dot position,
fabric
4 712 3 cream and park the needle out of the way, then finish the braid
• 28ct Black Jobelan
› 729 3 old gold - med (see C).
• 14ct White Aida
_ 738 3 tan - vy lt C. Divide the floss (24 strands) into 3 groups of 8, and
threads
• DMC embroidery floss G 739 3 tan - ult vy lt carefully braid the 3 strands, so they are firm, but do not
according to colour keys j 740 3 tangerine pull the fabric out of shape. Continue braiding until the
other m 745 3 yellow - lt pale braid reaches the third dot position, curving it slightly to
• foam core board to Š 754 3 peach - lt follow her body.
match each fabric * 762 3 pearl grey - vy lt D. Use the parked needle/thread to anchor the end of
(black and white) z 800 3 baby blue - lt the braid, going up and down (around the braid) in the
• 20 gauge wire (black) À 801 3 coffee brown - dk same hole, at least 4 times. End off the floss, anchoring
• Mill Hill Size 8 Glass p 813 3 blue - lt it well on the back of the stitching so it doesn’t work
Beads (18011) loose with washing etc.
O 816 3 garnet
• Mill Hill Large E. Leave at least ¾” of the hair floss unbraided below the
H 841 3 beige brown - lt
Bugle Beads anchor point; leave this a bit longer to start, you can
0 948 3 peach - vy lt
Notes: V / 3607 2 plum - lt always shorten, if desired. Fluff the loose strands, so they
1. Finishing Instructions separate and lay nicely below the anchor point.
\ white 1 white
are based on a 14ct
¿ 3607 3 plum - lt Back Nursery Wall
stitching.
Q 3608 3 plum - vy lt symbol DMC strands colour
2. Three strands of floss
are recommended for w 3689 3 mauve - lt k 640 1 beige grey - vy dk
this design (3x) based W 3799 3 pewter grey - vy dk 1 642 1 beige grey - med
on using a 14ct fabric. † 3863 3 mocha beige - med Ò 644 1 beige grey - dk
This is a personal
preference of the Front Castle Wall
designer, because of Half-Stitch Nursery Floor (/ = stitch direction) symbol DMC strands colour
the wonderful coverage symbol DMC strands colour a 402 3 mahogany - vy lt
provided when using ß 632 1 desert sand – ult vy dk k 640 3 beige grey - vy lt
three strands. However, 1 642 3 beige grey - med
Stitch horizontally across
if using a smaller Color Variations Ò 644 3 beige grey - dk
/ 1 the floor, so colour changes
count fabric as in 16ct 4140
flow left to right. ¤ 3776 3 mahogany - lt
or less, then using / 3787 1 brown grey - dk
two strands of floss is
\ 640 3 beige grey - vy dk
recommended. Backstitching (Watch the weights of floss for various areas)
3. All backstitching is
done with one strand of symbol DMC strands colour area to backstitch
black. 310 1 black Castle Front / Window Sashes: all backstitching
310 1 black Nursery: all backstitching not set out separately below
§ 310 2 black Nursery: French knot eyes on rocking horse & dragon
321 2 Christmas red Nursery: torch flames (on back wall)
503 3 blue green – med Nursery: inner border on carpet
640 1 beige grey – vy dk Nursery: stone walls
676 2 old gold – lt Nursery: wall hanging: fringe and decorative curls
3799 1 pewter grey – vy dk Nursery: floorboards; apples in bowl and table cloth folds
Finishing instructions all the outer edges are pinned, fold 3. Slip the needle
1. When all pieces are stitched, there will be: the cut triangles to the back, lining through a
• a Castle Wall stitching up the stitched edges with the cut backstitch on each
opening edges. Pin firmly in place piece (without
• a Castle Nursery stitching around the window opening, into catching the
• 8 Window Sash pieces the foam core. Hide the heads of the fabric) and pull
2. Mounting Materials pins by colouring them with a black
the thread tight
permanent marker. You won’t be able
(1) foam core mounting board the size to join the two
to lace the Castle Wall, because of the
of the Castle Wall stitching large window openings!
pieces together. Repeat in every
stitch around the pieces being joined.
(2) filler foam core the size of the With two sashes back to back (so
frame opening the handles are on the same side -
(2A) a mat (optional) opposite the hinge side of the sash),
(3) foam core the size of the Nursery join around three sides.
stitching 4. Put one cardboard insert inside the
Note: Keep extra foam core scraps for steps sash pocket, trim to fit as necessary,
15 -17. and close the final side of the sash. Put
two right sashes together the same
(4) 20GA wire I beads way (steps 1 - 4), to complete both
sashes for one window.
TIP Apply a generous amount of white
glue (which will dry clear) in the window 5. Repeat steps 1 - 4, making two more
corners, to flatten and anchor loose fabric sashes for the other window.
strands. Set aside to dry. Hinge beads
1. Use the black arrows on
the Window Sash Graph
for placement. Sew
hinge beads on the sides
of assembled sashes.
Beads need to be sewn
Window openings horizontally so a wire hinge
Window sashes
1. Use black foam core if black fabric was As shown in the photo, cut window sash can be inserted down
used, and white foam core for white inserts (E) from lightweight cardboard through them all.
fabric. Turn the castle wall foam core such as a cereal box. Cut 4 pieces 1¼"W Note: Hinge beads and handle beads will
(item 1 in photo), to 10"W x 8"H. Cut a x 3¾"H; these are ¼" smaller than the never be on the same side of the sash!
3"W x 4"H rectangle (D), starting 1½" window opening on two sides, to allow
for fabric thickness etc. 2. Set one assembled sash in the
in from the left side (B), and 1" up from window opening of the Castle Wall.
the bottom (C). Repeat from the right Handles
Insert pins close to the sash hinge
side for the second opening. Two sets of window sashes are required
beads to mark the position of the
for each window opening. The sashes
2. Cut the window Xs on the stitched are labelled left and right, stitch two of Castle Wall hinge beads. Ensure
Castle Wall, as shown on the graph. each, per window (4 sets). Two large a right and left sash will fit in the
Mounting stitching (pinning method) bugle beads form one handle. Refer to opening (adjust the pins if necessary),
1. Mount the Nursery on foam core (item the grey dots on the window sash graphs with the handles meeting in the
3 in the photo), trimming fabric as for placement. Sew handles on all 8 sash center of the opening. Sew hinge
necessary. Line up the center points of pieces before assembling. beads to both sides of the window,
the stitching with the center of each Joining technique replacing
side of the foam core, and pin in place 1. Put two left sashes together, flipping each pin (see
(A). Work out from the center points the back sash vertically  when Step 1 under
to the corners, inserting pins into the assembling, so the bead handles Hinge Beads).
edge of the foam core board to hold are both on the inside edge of the Do not to
sash. This keeps the stitched shadows bend the
the fabric in place. Glue or lace the
correctly positioned. foam core!
fabric on the back of each foam core.
2. Matching up the outer backstitch/ Repeat for the other window.
2. Using the same mounting method,
mount the Castle Wall stitching on outline stitches, use 2 strands of the 3. To create a hinge, cut a 4½" piece of
foam core (item 1 in the photo). Once dark grey, DMC 3799, and a loop wire, 20 gauge black stove wire was
start to anchor the beginning tail used in the sample, but a plain silver
(see the how-to inset box).
wire can be used 2. Cut out the inner rectangle, then filler foam core board (around the
instead or use a re-center the mounted Castle Wall edges of the Nursery Room piece),
permanent black stitching, and check that the filler so the outer edges of the five foam
marker to colour foam core isn’t easily visible through core layers become one solid piece. If
the silver wire the window openings. Widen the desired, cover the back with a layer of
before inserting opening if necessary. Pin or glue the heavy paper, to hide all the joining.
the wire through two foam core pieces together. 6. Frame as desired.
the hinge beads. 3. Add additional foam core strips to the
Straighten the Note: As mentioned in the introduction,
filler foam core, around the outside because there are so many layers to
wire as much as edges of the mounted Castle Wall so
possible, then use this masterpiece, an extra deep frame is
all the pieces now form one solid piece required. We made our own frame, and if
a pair of needle around the outer edges. Glue and pin
nose pliers to bend you would like info on how to do that, we'll
in place, pressing down to the height be happy to share our ideas! Please contact
the top over to form a small hook. of the stitching mounted foam core. us at x-stitch@xs-and-ohs.com for more
4. Place the sash in position, so the information.
hinge beads line up with the beads
on the side of the window, then insert Loop start
the wire down through all 10 beads. When using an even number of strands
Open the sash, and turn the wire, so of floss, reduce the number of tails with
the top hook is on the inside). Pull the the following simple technique.
wire down, so the beads are snug. Use 1. Begin by cutting two lengths of
the pliers to fold the wire snug around floss of the desired stitching length.
the bottom beads and on the inside, Remove one strand and fold in half to
to complete the hinge. Cut off any Note: It will take two layers of foam core to make 2 strands; even out the cut ends.
excess folded wire at the bottom. The equal the height of the fabric covered foam 2. Feed the cut ends through the eye of
sash should now open and close! core center. This means the finished piece the needle, so the fold (or loop) at the
TIP Gold beads were used for our hinges, will be five layers of foam core thick, plus the bottom becomes the tail of the strand
to match the window handles, but for less mat (if applicable). as shown in diagram.
noticeable hinges, use black beads instead. 4. Center the mounted Nursery Room 3. Come up from the back of the fabric
5. Repeat steps 2 - 4 to hinge all stitching behind the joined two-piece in the starting position, then go down
window sashes. foam core, centering the room so it in the second position but do not pull
To assemble shows well through the window. Pin / the floss tight.
1. The mounted Castle Wall, with all the glue in place.
4. Slip the needle through the loop (on
window sashes in place, can now be 5. Lay this final assembly of layered foam the back of the fabric), and gently
centered on the filler foam core (item core face down and apply additional tighten to anchor the floss with no tail!
2). If a mat is used, this foam core will foam core strips to the back of the
be larger than the Castle Wall piece,
with no mat, they will be the same
size. In either case, a hole must be
cut, so the room, mounted behind,
can show through. If the filler foam
core is the same size as the mounted
Castle Wall, skip down to the hole
measurements.
If the filler foam core is larger than
the Castle Wall piece, center the
mounted stitching on top, and
draw an outline around this smaller
piece. Set the mounted piece aside.
Measure 1" from the bottom, and
sides of that outline, and draw an
inner outline. The height of this
inner rectangle should be about
1" taller than the window opening,
approximately 5".

