59ANeedlePullingThread

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Making Hexagon 1 Quilt Blocks by Machine In the Studio with Ana Buzzalino If I mention the name Kaffe Fassett, What you will need 2 what comes to mind? I know • floral fabrics of your choice – or any 3 what comes to mind: COLOUR! 4 EXHUBERANCE! BEAUTY! BOLD other fabric of your choice for that BLOSSOMS! AMAZING AND matter VERSATILE ARTIST! • fusible interfacing – I use Pellon 911FF Featherweight If you love fabric, you’ve probably • a hexagon template heard of Kaffe Fassett. I remember • thin cardboard – I use old file folders the first time I heard his name, years • rotary cutter and cutting mat and years ago when I found one of his • a ruler – I use a 9” x 3” as it’s the perfect earliest books in a bookstore. Since size, but any ruler will work that day, I’ve been a big fan and have • fabric glue stick or a small regular glue had the pleasure of meeting him a stick few times with Brandon and Lisa and • thread to match your fabrics or invisible had dinners al fresco on the rooftop thread (if your machine will take it) terrace at the Hyatt in Houston during Quilt Market. His booth at Quilt Preparing the templates Market always made me feel like I wanted to crawl in there and stay for 1. Using the hexagon template, draw a spell. Colourful, full of wonderful around the shape with a pencil on quilts, books, and bundles, and usually, thin cardboard and cut out. This is a comfy couch where you could find your fabric cutting template – clearly Kaffe calmly stitching or knitting. mark it as fabric template on the cardboard. I thought it fitting to use Kaffe’s collection of fabrics, which I’ve 2. Trace a second one. For this one, cut gathered and saved for a while for this ¼” smaller all around: this will be your quilt and this garden-themed issue. fusible interfacing cutting template – clearly mark it as fusible template on I’d like to share with you a method I the cardboard. Photo 1 use to make hexagons. I’m not into English paper piecing yet – I say yet Cutting the fabric and interfacing because you never know … You have a few options for cutting the fabric. Option 1 • Use the fabric template on the wrong side of the fabric and cut all around. I prefer to mark around the template with a pencil lightly and then cut the fabric, so as not to “trim” the template by accident. Photo 2 Option 2 • Cut hexagons out of fusible interfacing using the fusible template. Cut as many as needed. Photo 3 • Fuse the interfacing to the wrong side of the fabric and cut around it leaving a ¼” seam allowance. This method is perfect if you want to fussy cut around a design. Photo 4 Photos by Ana Buzzalino 52 A NEEDLE PULLING THREAD ● issue 59

quilting 5 5b 5c 6a 6b 7 Note: Keep in mind that you can piece your You can do one seam at a time or prepare 8a fabric before cutting the hexagons and a few pieces before taking them to the applying the fusible interfacing. sewing machine. Photos 5a, 5b, 5c Setting up the sewing machine Place your fabric hexagons on the design • Set up your sewing machine with a wall in a pleasing manner. Photos 6a, 6b small zigzag stitch, some recommend Preparing the hexagons to sew: 1x1 meaning 1 wide by 1 long. I like to • Pick 2-3 hexagons to get started. Photo 7 use a slightly larger stitch, so I set up • Using a fabric glue pen or a small my sewing machine for 1.5 wide by about 1.5 to 1.8 long. glue stick, apply a light line of glue • Stitch both pieces together. Photo 9a, 9b on the seam allowance of one of the • Check the back of your pieces. Your hexagons. Carefully turn and glue stitching line should fall right in place the seam allowance to the fusible as shown in photo 10 interfacing. That piece is now ready to • Continue adding pieces in this manner apply to the next hexagon. until the entire top is sewn together. • Fold the seam allowance on the second hexagon to the back and Layer and quilt as desired. place both pieces together as shown. Apply a line of glue and glue the seam allowance to the other hexagon, making sure they butt together and do not overlap. Photos 8a, 8b, 8c, 8d, 8e A NEEDLE PULLING THREAD ● issue 59 53

8b 8c 8d TIP Here’s one idea for quilting this 8e floral piece: choose a large floral for the backing and quilt from the back, following the floral design to create the design on the front. Do not forget to put a label on your quilt with your name and date. I hope you enjoy this technique. 9a Abandoned was created in this manner. Until I write again, keep creating. At Create2Flourish I help quilters, textile 9b lovers, and fibre artists master essential tools, discover resources, and new ways to work creatively while brushing up on the old ones. I offer a place in a community that helps you grow and thrive as the artist you were meant to be. – Ana Buzzalino For more information visit anabuzzalino.com/create2flourish 10 Ana Buzzalino anabuzzalino.com IG ana_buzzalino FB ana.buzzalino22 54 A NEEDLE PULLING THREAD ● issue 59

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: $59only .95 Name (Please Print) /yr plus applicable taxes* 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! Phone Number x YES! Please send me 4 quarterly issues (1 full year) of A Needle Pulling Thread Magazine. My payment is enclosed. Your email address to sign up for our free newsletter 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 other countries please order online or send email to [email protected] * Sales taxes are applicable only for Canadian orders. After-tax totals for ON $67.74: for NB, NL, NS, PE $68.94; for rest of Canada $62.95. For inquiries call 1.855.ANPTmag (1.855.267.8624) or email: [email protected] A NEEDLE PULLING THREAD ● issue 59 55

Supporting Stitches In times of crisis, sewers and knitters get out their needles This photo by Rosalie I. Tennison “I knit socks for the boys every evening,” my elderly friend Women’s Institutes across Canada rallied members to told me when I asked what she did during the Second World War. She also said she helped make quilts for the support those struggling through the war as well. Branches Red Cross to send to London for people whose homes had in Prince Edward Island produced over 9,000 quilts that been bombed. were distributed by the Red Cross to soldiers, refugees, In times of disaster, skilled people using hooks and needles and air raid victims. According to a pamphlet published in find ways to help humanity through the struggle. As floods, fires, earthquakes, and armed conflict chase families from 1983 by the Manitoba government extolling the work of their homes, stitchers figure out a way to assist. the Women’s Institute, the province’s members stepped up during and after the Second World War. “The Women’s During the American Civil War, two world wars, and Institutes raised thousands of dollars for the Children’s numerous other conflicts, people, mostly women, took War Service Fund, for air raid victims through the Queen up needles to make clothing, bandages, and blankets for soldiers and civilians. My friend answered a call Elizabeth Fund, and for the Red Cross. Once again, the from the Red Cross asking for socks for the soldiers who needed warm, dry feet in stiff boots. The Red Cross and women rallied together to knit, sew and prepare packages manufacturers of laundry soap and wool provided patterns for socks and other items, such as balaclavas and vests for the enlisted men overseas. When the war ended, the for service personnel. “Knitting for the troops” became institutes assisted the Department of Health in looking for a cottage industry through two world wars in the 20th century. Those who weren’t crafty were encouraged to buy good rural homes for refugee children.” No doubt those supplies for those who wielded needles. children were supplied with knitted sweaters and quilts. In the introduction to The 1941 LUX Knitting Book, radio host Dr. Susan Chandler wrote: ‘These days in all our hearts, there’s a question: “What can I do to help?” Many of us can find the answer in the one word – KNIT!’ 56 A NEEDLE PULLING THREAD ● issue 59

As we watch the horror facing Today, the internet gives us the people of Ukraine, we are immediate information, and collectively asking the same question: “What can I do to cell phone photography shows help?” In this case, it is not us suffering in colour. But the our troops who need warm worldwide web also makes it socks, but the people whose easier to find agencies asking homes are being bombed. for items with advice on how to Again, knitters have figured out deliver them. An internet search a way to help. Many members question: “How can knitters of Ravelry, the online knitting help in Ukraine?” delivered community, are searching through millions of patterns to an astonishing over-35-million find those offered by Ukrainian results. On the first page alone, designers and purchasing them. there was mention of Ravelry I bought a sock pattern from a purchases, a shop offering Ukrainian designer hoping that to donate a portion of store 162 hryvnias will buy her some bread. My fear is there might purchases to the Red Cross, and an auction to raise money not be bread to buy. organized by Artists for Peace. The same question replacing “We felt so helpless,” my friend “knitters” with “quilters” brought said of her war experience on an equal number of results and the home front. Knitting socks or a variety of solutions, such as making quilts helped family and quilting organizations matching donated funds, charities friends push the worry aside as working in Ukraine, and a they did something that might GoFundMe started by a group of international quilters. bring comfort. While the Ukraine conflict is In all disasters, financial top of mind in spring 2022, this donations are the easiest way year many more communities to get aid to refugee camps or across the planet will face disaster zones, but we never see natural disasters, famine, and the relief on faces receiving a hot meal or a warm coat. There war. Children born in refugee is something about picking up needles and creating an item camps may never know what that one can imagine on a stranger’s feet or hugged by a it is like to live in a nice home child that gives a maker a sense in a pretty town and to walk to of connection. school without fear. Through all these horrors, stitchers continue to supply sleeping mats, warm clothing, stuffed toys, and supplies to help those in crisis. In troubled times, people who craft reach for needles. Instead of stabbing an aggressor, we make socks. Rosalie I. Tennison 902 - 188 Roslyn Rd Winnipeg, MB R3L 0G8 204.505.1771 A NEEDLE PULLING THREAD ● issue 59 57

Double knitting. It’s a term with several meanings in knitting. Cynthia MacDougall Without a hyphen, double knitting relates to a yarn that has a tension/ gauge of 22 stitches to 4” [10cm] (give or take) using recommended needles size 6 US [4mm]. With a hyphen, double-knitting refers to either a type of knitting that produces a two-layered fabric that has a positive image on one side and a negative image on the other or “knitting with two contrasting colours in an all-over pattern in which the thread not in use is carried along on the wrong side of the work.”The latter description is very close to the definition of Fair Isle knitting and it may be specific to the geography of Eastern Canada and the Eastern US seaboard, as that’s where I’ve seen the term used in this context. While some knitters enjoy slow-growing forms of knitting such as entrelac, mosaic, and brioche, I gravitate toward double- knitting. The positive/ negative aspects of the technique really draw me in, and I find it exciting to see the pattern develop as I knit. Double-knitting can be worked back-and-forth or in the round. The Reversible Oven Mitts from the Festive, 2012 issue were worked in the round and they incorporate increases, decreases, and picking up stitches. I’ve even seen projects in double-knitting that have a completely different design on each of the two sides. Double-knitting can be done in a I prefer to work double-knitting by One of the things I like about double- couple of ways: the rows or rounds can knitting both the positive and negative knitting is that the fabrics lock together be worked twice, by knitting the chart sides at the same time. It means moving wherever they switch to create the with one of the colours and slipping the the yarn front-to-back and back-to-front pattern. I also enjoy the fact that there stitches for the other colour, then doing between every stitch, but, despite having are no long floats and I’m encouraged to a second pass with the other colour, to separate the yarns after each pass, the keep knitting to reveal the pattern. following the same row of the chart a knitting tends to grow just a bit quicker. second time, working the stitches that I can keep track of the knitting better weren’t worked on the first pass. This because I know that for every square of method “grows” at about the same rate the chart, I have to have one stitch of as mosaic knitting because it takes two each colour. That helps me catch errors passes to complete one row of the chart. quickly. This method works well in the round, as the yarns always end up in the right Many knitters use sticky notes to track place to complete the next pass. When their place on a chart. When I work colour worked back-and-forth, this method or lace knitting charts, I put the sticky must be done on either circular or double note above the next row. That way, I can point needles because the knitter has easily see what’s been done to that point to slide the stitches to the opposite end and can compare it with my knitting. of the needle to access the yarn for the second pass. The primary drawback for Another tip I use for any knitting chart, is this method, I find, is remembering the to write in the number of stitches where correct placement of the colours for the there are large spans of one colour. second pass. Knit Together 58 A NEEDLE PULLING THREAD ● issue 59

