Love To Make With Woman's Weekly - January 2016

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Hello and welcome

to the New ear edition of
Love to Make. I dont know about
you but I always enjoy putting
up the decorations and having
plenty of sparkle around. So
much so, that I hate having to
take them all down, leaving the
house feeling bare. So what
better time to plan ahead and
see what can be given a makeover in your home? To inspire
and help you get creative, turn to pages 6 and 7 for
some brilliant upcycling ideas.
Ocially, we are now in winter and so with a few
months of dark evenings ahead, its the perfect
time to start a long-term project; our beautiful Tilda
patchwork quilt certainly ts the bill. However, if
youre after a quicker patchwork project, you could
make the gorgeous matching cushions instead.
Also this month we have extended our monthly
Know-how feature Understanding Dressmaking
Patterns, which explains how to measure yourself
accurately, buy the correct size pattern and use it
properly to ensure you get a great-tting garment
every time. Then, we have two FREE
dressmaking patterns for you: a fabulous
lifestyle wardrobe to send for on page 33
(you just pay the postage) and a sweet
little girls pinafore dress to trace out on
pages 51-53.
As this issue is on sale before Christmas,
we still have a couple of quick decorations to make
look out for the Get Making for Christmas stamp.
And dont forget our fabulous Subscription deals;
they make wonderful last-minute presents for family
and friends (see pages 8 and 64).
So until next month, enjoy your celebrations and a
very Happy New Year to you all!
To help you with your

makes weve added
at-a-glance experience
levels. Look out for this
at the top of each You
Will Need section.
EASY-PEASY
A BIT MORE TRICKY
HARDISH
Jane Bolsover EDITOR
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Look whats
inside .
So many inspiring projects for you
19-20 Make it tonight!
19 Topiary trees
21-25 Patchwork throw
38-39 Crochet wrap
40-41 Knitted oor cushions
42-49 Understanding dress patterns
8, 64 Our latest subscription oers

26 Shop: Knitting and crochet patterns
36-37 Womans Weekly workshops
50 Shop: Knitting and crochet patterns
58 Shop: Knitting patterns
59 Craft book reviews
65-66 Complete stitch reference guide
67-73 All your charts and templates
for the makes in this issue
74 Over to you you share your
makes with us
Send for
FRErEn
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33
*You just pay 2.75
and the rest...
60-61 Tassel earrings
6-7 Nows the time to upcycle
9-18 Take a letter
17 Cross-stitch sampler
27 Christmas tree dec
28-31 Try wet felting
34-35 Cross-stitch tote
51-53 Girls pinafore dress
54-55 Draught excluder
56-57 Take one table
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Nows the time

to upcycle
Create some New Year cheer with these inspiring ideas for your home
Add a touch of 60s chic to your home with
this fun upcycled trolley project
Unscrew the legs from an old serving trolley and remove
the metal edging from the trays. Wash and dry surfaces
and then carefully apply sticky-backed plastic in a design
of your choice. Starting at one corner, use a card, or
something similar, to remove any air bubbles as you peel
away the backing. Make sure the lm adheres right to the
edges, then trim o any excess. Re-attach the metallic
edging using glue and leave to dry. Screw on the wooden
legs and its ready to use. Time to put the kettle on
EWA/Flora Press
Retro-Style Serving Trolley
Dcoupage an old chest of drawers

and bring it bang up to date using
retro newspapers
Remove handles and strip any previous
nish from the furniture. Apply a coat of
dcoupage medium over all surfaces to
be covered and leave to dry. Cut out your
chosen headlines, adverts and images
from the newspapers then start sticking
them to the furniture, overlapping the
pieces until all surfaces are covered. Once
dried, give the furniture a coat of varnish
to protect the surface and attached new
crystal handles to nish.
6 LOVE TO MAKE WITH WW
www.timeincukcontent.com
Newspaper Dcoupage
Take a pair of worn-out jeans, scraps

of cotton fabric and an old sweatshirt
and create these pan-holders
Cut one back pocket from a pair of
old jeans then, using the image as a
guide, cut a square of cotton fabric, just
larger than the pocket, using pinking
shears, another square slightly larger
from the jeans fabric and, nally, one
from a sweatshirt. Layer all the pieces
as shown then machine stitch together
around edge of the pocket, leaving the
top open, and again around the edge of
the cotton fabric. Finally, to neaten the
outer edge, blanket stitch in a contrast
coloured yarn. Pop your hand in the
pocket to use; they can also double-up
as heat-resistant pan stands.
Text: Juliette Goggin and Stacy Sirk Photography: Loupe Images/Holly Jollie
Denim Pan-Holders
Lace Doily Lampshade
Mobile Recycling Hub

Equip your kitchen or utility room with a portable, vintage-style crate
Look out for an old wooden fruit crate try car-boot sales or the internet. If
your crate has seen better days, give it a coat of wood stain then screw castor
wheels to each corner so its easy to manoeuvre. Pop a few plastic boxes
inside the crate so you can throw paper, plastic and glass into separate tubs,
then nd a space in the kitchen for your new recycling hub.
Almost any shade and lampstand can

be restyled using old lace doilies
NOTE: Theres a fair amount of handstitching required for this project but its
all pretty easy.
Strip the existing fabric from your
lampshade. Find a good selection of
clean, lace doilies, large, medium and
small. Pin the edge of a large doily to the
top of the frame, folding over a small
amount of fabric to secure. Pull doily
down to bottom of the frame and fold
over to pin in place. Repeat all the way
around the frame then whipstitch them
in place to secure. Next, pin the mediumsized doilies to the frames upright struts,
overlapping the large doilies and lling
in the gaps between; sew them in place.
Finally, use small doilies to ll any gaps.
LOVE TO MAKE WITH WW 7
Take A
Inspirational
Using our simple lettering techniques, you can make

something thats personal and individual
These padded fabric letters

look fabulous standing on a
mantelpiece or hung on a wall
EASY PEASY
You will need