10 20 30 40 50 60 70 80 90 100 110 120 130 140
a a a a ¤ ¤ ¤ a a a a a a a a ¤ ¤ ¤ a a a a ¤ ¤ ¤ ¤ ¤ ¤ a a a a a a a a a a a ¤Ò Ò Ò 1 k k¤ ¤ 1 Ò 1 Ò 1 1 Ò a 1 Ò 1 1 k k k k a 1 Ò 1 Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò 1 ¤ 1 1 1 1 1 1 1 1 1 Ò 1 Ò k k ¤ ¤Ò Ò 1 k ¤ ¤ a a a a a a a a a a a a a a a a a 1 1 1 1 Ò a a 1 1 Ò 1 Ò Ò 1 1 1 Ò Ò a a a
ÒaÒÒÒÒÒ111Ò1ÒÒ1ÒÒÒÒÒkkÒÒÒÒ¤aÒkkÒÒ111k¤aÒÒ111k¤11ÒÒ1ÒÒÒa1111kk¤ÒaaÒÒÒÒÒÒÒÒÒÒÒÒÒÒ1¤111111111kkkk¤Ò1Ò1k ¤kkkkaÒÒÒÒÒ111ÒÒÒ1Ò11ÒÒa11Ò11111ÒÒ1kÒ1Ò
Ò ¤ 1 1 Ò k Ò Ò 1 1 1 k k Ò 1 1 1 k Ò Ò Ò k k Ò Ò 1 a Ò k k k Ò 1 k k k 1 ¤ aÒ Ò 1 1 1 1 k k¤ ¤ 1 Ò 1 Ò Ò Ò Ò a k k 1 k k ¤ Ò Ò Ò Ò Ò Ò Ò Ò a ¤ Ò Ò Ò Ò Ò Ò 1 1 1 1 ¤ 1 1 1 1 1 k k k k ¤ ¤Ò Ò Ò 1 1 1 k k¤ ¤ k k a Ò Ò Ò Ò Ò Ò Ò Ò 1 1 Ò Ò Ò Ò Ò 1 k k a 1 k 1 Ò Ò 1 Ò Ò k Ò 1 Ò Ò 1
Ò ¤ 1 Ò Ò k k Ò 1 1 k k 1 1 1 k k Ò Ò 1 k k Ò Ò 1 Ò a k k k k k Ò 1 k 1 ¤ ¤ Ò Ò 1 1 1 Ò 1 1 k k ¤ ¤ ¤ Ò 1 1 Ò a a k k k k ¤ Ò Ò Ò Ò Ò Ò Ò Ò a a ÒÒ ¤ ¤ Ò Ò Ò Ò Ò Ò 1 a a Ò a 1 k k ¤ ¤ ¤ Ò Ò Ò 1 Ò 1 1 1 k k ¤ ¤ a a a Ò Ò Ò 1 1 1 Ò Ò Ò Ò Ò 1 Ò 1 k k k ¤ k 1 1 k k Ò 1 k 1 k k 1 k
Ò a Ò 1 Ò 1 k Ò 1 Ò k k k 1 k Ò Ò Ò 1 Ò k Ò Ò 1 1 Ò a Ò k k k k Ò 1 ¤ ¤Ò Ò Ò 1 Ò 1 1 Ò 1 1 1 k k k¤ ¤ a a a Ò a a a a a ¤ Ò Ò Ò Ò Ò Ò Ò a aÒ Ò Ò Ò¤ ¤ Ò Ò Ò ¤ a ¤ Ò Ò Ò 1 a a a k ¤ ¤Ò Ò Ò Ò Ò Ò 1 1 1 1 1 k k k¤ ¤ a a a a Ò 1 Ò Ò 1 Ò 1 1 1 1 1 1 k k a k k 1 1 1 1 1 1 k 1
Ò ¤ Ò Ò 1 Ò Ò k 1 k Ò k 1 1 k Ò Ò Ò Ò Ò Ò 1 1 Ò 1 1 a Ò Ò Ò k Ò Ò ¤ ¤Ò Ò Ò 1 1 1 1 k Ò Ò 1 Ò 1 1 k k¤ ¤ Ò Ò Ò Ò Ò Ò Ò Ò ¤ Ò Ò Ò Ò Ò Ò a aÒ Ò 1 1 Ò Ò¤ ¤ Ò Ò Ò Ò Ò Ò Ò Ò 1 Ò 1 1 ¤ a ¤ ¤ ¤Ò Ò Ò 1 Ò 1 1 1 Ò 1 1 Ò 1 1 k k¤ ¤ ¤ a a a a 1 Ò Ò 1 1 Ò 1 1 1 k 1 k ¤ k k k k 1 k 1 1 k 1
Ò ¤ 1 1 1 1 Ò 1 1 1 Ò 1 a 1 Ò Ò ¤ ¤ ¤ 1 ¤ ¤ 1 Ò Ò a a a a a a a a Ò Ò Ò Ò 1 Ò 1 1 k k ]] Ò Ò Ò 1 1 1 1 k k k ¤ ¤ Ò Ò Ò Ò Ò Ò ¤ Ò Ò Ò Ò Ò Ò a Ò 1 1 k 1 Ò ¤ Ò ¤ Ò Ò Ò 1 Ò 1 Ò 1 Ò Ò Ò ¤ a Ò Ò Ò Ò 1 Ò 1 1 k k ]] 1 Ò Ò 1 Ò 1 1 k k k ¤ ¤ a a a a Ò Ò 1 Ò 1 Ò Ò 1 1 1 k ¤ 1 k k k k 1 1
¤ ¤ a a a a a a a a a a ¤ a a a a a ¤ ¤ a a a a a Ò Ò Ò ¤ a a a Ò Ò Ò 1 Ò 1 1 k k k ] ] ] ] Ò Ò Ò 1 Ò 1 1 1 k k ¤ ¤ Ò Ò Ò ¤ ¤ 1 ¤ Ò Ò Ò Ò a a Ò Ò 1 1 ÒÒ k k Ò Ò ¤ ¤ Ò Ò Ò Ò Ò 1 Ò 1 1 1 Ò a a Ò Ò 1 1 1 Ò 1 k k k ] ] ¤ ¤ 1 Ò Ò 1 1 Ò 1 1 k k ¤ ¤ ¤ a a a a Ò Ò Ò Ò Ò Ò 1 k k a 1 k k k k k k 1
10
Ò Ò 1 1 1 Ò Ò Ò k k k 1 ¤ ¤ ¤ ¤ Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò ¤ ¤ aÒ Ò Ò Ò 1 Ò 1 1 k k] ] ] ] W ¤ a aÒ Ò 1 1 Ò 1 1 1 k k¤ ¤ ¤ Ò Ò 1 1 ¤ Ò Ò a aÒ Ò 1 1 Ò Ò k 1 Ò Ò¤ ¤ Ò Ò Ò Ò 1 1 1 a a aÒ Ò Ò 1 1 1 1 1 k k] ] ] W ¤ ¤ a aÒ Ò Ò 1 1 1 1 k k k¤ ¤ a a a a 1 1 1 Ò 1 1 k k ¤ 1 1 k k 1 k k k k k k
Ò Ò Ò 1 1 1 Ò Ò Ò 1 1 k k ¤ ¤ Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò ¤ ¤Ò Ò Ò Ò 1 1 1 1 k k k] ] ] ¤ W W W ¤ a aÒ Ò Ò 1 1 Ò 1 1 1 k k¤ ¤ Ò Ò 1 1 ¤ Ò a Ò 1 1 1Ò Ò Ò Òk k 1 Ò ¤ Ò Ò Ò 1 1 1 a aÒ Ò Ò Ò 1 Ò 1 1 k k k] ] ] W W W ¤ ¤ a aÒ Ò Ò Ò 1 1 1 1 k k k¤ ¤ a a a Ò 1 1 Ò 1 1 k a 1 k 1 1 k k k k
Ò Ò 1 1 Ò Ò 1 Ò Ò 1 k k k ¤ Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò ¤ ¤Ò Ò Ò Ò 1 1 1 k k k] ] ] ¤ ¤ W W W W W ¤ a a aÒ Ò Ò 1 1 Ò 1 1 k k¤ ¤ Ò Ò 1 1 a aÒ Ò 1 1Ò Ò Ò Ò Ò Òk k Ò Ò¤ ¤ Ò 1 1 1 a aÒ Ò 1 1 1 1 1 k k k] ] ] ] W W W W W ¤ ¤ a a aÒ Ò Ò 1 Ò 1 1 1 k k¤ ¤ a a a Ò Ò 1 1 1 k ¤ 1 1 1 k 1 1 1 k k k
Ò Ò 1 Ò Ò Ò Ò Ò Ò Ò 1 k k ¤ Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò ¤ ¤Ò Ò 1 Ò 1 1 1 k k k] ] ] ¤ ¤ W W W W W W W ¤ ¤ a Ò Ò ¤ a k Ò ¤
a Ò Ò Ò 1 1 1 1 kk ¤ Ò 1 1 a Ò 1 1 Ò Ò Ò Ò Ò Ò k 1 Ò ¤ Ò Ò 1 a ÒÒ 1 Ò 1 1 1 k k ]] ] ] W W W W W W W ¤ ¤ ¤ aa Ò Ò 1 1 Ò 1 1 kk ¤ a a Ò 1 1 1 k k ¤ ¤ 1 1 1 1 k 1 1 k k
1 1 Ò 1 Ò Ò Ò Ò Ò Ò Ò k k ¤ Ò Ò Ò Ò Ò Ò Ò Ò Ò ¤ ¤Ò Ò Ò Ò 1 1 k k k] ] ] ] ¤ ¤ W W W W W W W W W ¤ ¤ a a aÒ Ò Ò Ò 1 Ò 1 k k¤ ¤ Ò 1 a aÒ Ò 1 1Ò Ò Ò Ò Ò Òk 1 Ò Ò¤ ¤ 1 1 a aÒ Ò 1 1 1 1 k k k] ] ] ] ] W W W W W W W W W ¤ a ¤ a a aÒ Ò Ò 1 1 Ò 1 k k¤ ¤ a a a a a a a ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ a a a
1 Ò Ò Ò Ò Ò Ò Ò Ò Ò 1 1 k ¤ Ò Ò Ò Ò Ò Ò Ò Ò ¤ ¤Ò Ò 1 Ò 1 1 k k] ] ] ] ¤ ¤ ¤ W W W W W W W W W W W ¤ ¤ ¤ a a aÒ Ò Ò 1 1 1 k k¤ ¤ Ò 1 a Ò 1 1 1Ò Ò Ò Òk k 1 Ò ¤ Ò 1 a aÒ Ò 1 Ò 1 1 k k] ] ] ] ] ] W W W W W W W W W W W ¤ ¤ ¤ a a a aÒ Ò Ò 1 1 1 k k¤ ¤ a a a 1 1 k k 1 1 1 1 1 1 1 1 1 ¤ ¤ k 1 1
¤ k
Ò Ò Ò 1 1 Ò Ò Ò Ò 1 1 k k ¤ Ò Ò Ò 1 Ò Ò Ò ¤ Ò Ò Ò Ò 1 1 k ] ] ] ¤ ¤ ¤ W W W W W W W p W W W W W W W ¤ ¤ ¤ a a Ò Ò 1 1 1 k k ¤ Ò 1 a Ò 1 1 Ò Ò k 1 Ò ¤ ¤ Ò a Ò Ò Ò 1 1 1 k ] ] ] ] ] W W W W W W W p W W W W W W W ¤ ¤ ¤ a a a Ò Ò 1 1 1 k k¤ ¤ k 1 1 1 1 k k k k k k k 1 1 1 ¤ k k 1
Ò ¤ Ò Ò a k Ò
Ò Ò 1 1 Ò Ò Ò Ò 1 Ò Ò k k ¤ Ò Ò 1 1 1 Ò ¤ ¤ Ò Ò 1 Ò 1 1 k k ] ] ] ¤ ¤ ¤ W W W W W W W p p p W W W W W W W ¤ ¤ ¤ a a Ò Ò Ò 1 Ò 1 k k ¤ ¤ 1 a a Ò Ò 1 1 ÒÒ k k Ò Ò ¤ ¤ 1 Ò a Ò Ò Ò 1 1 1 k k ] ] ] ] ] W W W W W W W p p p W W W W W W W ¤ ¤ ¤ a a a Ò Ò Ò 1 Ò 1 k k ¤ k 1 1 1 k k k k k k k k k 1 1 ¤ 1 k k
Ò Ò Ò Ò Ò 1 Ò 1 1 1 1 Ò k ¤ 1 Ò 1 1 1 ¤ ¤ Ò Ò Ò 1 1 k k] ] ] ¤ ¤ a W W W W W W W p p p p p W W W W W W W ¤ ¤ ¤ a aÒ Ò Ò 1 1 1 k ¤ Ò 1 a Ò 1 1 k 1 Ò ¤ Ò Ò a Ò 1 1 Ò 1 k k] ] ] ] ¤ W W W W W W W p p p p p W W W W W W W ¤ a ¤ a a aÒ Ò Ò 1 1 1 k ¤ k k k k k k k 1 k k 1 1 1 1 ¤ k k 1 k
1 1 Ò Ò 1 k 1 Ò Ò Ò Ò k k ¤ Ò Ò 1 Ò ¤ ¤ ¤Ò Ò 1 Ò 1 k k] ] ] ¤ ¤ a W W W W W W W p p p p p p p W W W W W W W ¤ a ¤ a aÒ Ò Ò 1 Ò 1 k¤ ¤ 1 a Ò 1 1 1 1 Ò ¤ Ò 1 aÒ Ò 1 1 1 k k] ] ] ] ¤ W W W W W W W p p p p p p p W W W W W W W ¤ ¤ ¤ a a aÒ Ò Ò 1 1 k k¤ ¤ k k k k k 1 1 k k k k 1 1 ¤ k k k k 1
20
Ò 1 Ò 1 1 k k 1 1 1 1 1 k k ¤ 1 Ò ¤ a aÒ Ò 1 1 1 k k] ] ] ¤ ¤ a a W W W W W p p p p p p p p p p p W W W W W ¤ ¤ ¤ ¤ a aÒ Ò 1 1 1 k k¤ ¤ 1 aÒ Ò 1 1 Ò Ò¤ Ò 1 aÒ Ò 1 Ò 1 k k] ] ] ] ¤ ¤ W W W W W p p p p p p p p p p p W W W W W ¤ a ¤ ¤ ¤ a aÒ Ò Ò 1 1 k k¤ ¤ k k k 1 1 1 1 k k 1 k 1 ¤ 1 k 1 1 1
Ò Ò 1 1 k k k 1 1 1 k k k k ¤ 1 1 a aÒ Ò 1 Ò 1 k k] ] ¤ ] ¤ a ¤ a W W W W p p p p p p p p p p p p p W W W W ¤ a ¤ ¤ ¤ a aÒ Ò 1 1 1 k k¤ ¤ a aÒ Ò Ò Ò¤ ¤ a 1 Ò 1 1 1 1 k] ] ] ] ¤ a a W W W W p p p p p p p p p p p p p W W W W ¤ ¤ a ¤ a ¤ a aÒ Ò 1 Ò 1 k k¤ ¤ k k 1 1 k k k k k k 1 ¤ 1 1 k k 1
¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ 1 ¤ a Ò Ò Ò 1 1 k ] ] ] ¤ a a a a W W W W p p p p p p p z p p p p p W W W W ¤ ¤ a ¤ a ¤ a Ò Ò Ò 1 k k ¤ Ò a a ÒÒ ¤ ¤ 1 1 Ò 1 Ò 1 1 k ] ] ¤ ¤ a ¤ a W W W W p p p p p z p p p p p p p W W W W ¤ ¤ ¤ a ¤ a ¤ a Ò Ò 1 1 1 k ¤ ¤ k 1 1 1 k k 1 k 1 1 ¤ a k k 1 1
Ò Ò Ò ¤ ¤ ¤ Ò Ò Ò Ò 1 k k ¤ ¤ ¤ a aÒ Ò Ò 1 1 k k] ] ] ¤ a ¤ a a a a W W W p p p p p p z p p p p p p W W W ¤ ¤ ¤ ¤ ¤ ¤ a a aÒ Ò 1 Ò 1 k k¤ Ò Ò a ¤ a 1 a Ò 1 1 1 k k] ] ¤ ] ¤ a a a a W W W p p p p p p z p p p p p p W W W ¤ ¤ ¤ ¤ ¤ ¤ ¤ a a aÒ Ò Ò 1 1 k k¤ ¤ k k 1 k 1 1 k 1 1 k ¤ a a ¤ ¤ ¤
1 Ò Ò a 1 1 1 Ò 1 1 1 1 k 1 ¤ a a Ò Ò 1 1 k k] ] ] ¤ a W W W W W a W W W p p p p p z p z z p p p p W W W ¤ W W W ¤ ¤ ¤ a a aÒ Ò 1 Ò 1 k ¤ Ò Ò 1 1 ¤ Ò 1 Ò 1 k k] ] ] ¤ ¤ a W W W a W W W p p p p z z p z p p p p p W W W ¤ W W W W W ¤ ¤ a a aÒ Ò Ò 1 1 k ¤ ¤ k k k k k 1 1 1 k ¤ a a a 1 1
Ò 1 Ò a 1 Ò 1 1 1 Ò 1 Ò 1 k k ¤ aÒ Ò 1 1 k k] ] ¤ ¤ W W W W W W W W W W W p p p p z z z p p p p p p W W W W W W W W W ¤ ¤ ¤ a aÒ Ò 1 1 k k¤ ¤ 1 1 ¤ ¤Ò Ò 1 1 k k] ] ] ¤ ¤ W W W W W W W W W p p p p p p z z z p p p p W W W W W W W W W W W ¤ a a aÒ Ò 1 1 k k¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ ¤ a a k 1 1 1
1Ò1aÒÒ1kÒÒ111kk¤Ò1Ò1k]¤]WWWWWWWWWWWWWppzpzppzpppWWWWWWWWWWW¤¤¤aÒ111k¤11¤Ò1Ò1k]]¤]WWWWWWWWWWWpppzppzpzppWWWWWWWWWWWWW¤aaÒÒ11k¤¤¤1Ò1ÒkÒkÒ11111
Ò 1 1 a Ò Ò Ò k k 1 1 1 k 1 k ¤ Ò Ò 1 k k] ] ] S W W W W W W W W W W W W W p z z z z z z z p z p W W W W W W W W W W W W W ¤ a aÒ Ò Ò 1 k ¤ 1 1 ¤ 1 Ò 1 1 k] ] ] W W W W W W W W W W W W W p z p z z z z z z z p W W W W W W W W W W W W W W ¤ a aÒ Ò Ò 1 k ¤ ¤ 1 Ò Ò Ò Ò Ò k k 1 k 1 k 1 1
1 1 1 ¤ Ò Ò k Ò Ò k 1 k 1 k ¤ ¤Ò Ò 1 1 k ] ] S W W W W W W W W p p p W W W W p z z z z z z z p W W W W p p p W W W W W W W W ¤ a Ò 1 1 k k¤ ¤ ¤ ¤k k 1 1 k ] ] W W W W W W W W p p p W W W W p z z z z z z z p W W W p p p W W W W W W W W W W ¤ a Ò 1 1 k k¤ ¤ 1 Ò 1 Ò Ò Ò Ò k 1 1 1 1 1 1
ÒÒ1¤aÒkÒkkkkka¤ÒÒ1kk]]SWWWWWWWpppppppppzzzzzzzpppppppppWWWWWWWW¤Ò1Ò1k¤¤kkk1k]SWWWWWWWpppppppppzzzzzzzppppppppWWWWWWWWWW¤ÒÒ11k¤11ÒÒÒkÒÒ11k111
30
¤¤¤aaaaaaaaaaa¤Ò111k]SWWWWWWpppppzpzzzzzzzzzzzzzzzpzpppppWWWWWWWÒÒ11k¤¤ kk1kSWWWWWWpppppzpzzzzzzzzzzzzzzzpzppppWWWWWWWWWÒÒ11k¤¤1ÒÒkÒÒ1k11111
Ò Ò Ò Ò 1 Ò Ò 1 Ò Ò Ò a a a ¤ Ò Ò 1 1 k k S S W S W W W W p p p p p z p z z z z z z z z z z z z z z z z z z z z p z p p W W W W W W W Ò Ò Ò 1 k k ¤¤ k k k S S W W W W W p p p p z z z z z z z z z z z z z z z z z z z z p p p p p p W W W W W W W W W Ò Ò Ò 1 k k ¤ ¤ 1 Ò 1 Ò k k Ò k k k 1 1 1
ÒÒ11ÒÒÒ11ÒÒÒaaÒ1Ò1kSWSWWWWWppppppzzzzzzzzzzzzzzzzzzzzzzppppWWWWWWÒ111k k kSWWWWWpppppzzzzzzzzzzzzzzzzzzzzzppppppWWWWWWWWÒ1Ò1k¤11ÒÒkk1k11k11
11ÒÒ1ÒÒ1ÒÒÒÒaaÒÒ1kkSSWWWWWppppppppzzzzzzzzzzzzzzzzzzzzpzppppWWWWWÒÒ11k kkkkSWWWppppppzzzzzzzzzzzzzzzzzzzzzzzpzppppWWWWWWWÒÒ1kk¤¤1kkk11k1kk11
Ò Ò Ò 1 Ò Ò Ò Ò 1 Ò Ò 1 a aÒ Ò 1 1 1 k S W S W W p p p p p p p z z z z z z z z z z z z z z z z z z z z z z z p p p p p p p W W W W WÒ Ò 1 k k k k kS S S W p p p p p p p p z z z z z z z z z z z z z z z z z z z z z z z p z p p p p W W W W W W Ò Ò 1 1 k k¤ ¤ ¤ 1 k 1 k k 1 k 1 1
1 Ò 1 Ò Ò Ò Ò 1 1 Ò 1 Ò a Ò 1 Ò 1 k kS S W W W W p p p p p p p p p z z z z z z z z z p z z z z z z z z z z z p z p p p p p W W W W W Ò 1 1 k k k S S W W p p p p p p z p z z z z z z z z z z z p z z z z z z z z z p p z p p p p p W W W W W W WÒ Ò Ò 1 1 k ¤ k ¤ ¤ a ¤ a ¤ a a a a a
Ò1ÒÒÒÒ1ÒÒ111aÒ111kSWSWWppppppppppzpzpzpzzpzpzpzppzppppppppppppWWWWÒ11k kSSWWpppppppppzpzppzzpzzzpzzpzpzpzpzzzzzpppWWWWWWÒÒ11k¤kk kkkak kk
ÒÒÒÒÒÒÒ111ÒÒaÒÒ1kkSSWWWppppppppppppppzpzpzpzpzppzpzpzpzpppppppWWWWÒ1kk k SSSWpppppzzpzpzppzpzpzpzpzpppppppzppzpppppWWWWWWÒ11kk¤ kkakk1kk1
¤¤¤¤¤¤¤a¤a¤aaÒ111kSSWWWppppppppppppppppppzzzzzpzppzppppzppppppWWWWÒ11k SSSWpppzzzpzzppzpzzzzzppppppppppppppppppppWWWWWWÒÒ1kk¤¤¤kk a 111
kkkkÒÒÒÒ11ÒaÒÒ111kkSWWWpppppppppppppppppppppppppppppppppppppppWWWÒÒÒ1111k1kSWWppppppppppppppppppppppppppppppppppppppWWWWWÒ11111 1k¤ kkak k111
40
Òkkkk11kkkÒ¤ÒÒ11k1kSWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWÒÒ1Ò1111kkSSWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWÒÒÒ111 kk¤k kkak1k 1
Ò 1 1 k Ò Ò Ò 1 k Ò Ò ¤ ¤Ò k k S S W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W WÒ k k k S S S S W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W WÒ 1 1 1 1 k ¤ ¤ k k k a k k 1 1
ÒÒ111ÒÒÒkÒÒ¤Ò1Ò1kkkSSWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWÒ111k1k SSWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWWÒÒÒ111k ¤ kkka k
1Ò1ÒÒÒÒÒÒÒÒ¤ÒÒÒÒ1ÒkSS WWWÒÒ111k1kSSW WWÒÒ1Ò1kk ¤ k¤aaaaaaa
1 1 Ò Ò Ò 1 1 Ò 1 Ò Ò ¤ ¤Ò Ò 1 k k k kS S W W W W WÒ Ò Ò 1 1 1 k kS S S W W W WÒ Ò Ò 1 1 1 ¤ ¤ k ¤ k k k
11ÒÒÒÒÒ1Ò1ÒÒ¤ÒkkkkSSW WWWWÒ11kkkSSWW WWWÒ1Ò1k ¤¤ ¤ k
ÒÒÒÒÒ11ÒÒ1Ò¤ÒÒ1k1kkSW WWWÒÒÒ11111SWW WWÒÒÒ11111¤ ¤ k111
1ÒÒÒ1ÒÒÒ1ÒÒÒ¤kk SSW WWWW111kkkSSWW WWW111kkk¤¤¤ kk1 1
1Ò1ÒÒÒÒÒÒÒÒÒ¤Ò11kkSSW WWWWÒÒ11kkSWWW WWWÒÒ111k¤ kk1k 1
ÒÒÒ11Ò11ÒÒÒÒ¤ÒÒ11kSWW WWWWÒ111kkSWWW WWWÒÒ1Ò1k¤ k1 1 1
50
1Ò11kkk1ÒÒÒ¤aÒ11kkSSW WWWWÒÒ1k1kSSWW WWWÒ1Ò1kk¤¤ 1 1