The only drawback I find to this method is light squares of the chart and the light Double-knitting has other applications. having to move the yarn between every colour “leads” on the dark squares. This There is a reference to knitting two socks stitch. This movement can affect tension. sounds complicated, but once there are 2 at the same time in Tolstoy’s novel War Plus, some knitters (myself included) or 3 rows of knitting, it’s easy to remember. and Peace, where the nurse knits two have a slight difference in tension When worked this way, one side of the socks at the same time, one inside the when knitting vs. purling that becomes chart looks like the chart, and the opposite other. On their completion, she pulls apparent when double-knitting. For side of the work is its negative. the inner sock out. In my November 2021 these reasons, I recommend sampling. blog posts for KNITmuch.com, I created Any differences may even out over time, The photos below show a close up of the knitted-in pockets on a cozy winter but if they are very noticeable, fulling the chart and the knitting. The three stitches scarf. The outer pocket was made in finished piece will obscure them. on the left needle nearest the tip show the main colour and the pocket lining that the next two stitches of the chart with a contrasting colour using double- Any black-and-white chart can be used (which are light) will have the red (light) knitting technique. When trying these to make double-knitting, including “terse” yarn knitted and the grey (dark) yarn concepts out, work with two colours to charts, mosaic knitting charts, and even purled. The third stitch is a dark square differentiate between the two layers. cross stitch charts. It’s important to know on the chart where the petal outline that different charts may need to be continues upward, so for that “unit” the There are several options for casting on adapted. Cross stitch charts, for example, grey yarn will “lead” as the knit stitch and and casting off double knitting, as well are designed to work up perfectly square, the red yarn will be purled as the “follow” as ways to shape double-knitted fabrics, but the tension for double-knitting has part of the unit. but because the project in this issue more rows than stitches per inch which, uses I-cord-all-around and requires no if knitted as charted, will compress the shaping, I’ll save them for another article. design vertically. Sometimes the ratio The straight sides and minimal design for double-knitting is different from of the trivet in this issue were designed the stitch-to-row ratio for single-layer to encourage you to try double-knitting. knitting, so as with any project, sampling May you find it as enjoyable as I do! is recommended. Additional reading: The Principles of Knitting, June Hemmons I also recommend that knitters trying Hiatt, Touchstone Publishing double-knitting for the first time use a The Essential Guide to Colour Knitting “blocky” pattern such as a 3 stitch by 4 Techniques, Margaret Radcliffe, Storey row checkerboard, to get a feel for how Publishing the design progresses, to get used to A History of Hand Knitting, Richard Rutt, manipulating the yarns, and to learn how Interweave Press the colours look at pattern changes. Double Knitting Reversible Two-Colour Designs, M’Lou Baber, Schoolhouse Press When working from a chart in double Knitting Double Mastering the Two- knitting, I like to think of each square on Colour Technique with over 30 Reversible the chart as a unit. Each unit has two Projects, Anja Belle, Trafalgar Square stitches, one knit, the other purl, and one in each colour. In most double-knitting, the knit stitch is the “lead” stitch, and the purl stitch is the “follow” stitch. Since the fabric is reversible, it doesn’t matter which colour dominates the front or back. Therefore, I usually assign my yarn so that on the positive side of the chart, the light colour yarn “leads” and the dark colour “follows” on the light squares, and the dark colour “leads” and the light colour “follows” on the dark squares. On wrong side rows, the opposite happens: the dark colour “leads” on the Photos by Cynthia MacDougall A NEEDLE PULLING THREAD ● issue 59 59

Creating a fractured floral When to quit - to full or not to full metal in the first photo has been almost fully obscured by the second photo. In Issue 57, Creative Options in Knitting, I did a The Fractured Flower Trivet is made with tracing of a flower picture from the Internet to a knitting worsted weight, pure wool, When fulling by hand, the work goes create this “Charlie Brown” flower. I went over non-superwash yarn. Once knitted, it is more quickly if it can be done on a the diagram with a thick marker to make it perfectly suited to use as a hot mat to nubbly service such as bubble wrap or an easy to chart. put under casseroles, teapots, or to use as old washboard. This is a great job to do To create the chart, I put the tracing onto a a potholder. Two layers of worsted yarn outdoors on a sunny summer day, and light table and laid a sheet of knitter’s graph should protect the finest table, but always it’s one that children can do, too, so knit a paper over it. To add a fun design element test first. sample or two for them to try. to the piece, I set the graph paper so that Here’s what I do: the flower was “broken up” with the top left If you want to increase the insulation Lay out a plastic tablecloth to protect segment of the bloom in the lower right of value of your trivet, you can “felt” it. I the surface and a few towels to mop up the design and the bottom right segment in put “felt” in quotation marks because excess moisture, along with the bubble the top left of the chart. technically, felt is made with non-spun or wrap or washboard. Dunk the trivet in To fill in the stitches, I used my judgment: if non-woven fibers. Once the fibers have a basin with an inch or so of hot water the line crossed more than half of a box on been spun and woven - whether on a and a generous squirt of liquid soap. Use the chart, I coloured in the whole box, and if loom or on knitting needles, the proper rubber gloves if the water is very hot. the line crossed less than half of a box, I left term is “fulling.” Lightly wring out the trivet and work that box blank. the soap and water into the fabric. The After the tracing was complete, I lifted the Fulling and felting are achieved through texture of the liquid in the fabric should chart away and looked at what I had. There friction and temperature change. Wool be about the same as coffee cream. were places where I had to fill in places that and other animal fibers have microscopic Knead the trivet against the surface, would create a gap in the knitting or erase scales on them, and when these scales are working evenly over the entire piece. boxes to prevent a line from being too thick. subjected to friction and/ or rapid changes Add more soap or water, as needed. in temperature, the scales lock together as Periodically shock the piece by dunking it Then I knitted a prototype from my hand- they compress. Soap is generally included into a basin of cold water, then dunk back crafted chart. The photo above reveals that I to facilitate this process. Having a basin of into the hot, soapy water and continue. had to add a few more rows (at the bottom of cold water to “shock” the fibers also helps Pay attention to the edges to keep them the page) to square-up my prototype. Once the process along. straight and the corners square. After I had my “proof of concept,” I re-created the 10-15 minutes, areas of the piece will start chart with my knitting software. There are a few good resources available to “harden up” – the texture will start to that offer more detailed information change. Keep working until the whole about sampling and measuring. As this piece is uniformly hardened. project is a trivet, this kind of record Rinse the piece out thoroughly and check keeping isn’t necessary, however fulling to make sure it looks uniformly fulled - front the first piece by hand gives the knitter and back. Lay the finished item out to dry. control over the process to ensure the result is the size of a trivet, not a mug rug! Fulling can be done by hand or by machine. I’ve been working with Deluxe Worsted for a while now but hadn’t tried shrinking it on purpose, so I took some samples from the Tilted Maple Leaf sweater, laid my needle gauge on it, and tossed it in my front-load washer. That’s a pretty bold move because you can’t just lift the lid and check your item every few minutes as you can with a top load washer. I used a warm wash/ cold rinse cycle, and just a normal amount of soap. I washed the samples with a load of regular clothing to provide friction through the wash and rinse cycles. The second photo shows how fulling closed up the gaps between the stitches. I placed the straight edge in the exact same place on the finished piece, and that shows how the point above the 60 A NEEDLE PULLING THREAD ● issue 59

Fractured Flower Trivet This trivet A NEEDLE PULLING THREAD ● issue 59 design is the culmination of the last several Knit Together articles: the adaptation of the flower in Issue 57 Creative Options in Knitting, the striped I-cord from Issue 58 Edgy Knitting, and the double-knitting piece Fractured Flower Trivet that follows in this issue. The piece can be used before or after a wash to full the fabric. – Cynthia 61

skill level Intermediate knitting finished measurements 10” x 10” [25.5 x 25.5cm] before fulling instructions materials yarn I-cord base: With dpn and waste yarn next Col B stripe, ytb**; rep from * twice, • Universal Deluxe Worsted wool yarn provisionally cast on 6sts. With Col A, cast (with Col B, pick up and knit next Col A on 4 sts. stripe, ytf, with Col A, pick up and purl next 100% wool, 100g/200m [3.5oz/ Col B stripe, ytb) twice, rep from * to ** 13 220yds] per skein 1 skein each Col Slide sts to other end, join Col B and K times, with Col B, pick up and knit next Col A (gold) and Col B (green) across. A stripe, ytf, with Col A, pick up and purl needles next Col B stripe, ytb, rep from * to ** 20 • US 8 [5mm] needles or size needed Make a striped I-cord, working 1 row Col times (Row 1 of chart complete, 40 sts each to obtain gauge A, 1 row Col B until there are 42 stripes Col A and Col B plus 4 I-cord sts in Col A). • Two double-point needles for each of Col A and Col B. Photo 1 I-cord size US 8 [5mm] gauge Work 1 more row Col A. Do not break yarn. Turn work and pick up the 4 Col A from 18 sts and 24 rows to 4” [10cm] provisional cast on edge. Place these 4 sts A looser gauge will have a lower Slide the sts to the opposite end of the onto left needle so the purl bumps face the insulation value. If the finished piece dpn and transfer to a straight needle. back of the work. will be fulled, gauge is not important. special abbreviations Set up Row for Center panel Turn second corner: Slb: slip last 4 sts back to left needle Wyif: with yarn in front Lay I-cord out with cast on on the left and *With Col B, k4, slb, repeat with Col A, slb; Ytf: take both yarns to the front of last sts worked on the right. Skip the first rep from *. work two Col B stripes from the needle. (This Ytb: take both yarns to the back of space creates the first corner.) Rows 2-60 work With Col B at back of work, pick up a The chart does not include the I-cord sts. 1 stitch with Col A in the next Col A stripe The format for working every row of the on the I-cord, ytf, with Col B, pick up and chart is k4 sts Col B, slb, k4 sts Col A, work 2 purl a stitch in the next Col B stripe on the chart row, wyif, sl last 4 sts pwise. I-cord, ytb. (This completes the first stitch Work the rem rows of the chart in this of the chart.) manner. Turn corner: *With Col A, pick up and knit next Col K4 Col B, slb, k4 Col A, slb, k4 Col B, slb. A stripe, ytf, with Col B, pick up and purl 3 captions 1 The 4 stitches on the right are for the i-cord. In the next 8 stitches (4 units), the red loops on the needles are picked up and knit from the corresponding red < on the i-cord and the grey loops are picked up and purled from the grey < on the i-cord. The next two stitches are dark squares on the chart, so for them, the grey loop is picked up through the red < on the i-cord and the red stitch is picked up and purled through the grey < on the i-cord. 2 The extra i-cord rows to turn the final corner 4 have been worked, but the stitches on the right needle are not in the right position to graft them to the stitches on the left needle. To get them there, slip the stitches from the right needle onto a double pointed needle. 3 Here, the silver needle is a double point needle. The stitches have been turned into position for grafting the i-cord together. The grey yarn in the sewing needle creates a row of 4 grey stitches between the red stitches on each of the knitting needles as it connects them. 4 The arrow shows the extra row of grey yarn created by the graft. 62 A NEEDLE PULLING THREAD ● issue 59