O Coordinating cotton print
fabrics of your choice
O Lightweight wadding
O Papier-mch dcoupage
letter blanks, 20cm tall by
25mm thick
O 25mm-wide coordinating
grosgrain ribbon long
enough to t around the
edges of each letter
O A piece of cardboard the
same size as each letter
O Double-sided ultra-sticky
tape
O Marker pen
O Rubber-solution glue
O Fabric scissors
O Craft knife and cutting mat
To make
From fabric,
cut out one
rectangle 4cm
larger all round
than the letter, for
covering the letter
blank, and
one rectangle
2cm larger all round than the letter for
the backing. Place your letter blank onto
the wadding and, using the marker pen,
draw all around the outer edges and cut
out. Finally, draw around the letter onto
the cardboard; cut out using a craft knife
and cutting mat to form a backing panel.
Apply a thin layer of glue to the front

surface of letter blank and stick the
wadding in place; leave to dry.
On the reverse side of the letter

blank, run strips of double-sided
tape around the edges, cutting short
lengths to t around any curves. Place
the letter blank, wadding side down,
centrally onto the fabric rectangle.
Peel o the backing papers from the

tape and fold back the fabric hems,
sticking them in place using the sticky
tape. Start at the centre of a straight
edge and work towards the corners to
keep the fabric smooth. Clip into corners
to help the fabric

fold back and use
more doublesided tape if
necessary. To
cover an outside
curve, pleat the
fabric slightly and
pull it towards
the centre of the
letter. For inner curves, clip into the hem
at right angles, spacing the cuts at 15mm
intervals and snipping to within 3mm of
the letter edge.
Now cover the cardboard backing

panel with the remaining rectangle
of fabric, folding and sticking down
hems, as before, but make sure this letter
is a mirror image of the main letter. Using
the glue, stick backing to the letter,
keeping all edges level. Leave to dry.
Apply strips of double-sided sticky

tape to the outer edges of fabriccovered letter
then stick the
grosgrain ribbon
around carefully
to cover up any
visible raw fabric
edges. Overlap
ends to nish
and trim away
excess ribbon.
www.timeincukcontent.co.uk
The soft
touch
Write on
EASY PEASY
You will need

O Computer-printed letters
(see note below)
O A4 paper
O Pencil
O Paper scissors
O Clean, ceramic-glazed plates
O Masking tape
O Chinagraph pencil
O Fine artists paint brush
O Bake-on water-based
ceramic paints in colours of
your choice
O Kitchen paper
Note: You can download a wide
range of no-cost, copyright-free
fonts online; we used Calson Bold
by George Williams but a Times
font looks similar.
To make
Type out your chosen letter on your

computer screen and enlarge it to
t the diameter of your plate. Print out
the letter to check the size, using the
photograph as a guide. When happy
with the size, cut out around the letters
outline to form a template.
Make sure that your plate is clean

and dry then, using masking tape,
secure the template to the plate. Draw
around the outline using the chinagraph
pencil. Remove the template.
With your chosen colour, paint small

dots just inside the chinagraph
outline, continuing until you have gone

all around the outline. Repeat process
with remaining plates, using dierent
letters as desired.
Fill in the entire letter with dots.

Leave to dry for about 12 hours,
then gently wipe away the chinagraph
outline. The ceramic is now ready to
bake. Bake following the manufacturers
instructions, then leave to cool.
Tip... Before starting, test

your technique and colours
on an unwanted tile.
Cant nd the right pattern

or fed up with plain? Then
design your own china using
ceramic paint
Create this fun artwork for a childs

bedroom using waxed crayons
By the books
A BIT MORE TRICKY
Measurements
Each letter measures approximately
23cm high by 17cm wide.
You will need:

O Two 50g (85m) balls of
Rico Design Creative Cotton
Aran (100% cotton) in each
of Light Yellow (063) and
Pearlgrey (052); one ball in
White (80)*
O Size 4.00 crochet hook
O Polyester toy stufng
Kids play
A BIT MORE TRICKY
You will need

O A4 paper
O Box of wax crayons with
paper wrappers
O 30cm square box frame
O Piece of mountboard in
white or colour of your
choice
O Hot-glue gun
O Craft knife
O Cutting mat
O Steel ruler
O Masking tape
O Pencil
To make
Type out your chosen letter on

your computer and enlarge it to
a height of 18cm. Print out the letter
and place it in the centre of your
frame to check the size, then cut out
the letter to form a template.
Cut a piece of mountboard to t

inside your picture frame, then
place the template centrally on the
right side of the mount board and
trace around the edges with a pencil
to give you a faint outline of the letter.
Remove the template and then,

using the photograph as a guide,
start to cut the crayons to varying
lengths to t the shape of your letter.
When you have all the crayons cut to
size, start to glue them in place, one
at a time, using the glue gun. Finally,
insert the mount board into the
frame; your picture is ready to hang.
Abbreviations
Ch, chain; st, stitch; dc, double
crochet; tog, together; yrh, yarn
round hook; slst, slip stitch; dc2tog,
[insert hook into next st, yrh, pull
yarn through] twice, yrh and pull
through all 3 loops on hook.
Note
Yarn amounts are based on average
requirements and are therefore
approximate. Also note that
throughout instructions, 1ch at
beginning of each row does not
count as a st.
* Yarn subject to availability.
Letter A
Front
Bottom of rst side: With 4.00 hook
and Light Yellow, make 10ch.
1st row (right side): 1dc in 2nd ch from
hook, 1dc in each of next 8ch, turn 9dc.
2nd to 13th rows: 1ch, 1dc in each of
next 9dc, turn.
14th row: 1ch, 1dc in each of next 9dc,
7ch for middle horizontal bar 16 sts.
Fasten o.
Bottom of second side: With 4.00 hook
and Light Yellow, make 10ch.
hook, 1dc in each of next 8ch, turn 9dc.
2nd to 14th rows: 1ch, 1dc in each of
next 9dc, turn.
15th (joining) row: 1ch, 1dc in each of
next 9dc, 1dc in each of 7ch of horizontal
bar, 1dc in each of next 9dc of rst side,
turn 25dc.
16th to 21st rows: 1ch, 1dc in each of
next 25dc, turn.
22nd row: 1ch, 1dc in each of next 9dc,
turn and work on these 9 sts only for top
of rst side.
Top of rst side: 23rd to 27th rows:
1ch, 1dc in each of 9dc, turn.