ÒÒ¤1k1111Ò¤aaÒÒ11kSSW WWWWÒ111kkSSWW WWWÒÒ11kk¤¤ 111 1
¤¤¤¤¤¤a¤aaaaaÒÒÒ1kSWW WWWWÒ111kkSWWW WWWÒÒÒ11k¤¤ 1 1 1
ÒÒ1ÒÒÒÒÒ11k¤aÒÒ1kkSSW WWWWÒÒ1kkkSSWW WWWÒÒ11kk¤¤ 11 11 1
Ò111111111k¤ÒÒ111kkSW WWWÒÒÒÒ1111SWW WWÒÒÒ111kk¤ 11 11
11Ò11ÒÒÒ11k¤¤kk SSW WWWW11kkkkSWWW WWWkkkk ¤¤¤1 1 11 1
Ò111ÒÒÒ111kk¤Ò11kkSSW WWWWÒÒ1k1kSWWW WWWÒÒ11k ¤¤¤¤11 1
1ÒÒÒ1Ò111kkk¤ÒÒ11kSWW WWWWÒ1Ò1kkSWWW WWWÒÒÒ11k¤¤11¤
11Ò11111kkkk¤ÒÒÒ1kSSW WWWWÒÒ111kSSWW WWWÒÒ1Ò1k¤1111aaaa¤¤¤
¤¤¤¤a¤a¤aakk¤ÒÒ11kSWW WWWWÒÒ11kkSWWW WWWÒ1Ò11k¤1Ò11Òkkka¤1
60
11ÒÒÒ11k1aaa¤ÒÒÒ1kSWW WWWWÒÒ111kSSWW WWWÒÒ11kk¤1ÒÒ1ÒÒka111

kk1Ò1kk1k1ÒÒ¤ÒÒ11kSSW WWWWÒÒ11kkSWWW WWWÒ111kk¤ÒÒ1ÒÒkka111
1kk1kkkÒÒ1Ò¤¤Ò111kSWW WWWWÒÒ11kkSSWW WWWÒ1Ò1kk¤1ÒkÒÒkka111
k1k1k11111ÒÒ¤ÒÒ11kSSW WWWWÒ1Ò11kSWWW WWWÒÒ11kk¤Ò1Ò1Òkaaa11
ÒÒ1ÒÒ1Ò1Ò1ÒÒ¤ÒÒ1kkSSW WWWWÒÒÒ11kSSWW WWWÒÒÒ1kk¤11kk11aaa11
Ò111111ÒÒÒÒÒ¤ÒÒ1kkSWW WWWWÒÒ11kkSSWW WWWÒÒ11kk¤¤aaaaaaaaaa
1ÒÒ1ÒÒÒÒÒÒÒ¤¤ÒÒ1kkSWW WWWWÒÒ111kSWWW WWWÒÒÒ1kk¤aak1kk1kk11
ÒÒ11Ò1111¤¤¤¤ÒÒ11kSSW WWWWÒÒ11kkSWWW WWWÒÒ111k¤akkkkkkk1kk
aaaaaa¤¤¤Ò¤¤¤Ò111kSSW WWWWÒÒ11kkSWWW WWWÒ111kk¤a11k1k1k1kk
1ÒÒÒÒÒÒÒÒÒÒ¤¤ÒÒÒ1kSWW WWWWÒ1Ò11kSSWW WWWÒ1111k¤akkkk1kkkkk
70
1ÒÒÒÒÒÒÒÒÒÒÒ¤ÒÒ11kSSW WWWWÒÒÒ11kSWWW WWWÒÒ11kk¤ak1k1k1k1kk

ÒÒÒÒÒÒ1ÒÒÒÒÒaÒ11kkSSW WWWWÒÒ11kkSSWW WWWÒÒÒ11k¤ak1k1kk1kkk
1ÒÒÒÒ1ÒÒÒÒÒÒ¤ÒÒ1kkSSW WWWWÒÒ111kSWWW WWWÒÒ111k¤aakkkkkkkka
ÒÒÒÒÒÒ1ÒÒÒÒÒ¤ÒÒ1kkSWW WWWWÒÒ11kkSSWW WWWÒÒ11kk¤¤aaaaaaaaaa
ÒÒÒÒ1111ÒÒÒÒaÒ111kSWW WWWWÒÒÒ11kSSWW WWWÒ1Ò1kk¤¤ak11kk1kka
ÒÒÒÒÒ1ÒÒÒÒÒÒaÒÒ11kSWW WWWWÒ1Ò11kSWWW WWWÒÒ11kk¤¤11kk1k11kk
ÒÒÒÒÒÒÒÒÒÒÒÒ¤ÒÒ11kSSW WWWWÒÒ111kSWWW WWWÒ1111k¤a1kkkk1k1kk
ÒÒÒÒÒÒÒÒÒÒÒÒ¤Ò111kSSW WWWWÒÒ111kSWWW WWWÒ1Ò11k¤akkÒ1k1kkkk
ÒÒ11kÒÒÒÒÒÒÒaÒÒ1kkSWW WWWWÒÒ11kkSSWW WWWÒÒÒ1kk¤a1Ò11Òk11kk
Ò1 11ÒÒÒÒÒÒ¤ÒÒ1kkSSW WWWWÒÒÒ1kkSSWW WWWÒÒ111k¤k1kÒ1Ò1kÒkk
80
1 k1Ò1ÒÒÒ¤¤Ò111kSWW WWWWÒÒÒ1kkSSWW WWWÒÒÒ1kk¤kk1kkÒkÒ1kk

