Australian Homespun — June 2017

Preparation and cutting

1

Using a sharp transfer pencil, trace

the embroidery designs from the

Pattern Sheet onto lightweight paper.

Go over the lines neatly a couple of

times and have a hard, smooth surface

under the paper for best results.

2

Centre the embroidery designs,

traced side down, on the Bone solid

fabric and press with a hot dry iron to

transfer the designs from the paper to

the fabric. Take care not to move the

paper with the iron or you could get

a double image or smudged design.

3

Cut two squares of fusible web,

3in. On the paper side of the fi rst

square, trace and label the Group 1

appliqué shapes (shapes 1, 4, 6, 7, 8, 10

and 12), leaving small spaces between

them. Use a hot iron to fuse the square

of fusible web to the wrong side of the

turquoise print piece of fabric.

4

Then trace and label the Group 2

appliqué shapes (shapes 2, 3, 5,

9, 11, 13, 14 and 15) onto the paper

side of the other square. Fuse them

to the wrong side of the fl oral print

piece of fabric.

5

Cut all the shapes out carefully

with small, sharp scissors. Referring

to the design on the Pattern Sheet for

placement, peel off the paper and

fuse the shapes to the corresponding

areas of the traced design, making

sure they cover the lines as well as

possible.

6

From the multi-coloured fl oral

print fabric (‘Ciara’), cut:

• Two rectangles, 6^11 ⁄ 2 x 12^1 ⁄ 2 in (lining)


• Two strips, 1^1 ⁄ 2 x 12^1 ⁄ 2 in (front top
  and bottom borders).

7

From the turquoise print fabric

(‘Tom Daley’), cut:

• One rectangle, 6^1 ⁄ 2 x 12^1 ⁄ 2 in (pouch
  back)


• Two strips, 1^1 ⁄ 4 x 4^1 ⁄ 2 in (front vertical
  sashing).

8

From the cotton batting, cut:

• Four rectangles, 6 x 12in.

Embroidery

9

Put the bone fabric in an

embroidery hoop or frame, centring

one of the designs in the stitching

area, and ensure that it’s taut to

minimise it puckering as you stitch.

10

Begin by sewing around the

appliqué shapes in running

stitch or stem stitch, using threads

to coordinate or contrast with the

appliqué fabrics. For example, in the

left panel, Shannan used Light Coral

(352) and Plum (718). Shapes outlined

in running stitch tend to recede

visually, while those outlined in stem

stitch command more attention.

11

Refer to the Stitchery Guide

below for the threads and

stitches to use for the embroidery of

the three designs. Most of the fl owers

are treated similarly across the three

panels. Refer to the main photograph

as an additional guide.

12

When the embroidery is

complete, remove the fabric

from the hoop or frame and place

it face down on a clean, thick towel.

Press it gently from the back to

avoid fl attening the stitches.

13

Using a rotary cutter and

quilter’s ruler, trim each of the

embroidered panels accurately to

measure 4^1 ⁄ 2 in high x 4in wide with the

designs centred and corners square.

STITCHERY GUIDE

Design area Thread Stitch

Main peony petals Light Coral (352) and Light Apricot (3824) Bullion stitch and straight stitch

Minor peony petals Ultra Very Dark Turquoise (3808) Satin stitch

Peony centres Medium Tangerine (741)Lemon (307) and Bullion stitch and straight stitch

Partial peony petals Light Coral (352), Light Apricot (3824) and Ultra Very Dark Turquoise (3808) Chain stitch

Dots on ovals Old Wheat Perlé 5 (2120) One-wrap French knot

Pansy back petals Very Dark Violet (550) and Very Dark Lavender (208) Long and short stitch

Pansy main petals

Very Dark Lavender (208),

Very Dark Raspberry (777) and

Very Dark Violet (550)

Long and short stitch

Pansy centre Lemon (307) Satin stitch

Partial pansies Very Dark Raspberry (777) and Very Dark Violet (550) Long and short stitch

Left panel