7ch for top horizontal bar 16 sts.
Fasten o.
Top of second side: With wrong side
facing, return to end of 22nd row, miss
next 7dc at centre, rejoin yarn to next dc,
1ch, work 1dc in same place as join, 1dc
in each of next 8dc, turn 9dc.
23rd to 28th rows: 1ch, 1dc in each of
9dc, turn.
29th (joining) row: 1ch, 1dc in each of
next 9dc, 1dc in each of 7ch of horizontal
bar, 1dc in each of next 9dc of rst side,
turn 25dc.
30th and 31st rows: 1ch, 1dc in each of
next 25dc to end, turn.
32nd row: 1ch, dc2tog, 1dc in each dc to
last 2 sts, dc2tog, turn.
33rd to 35th rows: As 32nd row 17dc.
Fasten o.
Inner edging: With right side facing and
using 4.00 hook, attach Light Yellow to
right corner of top of middle horizontal
bar and work 24dc evenly around inside
edge of opening, slst in rst dc.
Fasten o, leaving a long end.
Outer edging: With right side facing and
beginning of 35th row, 1ch, 1dc in each
of 17dc along top edge, now work down
outside edge of rst side thus: 2dc in
next row-end, 1dc in next row-end, 2dc
in next row-end, then work 1dc in each
of next 30 row-ends, 3dc in corner, 1dc
in each of 7ch at base of rst side, 3dc in
corner, 1dc in each of next 12 row-ends
up inside edge of rst side, 1dc in each
of 7ch of horizontal bar, 1dc in each of
next 12 row-ends down inside edge of
second side, 3dc in corner, 1dc in each of
7ch at base of second side, 3dc in corner,
1dc in each of next 30 row-ends up
outside edge of second side, 2dc in next
row-end, 1dc in next row-end, 2dc in last
row-end, slst in rst dc 144dc.
Fasten o, but do not break o the yarn.
Back
Using Pearlgrey, work as front.
Inner gusset
With 4.00 hook and White, make 25ch.
hook, 1dc in each ch to end, turn 24dc.
2nd to 4th rows: 1ch, 1dc in each dc to
end, turn. Fasten o.
Outer gusset
hook, 1dc in each ch to end,
turn 144dc.
Keep things neat and tidy

with these A to Z bookends
To make up
Join row-end edges together on each
gusset. Place wrong sides of front and
inner gusset together. With right side
of front facing, using 4.00 hook and
attached yarn, work slip stitch through
corresponding stitches of each layer.
Fasten o.
Join outer gusset to front in same way.
Join back to gussets as front, carefully
aligning back to front and stung the
letter as you join outer gusset.
LETTER Z
Front
Using 4.00 hook and Light Yellow, make
26ch.
hook, 1dc in each of next 24ch, turn
25dc.
end, turn.
8th row: 1ch, 1dc in each of rst 9dc,
turn and work on these 9 sts only.
9th row: 1ch, 1dc in each dc to end, turn.
10th row: 1ch, dc2tog, 1dc in each of
next 6dc, 2dc in last dc, turn.
11th row: 1ch, 2dc in rst dc, 1dc in each
of next 6dc, dc2tog, turn.
12th to 18th rows: Repeat 10th and
11th rows, 3 times, then work 10th
row again.
turn.
20th to 27th rows: Repeat 10th and
11th rows, 4 times.
turn.
With 4.00 hook and short length of Light
Yellow, make 16ch, fasten o and leave
this chain.
29th (joining) row: 1ch, 1dc in each
of next 9dc, 1dc in each of 16ch, turn
25dc.
30th to 35th rows: 1ch, 1dc in each of
next 25dc, turn. Fasten o. **
Edging: With right side facing and
beginning of 35th row, 1ch, 3dc in rst
dc, 1dc in each of next 23dc along top
edge, 3dc in corner, then work 1dc in
each of next 5 row-ends along side of
top, 3dc in corner, 1dc in each of next
15ch along bottom edge of top, 1dc in
each of next 13 row-ends, 2dc in next
row-end, 1dc in each of next 13 rowends, 3dc in corner, 1dc in each of next
23ch of bottom, 3dc in corner, 1dc in
each of next 5 row-ends along side of
bottom, 3dc in corner, 1dc in each of
15dc of top edge of bottom, 1dc in each
of 13 row-ends, 2dc in next row-end, 1dc
in each of last 13 row-ends, slst in rst
dc 160dc.
Back
of 35th row, 1ch, 3dc in rst dc, 1dc in

each of next 23dc, 3dc in corner, 1dc in
each of next 13 row-ends, 2dc in next
row-end, 1dc in each of next 13 rowends, 1dc in each of 15dc of top edge
of bottom, 3dc in corner, 1dc in each of
next 5 row-ends along side of bottom,
3dc in corner, 1dc in each of next 23ch
of bottom, 3dc in corner, 1dc in each of
13 row-ends, 2dc in next row-end, 1dc in
each of next 13 row-ends, 1dc in each of
next 15ch along bottom edge of top, 3dc
in corner, 1dc in each of next 5 row-ends
along side of top, slst in rst dc 160dc.
Gusset
1st row (right side): 1dc in 2nd ch
from hook, 1dc in each ch to end, turn
160dc.
To make up
Join row-end edges together on gusset.
Place wrong sides of front and gusset
together. With right side of front facing,
using 4.00 hook and attached yarn,
work slip stitch through corresponding
stitches of each layer. Fasten o.
Join back to gusset as front, carefully
aligning back to front, stung the letter
as you join.
Using Pearlgrey, work as front to **.