1 kk11ÒÒ¤¤a¤Ò111kSSW WWWWÒÒÒ11kSWWW WWWÒ1Ò1kk¤kÒ1kk1kÒkkk
aaaaaaaaaaa¤aÒÒ11kSSW WWWWÒÒ111kSSWW WWWÒ1111k¤ÒÒkÒkkk1kkk
kk11111111¤a¤Ò11kkSWW WWWWÒ1Ò1kkSWWW WWWÒ1Ò11k¤ÒÒkk1k111kk
kkÒ11Ò1ÒÒ11¤¤Ò111kSWW WWWWÒÒ11kkSSWW WWWÒÒ111k¤a1ÒÒ1k111kk
k1k1Ò1ÒÒÒ1Ò1¤Ò111kSSW WWWWÒÒÒ11kSSWW WWWÒÒÒ11k¤¤a111aa11aa
Ò111Ò11ÒÒÒ11¤ÒÒ11kSWW WWWWÒÒ11kkSSWW WWWÒÒ111k¤¤aaaaaaaakk
1k1Ò1ÒÒÒÒ1Ò1¤Ò11kkSSW WWWWÒÒ111kSWWW WWWÒÒ11kk¤¤kkÒkkkkkkk
Ò1kk1111ÒÒÒ1¤Ò11kkSSW WWWWÒÒ111kSWWW WWWÒÒÒ1kk¤kÒÒkÒÒÒÒkkk
111kkkkk11ÒÒ¤ÒÒ1kkSWW WWWWÒÒ11kkSSWW WWWÒÒ11kk¤ÒÒkkkÒk11kk
90
Òkkkkkk1Ò1ÒÒ¤Ò111kSSW WWWWÒÒÒ1kkSWWW WWWÒÒ111k¤ÒÒkÒkÒ1Ò1kk

1k1kkk1ÒÒ1ÒÒ¤ÒÒ1kkSSW WWWWÒÒ11kkSSWW WWWÒ1Ò11k¤ÒÒÒÒk1k1kkk
k111k1ÒÒÒÒÒÒ¤Ò111kSWW WWWWÒÒ11kkSSWW WWWÒÒ111k¤11ÒkkkÒ1kkk
k11Ò11Ò11ÒÒÒ¤ÒÒ1kkSSW WWWWÒÒÒ11kSWWW WWWÒÒÒ11k¤1kÒkk1kk1kk
kÒÒÒ111111ÒÒ¤Ò11kkSSW WWWWÒÒ11kkSWWW WWWÒ1Ò11k¤k1kk1kkkkka
1ÒÒÒ1ÒÒÒÒ1Ò¤¤Ò11kkSWW WWWWÒ1Ò11kSSWW WWWÒÒ11kk¤ak11kk11aaa
¤¤ÒÒ¤1111¤¤a¤ÒÒ11kSWW WWWWÒÒ11kkSSWW WWWÒ1Ò1kk¤aaaaaaaaaaa
ÒÒ¤¤¤¤¤¤a¤aaaÒ11kkSSW WWWWÒÒ11kkSWWW WWWÒÒ11kk¤¤akkkk1k1ka
Ò Ò Ò Ò Ò Ò Ò Ò 1 1 1 ¤ aÒ Ò Ò 1 1 k kS S W W W W WÒ 1 1 k k S S W W W W WÒ 1 1 k k k k ¤ ¤ k k k k 1 1 1 k k k
1ÒÒÒÒÒÒ1Ò11¤ÒÒ11k1kSW WWWÒÒ11kk SWW WWÒÒ11kk ¤kk k11kkkk
100
1 Ò Ò Ò 1 1 Ò Ò 1 ¤ ¤ ¤ ¤Ò Ò Ò 1 1 k kS S W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W WÒ Ò Ò 1 1 k k S S W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W W WÒ Ò Ò 1 1 k ¤ ¤ k k k k k k k
1Ò11ÒÒ1Ò¤¤ÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒÒ ÒÒÒ¤ kkk1kkk
ÒÒ1ÒÒ1ÒÒ¤¤Ò1Ò11111Ò1ÒÒ1ÒÒ1Ò11111111ÒÒ1ÒÒ1Ò1111111111111111111111111ÒÒÒÒÒÒÒ1111111111ÒÒÒÒÒÒÒÒÒ11111111111111111111ÒÒÒ111111111ÒÒ 111¤ kk1kkkk
1 Ò Ò Ò Ò 1 Ò Ò Ò ¤ ¤Ò Ò Ò Ò 1 Ò Ò 1 1 1 1 1 1 1 1 1 1 1 1 Ò Ò Ò 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1 1¤ ¤ k 1 k 1 1 k k k
ÒÒÒ11ÒÒÒ1¤¤¤kk kk kkk kk kk kk kkk kk kk k kkk k kk kkk kk ¤¤ k1k11kkkk
Ò Ò 1 1 1 1 1 1 ¤ ¤ ¤ ¤ ¤k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k k ¤ a k k 1 k 1 k 1 k a
Ò1aaaa¤¤a¤a¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤ ¤a¤a k11kkkaa
aa111111Òaaaa¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤¤a1ÒÒÒÒÒ111ÒÒ111Ò¤¤¤ÒÒ¤¤¤¤ÒÒÒÒk¤¤¤ÒÒ1ÒÒ¤¤k ¤¤¤ kk k k kk ¤¤¤ ¤¤¤¤¤¤a¤¤aaaaaaaaaaa
11kkkk111ÒÒ1ÒÒÒÒ1a111Ò1Ò1Ò11111ÒÒ1¤aÒ1ÒÒÒ1ÒÒ1Ò1Ò11ÒÒÒ¤ÒÒÒÒÒ¤1111k11kÒÒ111Òak111kkkkk k k ¤ kk kkkk11Òkkk¤kk1k11111 111Òkk¤ak1kkkkk1ÒkkÒkÒkka
1kkkk111ÒÒÒ1Ò11ÒÒa111111ÒÒÒ11ÒÒÒ11aÒ11ÒÒ111ÒÒ1ÒÒÒ1Ò1Ò¤ÒÒ11k1kk1k1kkÒÒÒÒÒkÒak1ÒÒ1k k k kkk¤k kkkkkkÒkk1k¤kk1111111Ò1ÒÒ11ka11k1k1kk1kkkkÒÒkkk
110
kkkkk1111ÒÒ11ÒÒ1ÒaÒÒ11Ò11ÒÒ1111ÒÒ1aÒ1ÒÒ111ÒÒ111Ò111ÒÒ¤ÒÒ1k1kkkk1k1kk11ÒÒkka1ÒÒÒÒk1k1kkkkk¤k k kkkÒ11Ò1k1¤k111111ÒÒ1ÒÒÒÒ1ka11111kk1kkkÒkkkÒkk
kk111111111ÒÒ111aa111111Ò11Ò111111a111111Ò1111Ò11111¤¤1Ò111111111111111Ò11a111Ò11k111kkkk¤kkk11k11ÒÒ111aa111111111Ò1ÒÒ1kka111111111k1ÒÒ11kkk
kkk1111111111Ò111aa1111111111111111a11111111111111111¤Ò111111111111111Ò11a1111111111111k¤kkk1k1111111111a111111111111111ka11111111k11Ò1111kk
kkkk11111111111111a1111111111111111a11111111111111111¤¤111111111111111111a111111111111kk¤k11111111111111aa111111111111111a111111111111111kkk
The Castle Nursery CHARTS

Graph for Sashes
Window sashes
WWWWWWWWWWWWWWWWWWWWW
WWWpzzzzzzWpzzzpzzWWW
WWpWpzppzWpWpzpzzWpWW
WWppWpzzWpzzWpzzWpzWW
WWpppWpWpzzpzWpWpzzWW
WWppppWpzzzpzzWpzzzWW
WWpWpzzpzWpWpzpzzWpWW
WWWpzzzzpzWpzpzzzzWWW
WWpWpzzpzWpWpzzzzWpWW
WWppppWpzzpzzzWpzzzWW
WWpppWpWpzpzzWpWpzzWW
WWWpzzpzzzWpzppzzzWWW
WWpWpzzzzWpWpzzzzWpWW
WWppppWpzzzzpzWpzzzWW
WWpppWpWpzzzzWpWpzzWW
WWpWpzzzzWpWpzpzzWpWW
WWWpzzzpzzWpzzzzzzWWW
WWWpzzzzzzWpzzzzzzWWW
WWWpzzzpzzWpzpzzzzWWW
WWpWpzpzzWpWpzzzzWpWW
WWpWpzzpzWpWpzzpzWpWW
WWWpzzzppzWpzzzzpzWWW
A sash is the part of the

(4 total)
window frame that holds

the panes, and often
Right Sash40Stitch 2 per window 50
opens. In this design,

two sashes meet in the
middle of each window,
and really do open out
from hinges on either
side of both windows to
reveal the room inside.
There are four pairs of the
sashes shown above, 8
sashes in total.
30