I-cord cast off Fractured Flower Trivet CHART With Col A, k3, k next st tog with next st, slb 40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 With Col B, k3, p next st tog with 60 next st, slb Rep these 2 rows until there are 4 59 sts left on each needle, slb. 58 Turn corner: K4 Col A, slb, k4 Col B, slb, k4 Col 57 A. Break Col A and sl last 4 sts 56 onto a dpn. With Col B, graft the last 4 sts on 55 dpn to the 4 I-cord sts from the 54 other needle. Photos 2, 3, 4 53 finishing 52 Weave in all ends, full the finished piece if desired. 51 50 Cynthia MacDougall Canadian Guild of Knitters 49 PO Box 562 Stn Main 48 Orillia, Ontario L3V 6K2 705.722.6495 47 1.866.245.5648 (CGK-KNIT) 46 https://cgknitters.ca/ blog: CGKnitters.ca/blog 45 ravelry name: macknitnow 44 43 42 41 40 39 38 37 36 35 34 33 32 31 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 A NEEDLE PULLING THREAD ● issue 59 63

Sunflower Socks 64 A NEEDLE PULLING THREAD ● issue 59

knitting SOCK 1 BE A FLOWER Thoughtful Soles Series SOCK 2 STRETCH IN THE SUN One of the mindfulness instructions Foot magazines I admired had Set up for the gusset. a full-page photo of a field Cuff Needle 1: K22 sts, pick up and knit 18 sts of sunflowers with the Cast on 88 sts onto one needle with MC. following caption. Using a k2 p2 repeat work the stitches upside of flap. evenly onto three needles (28, 32, 28). Needles 2 and 3: Knit across instep “When you are busy, it is Join to work in the round placing a calming to remember that marker to indicate the beginning of the stitches decreasing to 36 sts by somewhere out there is a round. ktog at the center. vast field of flowers just Work in k2 p2 rib for 1¾\". Needle 4: Pick up k18 sts downside of stretching in the sun.” heel flap. K11 from Needle 1. Note: The center of the sunflower can be Knitting these socks is my worked with a duplicate stitch at any time Cut MC. tribute to that bit of advice you feel comfortable with it. I completed it and working with such before I started the leaves. Embroider French Join contrast colours 1 and 2. luscious yarn makes it easier knots in the center with black. to be mindful. – Lorraine The gusset decrease and foot are knit in a Leg 10-round stripe pattern. skill level Advanced Knit one round increasing to 90sts. Arrange stitches onto three needles with ROUNDS 1 and 2 CC1 finished size women’s medium 30sts on each. The marker remains in place. ROUNDS 3 to 10 CC2 finished weight 136g Join contrast colours as needed and work rounds 1 to 105 of Chart A. Resume knitting in the round and work materials the gusset decrease every other round to yarn Note: the three repeats of 30sts are reduced 72 sts as follows. Universal Yarn Bella Cash and Donnina to 25 sts each. yarns ROUND 1 • 2 balls Bella Cash Main Colour (MC) – oat Cut CC. 75 sts remain. Needle 1: K to last 3 sts, k2tog, k1. • 1 ball Donnina (CC1) – amber Needles 2 and 3: K36 instep sts. • 1 ball Donnina (CC2) – daffodil Heel Flap Needle 4: K1, ssk, k to end. • 1 ball Bella Cash (CC3) – coffee The Heel Flap is worked back and forth • 1 ball Bella Cash (CC4) – emerald on 38sts with MC as follows. ROUND 2 • small amounts of black for French knots K19 st, leave 37 sts on two needles for Knit all sts. the instep. P38 sts. The marker will at the needles center of these stitches. Continue the stripe pattern on 72 sts as • a set of US 1 [2.5mm] 5 dpns or in size Row 1: (Sl1, k1) repeat to end. set until the foot measures 5½” from pick Row 2: Sl1, p to end. ups. I knit six repeats of the stripe pattern required to meet gauge Repeat rows 1 and 2 eighteen times. plus two more rounds of CC1. Cut CC. Work Row 1 once more. notions Work Row 2 once more as follows: P15, Using CC3 and following Charts B and C • large-eyed sewing needle p2tog, p16. 32 sts work the words into the soles on rounds • scissors 20 to 47 using a duplicate stitch. • stitch marker Heel Turn • ruler Row 1: K to center, k2, ssk, k1. Turn. Toe Row 2: Sl1, p5, p2tog, p1. Turn. Join MC. gauge Row 3: Sl1, k to one st before gap, ssk, k1. 18 sts = 2\" [5cm] in stocking stitch ROUND 1 Turn. Needles 1 and 3: K to last 3 sts, k2tog, k1. Row 4: Sl1, p to one st before gap, p2tog, Needles 2 and 4: K1, ssk, k to end. p1. Turn. ROUND 2 Knit all sts. Repeat rows 3 and 4 until all stitches are Repeat rounds 1 and 2 decreasing 4 sts used ending with 22 sts. every other round to 32 sts. Repeat rounds 1 decreasing 4 sts every round to 16 sts. finishing Graft toe stitches. Weave in ends. Wet block after making second sock. Photos by Simon Pelletier A NEEDLE PULLING THREAD ● issue 59 65

Chart A - Rounds 1-105 30 sts reduced to 25 Sunflower 105 100 Socks CHARTS 90 80 Chart B 70 60 940 50 40 30 30 20 Chart C 20 10 47 1 40 MC 30 x CC1 20 Charts B and C do not show colours CC2 of background stripe pattern w CC3 Lorraine Thompson CC4 k2tog mc 905.885.0347 x415 x CC3 in duplicate stitch 66 A NEEDLE PULLING THREAD ● issue 59

A Needle Pulling Thread Standard abbreviations & terms Are you a Canadian knitter? alt = alternate p = purl approx = approximately p2tog = purl 2 sts tog (decrease) read about knitting beg = begin(ning) patt = pattern learn about knitting BO= bind off pfb = purl into front and back of join Canada’s knitting community CC = contrast colour like US on Facebook! ch = chain stitch (increase) cm = centimetre(s) pm = place marker When you join, receive cn = cable needle psso = pass slipped stitch over co = cast on RS = right side » 4 issues of A Needle PullingThread magazine cont = continue, continuing rem = remain(ing) dc = double crochet rep = repeat » entries into Random Acts of Knitting draws dec = decrease(s), decreasing rev = reverse » access to the Knitting Accreditation Program dpn = double-pointed needle(s) rnd = round foll = following sc = single crochet PO Box 562 Stn Main g = gram(s) sl = slip Orillia, Ontario L3V 6K2 hdc = half double crochet skp = slip one st, knit next st, pass inc = increase(s), increasing www.cgknitters.ca in(s) = inch(es) slipped st over knit st (dec) k = knit ssk = slip, slip, knit: slip 2 sts kf&b or kfb = knit into front and knitwise, 1 at a time, insert back of st (increase) left-hand needle into front of ktbl = knit through the back loop both sts and knit them tog k2tog = knit 2 sts tog (right- (left-leaning decrease) sssk = slip next three stitches leaning decrease) individually, knitwise. Insert k3tog = knit 3 sts together tip of left needle from front to back into the fronts of (double right-leaning these three stitches and knit decrease) them together (double left- m = marker leaning decrease) m = meter(s) st(s) = stitch(es) m1 = Make 1 stitch: pick up the St st = stocking stitch horizontal strand between tbl = through back loop 2 stitches from front to back tog = together and knit it tbl (lifted increase) tr = treble crochet MC = main colour WS = wrong side mm = millimetre(s) yo = yarn over oz = ounce(s) A NEEDLE PULLING THREAD ● issue 59 67

One’s first thoughts about gardens are often about colour, flowers, and the birds and butterflies that they attract. But gardens are also about foliage and various calming shades of green. In this design, foliage takes center stage. Vines span the length of this wrap, enhanced by a twin leaf motif along the lower edge. The yarn is Universal Yarn Bella Cash, a soft, round, fine-weight yarn with good stitch definition, and a luxurious feel thanks to the cashmere in the blend. With instructions for two widths, you can knit the design as a scarf or a wrap and personalize the length by adding or subtracting 8-row repeats. – Nancy Leafy Vines Wrap 68 A NEEDLE PULLING THREAD ● issue 59

knitting skill level Intermediate Notes Instructions • The lace body can be worked from written finished measurements Loosely cast on 60 (96) sts. Knit 5 rows. Scarf: 11” x 68” [28 x 172.75cm] instructions or the attached chart. Wrap: 18” x 68” [45.75 x 172.75cm] • The sample relaxed back 5-10% after Work lace section as follows. materials being removed from the blocking table, Row 1 (RS): K5, [yo, k2, ssk, k2tog, k2, yo, yarn so you will probably want to stretch and k1] 3 (7) times, k9, DSD, yo, k1, yo, • Universal Yarn Bella Cash, 60% Fine pinout your item a little larger than the p2, yo, k1, yo, sk2p, k9. finished measurements. Merino Superwash, 30% Nylon, 10% Row 2 (WS) and subsequent WS rows: K3, Cashmere, 210m [230yds] per 50g Vine Pattern p10, k2, p10, k3, p to last 3 sts, k3. [1.75oz] ball (over a multiple of 9 stitches plus 2) • 3 (5) balls Colour # 125 Emerald Row 3: K4, [yo, k2, ssk, k2tog, k2, yo, k1] 3 Row 1 (RS): K2, * yo, k2, ssk, k2tog, k2, yo, (7) times, k8, DSD, k1, yo, k1, yo, k1, needles k1; rep from * to end of row. p2, k1, yo, k1, yo, k1, sk2p, k7. • US 6 [4mm] knitting needles, or size Row 2 (WS): Purl. Row 5: K5, [yo, k2, ssk, k2tog, k2, yo, k1] 3 required to obtain gauge (7) times, k5, DSD, k2, yo, k1, yo, k2, Row 3: K1, * yo, k2, ssk, k2tog, k2, yo, k1; p2, k2, yo, k1, yo, k2, sk2p, k5. other rep from * to last st, k1. • yarn needle for weaving in ends Row 7: K4, [yo k2, ssk, k2tog, k2, yo, k1] 3 Row 4: Purl. (7) times, k4, DSD, k3, yo, k1, yo, k3, gauge p2, k3, yo, k1, yo, k3, sk2p, k3. 20.5 sts and 28 rows = 4” [10cm] square, Repeat these 4 rows for pattern. blocked, in Vine Pattern stitch Row 8: K3, p10, k2, p10, k3, p to last 3 sts, k3. Twin Leaf Pattern (over 22 stitches) Special Abbreviations Repeat these 8 rows until piece measures DSD = double slip decrease: ssk, slip Row 1 (RS): K6, DSD, yo, k1, yo, p2, yo, k1, 67½” [171.5cm], or desired length, ending stitch back to left-hand needle, pass the yo, sk2p, k6. with Row 7, and WS facing for next row. second stitch on left-hand needle over Knit 5 rows. the ssk, return decreased stitch to right- Row 2 (WS) and subsequent WS rows: hand needle–2 sts decreased P10, k2, p10. Bind off loosely using lace bind-off, lace bind-off = knit 1; * knit 1, insert described above, or your favourite left-hand needle into the fronts of the 2 Row 3: K4, DSD, k1, yo, k1, yo, k1, p2, k1, stretchy bind-off method. stitches on the right-hand needle and yo, k1, yo, k1, sk2p, k4. knit them together through the back finishing loops; repeat from * until one stitch Row 5: K2, DSD, k2, yo, k1, yo, k2, p2, k2, remains; fasten off. yo, k1, yo, k2, sk2p, k2. Wet block to finished dimensions, sk2p = Slip 1 stitch knitwise, k2tog, pass stretching as needed to open up lace the slipped stitch over the k2tog–2 sts Row 7: DSD, k3, yo, k1, yo, k3, p2, k3, yo, pattern (see Notes). Weave in all ends. decreased k1, yo, k3, sk2p. Row 8: P10, k2, p10. Repeat these 8 rows for pattern. Leafy Vines Wrap CHART Photos by Simon Pelletier Nancy Lekx [email protected] 69 ravelry lekxknits A NEEDLE PULLING THREAD ● issue 59