Edging: With wrong side facing and
using 4.00 hook, attach Pearlgrey to end
EASY PEASY
You will need

(we used Passion One, by
Fontstage)
O A4 paper
O SprayMount
O Fast-dry spray enamel paint
in silver or gold
O Short, straight-sided glass
tumblers
O Scissors
O Old newspapers to protect
your surfaces
O Tealights
Personalised candle pots

To make
Type out your chosen letter on your

computer screen and enlarge it to t
your tumbler see the main image as a
guide. Print out the letter and cut it out
to form a template.
Using SprayMount, stick the letter

to the side of the tumbler. Spread
out the old newspapers to protect your
surface and place the tumbler upside
down on top. Making sure that the
room is well ventilated and following
the manufacturers instructions, spray
Hang on every word

A BIT MORE TRICKY
You will need
www.timeinukcontent.co.uk
O Large vintage letter press

printers blocks spelling out
your name (see note below)
O Fine grade sandpaper
O Eggshell paint to match
decor
O Paint brush
O One 35mm ush wall
mounting bracket per letter
O Tie-back hooks with a deep
rounded hook
O Masking tape, optional
Note: You may nd it hard to buy
letters that all face the correct way
(printers blocks tend to be reversed)
but having a mixture of reversed
letters is fun. Look out for blocks on the
internet or at craft and antique fairs.
How to make
Gently rub down the top, at surface

on each print block and give it a coat
of eggshell paint, taking care not to get
paint on the background; use masking
tape to mask o any areas around the
letters if you have an unsteady hand.
Leave to dry and apply a second coat,
if necessary.
Screw a tieback hook into the base

of alternate letters in your name
and then screw the top half of a ush
bracket to the top back of the letter.
Measure and mark the position of

the lower part of your ush brackets
on your wall, spacing the letters evenly
apart and alternating the heights to
create a pleasing display. Screw brackets
in place and attach letters; your hooks
are now ready to use.
These personalised candle

pots are great at Christmas
or any time of the year
the tumbler all over with paint. Leave

to dry then give it a second coat if
necessary.
Once dry, carefully peel away

the template to reveal the
letters shape underneath. Place on
a heat-resistant surface and pop a lit
tealight inside.
Warning: Never leave burning candles
unattended.
Brighten up your office wall with

this photo frame, which you can
fill with happy memories
Family framed
EASY PEASY
Refashion vintage letterpress

printers blocks as useful,
personalised hanging hooks
You will need

O Giant, unpainted MDF
letters in Ariel font, 9mm
thick by 70cm tall (www.
thewoodenletterscompany.
com)
O Photographs
O Laser printer or
photocopying facilities (an
Inkjet printer is not suitable
for this project)
O White emulsion paint
O Paint brushes
O Dcoupage medium
O Paper scissors
O Picture wall-mounting
brackets
O Small screws
To make
Wipe down the MDF letter with

a damp cloth to remove any dust
particles, then give it a coat of white

emulsion paint all over and leave to dry.
Meanwhile, sort out the photographs

you would like to display. If you have
a Laser printer, print them out direct; if
not, take your images to a photocopying
place and get them colour copied. If
you try to use Inkjet printed images,
the ink may run when you apply the
dcoupage medium.
Cut out your printed photos and

arrange them on the painted MDF
letter, trimming them to shape around
diagonal edges and curves. When happy
with your display, start to stick them in
place using the dcoupage medium and
leave to dry.
Finally, give the photographs a coat

of dcoupage medium over the top
to protect them. Attach wall-mounting
brackets to the back of the letter using
small screws and hang on
your wall.
What a corker
A BIT MORE TRICKY
You will need

(we used Buchanan by
Iconian Fonts for our letter
M)
O Two x 4.75mm thick cork
oor tiles 30cm square per
letter
O Picture frame hangers
O Impact glue
O Metal rule
O Craft knife
O Cutting mat
O Masking tape
O Fine marker pen
To make
Using the impact glue, stick the two

cork tiles together, with edges level
to form one layer approximately 1cm
thick. Leave to dry.
Meanwhile, type out your chosen

letter on your computer screen and
enlarge it to a height of 30cm. If you only
have an A4 printer, you may need to take
your le to a copy shop to get them to
print it out at a larger size. When you
have the correct size, cut out around the
letters outline to form a template.
Using impact glue, stick one, or two

picture frame hangers to the back
of your letter depending on its shape.
For example, the letters H, K, L, M, N, U, V,
W, X and Y will need two rings to enable
them to hang straight, all other letters
will need one.
Create novelty pin boards

for your notes and memos
Place your letter template on top

of the cork tiles and secure it in
place using masking tape. Draw
around the edges with the marker pen.
Place the cork tiles on top of the cutting
mat; remove the template and using
the steel ruler and craft knife, carefully
cut around the outline to create the
letter shape in cork.
This pretty alphabet sampler in pastel

shades is simple to cross-stitch and
makes an heirloom keepsake
Home sweet home

A BIT MORE TRICKY
Photography: Barry Marsden
You will need

O Cross-stitch chart on
page 67
O Anchor stranded cotton in
the following shades: Lilac
108, Dusty Pink 1021 and
Pale Jade 186
O Tapestry needle size 22
O 30 x 40cm ivory 16-count
Aida fabric
O Embroidery hoop
To embroider
Youll nd the cross-stich chart on

page 67. Starting from the arrows on
the chart, work a row of tacking stitches
lengthways and widthways following the
bold lines on the chart, across your Aida
fabric (the point where the two lines
intersect is the centre of the design).
Mount your fabric in your

embroidery hoop, with the tackedcross centred. Start stitching from the
centre, following the colour key and
chart, using three strands of cotton in
your needle. Each square on the chart

represents one cross-stitch, worked over
one block of the fabric (see page 65 for
details on how to work this stitch).
When the embroidery is nished,

remove tacking threads. Place work
face down on a padded surface and
press on the wrong side, under a damp
cloth, using light pressure to avoid
attening the stitches; frame as desired.
Pillow talk
EASY PEASY
You will need