10 20 30 40 50 60 70 80 90 100
1 1 1 1 1 1 1 1 1 Ò Ò Ò Ò Ò Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò › k k k k › \ \ \ \ \ \ \ \ \ \÷ ÷ ÷ ÷ ÷\ \ \ \÷ \ \ \ \÷ \ \ \ \ \ ÷ \ \ \ \\ \ \ \ › k k k k › k 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 1 1 Ò Ò Ò Ò Ò Ò Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò Ò › k k k k › \ \ \ \ \ \ \ \ \÷ ÷ ÷ ÷ ÷\ \ \ \ ÷ \ \ \÷÷\ \ \ \ \ \ ÷ \ \ \ \ \ \ \ › k k k k › k 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 Ò 1 Ò Ò Ò Ò X XÒ Ò Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Ò ÒX X Ò Ò Ò Ò Ò 1 › k k O k › \ \ \ \ \ \ O\\÷ ÷ ÷ ÷ ÷ ÷ \ \ \ ÷ \ \÷÷\ \ \ \ \ \ \ ÷ \ \ \ O\\O \ \ › k k O k › k 1 1 1 1 Ò Ò Ò Ò Ò 1 1 1 1
1 1 1 1 1 1 Ò Ò Ò Ò ÒX j X Ò Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Ò X j XÒ Ò Ò Ò Ò Ò › k k k k › \ \ \ \ \ \÷ ÷ ÷ ÷ ÷\ ÷ ÷ ÷\ \ \ \÷ ÷ \÷÷\ \ \ \ \ \ \ \ ÷ \ \ \ O O \ \ › k k k k › k 1 1 1 1 1 1 1 Ò Ò Ò 1 1 1
1 1 1 1 1 1 Ò Ò Ò Òj j j X jÒ Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Òj X j j jÒ Ò Ò Ò 1 › k k k k › \ \ \ \ \ ÷ ÷ ÷\ \ \÷ ÷ ÷ \÷÷\ \ ÷ ÷÷ ÷ \ \ \÷ \ \ \ \ \ \÷÷\ \ \ \O O \ \ › k k kk k › k 1 1 1 1 1 1 1 1 1 1 1 1 1
1 1 1 1 1 Ò Ò Ò Ò j j í j j Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò j j í j j Ò Ò Ò 1 › k k kk k › \ \ \ \ \ \÷ \ \ \÷ ÷ ÷ ÷O \ \ \÷ ÷ ÷ ÷ ÷ ÷ ÷\ \ \ \ \ \ \ \÷÷\ \ \ O\ \ \ › k k k k › k 1 1 Ò Ò 1 1 1 1 Ò Ò 1 1 1
1 1 1 1 1 Ò Ò Ò Ò j í . í j Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò j í . í j Ò Ò Ò Ò › k k k k › \ \ \ \\ \ \\\÷ ÷ ÷ ÷ ÷O O \ \÷ ÷ ÷÷ ÷ ÷ ÷ ÷\ \ \ \ \ \ \÷ ÷ ÷\ ÷ \ \ \ \ \ › k O k k › k 1 Ò 1 1 Ò 1 1 1 1 Ò 1 1 1
1 1 1 1 1 1 Ò Ò Ò Òj í . í jÒ Ò Ò Ò p p z z G G G z z G G G z z p p Ò Ò Ò Òj í . í jÒ Ò Ò Ò 1 › k O k k › \ \ \ \ \ \÷ ÷ ÷ ÷ ÷O \ \ \÷ ÷ ÷÷ ÷ ÷ ÷÷ ÷ ÷\ \ \ \ \ \÷÷\ \ \÷÷÷ \ \ \ \ \ › k k k k › k 1 1 1 Ò 1 Ò 1 1 Ò Ò 1 1 1
1 1 1 1 1 Ò 1 Ò Ò Ò› › › › ›Ò Ò Ò 1 p p z z G G G z z G G G z z p p Ò Ò Ò Ò› › › › ›Ò Ò Ò Ò 1 › k k k k › \ \ \ \ \÷ ÷ ÷ ÷ ÷O O \ \÷ ÷ ÷÷ ÷ ÷ ÷÷ ÷ ÷ ÷ ÷ ÷\ \ \ ÷ \ \ \ ÷÷÷\ \ \ \ \ › k kk k k › k 1 1 1 Ò Ò 1 1 1 Ò 1 1 1 1
10
1 1 1 1 1 1 Ò 1 Ò Ò › › › Ò Ò 1 Ò p p z z G G G z z G G G z z p p Ò Ò Ò 1 › › › 1 Ò Ò 1 k › k kk k k › \ \ \ \ ÷ ÷ ÷ ÷ \ \ \÷ ÷ ÷÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷\ \ \ \ \÷÷\ \ \÷÷\ ÷ \ \ \ \ › k k k k › k 1 Ò Ò Ò Ò 1 1 1 1 Ò 1 1 1
1 1 1 1 1 1 1 Ò Ò 1 › › › 1 Ò Ò 1 p p z z G G G z z G G G z z p p 1 Ò Ò 1 › › › 1 1 Ò Ò 1 › k k k k › \ \ \ \ ÷ ÷÷ ÷ ÷ ÷\\÷ ÷ ÷÷ ÷ ÷ ÷ ÷ ÷÷ ÷ ÷ ÷ ÷ ÷\ \ \ \ \÷ ÷ ÷\\÷÷\ \ \ \ \ › k k O k › k 1 1 Ò Ò 1 1 1 1 1 1 1 1 1
1 1 1 1 1 1 Ò Ò Ò 1 › › ›1 1 Ò 1 1 p p z z G G G z z G G G z z p p Ò 1 1 1 1› › › 1 Ò 1 Ò k › k k k k › \ \ \ \ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷\ \ \ \ \ \÷÷\ \ \ \ \ \ › k k k k › k 1 1 1 1 1 1 Ò 1 1 Ò Ò 1 1
1 1 1 1 1 1 1 1 Ò 1 1› › 1 Ò 1 Ò 1 p p z z G G G z z G G G z z p p 1 Ò Ò 1 1 › ›1 1 1 Ò 1 k › k k O k › \ \ \ \ \÷÷÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷÷ ÷ ÷ ÷ \÷ ÷ ÷ ÷\ \ \ \÷ ÷ \ \ \ \ \ \ › k k kk k › k 1 1 1 1 Ò Ò 1 Ò Ò Ò Ò 1 1
1 1 1 1 1 1 1 Ò Ò 1 ] › ]4 4 4 41 1 p p z z z z z z z z z z z z p p Ò 1 1 1 ] › ] 1 1 1 1 k › k k k k › \ \ \÷ ÷ ÷ ÷\\÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷÷ ÷ ÷ ÷÷÷÷ ÷ ÷\ \ \÷ ÷ ÷ ÷ ÷ ÷ ÷\ \ \ \ \ \ \ › k k k k › k 1 1 1 1 1 1 1 1 1 Ò 1 1 1
1 1 1 1 1 1 1 1 Ò Ò ] ›4 4 4 4 4 41 p p z S z z z z z z z z z z p p 1 1 1 1 ] › ] 1 1 1 1 k › k kk k k › \ \ O\\÷ ÷ ÷\\÷ ÷ ÷\ \ \ \ \ O\\÷ ÷ ÷\\÷ ÷ ÷\ \ \ \÷ ÷ ÷ ÷ ÷\ \ \ \ \ \ 4 4\ › k k k k › k k k k k k k 1 1 1 1 Ò 1 1
1 1 1 1 1 1 1 Ò 1 1 ] 4 4 4G 4 4 4 4p p z z z z z z z z z z z z p p 1 1 1 1 ] › ] 1 1 1 1 k › k k k k › \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \ \4 4 4 4 4H H H H H H † H † † † †kkH H Hk k 1 1 1
1 1 1 1 1 1 1 1 1 1 14 4 4G G 4 4 4] ] ]p z z G G G z z G G G z z p p 1 1 1 1 1 1› 1 1 1 1 1 k › k O k k › › › › › › › › › › › › › › › › › › › ›HH› › › › › › › › › › › › 4 4 4 4 G › › › › 4 4 4 4 4À À † H H H k 1 1 1
1 1 1 1 1 1 1 1 1 1 4 4 G 4 4] ] ] 0] ] z z G G G z z G G G z z p p 1 1 1 1 11 1 1X X X1 1 1 k › k k k k k k k k k k k k k k k k k k k kG G G H G Gk k k k k k k k k k k k 4 4 4 G › › › › › › 4 G G 4 4À À †H H Hk k 1 1 1
1 1 1 1 1 1 1 1 1 1 4 4 ] ] ] ] 0 0 p z z G G G z z G G G z z p p 1 1 1 1 1X X XX X XX X 1 k › k kk k k k k kk k k G k k
kk k k O k kk k k k k GG G HH H G O k k k k kk k O k k4 4 G G › › › › › › 4 4 G 4 4 À À † k 1 1 1 1
20
1 1 1 1 1 1 1 1 1 1 4 4 ] ] ] 0 0 0 p z z G G G z z G G G z z p p 1 1 1 1 X X X X X X 1 k › k k k k O k k k k k k k k k k O k kk G G G H H H kG k k kk k O k k k k k k H4 4 4 G › 0 › 0 0 › 4 4 4 G 4À À À † k 1 1 1 1
1 1 1 1 1 1 1 1 1 1 G 4 ] Š 0 0 0 0 p z z G G G z z G G G z z p p 1 1 1 1 4 G G G G 4 1 k › k k k k k k k k k k k k k k k k k k G G H H H H k k k k k k k k k k k kHHÀ 4 G G. . .0 0 0 0 G 4 4 4 4 À À À † k 1 1 1 1
1 1 1 1 1 1 1 1 1 1 G G4 ] Š Š 0 0 0p p z z G G G z z G G G z z p p 1 1 1 1 4 4 G G 4 4 1 k › › › › › › › › › › › › › › › › › › ›H G H H ›H H H H› › › › › › › › › › › H À 4 G. . . . 0 0 00
0S G G 4 4 4 G À À À † k 1 1 1 1
1 1 1 1 1 1 1 1 1 1 G G Š Š ŠŠ Š 0 p p z z G G G z z G G G z z p p 1 1‹ . ‹ ‹4 G G G G 4‹ ‹ . .k k k k k k k k k kG G Gk k k k k k kHHH H H H kk H kH H k k k k k k k k k kHHÀ À GXX. 0 0..‹ ‹ ‹Š Š G 4 4 4 G À ÀH H † k 1 1 1 1
1 1 1 1 1 1 1 1 1 1W W W 4Š Š Š Š 1 p p z z G G G z z G G G z z p p 1‹ ‹ . . ‹ ‹ ‹ ‹ ‹ ‹ . . . .k 1 k k 1 k k k G G GHHX X X X O H H HH H HH k k k k k 1 1 k k k 1 k kH H À ÀX X O Š 0 0‹ ‹ ‹ Š G G 4 G G GÀ H À † k 1 1 1 1
1 1 1 1 1 1 1 1 1W W W W 4 4Š Š Š 4 4p p z z G G G z z G G G z z p p ‹ . . . . . . . . . . . . ‹ 1 1 1 1 1 1 k G G H O O X O O H H H H H k 1 1 1 1 1 1 1 1 1 1 1H H HÀ À X X X OŠ Š 0 0 Š ‹ ‹ . . .G G GH H À † k 1 1 1 1
1 1 1 1 1 1 1HHW W W W W 4 4 4 4 4 4 Wp z z z z z z z z z z z z p p 5 ‹. . . . . . . . . . . .‹ 5 1 1 1 1 1 1 k kG G H O O O O O H H H H H k 1 1 1 1 1 1z z z z z zHHÀ À ÀO X O X X O O ‹ŠŠ‹ ‹ . . . * *HH† † À † k 1 1 1 1
1 1 1 1 1H H H W W W W W W4 4 4 4 4 4 W z z z z z z z z z z z z p p 5 ‹ ‹ ‹ 5 5 ‹ 5 5 ‹ 5 5 ‹ 5 k k k k k k k k G H HO O O O OH H H H H H k k kz z p pz z p p† † † † † †À O O X O X X O O‹ * . . . * * H
HH † † † À † k k 1 1 1
1 Ò Ò ÒH H HÀ À W W W W S W 4 4 4 4 4 W z z z z z z z z z z z z p p 15511‹ ‹ 5 5‹ ‹ 5 5 ‹ 51 1 1551 1 Ò Ò Ò Ò Ò 1 1G G H H H H H H H H H HH H 1 1 z p pz z p† † † À À À † † † †X O X O O O O * . . * * H † † À À † 1 Ò Ò Ò Ò
1 Ò Ò † † À ÀW W W W WS S W 4 4 4 4 4 W z z z z z z z z z z z z p p 1 1 1 1 5 ‹ ‹ ‹ 5 ‹ 1 1 1 1 Ò Ò Ò Ò Ò 1 1 G GH H H H††k k kH H H H H H H11z z p z p† † † À À À À À † † † z z z zz z z z* * . * *HH† † † † À † 1 1 Ò Ò Ò
30
ß ß ß † † À W W W W S W W O O O O O W / / / / / / / / / / / / / / ß ß ß ß ß À‹ ‹ 5 5À À ß ß ß ß ß ß ß ß ß ß G G H H H†† ß ß ßßßH H H H H z p p p† † † À À À À À À À † † †z z p z z p z z z**HH† † † † † À † ß ß ß ß ß