Cross Stitched Black Rose 70 A NEEDLE PULLING THREAD ● issue 59

cross stitch This design is based on a Colour Key colour pencil sketch I did for an art Backstitch black class. I’ve always thought it would make a cool cross- symbol number stitch, so this issue’s theme 310 gave me a chance to try it out! I’m quite pleased with Floss Used for Full Stitches Black Rose the way it came out… but of course, if you prefer your symbol number colour CHART roses coloured, there are only S 310 black 6 shades in this beauty, so Jo Gatenby select complementary colours À 318 steel grey - lt from palest to darkest, and go xs-and-ohs.com for it! – Jo k 414 steel grey - dk Model stitched by Brenda Swain skill level Intermediate 5 415 pearl grey finished measurements D 762 pearl grey - lt (rounded up) 11ct – 6”W x 7½”H [16 x 19cm] ¿ 3799 pewter grey - vy dk 14ct – 4¾”W x 6”H [12 x 15cm] sample 10 20 30 40 50 60 16ct – 4¼”W x 5¼”H [11 x 13cm] DD DD ÀÀ 5À 55 kÀÀ ÀÀÀÀÀ stitches À k k 66W x 82H D D D 5 D 5 À À 5 5 À 5 5 5 5 k k À À k À À À materials D D D D D D 5 k k 5 5 À 5 À À 5 5 k k k À k k k À À À fabric 5 À À • 13” x 16” [33 x 41cm] 28ct k À 55 k k D D D D D D 5 5 k À À 5 5 À À 5 5 5À À 5 k k À 5 5 k 5 5 5 55 Antique White Jobelan D D 5 D 5 5 5 k k À À À À À À 5 5 5 À 5 5 D k k À 5 k 5 5 5 5 5 À 5 5 threads À 5 D 5 • DMC embroidery floss according D k À 5 5 D D 5 À 5 k D 5 5 À ¿ ¿ S ¿ ¿ ¿ ¿ ¿ 5 5 D 5 k À 5 5 À À 5 5 5 À À 5 5 5 to colour key 5 5 k D À À À D D 5 D 5 À S S ¿ S ¿ S S 5 5 5 D 5 k À À 5 À À 5 5 À 5 5 5 À 5 Notes: k D 5 D À 1. Three strands (3x) of floss are À S 5 5 5 À À k D D 5 D 5 5 5 À À S S S S 5 5 À À À D 5 5 k À À k À À k À À À 5 À 5 5 recommended for this design based on using a 14ct fabric. 80 70 60 50 40 30 20 10 5 5 À k k D 5 À À 5 D D D DS S S 5 5 À k k k D 5 5 k k k k k k k À D À À 5 5 À 5 This is a personal preference D D ¿¿ 5 k k D D of the designer, because k À k kk k À of the wonderful coverage À 5 k D D 5 À k k 5 5 5 D ¿ ¿ ¿ k À À k ¿ ¿ D 5 5 k k 55 k À À D D D D D D À 5 5 5 provided when using three strands. However, if using a 5 À k D 5 À k k k 5 5 D D ¿ k ¿ k ¿ ¿ ¿ ¿ ¿ D 5 5 k k À 5 k À D D À D D D D À À 5 5 smaller count fabric as in 16ct D ¿ k k À 5 D or less, then using two strands 5 ¿ k of floss is recommended. All 5 À À D D 5 k k ¿ ¿ ¿ S 5 5 D k ¿ k ¿ k S ¿ ¿ D 5 À À À 5 5 5 À À À À D D D D D À À 5 5 backstitching is done with one strand of black. 5 5 5 D 5 5 À k k ¿ ¿ S 5 5 D D D D D S S ¿ ¿ 5 5 À À À À 5 5 À À k k D À D D D À 5 5 5 k À D k 2. Please note that the more Sk standard two strands (2X) of 5 5 À k D 5 À k ¿ ¿ ¿ S À 5 5 D D D D D D DS k k k k k k k k k k k k À À À D D À 5 5 5 5 floss may be used, if preferred by the stitcher. DD DD 5 5 À k D 5 À À k ¿ S S À 5 5 5 D D D D D D S S S S S S S ¿ ¿ k ¿ ¿ k À À D D D À À 5 5 À D S À ¿ D S ¿ D À D D D D 5 5 5 À k D D 5 k À k ¿ S 5 À 5 5 D D D D D D D ¿ ¿ S S S S S S S ¿ ¿ À À À D S ¿ ¿ À À 5 À À À 5 D D D 5 5 À k À D D 5 À k ¿ ¿ S 5 5 À 5 5 5 D D D D D ¿ ¿ k k S S S S S S ¿ À À D D S ¿ À ¿ À 5 5 5 ¿ D k S ¿ S À À À 5 D D D 5 5 5 À À k ¿ D D 5 k ¿ S S 5 5 5 5 5 5 5 5 D 5 D D D D D 5 5 5 5 S S S S À À D S ¿ ¿ ¿ À À 5 À 5 À 5 5 D 5 5 À À k k ¿ D D 5 k ¿ S S 5 5 5 5 5 À 5 5 5 D 5 D D D D D D D 5 5 S S S 5 5 D S S ¿ À ¿ À À ¿ 5 D D 5 5 D D S 5 À À 5 5 5 5 D À 5 k k ¿ ¿ ¿ S D 5 S S 5 5 5 5 5 5 À 5 5 5 5 5 D D D D D D D D D D D S S D D 5 S ¿ ¿ À À À À À À 5 5 5 D 5 5 k k ¿ ¿ S S D D 5 S 5 5 5 5 5 5 5 À 5 À 5 5 5 D D D D D 5 À À k D S S D 5 5 S ¿ À ¿ À À D S k S S À À À À À À 5 D D À k ¿ ¿ ¿ ¿ S S D D D k 5 5 5 5 5 À 5 À 5 5 5 5 5 D 5 5 5 À À À À k S D D D 5 S ¿ ¿ À À 55 5 5 55 À À À À 5 5 D D À k k ¿ ¿ ¿ S S D D D k k 5 5 5 5 À 5 5 À 5 5 À 5 5 5 5 À 5 À k À kS D 5 D 5 S ¿ ¿ ¿ À k À 5 5 D D D D 5 5 D SD k S 5 À À À À 5 5 D D D À À ¿ ¿ ¿ S S S D D D D D k k 5 5 À 5 5 À À 5 5 5 5 5 À À À À À k D D D D 5 S S ¿ ¿ À k k 5 5 D D 5 D D D 5 À À 5 5 5 5 D D À k ¿ ¿ ¿ S S S D D D D D D k k 5 À 5 5 À 5 5 À 5 5 5 À 5 k À k k D D D 5 5 S ¿ ¿ ¿ À k À À 5 5 5 5 5 D D 5 5 D D D k k 5 À À À À 5 5 D D k À k ¿ S S S S 5 5 5 D D D D D k k 5 5 À 5 À 5 À 5 À À k À k D D D 5 D 5 S S ¿ ¿ À k k À 5 5 5 5 5 5 5 D 5 À À 5 À 5 5 D À k k ¿ ¿ S S S À 5 5 5 D D D D D k k 5 5 5 À 5 5 À À À À k k D D D D 5 5 S S ¿ À À k À À À 5 À 5 5 À 5 D À 5 D D S D k D À À À 5 À 5 5 5 D À k k ¿ ¿ S S S À À 5 5 5 5 5 5 5 D D k 5 À 5 À 5 À 5 k À k D D D 5 S S S S ¿ ¿ À À k À ¿ ¿ À 5 5 À 5 À À 5 k ¿ À À À 5 À 5 D À À k k S ¿ S S À À À 5 5 5 5 5 5 5 Dk k k 5 5 À À À À k k D D 5 5 S S S ¿ ¿ ¿ À Àk ¿ ¿ ¿ À À À À À k k 5 À ¿ 5D D k¿ ¿ k À k k k 5 5 À 5 À 5 À 5 À k À k ¿ ¿ S S À À 5 À 5 À À 5 5 5 5 D D D k À À k À k D D D D D 5 S S ¿ ¿ ¿ k ¿ ¿ ¿ ¿ ¿ k k À 5 k k À À 5 ¿ ¿ À À À À 5 5 À À k k ¿ S S S À À À À 5 À 5 À À À 5 D D D k k À À k k D D D 5 5 5 S S ¿ ¿ k k ¿ ¿ ¿ k k k À 5 D k À À 5 D ¿ ¿ 5 D D S ¿ À À D k k 5 k ¿ À À À À À À k ¿ ¿ S S S À À À À À À À À 5 À 5 5 5 D D À k D D D 5 D 5 S S S ¿ ¿ k ¿ ¿ ¿ ¿ ¿ ¿ k À À 5 D k À À 5 D D ¿ À À k À À k k ¿ ¿ ¿ S S À À 5 À À À 5 À À 5 À À 5 5 5 k k D D D D 5 5 S S S k ¿ k ¿ ¿ ¿ k ¿ k À À 5 D D k À 5 5 D D ¿ k D S À 5 k D D¿ À À k À k k ¿ ¿ ¿ S S S À À 5 5 À À À 5 À À À À 5 5 k D D D 5 5 S S S S ¿ ¿ k ¿ ¿ ¿ k k k À À 5 5 D k À 5 À 5 D ¿ À À k À À k ¿ ¿ ¿ ¿ S S À À 5 À À À 5 À À À À 5 À 5 k D D 5 5 5 S S S k ¿ k k ¿ ¿ k ¿ À k k À 5 D D k À À 5 5 D ¿ k D S ¿ k À À À 5 k À k k À k k ¿ ¿ S S S À 5 À À 5 À À À À 5 À À 5 D D 5 5 S S S S ¿ ¿ k ¿ ¿ ¿ ¿ ¿ k k À k À D D k À À 5 5 D D À À k À À k ¿ ¿ ¿ S S À À 5 À À À À 5 À 5 À 5 5 D 5 5 S S S S ¿ ¿ k ¿ ¿ ¿ ¿ ¿ k À k k k 5 D D k À À 5 D D D ¿¿ D S kÀ 5 5 D À k ¿ ¿ ¿ ¿k À À k ¿ ¿ ¿ S À À 5 À À 5 À 5 À À À D D S S S S S ¿ ¿ ¿ ¿ k ¿ ¿ ¿ k k k k À 5 À 5 D k k À À À 5 D D 5 5 À À k k k ¿ k À À k ¿ ¿ ¿ ¿ À À À 5 À 5 À À À 5 5 D 5 S S ¿ ¿ ¿ ¿ k ¿ k k ¿ ¿ k k À À k k À 5 D D k À À 5 5 D D 5 ¿ S ¿ À 5 5 k 5 5 5 5 5 5 À À À À k ¿ ¿ À À k k ¿ ¿ S À À 5 À À À À 5 À 5 5 S S ¿ ¿ ¿ ¿ ¿ ¿ k ¿ ¿ ¿ k k k k k À À 5 D D D k À À 5 5 D 5 5 5 5 5 À À 5 5 À À À k ¿ ¿ ¿ k k k ¿ ¿ À À À 5 À À À À À 5 5 S S ¿ ¿ ¿ k ¿ k k ¿ ¿ ¿ ¿ k À k k k 5 D D D D À À À 5 5 5 5 ¿ S S ¿ k k À 5 k 5 5 5 5 5 5 5 5 À 5 5 À À k ¿ k ¿ ¿ k k ¿ ¿ ¿ À À À À 5 À À S S S ¿ ¿ ¿ ¿ ¿ k ¿ ¿ ¿ ¿ k k ¿ À À k À D D D D k À 5 À 5 5 5 5 5 5 k 5 À 5 5 5 À 5 À k À k k ¿ ¿ ¿ ¿ ¿ À À À À 5 À k S S ¿ ¿ ¿ ¿ k k k ¿ ¿ ¿ k k k k À À D 5 5 D D D k À À 5 5 ¿ ¿ ¿ k ¿ À k D 5 5 5 5 k 5 5 5 5 5 À 5 5 5 À 5 À À k ¿ ¿ ¿ ¿ ¿ ¿ ¿ k k k k S S ¿ ¿ k k ¿ ¿ ¿ ¿ ¿ k À k À À k À 5 D D D D k À À À 5 5 5 k k 5 5 5 5 5 À 5 5 À 5 5 5 À k ¿ ¿ À À À À k ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ k k k k À À 5 À À 5 D D D D k À À À 5 À k k 5 À D 5 5 k 5 5 5 5 k 5 À 5 5 5 À 5 5 À k 5 5 5 À k k k k k k k k k k k k ¿ ¿ ¿ k ¿ k k k k À 5 5 5 À D D D k k À 5 5 5 5 k 5 5 5 5 k 5 À 5 5 À 5 5 5 À À 5 5 À À À À À k k k k k k k k k k ¿ À k k À ¿ À k À 5 5 D D D D D k À 5 À À k 5 k k 5 À D À 5 k 5 5 5 k k À 5 5 5 À 5 5 5 À 5 5 5 À 5 5 5 5 À À k k À k k k k k k ¿ À À k À k À À À D 5 D D k k À 5 À 5 5 k 5 5 5 k À À 5 5 5 À 5 5 5 À 5 5 5 5 5 D 5 À 5 À k À À k À k k À k k À À À À k À 5 5 5 D D D k À À À À À k k k 5k 5 D À 5 5 k k k À 5 5 5 5 À 5 5 5 À k 5 À À 5 D D 5 À À À k k À k À k k À k À k k À À À 5 D D D k k 5 5 5 5 5 5 k k À 5 5 5 5 5 À 5 5 5 5 k À À À À D D D 5 5 À k À k À k À k À 5 k k D D À À 5 D D kkk ÀÀ k 5 D DD À D 5 5 5 k k k À À 5 5 À 5 À 5 5 5 5 5 k k k D D D D D 5 5 À À k À k k À 5 À k k 5 5 5 k k À À 5 5 À 5 5 À 5 5 5 5 5 À k k D D DD D D D D 5 À 5 À k 5 5 k k k DDD k k ¿¿ 5 D D k k k À À 5 5 5 À 5 5 À 5 5 5 5 À À k k k k ¿ ¿ ¿ D D D D À 5 5 5 5 k k k k k k À 5 5 5 5 À 5 À 5 5 À 5 À À k k k k k ¿ k ¿ D D D D D D D 5 k k k S k k SÀ DD D D DD À 5 5 5 5 À 5 5 À 5 5 À 5S À À k À k k k k k À À ¿¿ À 5 5 5 5 À 5 5 À 5 5 5 5 S À k À À k À k k À À À ¿¿ S 5 k ¿¿¿ 5 5 5 À 5 5 À 5 5 5 5 S S S k À k k k k À À 5 5 5 À 5 5 À 5 À 5 À S À S k À k À À k À À ¿¿ 5 S 5 S k À 5 5 À 5 5 À 5 À À 5 À À À k ¿ ¿ À k À ¿¿ 5 5 À 5 5 À 5 À 5 À À À S À k ¿ ¿ ÀÀ ¿ ¿¿ À ¿ 5 S ¿ ¿¿ 5 5 5 5 À 5 À 5 À À À À À À k k ¿ ¿ ¿ 5555555555ÀÀÀSk¿kk¿ ¿¿ 55 5 5 5 55 5 5 5 5 S k k k k k ¿ ¿¿ ¿ 555 5 ¿ ¿¿ Sk¿k¿¿ Sk k ¿ k ¿S ¿¿ S¿k¿kS ¿¿¿ SS¿¿¿¿S ¿¿ ¿¿¿¿¿ SS ¿ ¿ S ¿ ¿ ¿ S S ¿ ¿ k k k ¿ ¿ SS ¿ ¿ S S S k ¿ k k k k ¿ ¿ ¿ ¿¿¿ S¿¿SSS¿kkkk¿¿¿ ¿¿¿ SSSk¿kkk¿¿¿ ¿ ¿¿ ¿¿ ¿¿ ¿ ¿ ¿¿ ¿¿¿ ¿ ¿¿ ¿¿ ¿ ¿ ¿¿ ¿¿ ¿ ¿¿ ¿¿ ¿ A NEEDLE PULLING THREAD ● issue 59 71