(we used Circus by Dan
Roseman, free, Fontspace)
O Inkjet printer
O One pack of A4 Inkjet
T-shirt transfer paper for
light fabrics
O Sheet of A4 paper for each
letter of your word
O Two plain pillowcases
O Iron
O Scissors
Choose one of the colours from

your duvet cover to create a
bespoke look on a budget
Method
Open enough
A4 pages on
your computer
screen for
your chosen
word, then
type and
enlarge each
letter to ll a
page. Now reverse
them to give mirror
images. Print each
letter onto a sheet of transfer paper,
following the manufacturers instructions
and cut out leaving a small border.
Lay out the two

pillowcases,
with their openings
facing outwards.
Arrange the letters
(with the printed
side down) on top,
spacing them
equidistant apart. Using a dry iron set at

a high temperature and following the
manufacturers instructions, iron on each
letter, a small area at a time, using both
horizontal and vertical strokes.
Leave the
letters to cool,
then carefully peel
o the transfer
backing papers. If
the corners dont
come away easily,
run the iron back
over and try again.
Tip... Why not add his and

hers initials, or Mr and Mrs,
to mark which side of the
bed is yours!
Easy Makes
Make It Tonight!
Here are four inspiring ideas for
brightening up your home and clothing
during these long, dark evenings
Wash Bags
Rock Art Badges
Lavender Topiary Trees

Funky Lampshade
Lavender Topiary Trees
Laundry Sorter Bags
Add interest and a pleasant fragrance to your

living room with these lavender pomanders
Eliminate laundry problems by organising your

dirty laundry in these colourful drawstring bags
Push the twig into the oasis ball. Apply

PVA glue all over the ball and leave
until it is tacky.
Type up your bag label (we used 72pt ITC

American Typewriter font), then, following
the manufacturers instructions and using
the transfer paper, transfer the word onto the
calico fabric. Leaving a 3cm border around
the word, cut out a rectangular label using
pinking shears.
Roll the oasis ball into a bowl lled

with the dried lavender owers until it
is covered.
You will need

X Twig from the
garden
X Round oasis ball
X PVA glue
X Loose, dried
lavender
X Long Tom
terracotta pot
X Sandpaper
X O-white
emulsion paint
plus paintbrush
X Empty tealight
holder
X Small piece
oasis to t inside
tealight holder
X White gravel
Use a paintbrush to coat the clean, dry

terracotta plant pot with emulsion.
Leave to dry, then sand roughly.
Push the small piece of oasis into the

empty tealight holder and place it
in the base of the pot, then push in the
remaining end of the twig. Cover with
gravel and then ll the pot to the top with
more gravel.
You will need

X 66 x 100cm of
printed cotton
fabric for each bag
X Small piece of
calico for each
label
X Matching
threads
X White and light
T-shirt image
transfer paper for
inkjet printers
X String or
ne cord for
drawstring
X Pinking shears
and scissors
Fold the bag fabric in half with wrong

sides facing and short ends level. Place
calico label centrally on top, then pin and
stitch it to the top layer of fabric only around
the pinked edges.
Now fold bag fabric in half again, with

right sides facing, and machine stitch
across bottom and up the side, taking a 1.5cm
seam allowance and nishing 8cm from top
edge; reverse stitch at each end to secure.
Press the top, unstitched side edges

1.5cm to wrong side, then press top edge
rst 1cm and then another 3cm to wrong side
to form a channel. Stitch the top channel in
place close to rst pressed edge. Turn right
side out and thread the string through using a
safety pin; knot ends together.
Funky Lampshade
Rock On Badges
Simple cup-cake cases transform a basic white paper

lantern into a designer lampshade
Turn pebbles into works of art with a spot of paint and

a steady hand perfect for jazzing up a plain jacket
Open out and assemble the

paper lantern, then separate
around 120 cupcake cases (so they
are easy to pick up).
You will need
X Ivory paper
lantern
X Approximately
120 white cupcake
cases
X PVA glue
Starting at the top, glue the base of

each cupcake case onto the shade
using the PVA glue, ensuring that
each case touches the next. Work
in rows, from left to right or up and
down the shade, taking care not to
put any pressure on the ones already
glued in place.
Leave the lampshade to dry then

hang it.
Clean your pebble in soapy water,

rinse and dry thoroughly. Paint your
pebble a solid colour using the at
artists brush then leave to dry.
You will need

X Small, smooth,
plain pebbles
X Acrylic paints
in colours of
your choice
X Flat artists
paintbrush
X Fine point
artists
paintbrush
X Sharp pencil
X Clear waterbased varnish
X Mixing plate
(optional)
X Brooch backs
X Clear allpurpose glue
Draw your design onto the front of

the painted pebble, using the pencil.
Practice your design on paper rst, if you
are unsure.
Squeeze a little paint onto your plate

then dip in the ne-pointed artists
brush but dont overload the brush.
Gradually paint over your design lines.
Allow paint to dry fully and then

varnish to protect your design.
Glue a brooch back to the reverse of the
pebble and leave to dry.
Rock Art! by Denise Scicluna