/ / / † H À W W W W S W W O O O O O W / / / / / / / / / / / / / . . . . . .ß À ‹ 5 À À / / / / / / / / / / H H H†† / / //// / / / / / / /H z p p\ † † À À À À À À X À À † † † †p p p pp p z pzzH † † † † À À † ß / / / /
/ / / † H À W W W W S S W › › O › ›W W / / / / / / / / / / / / ..Á Á Á Á Á Á. . .‹5À À À / / / / / / X XOO/ / H H††ÀÀ/ / / / / / / / / / / / z p \ † † À À À X À À À À À À À † † p pp p p pp p z À † † † À À † ß / / / /
/ / / † H À W W W W S W W W› › O › W W / / / / / / / / / / / ..Á Á Á Á Á Á Á Á. . .À À À À/ / / / / / /X X XOO/ H H††zzÀÀ/ / / / / / / / / / / /p p \ \† † †À X À ÀÀ À ÀÀ À À X À À † † \ p p zp p p z À † † † † À † ß / / / /
/ / / † H À W W W S S S W W › O ›4 W W / / / / / / / / / / ..Á Á Á Á Á Áw w w wÁÁ. . À À À À ß / / / / /X X XOOH H † z zÀ À À/ / / / / / / / / À p p \ † † À ÀÀ À À À ÀÀ À À À À † †\ \ p p z p p z zÀ À † † † À † ß / / / /
/ / / † H À W W SW W W W W4 4 4 4 4 4W / / / / / / / / / / / . Á Á Áw w w w w w w w w..À ß ßÀ À ß ß / / _ _ _X X XOOz z zp p pOOÀ À À_ _ _ _ _ _À À ÀOOp \ \_ † † À À ÀÀ À ÀÀ À ÀÀ À À À † \ p p p z p p z z À À † À À † ß / / / /
/ / / H H À W W W W W W Wb b bŠŠ4 4 4 G/ / / / / / / / / / / . Á Áw w w w w w w w w w . ß ß ß ß 4 4 G G __ _ X X O p p_ _ _O O O OÀ À À À À ÀO O O O_ _ _O † † À À ÀÀ À À ÀÀ À À À À † \ \ p pp p z \ pz z À † † † À H ß / / / /
/ / / H † À ÀW W W W W W b b Š Š Š ŠG G G/ / / / / / / / / / . Á w w w* * * *0 0 0**w w . .ß ß 4 4 4 44 4 4 G _ _X X XOO_ _ › › › ›O O O p p O O O› › › ›OOX † † À À À À À À ÀÀ À À À † \ \ p p p z \ p z À À † À À H ß / ß / /
/ / / H † † † † † †À À À† † † † † Š††ŠŠG G G/ / / / / / / w w/ . Á * * * 0 * 0 S 00 0 4 X O W
0 0S 0 * * . . 4 4 4 4 4 4 5 5 5 W W X X O O W W W W p p
p
W W W WO O OX X † † À À À À À À À À À À †\ \ p \ p p z p\ p z À À † À À † †ß / ß / /
/ / / H H À S _ _ _À À À_ _ G 4 4 4 4 G G G G/ / / / w/ / w. . * * *m m m m m m0S 00 4 X O W W O X À p
0 0 * 0 * . . 4 4 4 4 5 5 5 5 5 5 W W X X X O O W W p p W W O O X X X W † † À À † † † † À À À À \ p p \ p p z p \ z À † À À †H
À ††
Àß ß / /
40
/ / / † H À S _ _ _ À _ G G G G 4 4 4 _ G G / / w w . . í í í í í í í í m m m m**. . .Á 4 4 4 5 5 5 5 5 5 5 5 W W WX X X XO O O O O O O OX X X XW À †
WW W † † HH À ÀÀ † † À À À \ p p p \ p z p \ z À À
À
††HÀßß//
/ Á . í í íí . . 4 X X H À \ \ ÀÀ
/ / / † H À S _ _ _ † _ _ G G 4 G 4 G _ _ G G / Á ww . í w w í í í í í w w . . ÁÁ Á w 4 5 5 5 5 5 5 5 5 5 5 5 W W W X X X X X X X X W W W 5 W H H À H H H H À À À À À † \ \ \ p p z p \ z p ß†HHÀß///
_ _ /Á . . . H À z À
/ / / † † À S _ _ ÀÀÀ _ G G 4 G 4 G G _ G GG ww Á . . w w wÁ . . ÁÁ w w ¿Á w Á w 5 5 5 5 5 5 5 5 b b b 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 5 H H À À †† H H H HH À † \ p \ p pp z \ z p ß ß † H H ß / / /
/ / / † † À S S_ _ _À À À_ _ G 4 G G 4 4 G _ _ G G w Á Á¿ ¿ ¿ ¿w w Á Á w w Á w w wV ¿ Á w ¿Áw5 5 5 5 5 5 5 5 5 5 b b b 5 m 5 5 5 5 5 b b b 5 5 5 5 5 5 † † À † † † † † † †H H H † p p \ p p p z \ \p p ß ß ß ß ß ß ß / / /
/ / / † † † † † À À À À _ G 4 G G 4 4 G G _ _ G GwÁ¿ ¿ V V ¿w w w Á w w Á Á w ¿ ¿ ¿Á w ¿ ¿5 5 5 5 5 5 5 5 5 5 5 í í í m m 5 í í í b b 5 5 5 5 5H H H5 † † À † † † † † † † À ÀH † p p \ \p p p z \ \ p ß ß ß / / / / / / /
/ / / H † À À À _ _ À _ G G 4 G G 4 4 G G G _ G G ¿ ¿ V ¿ w w Á w Á Á wÁ Á Á¿ ¿ V ¿ wÁ ¿ Á¿¿5 5 5 5 5 5 5 5 5 í í í í m m ] ] í í í 5 5 5 5 5† † † †5 H H H H† † † † † † † † À H p p \ \ p p pz \ \ p ß ß / / / / / / / /
/ / / H H À À À_ _ _ À _ G 4 G G G 4 4 G G G _ G G ¿ ¿ V ¿ ¿w w w wÁ Á Á w w¿ ¿ ¿¿ V ¿ Á Á Á ¿ 5 5 5 5 5 5 5 5 í í í í í ] › › › í í m 5 5 5 † † † † H H ÀH H H H H† † † † † À H p p\ \ \ p p p \ \ p ß / / / / / / / / /
/ / / H H À S _ _ _ À _ G G G G G 4 4 G G G _ _ G ¿ ¿V V V ¿ ¿ ¿ Á w wÁ w w ¿ ¿ V ¿ w Á Á ¿ 5 5 5 5 5 5 5 5 5 m › í › › ] › í m m m b 5 5 † † † † † À À À À À ÀH H H H H H † p \ H X X Xp p \ \ p pß / / / / / / / / /
/ / / H H À S _† † † À † † †G G G G 4 4 4 G G G _ G ¿ V V V ¿ V ¿ w w w Á w w¿ ¿ V ¿ Á w Á ¿ ¿5 5 5 5 5 5 5 b b m m m m í › 5 m m b b b b 5 W† † †WW† † † † † † † † À À À À ÀH † p \ H X X Xp p \ \ \p p ß / / / / / / / /
/ / / H H À S† † †_ _ À _ _† † †G G G 4 4 4 G G G _ G ¿ V V V ¿ V ¿ w w w wÁ w w ¿ V V w Á Á¿¿¿ ¿ 5 5 5 5 5 b b b b m m m m 5 5 5 5 b b b b b 5 W W W W† † † †W W W† † † † † † À À Àp\4 H 4\ \ p p p\ \ \ p pß ß / / / / / / /
50
/ / / † H À† † †††_ _ À _ _††† † †G G 4 4 4 G G G G G¿ ¿ V V V¿ V V ¿ w w w w Á w¿ ¿ ¿V V ¿w w ¿ V ¿ 5 5 5 5 5 b b b b b 5 5 5 5 5Á b b b b b b b 5 5 5 5 W W W W W W †W W W† † † † À À 4 H 4 4\ p p p p\ \ p p ß / / / / / / /
/ / / † H † †__† † †_ À _† † †__† † Gb b b b bG G G G ¿ ¿V V V ¿ V V V ¿w w w w Á ¿¿ ¿ ¿ V ¿ ¿w ¿ V ¿ 5 5 5 5 5 b b b b 5 5 5 5 5Á Á b b bb b 5 b b 5 5 5 5 5 5 5 5 5 5 W W W W W† † † À4 4 H 4 4 4p p p p \ p p ß / / / / / / /
/ / / † H † _ _ _††À À À††_ _ _ † b b ÷ b b G G G ¿ V V V ¿ V V V ¿ w w w Á¿ V ¿ ¿ V ¿ V ¿ V ¿ 5 5 5 5 5 b b 5 5 5 5 5 5 Á Á b b b b 5 5 b 5 5 5 5 5 5 5 5j\5 5 5 5 5 W W W† † 4 4 H 4 4 4 4p p p ß ß ß / / / / / / / /
/ / / † H † † † † À À À † † † † b b ÷ ÷ b G G G ¿ V V V ¿ V V V ¿ ¿w w w ¿ V ¿ ¿ V ¿ V V V V¿¿5 5 5 5 5 b 5 5 \z z z z z5 Á Á b b b b 5 5 Xí í í í í5 5 5 5j j \ \5 5 5 5 5 5 W 54 4 4 H 4 4 4 4 4 ß / / / / / / / / / / /
/ / / † H † b b b††À À À††b b b † b b ÷ ÷ b bG G G ¿ V V V ¿ V V V V¿ V ¿ww¿ V V ¿ ¿ V V¿ V V V V ¿ 5 5 5 5 5 5 5 \ \z z z z zÁÁ› › ›p p p p p¿ X Xí í í í í55j j jíí\ \ \5 5 5 5 5 5 4 4 4 H 4 4 4 4 G / / / / / / / / / / / /
/ / / † H † †bb† † †b À b† † †bb† † b b ÷ ÷ b b bG G ¿ V V V ¿ V V V V ¿ V ¿ V V ¿ V V V ¿ V V V ¿ 5 5 5 5 5 5 5 \ \ j j j j › ›p p p p p¿ ¿ X X p p p p j jí í í í\ \ 5 5 5 5 54 4 4 4 H 4 4 G 4 G G/ / / / / / / / / / / /
/ / / † H ß† † †††b b À b b††† † †b b b ÷ ÷ b b b bG¿V V V V V V V V V ¿ V V V V ¿ V V V ¿ V V V ¿ ¿5 5 5 5 5 5 5 \ \ j jjjj j W w w w w ¿ ¿ X X p p pp p jí í íí í í í\ 5 5 5 54 4 4 4 4 H 4 4 G G G G G/ / / / / / / / / / /
WWWpzzzzzzWpzzzpzzWWW
WWpWpzppzWpWpzpzzWpWW
WWpWpzzpzWpWpzpzzWpWW
WWWpzzzzpzWpzpzzzzWWW
WWpppWpWpzpzzWpWpzzWW
WWWpzzpzzzWpzppzzzWWW
WWWpzzzpzzWpzzzzzzWWW
WWWpzzzzzzWpzzzzzzWWW
WWWpzzzpzzWpzpzzzzWWW
WWpWpzpzzWpWpzzzzWpWW
WWpWpzzpzWpWpzzpzWpWW
WWWpzzzppzWpzzzzpzWWW
/ / / H H ß b† † †b b À b b† † †b b b ÷ ÷ ÷ b b b b V V V V V V V V V ¿ V V V V V¿ V V V ¿ V V V V¿ ¿ W 5 5 5 5 5 W\ \ j j j j W w ww w w ¿ ¿ WX X p pp p p Wí í íí í í íW 5 5 5 4 4 4 4 4 H 4 G G G G G G G/ / / / / / / / / /
/ / / H † ß b b† † † À † † †b b b b ÷ b ÷ b b b b V V V V V V V V V ¿ V V V V V ¿ V V ¿ V V V V ¿ W W 5 5 5 5 W W\ j j j j W w w w w ¿ ¿W W WX p p p p W Wí í í íW W 5 5 54 4 4 4 4 4 H G G G G G G G G G/ / / / / / / / /
/ / / H † ß ßb b b b À b b b b b b ÷ b ÷ b b b bV V V V V V V V V V ¿ V V V V V ¿ V V ¿ V V V V _ b b b 5 5 5 5 W W W W W W w w w w ¿W W W W W W W W W W WííW W W WO O O O O/ / / / H / / / / / / / / / / / / / / / / /
60
/ / / † H ß ß b b † † † b bW W W ‹b b ÷ b b b b V V V V V V V V V V ¿ V V V V V ¿ V V ¿ V V V V _ _ G _ b ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ b b b b b ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ b b b ÷ ÷ 4 4 4O O O O O O O O O O O O / / / / / / / / / / /
/ / / † H ß H H H † † † H H H W W‹ ‹ ‹ 5 b b b V V V V V V V V V V ¿ V V V V V ¿ V V ¿ V V V V b b b G _ G 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 ÷ ÷ 4 4 4b b b b b b b / / / / / / / / / / / / /
/ / / † H ß †H H H H H H H H H† W W ‹ ‹ 5 W W W V V V V V V V V V V V V V V V V ¿ V V ¿ V V V _ _ _ _ b b b b b ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ ÷ 4 4 4 4 4 ßb b b b b / / / / / / / / / / / / / /
50
/ / / † † ß † † † † † † † † † / /‹ ‹ ‹ 5 5W W W V V V V V V V V V V ¿ V V V V V ¿ V V ¿ V V ß ß_ _ _ _ _ _ _ _ G G 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 ß H H Hb b b b H H HÀ / / / / / / / / / / /
/ / / † † ß † † † † † † † † † / S‹ ‹ ‹ ‹5 5 Sß ß V V V V V V V V V V ¿V V V V V V ¿ V V ¿ V ß ß ß ß ß ß_ _ _ _ G _ G G 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 ß ß ß H H H H H H H H HÀÀ ß ß ß ß / / / / / / /
/ / ß ß ß ß † † † † † † † † † / S S S‹ ‹ WS S Sß V V V V V V V V V V ¿ V V V V V ¿ V V ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß / / / / † † † † † † † † À ß ß ß ß ß ß / / / / / /
/ / / / / † † † ß ß À À ß ßÀ À Àß ß ßS S S W WS S ßV V V V V V V V V V ¿ V V V V V ß¿ V V ß ß ß ß ß ß ß ß ß ß ß ß ß ß / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / ß ß ß ß ß ß ß ß ß / / / / / / / /
/ / / / † † † ß ß ß † À ß ß ßÀ À Àß ß ß ßW S W ß ß ß ß ß ßV V V V V V ß ßV V V V V ß ß ß ß ß ß ß ß ß ß ß ß ß ß ß / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / / /
/////ßßßßß††ßßßßß//////ß//ßßßßßßßßßßßßßßßßßßßßßßßß///////////////////////////////////////////////////////
/////////////////////////////////////////////////////////////////////////////////////////////////////////
70
/////////////////////////////////////////////////////////////////////////////////////////////////////////
a¤
If stitching sashes on white fabric If stitching sashes on black fabric Regardless of fabric used
40
Stitch exactly as shown on the graphs Stitch the two blue (windowpane) colours Grey dots indicate handle placement as
(above). Backstitch the black lines with 1 only and leave the grey areas (W symbol) described under HANDLES. Leave at least
strand of black (DMC 310); and the outer unstitched, allowing the lovely black 3 - 4 stitches wide seam allowances all the
grey dash lines with 2 strands of dark grey fabric to show through. On dark fabric, way around each sash when cutting away
(DMC 3799). backstitch the black lines with 1 strand of excess fabric as described under JOINING
dark grey (DMC 3799); and backstitch the
30
outer grey dash lines with 2 strands of dark

grey (DMC 3799).
Graph for Sashes
WWWppppzppWpzzzzzzWWW
WWpWppzppWpWpzzzzWpWW
WWppWpppWpzzWpzzWpzWW
WWpppWpWpzzpzWpWpzpWW
WWpppWpWpzzzzWzWpzzWW
WWppWpzzWpzzWzzzWpzWW
WWpWppzzzWpWzzpzzWpWW
WWWppzpzzzWzzzzpzzWWW
WWpWppzzzWpWzzpzzWpWW
WWppWzzzWpzzWzzzWpzWW
WWpppWzWpzzpzWzWpzzWW
WWpppWpWpzzzzWpWzzpWW
WWppWpzzWpzzWpzzWzpWW
WWpWpzpzzWpWpzpzzWzWW
WWWpppzzzzWpzpzzzzWWW
WWpWppzzzWpWpzpzzWpWW
WWppWppzWpzzWpzzWpzWW
WWpppWpWppzzzWpWpzzWW
WWppppWpzzpzzzWpzpzWW
WWpppWpWpzzzzWzWzzpWW
WWppWppzWpzzWzzzWzzWW
WWpWppzzzWpWzzpzzWzWW
WWWppzpzzzWpzzppzzWWW
WWpWpzpzzWpWpzpzzWpWW
WWppppWpzzpzzzWpzpzWW
WWppWpzzWpzzWppzWpzWW
WWpWpzppzWpWpzppzWpWW
WWWppzzpzzWpzzzpzzWWW
WWpppWpWpzzpzWpWppzWW
WWppppWpzzzpzzWpzzpWW
WWpppWpWpzpzzWpWpzpWW
WWppWpzzWpzzWpzzWppWW
WWpWpzpzzWpWpzppzWpWW
WWWpppzzzzWpzzzpzzWWW
WWpppWpWpzpzzWpWpzpWW
WWppppWpzzzpzzWpzzpWW
WWppWpppWpzzWpzzWpzWW
WWpWpppppWpWpzpzzWpWW
WWWpppppppWpzzzpzzWWW
Left Sash Stitch
10
total)
2 per window (4 20
Jo Gatenby
xs-and-ohs.com
MODEL STITCHER
10 20 30 40 50 Belinda Howell

The Mir Castle
A little history…the Mir Castle After several sieges, the last one being Napoleon’s
In medieval times, Belarus (the former Grand war in 1812, the Mir Castle ruins were abandoned
Principality of Litva) was considered a ‘country of for one hundred years and only in 1983 did the real
palaces and castles’. Unfortunately, there are very reconstruction begin.
few 'old' things left after the numerous wars and In 1994, UNESCO placed the Castle of Mir in the
200 years under Russian occupation. top category of world cultural monuments.
Still, Mir Castle is undoubtedly known to everyone In 2000, UNESCO designated Mir Castle a World
who has heard about Belarus at least once. A source Cultural and Natural Heritage site.
of Belarusan pride, and a UNESCO World Heritage Today, Mir Castle is one of the most famous and
Site, Mir Castle is a unique monument of Belarusan popular attractions in Belarus. It brings travelers
architecture that impresses with its strength and back in time, exposing them to the deep and
graceful elegance. distinctive Belarusan history in the medieval times.
The Castle was built as a fortress at the beginning The modern Mir Castle is a complex with a well-
of the 16th century. Thick brick walls with developed tourist infrastructure.
slits, many towers, a rampart, a moat, and a The Belarusan people are proud to consider Mir
drawbridge, were all part of the original structure. Castle to be the main landmark or recognizable
The successful blend of Gothic, Baroque and icon of Belarus. – Iryna
Renaissance architecture makes Mir Castle one of
the most impressive castles in Europe. en.wikipedia.org/wiki/Mir_Castle_Complex
www.belarus.by/en/travel/belarus-life/mir-castle

cross stitch
skill level advanced Colour Keys

finished measurements Floss used for full, half and quarter stitches:
• 12½” x 8” [31 x 19cm] in 28ct linen symbol strands number colour
(as in sample) 3 745 yellow lt
• 10” x 6” [25 x 15cm] in 18ct fabric ~ 3 3855 autumn gold lt
(as alternate fabric ct) 3 3822 straw lt
stitches < 3 3854 autumn gold md
170w x 104h - 3 722 orange spice lt
materials 3 3853 autumn gold dk
fabric _ 3 922 copper lt
• 28 count linen, dyed light blue m 3 720 orange spice dk
threads 3 921 copper
• DMC floss according to chart
3 919 red copper
Notes: ¿ 3 918 red copper dk
• Worked over two fabric threads (14ct) ¤ 3 3857 rosewood dk
• The highlighted darker areas on the
3 3371 black brown
charts on the following pages indicate
the connection to the other part of the
b 3 349 coral dk
chart and should not be stitched twice. 2 3 304 Christmas red md
Watch the central row, which is pointed k 3 986 forest green vy dk
with the arrow above. ” 3 936 avocado green vy dk
ì 3 934 black avocado green
Floss used for back stitches: r 3 435 brown vy lt
symbol strands number colour W 3 433 brown md
2 745 yellow lt 3 310 black
2 3853 autumn gold dk
3 720 orange spice dk
2 918 red dopper dk
Iryna Varabei
2 3857 rosewood dk
Spirit of Belarus
2 3371 black brown https://ivarabei.wixsite.com/spiritofbelarus
2 310 black www.facebook.com/SoB.designs
Photos by Iryna Varabei