Garden Lady Hooped Wall Art There’s something very magical about a garden. Inger Waage, a Norwegian artist (1923-1995), explored whimsical garden scenes in her functional dinnerware and serving pieces for the Starvangerflint company in the middle of the last century. They were seen as very avant-garde and somewhat bohemian even then. Her work has enjoyed growing popularity among midcentury modern collectors today. “To see a world in a grain of sand and heaven in a wildflower, In this homage to Hold infinity in the palm of your hand and eternity in an hour.” her work, I created a garden that begins – William Blake, Auguries of Innocence in the gardener’s imagination and flows out to the world. I’ve used Essex linen, backed with HeatnBond as a stabilizer and a myriad of variegated threads and embellishments that have lived in my stash for long enough. I hope you try this free- flowing design that holds heaven, wildflowers, and a sense of bliss. None of the stitches used are complicated, and even the placement template is just a guideline. Make this garden lady your very own. – Nancy 72 A NEEDLE PULLING THREAD ● issue 59

e m broidery 1 skill level Intermediate Instructions 2 3 finished measurements Preparing the fabric 4 14” [35.5cm] diameter excluding pompom trim 1. Wash and press the linen fabric before A NEEDLE PULLING THREAD ● issue 59 design size 10¼\" x 10½\" using it. This is important for this project because it softens the linen. materials fabric 2. Cut a 20” x 20” piece of linen. • 20” [51cm] square piece of Essex linen 3. Cut a 20” x 20” piece of Feather in Aqua Lite HeatnBond fusible interfacing. • scraps of fabrics for the birds and This will help support and stabilize the stitches. Follow the package garden lady’s head directions carefully. Press, not iron, • 20” [51cm] square piece of HeatnBond the interfacing to avoid puckers and wrinkles. stabilizer • 9” x 12” [23 x 30.5cm] piece of Sulky 4. Zigzag the edges of the interfaced linen. wash away stabilizer threads 5. Use a light table or a sunny window • Sulky holographic embroidery thread to trace the design onto the prepared • Sulky 100 percent long-staple cotton linen fabric. Use a soft pencil for this. benders threads 6. Trace the face design onto the scrap • DMC Variations floss: pinks, reds, greens, fabric for the face appliqué. blues, and purples 7. Place the linen into a 14” embroidery • Pearl cotton variegated threads hoop, and ensure it is drum tight in • upholstery weight thread the hoop. needles Preparing the appliqués • DMC quilting needles size 8 • DMC embroidery needles 1. Trace and cut out the appliqué • DMC Chenille needles designs onto cardstock. Use a fabric glue stick to adhere to the fabric. other Using sharp scissors, cut around the • Angelina fibres shapes, adding a ¼ seam allowance. • fabric glue and craft glue Clip around the shapes, but not too • 14” embroidery hoop close to the cardboard. Photo 1 • card stock • templates provided 2. Add a thin line of fabric glue around • PeelnStick double-sized tape the paper shapes and fold the fabric • thimble seam allowance around the shapes. Press the shapes with a very steamy optional iron. The steam will soften the fabric • 50” [127cm] pompom trim glue and stabilize the shape. Allow • seed beads the shape to cool slightly, and then remove the unglued part of the paper stitches used carefully using sharp scissors. Take • satin stitch, stem stitch, split stitch, lazy time to remove the small areas like the birds’ wings to keep the rounded daisy stitch, French knots, by hand shape. Once the papers are removed, • thread painting by machine press the shapes again. Photo 2 3. Pin the shapes to the areas on the linen, and using a small stitch, add the appliqués. Photo 3 4. Embroider the Garden Lady’s face using three strands of brown floss. Outline the eyes, and then work the inner eyes with a satin stitch. Photo 4 73

5 5. Add feather details with three strands Adding the leaves 6 of variegated blue/green floss using a 7 split stitch. Add lazy daisy stitches to 1. Embroider the flower stems the head and tail feathers. and leaves, using three strands 74 A NEEDLE PULLING THREAD ● issue 59 of variegated green floss, and a Making the fantasy flowers and leaves combination of satin stitch, stem stitch, split stitch, and lazy daisies. Let’s make the leaves from an embellished fabric, created with thread 2. Add the machine embroidered leaves. painting techniques. Use small pieces of double-sided tape to position them. You may need to cut 1. With an embroidery needle in the them down to fit the piece. Photo 8 machine, install the free motion or darning foot, loosen the thread 3. The leaves are not appliquéd to the tension slightly, and drop the feed stems. Attach them with a line of split dogs. Thread the machine with stitches through the center of each variegated embroidery threads; green leaf. It’s not easy to get through all the shades in Sulky’s Willow Blenders by stitches, so consider using a chenille McKenna Ryan were used for the needle and thimble to get through sample. the layer of thread and fabric. 2. Layer a 9” x 12” piece of muslin or Berries green scrap fabric with a stabilizer. All berries/buds are French knots worked 3. Cover this fabric with stitches – a small in one ply of variegated pearl cotton. If zigzag stitch works well for this. Once you prefer, these can be replaced with the entire piece is covered, switch to seed beads in a variety of colours. Sulky’s Holoshimmer in green to add some shiny interest to the leaf “fabric”. finishing 4. Trace the leaf shapes onto the back 1. Once the piece is finished, remove of the fabric you created and cut it from the hoop and press it from them out with sharp scissors. Photo the back, using a lot of steam -- not 5 Seal the edges with Fray Check or allowing the iron to rest on any one clear nail polish. part of the fabric. This will plump up the stitches and smooth out any 5. To make the fantasy flowers, sandwich wrinkles. several fibres like Angelina fibres, between a 9” x 12” piece of water- 2. Fold the leaves to the center while soluble stabilizer. Then, using the they are still warm, so they stand up a same techniques used to make the bit from the surface. leaves, create flower centers with several colours of variegated threads. 3. Use fabric glue to adhere the fantasy Photo 6 flowers to the work. Allow drying. Note: Beforehand, I made several flower 4. Using the inner ring of the hoop as a centers in various colours and sizes to make guide, cut a piece of quilt batting to fit sure I had choices. the back of the work. Use a light spray of quilt basting to attach the batting. 6. Following the manufacturer’s instructions, immerse the stabilizer in 5. Put the work back into the hoop, and warm water and stir, a chopstick works roughly cut around the excess linen. well. I rinsed the piece twice to ensure Use a chenille needle and a double it was no longer sticky. Photo 7 strand of upholstery thread to gather the fabric around the hoop. Pull up 7. Once the flower centers are dry, the thread as you go and do two pull them apart. This creates a more passes around the hoop. Photo 9 organic feel than cutting them. Set them aside. 6. If desired, use craft glue to attach pompom trim around the hoop. 7. Attach a hanging ribbon at the top of the hoop by threading it through the tightening screw. Enjoy your stitcher’s dream of the garden!