(Search Press, 9.99).
www.seachpress.com
Block
Busters
Sewing
Any little girl will fall in

love with this heirloom quilt
and cushion, created using
designer Tone Finnangers
Tilda range of cotton
fabrics
Getting started
Note: Seam allowances are included in the size specications for these patchwork
projects to make things easier. Seam allowances are calculated at in (6mm).
O The quilt is made up of two blocks: a Flying Geese block and a Squares block. Each
block is made from two colourways, so you get four dierent repeated blocks (see
Figure B). There is also a narrow, o-white border around the patchwork panel
measuring 1in (3cm) deep and, nally, a border of squares 2in (5cm) deep.
Figure A
The nished quilt measures 46 x 70in

(approximately 118 x180cm).
A BIT MORE TRICKY
You will need

O Off-white cotton fabric, plus
13 coordinating Tilda fabric
prints for the patchwork
front
O Coordinating cotton backing
fabric
O Contrasting cotton binding
fabric
O Matching thread
O Cotton wadding
O Rotary cutter
O Quilters rule
O Self-healing cutting mat
O Chalk pencil or fade-away
marker pen
O Sewing machine
O Pins
O Hand-sewing needle
Note:
The most common measuring unit
for patchwork and quilting is the inch,
which is equivalent to 2.54cm. This is
usually rounded o to 2.5cm to make
measurements simpler.
There are many advantages to using
inches: measurements on quilters
rulers and instructions often give
measurements in inches; and round
numbers are often quite complicated
to convert into centimetres. The inches
in the following instructions are written
rst with the cm measurement in
brackets afterwards, so you can work
with the measuring unit that you prefer,
for example: 3in (8.75cm).
O Figure A
shows the
measurement
for all the parts
to be cut for
the quilt, apart
from the narrow
border between
the patchwork
and edge of the
square border.
Figure B also
shows how many
of each part you
need to cut.
Square block patches
B
2 x 3in
(5 x 8.75cm)
2 x 2in
(5 x 5cm)
Flying Geese
patches
D
4 x 4in
(10.25 x 10.25cm)
C
3 x 3in
(8.75 x 8.75cm)
Figure B
2/ x 2/in
(6 x 6cm)
Square block patches
24 blocks
C x 39
C x 18
C x 20
18 blocks
A x 48
A x 78
A x 30
2
B x 78
20 blocks
B x 48 B x 30
A x 152
Flying Geese patches

E x 152
D x 38
15 blocks
4
A x 76
A x 76
Assembling the
Square blocks
With right sides together, stitch a

rectangular patch (B) between two
small squares (A) and press seams
open. Repeat with another two small
squares and a second rectangular patch
to create two narrow strips.
In the same way, stitch a large

square patch (C) between two
rectangular patches (B), and press
seams open. Then, stitch the two narrow
strips formed in step 1 to the top and
bottom to form a square block. Make 24
in colourway 1 and 15 in colourway 4
(see Figure B).
Assembling the
Flying Geese blocks
Note: These instructions will make four
Flying Geese at once. The small squares
are half the size of the large one.
C
Cutt apart
along the line
and press the
triangles outwards.
7
5
Place one small square (E), right

sides facing, on each of the sewn
units, aligning them with the
corners. Draw a line and sew in a seam
allowance on each side, as before.
When you have sewn all the Flying

Geese pieces for the quilt, they
are sewn together with a large
square (C) and small corner squares (A)
into nished blocks. We have varied our
pattern so that each block has dierent
blue-patterned parts. Make 18 in
colourway 2 and 20 in colourway 3 (see
Figure B).
Assembling the
patchwork top
Place two small squares (E), right

sides together with a large square
(D), aligning them in the corners.
Draw a line from corner to corner, then
stitch in a in (6mm) seam allowance
along each side of the drawn line.
8
6
Cut apart along the lines and

press the parts outwards. You
will now have four identical
Flying Geese parts.
Following the assembly diagram

top right, lay out the blocks in 11
rows, each with seven blocks. Sew
the blocks together in rows, pressing
the seams of alternate rows in opposite
directions. Now sew the rows together
and press the seams downwards.
Quilt assembly diagram
1 2
1 2 1 2 1
3 4
3 4 3 4 3
1 2
1 2 1 2 1
3 4
3 4 3 4 3
1 2
1 2 1 2 1
3 4 3 4 3
1 2
1 2 1 2 1
3 4
3 4 3 4 3
1 2
1 2 1 2 1
3 4
3 4 3 4 3
1 2
1 2 1 2 1
For the narrow border, cut

two fabric strips: 1 x 42in
(3 x 108cm) from o-white. Cut
another four strips: 1in (3cm) x width
of fabric and sew them together end to
end to form two long strips. Press seams
open. From the long strips cut two strips
1 x 68in (3 x 173cm).
10
Sew the shorter, o-white

strips to the top and bottom
of the quilt and press the
seams outwards. Then, sew the longer
strips to the sides of the quilt and press
the seams outwards.
13
There are
also many
ways to
work the quilting
stitches, from simple,
straightforward sewing
along the patchwork
seams (stitch-in-theditch) to intricate, freeowing designs that
require knowledge and
experience. You can
also nd companies
that will quilt your
nished patchwork for
you, using a special,
long-armed quilting
machine. Find out more
about quilting methods in quilting shops
and on the internet.
3 4
Adding borders
nally the patchwork

top, right side up, and
smooth out until there
are no wrinkles. There
are many techniques
for holding the fabric
layers together while
you are quilting
safety pins, a quiltbasting gun or large
tacking stitches
however, one of the
simplest methods is
using a basting spray.
Binding
14
Cut 2in (6cm) wide strips