CHARTS
The Mir Castle

Moroccan Mug Rug
The inspiration for the design of

this little project was a window
grate in a photo of an old door in
Morocco.
When I saw the photo so many
ideas for ways to create with the
design began popping into my
head. Now, the window grate
was distorted by the angle of the
picture, so the first job was to
try to align it. Then I re-created
one quarter of the design, this
too could be broken down into
quarters. These quarters, like the
original, could be mirror imaged
vertically and horizontally or run
in a column to create a multitude
of new designs. The possibilities
seem nearly endless!
Work a block or ¼ block or ¼ of a
quarter with mirrors to design a
block of your own. Turn the inside
to become the outside or flip flop
vertically or horizontally. You may
be surprised at what you create.
Make it your own!!
– Judith

embroidery
The design may already ‘speak’ to you

as it is but here are some additional
instructions
design ideas: prepare fabric for smocking
• use the center diamond only 4” x 4¾” [10 x 12cm] 1. Press fabrics and spray starch.
• use as Sashiko embroidery for a center materials 2. Enlarge design to desired size (4” x 4
panel of a tablecloth fabric ¾” for this sample).
• close partial circles or turn them into • 12” x 12” [30 x 30cm] light weight, white 3. Secure design to a hard, flat surface
squares or diamonds for more designs cotton or cotton blend with tape. Secure top fabric over
• fill open areas with Battenberg lace • 6” x 7” [15 x 18cm] approximately top. Try to line up straight grain with
• work in white work embroidery Thermolam® for batting/padding design.
• stained glass work as in quilting • 9” x 9” [23 x 23cm] approximately fabric 4. Trace onto fabric with marker. Mount
• reverse appliqué of your choice for backing in embroidery hoop. Pull fabric taut,
• shadow embroidery needles keeping grain straight.
• silk ribbon work • chenille 5. Embroider herringbone walkways first.
• heirloom sewing techniques • tapestry Knot the end of threads for all work.
• cross stitch • fine long darner 6. Embroider hedges of twisted fly stitch.
• red work or black work 7. Embroider low borders in coral stitch.
notions
• rug hooking – make a mat Keep fabric taut and on grain while
• 6” – 7” embroidery hoop
• duplicate stitch on a sweater or scarf working design.
• embroidery threads of your choice,
• knitting - scarf or cushion top 8. Remove lines while fabric is in
colours of your choice
• add a button or concertina rose in the embroidery hoop by immersing in
• sewing thread to match backing fabric
center or corners for a different effect cool water. Let dry completely before
• adhesive tape
• reduce the wide lines of design to removing from hoop. Press lightly.
• fine point water soluble marker or
single lines, remove any lines that don’t 9. Pin fabric to Thermolam®. Machine
other type of marker of your choice
appeal to simplify stitch through both layers at ¼”
• spray starch
• build/create a table runner by adding outside walkway. Stitch beyond
• iron, ironing board
blocks lengthwise corners to achieve crisp corners. Trim
• embroidery scissors
• try quilting a laptop, wall hanging, both layers to ½”.
• shears or rotary cutter and mat
place mat, quilt patches, the list goes 10. Embroider colonial stitch roses with
• fine pins
on and on long tailed fly stitches last in each part
• transparent ruler
• enlarge design to desired size circle. Knots and travelling threads
• sewing machine
will be hidden on wrong side of
Thermolam®.
The Mug Rug 11. Lay rug on backing fabric, wrong sides
For this project a quarter design together. Repeat machine stitching
was chosen to be worked in but through all layers. Pivot at exact
corners. Bring threads of stitching to
simple embroidery, representing
surface; knot and trim.
a parterre garden. Low hedges 12. Trim backing fabric to 1” beyond
in green twisted fly stitch, tile Thermolam® layer.
walkways in royal blue open 13. Starting with long sides, fold backing
herringbone, low borders in fabric to edge of Thermolam® (½
grey coral stitch and random “). Repeat, folding up to machine
stitching of top layer. Pin in place.
rose bushes in magenta colonial
14. Slip stitch, catching machine stitching
knots each framed by long as a guide for short, neat stitches.
tailed fly stitch in green. All are 15. Repeat for short ends. If necessary,
simple embroidery stitches that give one final light press.
may or may not be familiar but
are easy to execute. For clean
stitching #8 Pearle cotton was This photo by Judith Marquis
used. Width of heavy black lines
determined height of stitches,
working within to keep stitches
of consistent height.

Grids and ideas stitches
Note: It is suggested that you practise
stitches to scale before starting project.
Colonial knot
• Bring thread to
surface of fabric A
Photocopy and enlarge grids of your Open Herringbone stitch where knot is to
choice to create new designs. • Draw two parallel be placed, point A.
lines. Mark off • Wrap needle in a figure 8 as illustrated.
Quarter of full grid used for rug Mug both with equally • Put needle back into fabric close to
distant dots e.g. point A.
1⁄8” apart. • Pull thread close around needle and
• Come up at A on top line. take needle to back forming knot.
• Down at B on lower line. • Do not pull too tight.
• Up at C on lower line. Long tailed fly stitch
• Down at new B on top line. • Bring thread to
• Carry on thus, alternating between surface at A.
two lines. • Take needle to
• Pick and poke stitching method works back at B.
Use as is or square it up then turn the best for this stitch. • Come up again at
grid ‘inside out’. • To make the stitch bolder, it’s possible C catching loop
to work a second row of stitching, of thread.
filling in the empty spaces, using a • Take thread to
lighter value of thread. back at D.
• Taking this a bit further, weave the • For this project,
second row of stitching over and the arms of the
under the first row. stitch surround
Twisted fly stitch coral stitch rose. They do not have to
• Mark two parallel be the same length.
line. • Point C is directly at base of rose.
Now create a border! • Mark off both • The tail has been ‘stylized’ to swing at
with dots 1⁄8” apart an angle suggesting a circle of roses.
Full grid as in The center on top line, and off set on line below.
photo. Slice it as diamond with • Come up at A Put needle in at B and
you please. which to work. out at C.
There are so many • Pass thread over needle in a loop as
other ways to 'cut' illustrated.
this design. • Pull needle through. Judith Marquis
• Take needle to back at D. Amberlane & Amberpetites
• Come up at new A right beside old B www.amberlane.ca
and carry on sequence. marquisjudith@gmail.com
Coral stitch
• Draw a line for Judith Marquis is a designer of
stitching. needlework and smocking. The patterns
• Mark dots on line from her company, Amberlane &
approximately 1⁄8” Amberpetites, are designed for real
people with today’s children in mind.
apart.
Patterns for ladies nighties and dolls are
Take one quarter of the ‘Quarter’ grid. • Bring thread to
included in her collection. If you have
surface at first
any questions about this article, are
dot. Lay thread along line and hold in
interested in learning to smock or her
place.
‘Pleating by Mail’ service, please contact
• Take a stitch equal to width of thread
Judith. She would love to hear from you.
or slightly larger.
• Slip thread under needle.
• Complete stitch.
• A knot will form.
Original rectangle Now squared up
• When evenly spaced this stitch will
look like a string of pearls.

learn with us!
• surface embroidery • Hardanger
• hem and edge techniques • Deerfield
• metal thread • Schwalm
• canvaswork • blackwork
p e n s S ept. 1, 2 020
registr a ti o n o
Seminar 2021: Magical Mystery
May 18-23, 2021 • Richmond, BC
join us
local chapters :: online chapter :: individual member
discover more
eac-acb.ca
reach out
info@eac-acb.ca
Quilt Canada 2020 Virtual Shows

Quilt Canada 2020 may have been cancelled, but we’re not letting that get in
the way of having a little fun. Starting mid-August, we’ll post nine different quilt
galleries on our website for you to enjoy. Vote on the Viewer’s Choice in four
Challenge galleries and view the variety of quilts in the Concurrent Show Galleries.
Come back again mid-October to bid on your favourites in
our 2020 TrendTex Challenge online quilts auction!
Visit www.canadianquilter.com for all the details.
The Wet Spring of 2017 by Helen Fujiki
OCTOBER 1 to NOVEMBER 30, 2020

Rio Dei S ogni
It wasn't supposed to be this way; we weren't supposed to fall in love. We, the hardened travelers
of remote islands and empty seacoasts, were supposed to be repelled by a fairground city given
over to the hordes. And yet, like the many millions before us, of course we swooned. How
mistaken we were to think we would be immune to the work of centuries of masters; how wrong
we were to think that the number of footsteps before ours should matter. We bathed in the
energy that comes of having the eyes of the world upon you, and we relaxed in the peaceful alleys
and byways that were surprisingly easy to find. We were silly to have waited so long. In Venice, we
dreamed. And yes, we loved.
My daughter is old enough now that she is already embarking on her own artistic journey. Rio dei
sogni is not meant to be any particular place in Venice; it is just her memory of a wonderful place,
and of our happiness together. We hope that you enjoy our first collaboration! – Karen

rug hooking
skill level Easy Since you won’t be using your finished piece as a floor mat but instead will be hanging
finished measurements it on the wall where it will receive minimal wear, leaving your tails down will be
5" x 5" [12.7 x 12.7cm], plus mat and frame harmless to your finished art piece.
materials Hooking patterns are not typically strict about either detail or colour choices, which
• minimum 12" x 12" backing material is why I have not specified a colour pattern in the materials list. The art form is more
of burlap, linen or rug warp. Larger about adding your own preferences and flair to a basic pattern. In my own experience
dimensions required if you choose to as a teacher, it’s unlikely that any two of you choosing to do this pattern will complete
enlarge the design. it in the same way, and my example is only one way to complete it. My daughter's
• a variety of thinner (smaller gauge) design is small, only 5" x 5", but you can expand it as you wish. In its original size, it’s
yarns, approximately fifteen distinct best suited to hooking using yarn, as I do, or other fine cuts of wool. If you choose to
colours. Note: If you choose to use bulkier enlarge the design, then it will be possible to add more detail.
yarns or wool strips, you’ll have to increase In the original design my daughter has left you with the essential outlines and it’s up
the size of the design to accommodate to you to capture the mood that you want through your colour choices. You can select
the larger loops. corals and muted pastels, as I did in the example, to remain true to the sun washed feel
• minimum 10" quilting or hooking of the Mediterranean in summer. Or you can choose vibrant, electric colours and turn it
hoop, available in most craft stores into a scene of Northern Europe, maybe of Amsterdam or Copenhagen. Or you can just
• medium size rug hook close your eyes and find the colours of any place in your own dreams. Whatever you
• standard picture frame with 5" x 5" mat choose to do, have fun!
Instructions
Hooking is a relaxing, interpretative art
form based on a very simple technique
of pulling loops of wool or yarn through
a backing like burlap, linen or rug warp
with a hook. Just poke your hook through
the backing, catch the hook around your
wool or yarn, and pull up a small loop of
yarn. Move to the adjacent hole in the
backing and repeat, making sure only
to pull each of the loops to the same
height as you progress through the row.
The pressure of the loops against each
other and the squeeze of the backing on
the base of each loop keeps everything
secure. Yes, it really is that easy!
When you reach the end of a strand of
yarn, or you need to switch colours, you
have two choices as to how to secure
your work. The first is the conventional
approach used when hooking with wool
strips. In this approach, you pull the end
of your wool strip (the ‘tail’) up through
the last hole in your row and trim it off
at the height of your loops. This ‘tails up’
approach keeps the back of your work
very neat and the tail is indistinguishable
on the presentation side of your work.
If you’re working with yarn, like I do,
tails up isn't always desirable because
trimmed yarn splays and will be obvious
in your work. Instead, I pull up my final
loop and I leave the tail down, where I
trim it quite short.
Photos by Karen D. Miller

Eyes Open to the World by Karen D. Mil ler
For more examples of how to use travel to inspire your art,
check out Karen's book Eyes Open to the World: Memories
of Travel in Wool (Ampry Publishing). Karen shows that travel
is really a state of mind - a curiosity about the world ‘out
there’ beyond the comfortable familiarity of ‘home’ – that
bridges easily to inspiration for her art. Intended as a must-
have resource of shared experiences for new and established
fibre artists alike, Eyes Open to the World will take you on a
160 page journey through the artistic process, from turning
inspiration into an idea, to techniques in observation and
composition, and all the way to working en plein air. It brings
you to Karen’s favourite places across the North Atlantic and
explores a range of artistic approaches, from conventional to
abstract. Every step is liberally sprinkled with insights and art
from Karen and over thirty contributors, all inspired by their
own travels all around the world. Above all, Eyes Open to the
World is Karen’s exhortation to set free the artist within you
and tell your own stories. As she learned, and now shares with
you, there is nothing to be afraid of, and nothing to wait for.
Available through Amazon.com and Searchpress.com.
Designed by Kadyn MacDonald and

hooked by Karen D. Miller
karendmillerstudio.com
The Ontario Hooking Craft Guild is all about the Þne art
and craft of traditional & contemporary rughooking, with
60+ branches all over Ontario, plus one in Québec.
Canadian
membership is $40;
with a full colour
quarterly magazine.
We have many
teachers, some now
offering Zoom
workshops!
“The Christmas Flower”, hooked by Helen www.ohcg.org

Sands of Frontenac OHCG branch.
Pattern: Old Tattered Flag (RHM Nov/Dec/19)
“Shine On”, designed and hooked by
Please follow our Facebook Page and Leslie Knight; Etobicoke OHCG branch.
(Note the custom cable-knit tabs)
join our interactive Facebook Group