89 Garden Lady Hooped Wall Hanging Enlarge by 200% PATTERN 10¼\" 10½\" Nancy Devine Instruction photos by Nancy Devine [email protected] A NEEDLE PULLING THREAD ● issue 59 75

Front When I think of gardens, I think of the English gardens I have seen. They always look so lush and lovely and full of colour. In this design, I stitched a cottage and a garden to match. You can follow the placement of the flowers, etc., if you wish. You can use the colours provided and customize your own Cottage Garden. It’s up to you! – Kim Cottage Garden Needlebook Back 76 A NEEDLE PULLING THREAD ● issue 59

skill level Intermediate e m broidery 12. Once the stitching is complete, carefully cut out the inner and outer finished measurements Instructions panel leaving approximately ¼” - ½” allowance. 2¾” x 3” (closed) 1. Complete the Back Stitch (over four fabric threads) with DMC #8 to outline 13. Carefully cut card stock to fit inside the materials the outer panel and inner panel. Back Stitch over four lines on the outer panel. Cover card stock with white felt fabric 2. Complete the Back Stitch over four (both sides). Make sure the covered fabric threads on the inner panel for felt fits approximately ¼” inside the • 10” x 10” piece of 28 ct linen cream the anchor of the needle pages (felt Back Stitch line, trim if needed. will be added later). thread 14. Finger press along the Back Stitch over 3. Using the chart for placement four fabric threads stitches. Fold the DMC complete all cross stitches on the allowance to the inside of the panel. • floss white, 307, 310, 318, 321, 414, 444, outer panel using two strands of floss. 15. Using DMC Pearl Cotton #8 start in 550, 553, 728, 762, 782, 783, 826, 827, 4. Complete the Lattice Stitch for the right lower corner of the outer panel 829, 831, 839, 3345, 3346, 3347, 3731, windows with one strand of white and whip stitch the outer panel to 3823, 3841 floss. Make diagonal straight stitches toe the inner panel. Use the Back • Pearl Cotton #8 and #12 in ecru in one direction. Then complete Stitch over four fabric threads to Whip the other diagonal straight stitches, Stitch. As you get halfway along the other weaving the thread over and under side, insert one ribbon (tie one end the first set of diagonal straight and place knot end of the ribbon on • 7” x 4” card stock - white stitches. inside of Whip Stitches to anchor the • 7” x 4” felt – 2 pieces (to attach to card tie) and continue to Whip Stitch along 5. Complete the Back Stitch (over two the roofline. Insert the other ribbon tie stock) - white fabric threads) for the roof, door, halfway and finish this third side. • 10” ribbon – 2 pieces window outline, and stones. • 2 – 2½” x 2” pieces of felt for needle 16. Insert carefully, the felt-covered card 6. Complete the vines in Wrapped Back stock into the pocket of the outer and pages in green or your choice of colour Stitch (over two fabric threads) as inner panel you have made. You may • Mill Hill Seed Beads – 0123 shown on the chart. need to move the allowance for the • hoop, frame, or Q Snap card stock to slide in nicely. You may 7. Complete the leaves on vines and need to trim the card stock. stitches used in flower boxes using two strands of 3346 and lazy daisy stitches. 17. Finish the final seam (bottom of the Cross Stitch, Back Stitch (over four), Back needlebook). Stitch (over 2), Wrapped Back Stitch, Lazy 8. Using 2 strands of floss, complete the Daisy, Lattice Stitch, Bullion Knots, French stems and leaves as Straight Stitches. 18. Attach the seed beads using DMC Knots, Eyelet, Straight Stitch, Whip Stitch Pearl Cotton #12 along the Whip (for assembly) 9. Using 2 strands of floss, complete the Stitch edging. Straight Stitch flowers (light purple chart info lines), Lazy Daisy, and the Eyelet 19. Using Pearl Cotton #12, attach the flowers. needle pages to the Back Stitch over 1 square = 2 X 2 fabric threads four fabric threads in the center of the • Use 2 strands for Cross Stitch 10. Using three strands of floss, complete inner panel. • Use 2 strands for Back Stitch the Straight Stitches (orange lines) • Use 2 strands for Wrapped Back Stitch and the doorknob (310) 20. To close the needlebook, create two- • Use 2 strands for Lazy Daisy, French fold lines in the card stock – one along 11. Using two strands of floss, complete each side of the house in the center. Knots, Straight stitches Bullion Knots (with 6-8 wraps) and • Use 3 strands for Straight stitched French Knots (with two wraps) leaves (Orange Lines) • Use 2 strands of floss for Bullion Knots, Eyelets, and French Knots Colour Charts are included with charts listing the floss colours etc. for the lines on the chart. A NEEDLE PULLING THREAD ● issue 59 77

Cottage Garden CHART for inner panel Chart:Cottage Garden Inner panel Cottage Garden Needlebook COLOUR KEYS stems, leaves, and outer panel outer panel outline lazy daisy whip stitch flowers cross stitch symbol number 13 symbol number symbol number 3346 14 906 762 414 3731 318 782 321 414 white 322 783 ecru #8 3347 3346 839 3345 3347 310 826 3345 827 728 eyelet 4 15 550 3841 3 16 553 3823 15 1 3 307 831 444 310 162 4 5 17 3346 829 13 11421086 Whip Stitch inner panel outline 21 18 symbol number 11 9 7 Lazy Daisy ecru #8 backstitchEyoelveter 2 backstitch over 4 2 14 36 5 2 14 36 58 7 Stitch (over four fabric threads) Back Back Stitch (ove 78 A NEEDLE PULLING THREAD ● issue 59

Cottage Garden CHART for cross stitch and outer panel outline Chart:Cottage Garden Outer Panel - Cross and Outline Cottage Garden CHART for placing stems, leaves, and flowers Chart:May 23 all flowers, grass and leaves Kim Beamish 79 [email protected] A NEEDLE PULLING THREAD ● issue 59

The C hallenge A Floral Crewel Stumpwork Design 80 A NEEDLE PULLING THREAD ● issue 59

crewel stumpwork While taking the Embroiderers’ When I finished drafting the border, I cut Pattern Association of Canada (EAC) Crewel out the shapes from the paper grid and Advanced course I was given a challenge tested how far back I could bend the Because I was planning two patterns, the by Helen McCrindle, my EAC Crewel fleur-de-lis shapes. I made a mark on the small miniature salesman sample and Course Counselor at the time. She asked grid paper where the tip of the fleur-de- the larger project I both, enlarged and me to design and complete a project by lis touched the border. reduced the pattern on the printer. combining two methods of embroidery: stumpwork and crewel yarn work. Thus I slept on the idea for a couple of days I looked at the patterns and for a began a journey into the design of this and then I changed my mind. The original millisecond I considered doing a colour project I’ve appropriately named The thought had been very ambitious, but I rendering on the paper pattern and Challenge. decided to create a flat border to help put naming which embroidery stitches go more emphasis on the carnations and where, but I quickly rejected that idea I Before the invention of the camera, pomegranate’s 3-D stumpwork effect. find colour rendering for embroidery a traveling salesmen would take along I modified the border by removing the huge waste of time. The paper is never hand-drawn pictures or better yet a fleur-de-lis shapes and keeping a simple the colour of the fabric. The colours of the scaled-down model of what the full-sized flat border. pencils are never the colour of the flosses project would look like. The Challenge’s or yarns and the embroidery stitches first embroidery is the small, miniature I drew out the carnation shape and a themselves have depths and volumes. salesman’s model; the second embroidery pomegranate shape. I wanted a nice flow I did create a rendering for this project is the full-sized larger project. to these motifs, so I chose an S shape for after it was all complete. the carnation and pomegranate. I found The Design the S shape in a book by Shelagh Amor Flosses and yarns entitled, Crewel Embroidery, A Practical Right away I could envision motifs that Guide. Sure, I could have drafted out my Since the background fabric was an were common and popular in crewel own S shape but why reinvent the wheel? antique white colour, picking colours designs surrounded by an embroidered for this project was relatively easy. border. Everyone can identify carnations, After I had the carnation and Bumblebees are what they are, black, pomegranates, and bumblebees. pomegranate motifs in place on the S yellow, and orange. Pomegranates are a shape that was pleasing to the eye, I then red colour. I hesitated on the colours for I started with a pencil and a sheet of 8” x added three bumblebees. the carnations. 10” piece of grided vellum and began to design the border. Fabric For the miniature salesman sample, I used mostly DMC 6 strand ply cotton Most modern printers have a paper size I jumped into my fabric stash and dug flosses, versus the larger project which restriction of only 8.5” x 11”. I would have around. I decided to use a lovely antique used mostly Appleton crewel yarns. It’s to enlarge and splice the design once I white bridal satin fabric with a white possible to translate the sizing in floss had it drafted out onto the grid paper. broadcloth backing. The white fabric from a large size to a miniature size. would show the embroidery off nicely. For the border, I drafted a combination of A NEEDLE PULLING THREAD ● issue 59 arches with fleur-de-lis-like shapes. At the time of drafting this design, I had visions of creating the border on a separate fabric which I call a satellite fabric. Once the border was embroidered, I would cut out the border and prepare to add it after I had embroidered the main carnation flowers and pomegranate motifs. I dreamed of flipping back the fleur-de-lis into 3-D stumpwork by bending them back onto the border and tacking the tips of the middle of the border. 81

Beads and spangles I played with the flow and yarn and I used two strands of green DMC cotton matched up colours for the projects. Since floss 470 to embroider a heavy chain Okay, so I’m a born-again magpie; I like the miniature was a miniature, they don’t stitch to create the main S shaped stem. a sparkle in my projects. Beads and make miniature crewel yarn, so I had to Next, I couched down the cloth-covered spangles do the trick and I decided to use skinnier floss. I used corresponding wire in the petal shapes. I added the wire put in a background sparkle using white colours of DMC cotton floss. to the flat surface embroidered petals opaque spangles and petite ice beads to I started with the blue seed beads located so all the petals match, including the anchor the spangles. on the border first. I usually don’t apply detached 3-D wired petals. beads to projects first as they tend to I used yellow DMC cotton floss 743, 742, For the outside borders, I picked a snag up floss while embroidering. In this and 744 to embroider the petals in a long pleasing petite blue bead for the case, I had to do the beads first as I had to and short buttonhole stitch. I added the salesman sample and a larger blue intertwine the brown floss between them. Access Commodities Red Accentuate 014 pebble bead for the larger project. I used blue Gütermann sewing thread highlights at the ends of the petals with to stitch on each bead, twice to secure straight stitches. The pomegranate has seeds, small petite them firmly. seed beads for the miniature and larger I used green DMC cotton floss 472 to pebble beads for the larger project. I used two bobbins of brown DMC embroider the two small tendrils along floss, each bobbin having two strands the main stem. I used a split back stitch. Lastly, beads were used to create the eyes of floss. I used the bobbins to help Next, I needed three layers of red felt for the bumblebees which were black intertwine the floss between the beads to pad up the pomegranate. I cut out a beads. as I couched the floss down. I needed paper pattern to help size each felt piece. to couch the floss above and below Then I began with the smallest felt piece Frames and Tools each bead and then again between the and tacked it on first. beads, I used one strand of the brown I used red sewing thread to tack on the I hooped the miniature salesman sample DMC floss to do the couching. felt. in a large, quality Hardwicke Manor hoop. For the larger project, I used a stretcher bar system to mount the two fabrics. I don’t own a big enough embroidery hoop to accommodate the larger project. I started to embroider the miniature sample first. I set up my worktable with all the tools and flosses I would need within easy reach. I picked out my array of needles mostly chenille needles along with beading and sewing needles. I placed my camera within arm’s length and began to embroider. Creating the Salesman Sample The miniature project measures 5½”x 4¼” I played with the flow and yarn and matched up colours for the projects. Since the miniature was a miniature, they don’t make miniature crewel yarn, so I had to use skinnier floss. I used corresponding colours of DMC cotton floss. 82 A NEEDLE PULLING THREAD ● issue 59