of contrasting fabric for the
binding; the seam allowance
is included. Join the strips together until
you have a strip long enough to bind all
around the edges of your quilt. Iron the
binding strip in half, wrong sides together,
so it measures 1in (3cm) wide.
11
Assemble the outer borders

from blue and white small
squares (A). Stitch in place
around the outer edges, adjacent to
the narrow o-white borders. The outer
square border should nish with one
blue square placed at each corner; see
the assembly diagram.
Layering and quilting
12
Cut a piece of wadding

and backing fabric to the
same size as the completed
patchwork top. Carefully lay out the
backing fabric on a at surface, wrong
side up. Place the wadding on top and
15
Working from the right side,

place the folded strip half
way down one side edge of
your quilt, with raw edges level. Starting
in (12mm) from the short end of
the binding, sew it in place, stopping
approximately the distance of one seam
allowance from the corner.
16
Fold the binding neatly

at the corner to turn it 90
degrees before continuing
to sew along the next side. Continue in
the same manner until you meet the
starting end of the binding. Fold over the
binding at the nishing end and tuck it
under the starting end. Trim away excess
binding and stitch the ends in place.
17
Finally, turn the folded edge

of the binding over the
wrong side, enclosing the
raw edges of the quilt, and whipstitch
the folded edge to the back of the quilt.
Matching Cushions
Using the patchwork quilt instructions
as a guide, you can adapt them to
make these matching cushions
Finished size: 22in (56cm) square.
A BIT MORE TRICKY
You will need

O Off-white cotton fabric, plus
coordinating Tilda fabric
prints for the patchwork
front
O Coordinating cotton backing
fabric
O Coordinating cotton binding
fabric
O Matching thread
O Cotton wadding
O Rotary cutter
O Quilters rule
O Self-healing cutting mat
O Chalk pencil or fade-away
marker pen
O Sewing machine
O Pins
O Hand-sewing needle
O 22in (56cm) square cushion
pad
Make up two of blocks 1 and 4,

and ve of block 3 (see Figure B,
on page 22) and assemble them
as shown in the quilt-assembly diagram
below. Cut four strips for the inner
border from o-white fabric, 1in (3cm)
wide, and sew them to the side edges of
your patchwork centre. Finally, assemble
the outer borders from blue and white
small squares (A). Stitch in place around
the outer edges, next to the narrow
o-white borders. The outer border
should nish with one blue square
placed in each corner (see the assembly
diagram below).
Cushion assembly
diagram
2
3
Layer the patchwork top with

wadding and backing, and
tack the layers together. Quilt
as desired.
Cut two pieces of coordinating
fabric for the cushion back,
16in (42cm) x 22in (57cm).
These pieces will overlap down the
centre back of the cushion to form an
opening for inserting your cushion pad.
4
5
Press, tack and machine a in

(2cm) double-turned hem to the
wrong side down one long edge
of each cushion back.
Lay the front patchwork piece
wrong side up, with wrong sides
facing, and place one back cover
on top, keeping raw edges level and
hemmed edge towards the centre.
Place the second back on top, covering
the remaining part of the front, again
keeping raw edges level and hemmed
edges overlapping at the centre. Pin,
tack and machine stitch around all
edges of the cover, taking a in
(6mm) seam allowance.
Remove tacking and then make

and attach contrasting binding
to the raw edges of the cushion
cover, as shown in steps 15, 16, 17 and
18 of the quilt. Insert the cushion pad
through the back opening.
Coming
next
month
Small Tilda dolls
Tildas Toy Box by

Tone Finnanger
(F&W Media,
16.99). www.
searchpress.com
Printed
Patterns
By Post
Lovely Christmas
Decs & Gifts To Knit
Jumper, Waistcoat and

Leggings Knitting Pattern,
4.99 WOWE14KD0003
Fairy Christmas Tree

Hanging Christmas
Decorations Crochet Pattern, Decoration Knitting Pattern,
2.99 WOWE14KE0001
1.99 WOWE14KS0040
Festival Stocking Crochet

Pattern, 1.99
WOWE14KE0003
Abstract Christmas Tree

Knitting Pattern, 1.99
WOWE14KS0039
Father Christmas Advent
Calendar Crochet Pattern,
2.99 WOWE14KE0000
Christmas Puddings Knitting Set of Nordic Christmas Decorations

Pattern, 2.99
Knitting Patterns, 2.99
WOWE14FH006H
WOWE14FH009S
Each pattern will be printed on A4 card and delivered to your door
To order, call 0800 024 1212* or complete the coupon

TO: LTM01 Christmas Knits Offer, WW Shop Customer Care,
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This offer ends 11 January 2016
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Product code
Product
Price Qty
WOWE14KD0003 Jumper, Waistcoat and Leggings
Knitting Pattern
4.99
WOWE14KS0040 Hanging Christmas Decorations
Crochet Pattern
1.99
WOWE14KE0001 Fairy Christmas Tree Decoration
Knitting Pattern
2.99
WOWE14KE0003 Festival Stocking Crochet Pattern
1.99
WOWE14KS0039 Abstract Christmas Tree Knitting Pattern 1.99
WOWE14FH006H Christmas Puddings Knitting Pattern
2.99
WOWE14FH009S Set of Nordic Christmas Decorations
Knitting Patterns
2.99
WOWE14KE0000 Father Christmas Advent Calendar
Crochet Pattern
2.99
Postage and packaging
HOW TO ORDER
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for the sum of .....................................................
rite your name and address clearly
on the back of your cheque)
Easy Make
Measurements
13cm/5in high and 14cm/5in wide
Materials
O Small amount of Sublime
Extra Fine Merino wool DK
in each of Red (Red Hot 167)
and Cream (Alabaster 003)
O Small piece of polyester
wadding
O Pair of 3mm (No.9)
knitting needles
Tension
23 stitches and 32 rows, to 10 x 10cm,
over stocking stitch, using 3mm
needles
Abbreviations
K, knit; p, purl; st, stitch; tog, together;
inc, increase (by working twice into
same st); dec, decrease; ss, stocking st (k
on right side and p on wrong side)
Note
Instructions in square brackets are
worked as stated after 2nd bracket.
From The Heart