BUSINESS DIRECTORY To list your business in this space please call 1.866.969.2678.
CANADA Sew With Vision Cottage Quilts * Sew Creative Studio
Brampton Sew & Serge 480 Parkland Dr, Halifax, NS B3S 1P9 1310 Center Dr Unit A, Medford OR 97501
289 Rutherford Rd S, Unit 7, Brampton, ON L6W 3R9  902.479.2227  sewwithvision.net 541.500.8071, cottage-quilts.com
 905.874.1564  bramptonsewnserge.com Authorized PFAFF, HUSQVARNA VIKING, and SINGER dealer Discount Fabric Warehouse
 monique@bramptonsewnserge.com and service provider offering an extensive line of sewing, 933 Kanoelehua Ave, Hilo HI 96720
Welcome to Your One Stop Sewing Centre! We are authorized embroidery and serger machines, as well as long-arm 808.935.1234, discountfabricwarehouse.com
dealers of Baby Lock, Husqvarna Viking, and Singer sewing quilting systems.
El Cajon Sew & Vac
machines and sergers. We also offer a full schedule of sewing That Sewing Place 1077 Broadway, El Cajon CA 92021
classes for everyone. 16610 Bayview Ave #10, Newmarket, ON L3X 1X3 619.442.2585, sewezr.com
Bytowne Threads - Ottawa, ON  905.715.7725  thatsewingplace.ca
 jaret@thatsewingplace.ca Jessamine Quilt Shop LLC
 1.888.831.4095  bytownethreads.com 1301 Old Cherokee Rd, Lexington SC 29072-9047
 mlj@bytownethreads.com Introducing That Sewing Place as your sewing source and
Authorized Dealers for Bernina and Brother machines. 803.490.1031, jessaminequiltshop.com
Featuring Aurifil thread from Italy. Long staple Egyptian
cotton threads - 270 colours in 12, 28, 40 and 50 wt; 88 Our focus is on placing your sewing needs first, providing JS Linen and Curtain Outlet
colours in 80 wt. Polyester Aurilux - 240 high sheen colours. outstanding support, service, and training. 1250 Northside Dr, Statesville NC 28625
Wool threads - 192 colours. Many kits available. Check our The Quilt Store / Evelyn's Sewing Centre 704.871.1939, jslinenoutlet.com/js-quilt-shop
website! 17817 Leslie St, Unit 40, Newmarket, ON L3Y 8C6 Just Sew Studio
Canadian National Fabric - Brampton, ON  905.853.7001 or toll-free 1.888.853.7001 51 Third St NE, Waite Park MN 56387
 https://canadiannationalfabric.com/ The Quilt Store West 320.654.1580, justsewstudiomn.com
 info@canadiannationalfabric.com 695 Plains Rd E, Unit 6, Burlington, ON L7T 2E8 Keeping You Sewing
We are an online fabric shoppe offering a wide variety of  905.631.0894 or toll-free 1.877.367.7070 226 4th Ave S, Clinton IA 52732
fabrics, patterns, books and notions for all your sewing  thequiltstore.ca 563.242.6135, keepingyousewing.com
needs. Flat rate Canada wide shipping of $5. Shop in person Now with 2 locations to serve you, we are your Quilt Store
Destination! The staff here at The Quilt Store is always on Lone Star Quiltworks
available by appointment! 4301 S Texas Ave, Bryan TX 77802-4360
hand to provide Quilt Wisdom, Quilt Inspiration and most
Country Concessions of all we pride ourselves as the place to make... All Your 979.595.1072, lonestarquiltworks.com
1 Dufferin St, Cookstown, ON L0L 1L0 Quilt Dreams Come True! Maryland Vacuum and Sewing Center
 705.458.4546 or toll-free 1.888.834.4407 26845 Point Lookout Rd (Rt 5), Leonardtown MD 20650
 countryconcessions.com The Stitcher's Muse Needleart
#101 - 890 Crace St, Nanaimo, BC V9R 2T3 240.309.4019, mdvacsew.com
 info@countryconcessions.com
Visit our lovely and unique quilt shop in the quaint village of  250.591.6873  thestitchersmuse.com New England Sewing
Cookstown. We have over 7000 bolts of cotton fabrics plus a  info@thestitchersmuse.com 501 Hartford Rd, Manchester CT 06040
wide selection of patterns, books & notions. You will be so glad A divine little shop with supplies for all your hand stitching 860.647.8119, nesewing.com
you came for a visit. needs! Friendly, knowledgeable, helpful staff. Cross stitch, Options Quilt Shop
canvaswork, needlepoint, embroidery, counted thread, 102 E Commerce St, Jacksonville TX 75766
Gitta's lace making & more. Books, patterns, fabric, threads, tools.
271 Lakeshore Rd E, Mississauga, ON L5G 1G8 903.586.9546, optionsquiltshop.com
 905.274.7198  gittas.com The Yarn Guy Paramount Sewing & Vacuum
 questions@gittas.com 15 Gower St, Toronto, ON M4B 1E3 3960 Rickey St SE, Salem OR 97317
Gitta's, named after owner Gitta Al-Basi, nestled in the east  416.752.1828 or toll-free 1.800.836.6536 503.990.8186, paramount-sew-vac.com
village of Port Credit, is the place where stitchers meet with  theyarnguy.com  info@sewknit.ca
See us on Facebook, follow us on Twitter! Pick Your Stitch
their stitching friends, shop for stitching supplies and see the 6701 Manlius Center Rd, East Syracuse NY 13057
new stitching designs from Europe and the United States. Knitting machines, sewing machines, repairs, parts
for Passap, Studio, Singer, Silver Reed, Superba, White. 315.437.0962, pickyourstitch.com
Hardanger House, designs by Betty Stokoe Sewing notions and supplies, books, ball yarns, coned Quality Vac and Sew
PO Box 1223, Stettler, AB T0C 2L0 yarns, TAMM yarns, Paton's yarns, Bernat yarns, Phentex 1213 Gilmore Ave Ste E2B, Winona MN 55987-2632
 403.742.2749  bettystokoe@gmail.com yarns, Bernat kits & crafts. 507.452.2203, qualityvacandsew.com
 tnplisting.com/hardanger-house.html
Hardanger embroidery charts and kits. Designs feature Upper Canada Quiltworks – Quiltworks Studio Quilter's Attic Sewing Center
contemporary adaptations of this traditional cutwork 37 Perth St, Brockville, ON K6V 5C3 118 Maple Ave, Pine Bush NY 12566
embroidery from Norway. Shop online at etsy.com/shop/  613.865.7299; Open 10-4, Tuesday-Saturday 845.744.5888, quiltersattic.com
HardangerHouse. Some digital downloads available.  uppercanadaquiltworks.com Quilters' Corner @ Middlebury Sew-N-Vac
 uppercanadaquiltworksstudio@gmail.com 260 Court St Ste 4, Middlebury VT 05753
Haus of Stitches Quilt patterns and books, fabric and notions, felted wool,
626 Main Street, Humboldt, SK S0K 2A0 802.388.3559, middleburysewnvac.com
wool kits, punchneedle patterns and supplies and Valdani
 306.682.0772 or toll-free 1.800.344.6024 embroidery floss. Workshops in quilting, punchneedle, Quintessential Quilts
 hausofstitches.ca wool applique, rug-hooking, sewing, sign painting & more! 4261 Lien Rd Ste M, Madison WI 53704
Our one of a kind store offers everything you need for sewing, 608.242.8555, qquilts.com
quilting, knitting, rug hooking and needlework. Authorized Brandon Sewing Centre
821 Princess Ave, Brandon MB R7A 0P5, 204.727.2752 Select Sewing
dealers for Janome and Elna. 2415 East 65th St, Indianapolis IN 46220
Kelly's Creative Sewing Carellan Sewing Centre 317.255.6332, selectsewingservice.com
804 Main St, Dartmouth, NS B2W 3V1 1685 Corydon Ave, Winnipeg MB R3N 0J8
204.488.2272, facebook.com/CarellanSewingCentre Sew Special
 902.435.7380  kellyscreativesewing.ca 688 W Main St, Uniontown PA 15401
 kellyscreativesewing@gmail.com K&A Quilt Studio 724.438.1765, sew-special.biz
We offer sales and on-site service of high-end domestic 160 Ingersoll St S, Ingersoll ON N5C 3V3
embroidery, sewing machines and sergers, as well as a variety 519.425.4141, kaquiltstudio.com Sew What? Fabric Shoppe
of educational programs. 7 W Front St, Addison NY 14801
Stitch By Stitch 607.359.4308, sewwhatfabricshoppe.com
Ottawa Sewing Centre 550 Days Rd Unit 1, Kingston ON K7M 3R7 613.389.2223,
1390 Clyde Ave, #107, Ottawa, ON K2G 3H9 stitchbystitchkingston.com Sierra Sewing, Quilting, and Vacuums
 613.695.1386  ottawasewing.com 8056 S Virginia St Ste 6, Reno NV 89511
UNITED STATES 775.823.9700, sierrasewing.com
 ottawasewing@gmail.com
Authorized Dealers for Brother, BabyLock, Elna, Q'nique & A-1 Singer Sewing Center Singer Factory Distributor
Grace quilting frames. Specialize in sales, parts & servicing for 1012 S Oliver St, Wichita KS 67218 4914 W Irving Park Rd, Chicago IL 60641
all makes & models of quilting/embroidery/sewing/serger/ 316.685.0226, a-1singer.com 773.545.6834, singerfactorydistributor.com
overlock machines & cabinets by Sylvia Design. American Folk Art and Craft Supply Suddenly Sewing
Sew Inspired 1415 Hanover St, West Hanover, MA 02339 5850 Kroger Dr Ste 110, Fort Worth TX 76244
375 Daniel St S, Arnprior, ON K7S 3K6 781.871.7277, americanfolkartonline.com 817.741.5400, suddenlysewing.com
 613.623.0500  sewinspired.ca Charlotte Sewing Studio Thimbelina's Quilt Shop
 info@sewinspired.ca 1109 Tamiami Trl Unit 2, Port Charlotte FL 33953 118 North B St Ste B, Livingston MT 59047-2662
Your Ottawa Valley PFAFF® Authorized Dealer. We have a 941.235.3555, charlottesewingstudio.com 406.222.5904, thimbelinasquiltshop.com
large supply of quilting & sewing supplies, knitting supplies, Close to Home Sewing Center
as well as in stock PFAFF® sewing machines. We also have a Wise Monkey Quilting
277 Hebron Ave, Glastonbury CT 06033 501 Hwy 39 N, Denison IA 51442
listing of sewing and quilting classes. 860.633.0721, closetohomestores.com 712.393.7979, wisemonkeyquilting.com

Light Years Beyond
Presenting the Luminaire 2 Innov-ís XP2. Brilliant new quilting innovations and app-based
features available from your mobile devices let you find perfection in every stitch.
13.1"
Enjoy StitchVision technnology and see Experience the comfort of sewing on 65 Large 10.1” HD LCD touchscreen display
your designs projected on fabric before square inches of workspace, the largest of with capacitive technnology.
you begin to embroider. any Brother machine.
The Luminaire 2 has the magic of 192 Stop your stitch in the perfect place just
built-in Disney embroidery designs and by placing the Snowball End Point Sticker
10 decorative Disney stitches. on your project. Enjoy 2-colour quilting sash designs, built-in
hexagon shapes for auto split sash, single or
triple stitching, and more.
Visit an authorized Brother dealer today to find out more!

brother.ca/en/XP2
Photos are for illustration purposes only. Brother and its logo are trademarks of Brother Industries, Ltd., Japan. All specifications are subject to change without notice. All registered trademarks referenced herein are the property of their respective companies.
©2020 Brother International Corporation (Canada) Ltd. 1, rue Hôtel de Ville, Dollard-des-Ormeaux, Québec, H9B 3H6. 09/2020-2020-1064
99

A Needle Pulling Thread Issue 53-27 September 2020

Uploaded by

Copyright:

Available Formats

A Needle Pulling Thread Issue 53-27 September 2020

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

A Needle Pulling Thread Issue 53-27 September 2020

Uploaded by

Copyright:

Available Formats

What sewing and embroidery features are highlighted in the document?

What sewing and embroidery features are highlighted in the document?

What architectural projects are showcased in the document?

What architectural projects are showcased in the document?

A NEEDLE PULLING THREAD

QUILT SEW KNIT CROCHET CROSS STITCH EMBROIDER HOOK RUGS

Projects inspired by ARCHITECTURE

Now available at a retailer near you. husqvarnaviking.com

Welcome to this adventurous issue! I’m so excited to showcase the

I hope this letter finds you in good health.

April 9-11, 2021 Advertiser Index

All designs, patterns, and information in this magazine are

Funded by the Government of Canada.

Ottawa Valley Authorized Dealer

905-715-7725 Arnprior Shopping Centre

6 A NEEDLE PULLING THREAD ● issue 53

where my own quilting strength lies. I’m a

Photos by Heather McArthur

A NEEDLE PULLING THREAD ● issue 53 9

Criss Cross Quilt finished measurements

I grew up on a hobby farm, with horses and cows,

12 A NEEDLE PULLING THREAD ● issue 53

skill level Intermediate instructions

A NEEDLE PULLING THREAD ● issue 53 13

14 A NEEDLE PULLING THREAD ● issue 53

WINDOWS Templates Actual Size

16 A NEEDLE PULLING THREAD ● issue 53

skill level Advanced

A NEEDLE PULLING THREAD ● issue 53 17

Product photos courtesy of SVP

Multi-line Decorative Foot

20 A NEEDLE PULLING THREAD ● issue 53

A NEEDLE PULLING THREAD ● issue 53 21

22 A NEEDLE PULLING THREAD ● issue 53

skill level Intermediate

A NEEDLE PULLING THREAD ● issue 53 25

26 A NEEDLE PULLING THREAD ● issue 53

Photos by Jackie White

28 A NEEDLE PULLING THREAD ● issue 53

skill level Advanced Sewing instructions for house block

Instruction photo by Clodagh Coker

3½” x 1½” 5½” x 1½”

Designed by Clodagh Coker

30 A NEEDLE PULLING THREAD ● issue 53

Be part of a passionate sewing

Look for giveaways, supplies and special offers!

Share your love of sewing

Photo by Olesya Lebedenko

skill level intermediate

1. Place each template on a chosen XJO

each piece. Cut all the pieces of fabric.

2. Use the numbered diagrams to sew all

pieces in the recommended order. Sew

knots if sewing by hand.

Making Decorative Stitches

quilting stitches to make a border on

the door and window markings.

2. Cut and appliqué windmill blades

using big quilting stitches.