I wanted to have the yellow carnation I used heavier floss, DMC pearl cotton sparkle a wee bit so I used some Kreinik red 891 for the vertical weave for the 8 in yellow 091 in the lower portions of pomegranate. The heavier floss was easier the petals. to weave and looks more effective. The horizontal weave is also done using DMC pearl cotton red 321. I also varied the number of threads per weave. I added a center portion in front of the pomegranate using several strands of DMC pearl cotton to have a thick band on each side of the opening in the front. I couched over the thick bands with Kreinik 4 gold. I filled in the front opening using various colours of Mill Hill Petite red beads. For the leaves, I used a green cloth wrapped in florist wire. First, I tacked the wire down with the DMC green cotton floss, and then I padded the center of the leaves with the wee bit of green felt. Next, I embroidered a closed fishbone stitch covering the felt. Lastly, I embroidered a tight buttonhole stitch over the green wire. Once the last and largest piece of felt was I used a separate piece of broadcloth tacked on the pomegranate had a lovely in a Hardwicke hoop to embroider the high padded base to start with. stumpwork bits. I call this separate piece of broadcloth a satellite fabric. Instruction photos by Bunny Goodman For the miniature carnation petals, I found the cloth-covered wire too thick. I took a Thrifty Foods produce tie and removed the paper. The wire beneath is a superior aircraft industry stainless steel tie wire. This wire will not rust. The gage of this wire is very small, and it worked well. I had to cover the naked wire with yellow DMC cotton floss before I embroidered the petals. I tacked the wire down to the satellite fabric first and then carefully wrap just the wire. Next, I embroidered the detachable petals in the same manner as I had embroidered the ground fabric petals. A NEEDLE PULLING THREAD ● issue 59 83

To save some time I embroidered both Creating the Salesman Sample the miniature stumpwork bits alongside the larger stumpwork bits. Larger Project measures 13½\" x 11\" I used Access Commodities Soie Gobelins As I mentioned in my notes for the green silk 2125 and 2126 to needle weave miniature project, I don’t usually sew on the long skinny carnation leaves along beads first. I usually sew beads on at the the main stem. I used a scrap bit of red end of the project, so floss and yarn won’t floss to help hold out the long leaf so it get caught on them. However, for this was a little easier to needle weave. project, I had to stitch them on first. I used blue sewing thread to stitch through each blue pebble bead, twice. I used two strands of Appleton Crewel Yarn 766 Biscuit brown with two bobbins and intertwined them between the beads. I used one strand of the Biscuit brown to couch the yarn above and below each bead as well as between each bead. To complete the border, I used a double buttonhole stitch with one strand each of DMC 422 and 435 brown cotton floss for the innermost portion of the border. I then threaded this buttonhole stitch using Kreinik 16 Metallic 002 gold ribbon. The miniature was too small to The last step was to attach the The blue pebble beads are frosted, and I accommodate the opaque white stumpwork petals and leaves. like the look of the Appleton’s fuzzy yarn spangles to be used on the larger project. with the muted blue beads. I used Mill Hill Petite Ice beads for the background sparkle. I used Appleton yarn 254 grass green with a broad stitch to create the main The bees were completed using the DMC S stem. Then I used a lighter 251 grass rayon floss in yellow, blacks, and orange. green and split backstitch for the tendrils. The miniature bees were too small for the Turkey knot stitch used on the larger project bees and their wings too small to be made 3-D detachable. I used a fine Cifonda silk/polyester floss to stitch the wings directly onto the background fabric. I completed the border using two strands of DMC brown in a chain stitch for the base for a Pekinese stitch using Kreinik 8 gold braid. I used a chain stitch to have a thicker look for the brown floss. Between the Pekinese stitched border and the blue beaded border I stitched in random seed stitches also using one strand of the DMC brown. 84 A NEEDLE PULLING THREAD ● issue 59

Next, I couched down the cloth-covered These photos are from two satellite wire for the yellow carnation petals using fabrics I used. The bumblebee wings the yellow yarn that would be employed are made from a very loose weaved in embroidering the petals. I used gossamer fabric and wire from the Thrifty Appleton yarn 551, 552, and 554 bright Foods produce tie as I used for the yellow yarn. miniature project. I then added one row of Turkey knots in Each bumblebee has four wings, two fore orange yarn 556 followed by three rows wings that are larger, and the two smaller of Turkey knots in black yarn 993. back wings. Three bees times four wings are twelve wings to create. I whipped the The bumblebees were next. I started out The abdomen was completed with Thrifty Food wire to the gossamer fabric with the basic body outline with legs another couple of rows of yellow Turkey in the wing shapes using the grey fine and antenna using one strand of DMC knots. I had to resist the urge to trim Cifonda silk/polyester floss in a nice grey 310 black cotton floss using backstitch. I the Turkey knots and made myself wait colour. It was difficult to whip the wire to added in two Mil Hil Petite beads 42014 until the end of the project. I used a the loosely woven fabric, too many holes! black for the bee’s eyes. combination of yellow and black yarn to For the fore wings, I added a fly stitch satin stitch the thorax. using the Cifonda for the transcubital and transverse veins. I left a long strand of Cifonda floss at the bottom of each wing. These long strands would be used to help anchor the bee wings onto the main fabric and bee bodies. The second satellite fabric was the broadcloth on which I had already embroidered the petals and leaves for both the small and larger projects. I used cloth-covered 32-gage wire for the yellow petals. I used Appleton yellow yarns to couch down the wire and then I embroidered the long and short buttonhole stitch. As with the miniature carnation petals I added the red highlights with Accentuate and yellow centers with the Kreinik yellow floss. The leaves used the green 32-gage cloth- covered wire. The leaf’s center was closed padded fishbone stitch. No green felt was used to pad up the leaf as the Appleton wool yarn is bulky enough. The leaf edges were finished in a tight buttonhole stitch over the wire. Then I embroidered the bee using DMC yellow to finish the bottom portion of the bee’s abdomen, using Appleton yarn 553 bright yellow and two rows of Turkey knots. A NEEDLE PULLING THREAD ● issue 59 85

I used Appleton 501 scarlet yarn for satin stitching vertical thread for weaving. Lesson learned: it’s much easier to weave using DMC pearl cotton than it is using yarn. The yarn was easy to split and it was a little hairy. I used a paper template to cut four pieces I used a darker hue of Appleton yarn of red felt for the pomegranate shapes. scarlet 504 to weave in the vertical lines. I Unlike the miniature project which used started out with just one strand to weave only three pieces of felt, I needed four through and added more as I worked my pieces for the larger project. way down. At the bottom, I was using three strands of yarn to horizontally Like the miniature piece, I started out weave through. by taking the smallest piece of felt to the fabric and gradually building up the I used scrap DMC pearl cotton to help padding for the pomegranate. I used red create the sides of the pomegranate’s sewing thread and the largest felt piece opening. was the last to be tacked on. I made the top piece bigger than the flat template to accommodate the bulk created by the first three pieces. Here’s what the back of the fabric looks like after tacking all four pieces of the pomegranate. 86 A NEEDLE PULLING THREAD ● issue 59

There is a lot going on in the next photo. The outer edge of the border is I added the last carnation petal and completed with two strands of Appleton anchored it down well. All petals match I created two sets of sidebar openings 767 Biscuit brown yarn embroidered in because all petals have a wire edge. All for the pomegranate. The inner set of chain stitch and completed as a Pekinese that’s missing is the carnation’s bottom sidebars used Appleton scarlet yarn 501A stitch using Kreinik 16 ribbon gold 002. receptacle. It will cover the bottom of the couched with the Kreinik 16 gold ribbon petals and the end of the main stem. 002HL. Between the outer Pekinese border and the blue pebble bead border, I used I eyeballed the shape of the green The other set of opening bars parallel to Kreinik 8 braid 052HL brown in a simple fly receptacle and cut it out from the green the first set used Appleton scarlet yarn stitch. I had used a random seed stitch on felt, placing it over top of the green felt 505 but was couched with the scarlet the miniature piece, but it looked better square already tacked on. It was very yarn. using the fly stitch on the larger project. close to the white spangle and ice bead, and I thought to remove this spangle and The center was filled with various shades The carnation’s long thin leaves have bead but decided to keep the spangle of red Mill Hill pebble beads piled high. I been added in Appleton grass green yarn. and bead and tacked on the top green used red sewing thread to stitch through I used the same needle weave technique felt piece using green sewing thread. each bead twice. as I used with the miniature project. I used Appleton scarlet 501 to buttonhole To complete the inner portion of the stitch the pomegranate’s top persistent border I used two hues of Biscuit brown calyx. On the background, I added the 767 and 765 for the double buttonhole opaque flat white spangles with Miyuki stitch. Then it was threaded with the ice beads to anchor them down. I used Kreinik 16 ribbon gold. plain white sewing thread to stitch the spangles and beads. I added the detached stumpwork petals and anchored them well on the backside The extra-long yellow strands of yarn of the fabric. stretched out to the sides can be seen. These long threads will help to anchor in the detached stumpwork petals. Also, notice that I have still restrained myself from cutting the bee’s Turkey knot stitches. I was just itching to cut and trim and brush out the Turkey knots! A NEEDLE PULLING THREAD ● issue 59 87

Bunny Goodman I satin stitched over the green felt with grass green Appleton yarn 251. Then I EAC Seminar 2019 used the darker hue 255 to lay a nice Recipient of the EAC Original Design latticework on top of the satin stitch. Awards – Professional Division [email protected] I cut and attached the two big stumpwork leaves for the pomegranate and anchored them on the backside well. I added five detached chain stitches using grass green Appleton 256 yarn under the pomegranate for sepals. And finally…I was able to cut and trim the bumblebees’ Turkey knots! The very final step was to cut out and attach the stumpwork bumblebee wings anchoring them well on the backside of the fabric. Using Velcro, The Challenge and its Miniature Salesman Sample, are displayed in a shadowbox frame. The The Salesman Sample Pattern C hallengeLarger Project Enlarge by 200% 88 A NEEDLE PULLING THREAD ● issue 59

Hardanger House SSaasskkaattcchheewwaann designs by Betty Stokoe Oldham CSCSoaotsnnkifftaeetccrrheheennweccaseen [email protected],403.573.2003 Conference Betty incorporates traditional hardanger embroidery in her SpSPporPSoonrprPonsuoorosudnuoordsdusrodsr s contemporary designs. From small quick-to-stitch gift ideas to larger JunePro1ud- 10, 2023 pieces for your home decor, you'll St. PeterS’psonAsorbs bey, Muenster find lots of variety in the Hardanger House line of embroidery patterns for more information call & kits. View them all on Etsy: etsy.com/shop/HardangerHouse 1-800-344-6024 Rypan Designs 626 Main Street www.saskstitches.ca 416.247.1993 www.rypandesigns.com Humboldt Fabric and yarn you won’t find just anywhere! NEW! Downloadable Patterns! 306-682-0772 Maria Rypan is an international Authorized Dealer For designer, researcher & instruction book publisher recognized for her *projects mKNuchIT ‘Gerdany’ beadwork and projects *techniques .com for many publications. Since 1995 *product reviews Maria teaches, produces a kit line and presents on beading & global folk arts. ...to K, is to Crochet Designs by NanaRuth { daily blog and ALL 416-754-0998 { weekly giveaways www.NanaRuth.com { monthly newsletter FREE! NEW! Downloadable Book! { quarterly magazine Main focus is traditional designs in { fun Facebook page crochet and knit for children. { yummy Pinterest page All garments are designed and/ { app on iTunes/Google Play or handmade with discerning attention to comfort and finishing. { ALL of the above! Baptismal sets, dresses, suits, blankets and shams, cardigans, hats visit and other items. KNITmuch.com and download a FREE ebook: Lowery Workstands Cynthia MacDougall’s K Tog: Knitting Essentials! The Strong Steel Workstands from England www.workstands.com Available in Canada from Tygarth Enterprises at 519-956-9632 or email to: [email protected] A NEEDLE PULLING THREAD ● issue 59 89

Blooming Beauties Rug I was inspired to hook this rug of wildflowers by just looking out at my backyard gardens. I was also very inspired by rug hooker Deanne Fitzpatrick and her method of hooking rugs. I faithfully watch her live show every Thursday afternoon. Her painterly style of hooking is very impressive to me. About two months before I start hooking a rug, I first check my stash of yarn. I then visit my local thrift stores and purchase yarns I think I can use. This experience adds greatly to the fun I have hooking a rug. I really enjoy repurposing what other people no longer wish to keep. This rug was entirely hooked using yarn from thrift stores. I am known for my love of bright colours which shows in most of my rugs. - Lorna 90 A NEEDLE PULLING THREAD ● issue 59

rug hooking skill level Advanced instructions hooking the piece 1. I drew my pattern as I progressed with finished measurements tracing the pattern on to your backing 29” x 24” [74 x 61cm] 1. Copy and/or enlarge the pattern. Use my rug, very much ad lib. For example, I drew a line across the bottom of my materials a photocopy shop for this part if you rug where I wanted the red poppies yarn don’t have this option at home. to be. Then I drew a round circle for • yarn of various weights in various 2. Use a black marker to trace the rug the size that I wanted my hydrangea size on your backing. Place the marker bush to be. Then I hooked both areas. colours and shades for each of the in the ‘ditch’ of the linen weave to get Next, I drew my large tree and hooked colours; in this sample red, pink, blue, a nice straight line. all of it. I drew a horizontal line so I turquoise, purple, mauve, light and 3. Trace the pattern on to transfer paper. would know where my sky would dark grey, black, white, yellow, light, 4. Tape the backing down to a table. start. I then filled in the middle section medium and dark greens, were used Then tape down the transfer paper with different flowers. I used two with the pattern on it. variegated yarns to get the effect of backing 5. Go over the pattern with a marker. It the hills in the background. The three • 40” x 34” [102 x 86cm] piece of linen should come through onto the linen trees in the background were hooked backing; touch up the drawing on next. The sky was hooked last with other the backing with the marker if and various colours of grey, white, and • 4 yds of black twill tape to complete where necessary. turquoise. 2. To create depth and dimension to the the back sky, flowers, fields, and branches, use • transfer paper light, medium, and dark shades of one • hook colour and different yarn weights. • scissors • hooking frame • black marker for tracing pattern A NEEDLE PULLING THREAD ● issue 59 91

29\" 24\" Blooming Beauties Rug PATTERN finishing 1. Draw a line in the ditch of the linen 1” Enlarge by 400% away from the edge of your hooking on 13th Crochet all sides of the rug. Annual Felting 2. Use scissors to cut the excess linen from Knitting the backing by following the drawn line. Demos Spinning 3. Zigzag around your rug twice using a Food Rug Hooking sewing machine; this is to prevent the Vendors Weaving linen from fraying. Workshops 4. Steam press the whole rug using a damp cloth between the iron and the rug, on Saturday October 15, 2022 both sides. Use a stamping action when steam pressing. 9am to 4pm 5. Lay it flat to dry. 6. Clip the corners of the linen backing off Paris Fair Grounds, 139 Silver St, Paris,ON to avoid too much bulk. 7. Hand sew a 1” black twill tape as close to www.fleecefestival.com the edge of your rug as possible. Then stitch the other side of the twill tape so it lays flat to the rug. 8. Miter the twill tape at the corners. 92 A NEEDLE PULLING THREAD ● issue 59

Lorna Vogel lives in Kitchener, Ontario and has been rug hooking since 2009. She considers herself as a maker for as long as she can remember. She loves to sew, knit, embroider, rug hook, paint, and garden. She picked up rug hooking when she first retired and has immersed herself in this beautiful craft. She is a member of the Kitchener-Waterloo Rug Hooking Guild and has met so many wonderful and talented like-minded people. Enamored with the colours and textures that hooking rugs can offer, it has become the new way for her to ‘paint’. It’s a great thrill for Lorna to walk into a thrift store and possibly see a sweater, skirt or yarn that will be a part of her future rugs. Lorna Vogel Robin Whitford, Pink Lily, 12\" x 12\" ONTARIO HOOKING CRAFT GUILD The OHCG is hosting a one week in person rug hooking school with a variety of courses led by OHCG certified instructors ONE OF THE BENEFITS OF MEMBERSHIP! COME CHECK US OUT AT WWW.OHCG.ORG @THEOHCG @ONTHOOKINGCRAFTGUILD A NEEDLE PULLING THREAD ● issue 59 93

For the Love of Sunflowers I love sunflowers and handmade ones that are punched or hooked are even better! Valdani hand-dyed threads give the project depth and interest and make every version made from this pattern an original. The pre-stained wooden plaque bought from a craft store makes a great mounting board, but this punch needle could easily be finished in any of the other ways. – Christine 94 A NEEDLE PULLING THREAD ● issue 59

punch needle skill level Easy Instructions 1 finished size 6\" x 6\" [15 x 15cm] 1. Center the weaver's cloth square over 2 plus wooden plaque the pattern and use a fine tip fabric 3 TIP Keep them small as they are easier to marker to trace the punch needle handle. design onto the cloth. Make sure that A NEEDLE PULLING THREAD ● issue 59 materials the pattern is straight on the grain of fabric the cloth to prevent the embroidery • Weaver’s Cloth – 12\" x 12\" [30 x 30cm] from curling or becoming bumpy. thread If you’re having trouble seeing the • Embroidery Floss in the following design through the fabric, use a lightbox or tape the paper and cloth colours: to a sunny window and trace. o P5 – Tarnished Gold (27m ball) – 2. Place the weaver’s cloth in the sunflower petals embroidery hoop, making sure that o O 513 – Coffee Roast (27m ball) – the fabric is stretched tight like a drum, which will make the actual sunflower petals outline punching much easier. Make sure, o O 547 – Burnt Chocolate (27m ball) – as you are tightening the fabric, that you do not distort the pattern - the sunflower center outside rectangle on the pattern o O 575 – Crispy Leaf (27m ball) – should have STRAIGHT lines. leaves and swirls on the background 3. Follow the needle manufacturer's o O 576 – Weathered Hay (27m ball) – instructions for threading and use of your needle. If you have a needle background and swirls in the center with adjustable depth settings, set of the sunflower it for the shortest depth possible, notions approximately 3⁄8\". • Ultra Punch Needle and threader • rotary cutter, cutting mat and ruler, iron, 4. The entire design is done using THREE and ironing board strands of embroidery floss. • 7\" or 9” Morgan No-slip embroidery hoop 5. For a single line of colour, punch • fine tip fabric marker right along the drawn line. For larger • small, sharp scissors shapes punch just on the inside of • 505™ Spray Adhesive the drawn line. • Aleene’s Tacky Glue • stained wooden plaque 6. It’s easier to start with the small 10\" x 10\" [25 x 25cm] details, working up to the bigger ones. Photos by Christine Baker 7. Start punching with at least a 1\" tail of embroidery floss. When you reach the end of your stitching, use small, sharp scissors to clip both ends of the floss close to the fabric. 8. For larger areas of colour, punch the outline first then fill in the shape working towards the center using parallel lines of stitching. Do your stitches close together in each line, but don't put your lines too close together or your piece will not lie flat when finished. After you have finished an area check for spots where the weaver's cloth is showing through and, if needed, go back and put in a few more stitches with the appropriate colour. The back of your piece should look something like Photo 1. 95

4 56 For the Love of Sunflowers PATTERN Actual Size 6\" 6\" 96 A NEEDLE PULLING THREAD ● issue 59

Order of stitching clipped. Use the tip of your needle to visible from the front of the punch make any small adjustments to loops of needle. See photos 5 and 6. Stitch the punch needle design in the floss on the front of the design that may 5. Apply Aleene’s Tacky Glue around the following order: have strayed into the next colour. Remove outside edge of the back of the punch • Thread your needle with O 576 and the fabric from the embroidery hoop. needle. 6. Flip the embroidery over and then punch along the spirals in the center Mounting the punch needle center it on the wooden plaque. Place of the sunflower. 1. The finished punch needle a heavy book on top of the punch • Use O 547 to first outline the middle needle to help the glue set securely. of the sunflower and then fill in the embroidery will measure entire center. approximately 6\"x 6\". Use a warm iron Look for Christine Baker's article about • Next, use O 513 to outline each of the to steam the punch needle piece and Interesting ways to finish your petals of the sunflower and to punch press the surrounding weaver's cloth. punch needle embroidery in Issue 60 of along the center vein of each petal. Photo 2. A Needle Pulling Thread magazine. • Now fill in each of the petals using P5. 2. Trim away the excess weaver's cloth • Thread your punch needle with O 575 from the punch needle, leaving about Designed by Christine Baker and outline, then fill in each of the a 1\" border on all four sides as in leaves. Punch along the swirls in the Photo 3. Upper Canada Quiltworks background. 3. Lightly spray the back of the weaver’s www.uppercanadaquiltworks.com • Use O 576 to fill in the background. cloth around the embroidery with [email protected] Start by punching all along the outside 505™ spray. Photo 4. 613.865.7299 edge of the design and by outlining 4. Fold back the excess weaver's cloth the entire center design. Then fill in the to the back of the punch needle right areas in a circular manner. at the edge of the embroidery. Start by folding the corners diagonally After you have completed the design, then finish with each of the four sides. make sure all loose ends of embroidery None of the weaver's cloth should be floss on the back of the design have been Christine Baker & Nellie Holmes Your online, CANADIAN source for felted wool, wool kits, punchneedle [email protected] supplies, wire hangers, buttons, books, patterns, Valdani threads and MORE. We now offer 97 Crane Design patterns kitted with our own hand dyed wools! www.uppercanadaquiltworks.com A NEEDLE PULLING THREAD ● issue 59

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Books, patterns, fabric, threads, tools. 6701 Manlius Center Rd, East Syracuse NY 13057 Europe and the United States. The Yarn Guy 315.437.0962, pickyourstitch.com Hardanger House, designs by Betty Stokoe Oldham PO Box 1623, Penhold, AB T0M 1R0 15 Gower St, Toronto, ON M4B 1E3 Quality Vac and Sew  403.573.2003  [email protected]  416.752.1828 or toll-free 1.800.836.6536  tnplisting.com/hardanger-house  theyarnguy.com  [email protected] 1213 Gilmore Ave Ste E2B, Winona MN 55987-2632 Hardanger embroidery charts and kits. Designs feature contemporary adaptations of this traditional cutwork 507.452.2203, qualityvacandsew.com embroidery from Norway. Shop online at etsy.com/shop/ See us on Facebook, follow us on Twitter! Knitting machines, Quilter's Attic Sewing Center sewing machines, repairs, parts for Passap, Studio, Singer, 118 Maple Ave, Pine Bush NY 12566 Silver Reed, Superba, White. 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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 Enjoy 2-colour quilting sash designs, built-in built-in Disney embroidery designs and by placing the Snowball End Point Sticker hexagon shapes for auto split sash, single or 10 decorative Disney stitches. on your project. 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. ©2022 Brother International Corporation (Canada) Ltd. 1, rue Hôtel de Ville, Dollard-des-Ormeaux, Québec, H9B 3H6. 01/2022-MS308 99

Life Happens. Don’t let it ruin your projects. Keep your creations clean with Amodex® • Removes permanent marker, grass stains, crayon, ink, dye, paint, grease, oil, coffee, tea, wine, berries, chocolate, tomato, blood and so much more! • Ideal for most fabrics and materials • Available for use at home or on the go Ask about Amodex® at your local quilting and fabric store.