The cards are written and presents wrapped, so keep
those ngers busy with this Nordic tree decoration
To make
With 3mm needles and Red, cast on 5 sts.
** P 1 row.
1st inc row: Inc in rst st, k to last 2 sts, inc
in next st, k1. P 1 row.
Repeat last 2 rows, twice more.
2nd inc row: Inc in rst st, k1, inc in next
st, k to last 4 sts, [inc in next st, k1] twice. **
Work from ** to **, once more 25 sts.
P 1 row. Work 1st inc row.
Repeat last 2 rows, twice more 31 sts.
Ss 3 rows.
Work 1st inc row 33 sts. Ss 5 rows.
Dec row: K1, k2tog, k to last 3 sts, k2tog, k1.
P 1 row.
Dividing row: K15, cast o next st,
k to end.
Work on last set of 15 sts for rst side.
First side: P 1 row. Work dec row.
Cast o.
Second side: With wrong side facing,

rejoin yarn to remaining sts.
P 1 row.
Work dec row.
Cast o.
Make one more piece.
Hanging loop: With 3mm needles and
Red, cast on 32 sts. Cast o.
To complete
Using knitted heart as template, cut
wadding to t shape, making it about
1cm smaller on all sides. With Cream,
Swiss darn snowake motif (see chart
and instructions, on page 66) on front
at centre of heart. Pin knitted pieces
together, enclosing wadding. With
Cream, work blanket stitch around outer
edges of heart. Join ends of hanging
loop and attach to heart.
Wet Felting
The art of wet felting is easy to learn and enables you to produce
gorgeous wall hangings, soft furnishings or wearable items
All about felting materials

The following materials are essential to the process of wet felting.
The wonderful thing about the

materials required for wet felting
is that they are readily available.
Wool can be bought online or
from specialist suppliers. Other
materials can be recycled from old
curtains or garments and, similarly,
all embellishments, from beads to
silk bres, are simple to source.
lting?
What is wet fe
craft
Felting is an ancient
nd
examples have been fou
bs
tom
an
eri
Sib
in
preserved
Even now,
dating back to 600BC.
continue
some Mongolian tribes
al
to live in yurts, tradition
s as
ain
rem
t
fel
d
an
ts,
felted hu
r.
eve
versatile and useful as
ting
fel
t
we
of
s
ces
The pro
ter and
involves adding warm wa
rolling
soap to wool bres and
er. Each
and rubbing them togeth
les; when
wool bre has tiny sca
ed the
water and soap are add
friction
scales swell up and the
ourages
caused by agitating enc
form the
them to lock together to
t.
robust fabric we call fel
n,
thi
or
ck
thi
be
can
Felt
layers
ny
ma
w
ho
on
ing
depend
ess
ckn
of bres you use. The thi
d
nee
you
is based on how strong
the nished felt to be.
Felt & Fibre Art by Val

Hughes (Search Press,
17.99). See page 59.
Soap
Netting
Soap is used
primarily to speed
up the process of
felting. The type you
use in wet felting
does not really
matter: it can be a
traditional bar of soap, washing-up liquid
added to a spray bottle or even soap akes
sprinkled onto your work before applying
the water. However, a bar of olive-oil soap
is biodegradable and kinder to both the
bres and your hands.
Netting is used to
cover the laid-out
felt before it is felted.
It helps to keep the
wool in place as
you roll the work.
You can buy netting
from specialist fabric shops, however,
charity stores often sell net curtains, which
can be cut to size and work just as well.
Spray bottle
Used for dispersing
water evenly over
the bres, spray
bottles can be
purchased from
specialist felting
suppliers or garden centres or simply
rinse out an old kitchen-cleaner spray
bottle thoroughly and use that.
Plastic carrier bags

These are useful when pressing and
rubbing wet bres together during the
felting process.
Wool bres
Wool bres are at the heart of felt
making. These are generally bought
as tops, semi-processed wool that has
Towel and plastic

sheeting
These are used to
protect your work
surface. The towels
soak up most of
the water from the
felting process while
the plastic sheeting prevents any excess
water leaking through.
Rolling mat
Specialist felting
mats oer an
eective way to
speed up the felting
process. They give
a rm base when
working and make
rolling easier than the alternatives (such
as using bubble wrap). However, bamboo
mats often sold as place mats or sushi
mats are inexpensive and just as good.
been cleaned and combed into coils

called hanks or skeins.
Merino wool felts extremely well,
creating a at, even surface that
can be embellished or machine
embroidered. The Merino is a breed of
sheep from central Spain that is prized
for its wool, which is some of the nest
and softest wool produced by any
breed of sheep. It is breathable and
odour resistant, and various grades
of Merino wool are available. Merino
Try A New Craft

Creating a piece of felt with
a distinct design, such as
this, requires careful felting.
However, the rewards of
achieving a strong image
with separated colours is well
worth the eort
wool tops can be mixed readily and to

good eect, giving a lovely, painterly
look to your work. They are ideal for
the beginner to use because they
shrink quickly, which speeds up the
felting process. There are, of course,
many other wools that can be used for
felting and adding interesting texture
but we will only be using Merino wool
in this feature.
Silk bres
Silk will not felt on its own, it needs to
be mixed with wool bres. It gives a
lift and sheen to felt that can appear
a little at when made from wool alone.
Mulberry silk
Like wool, this is bought as tops. It is
soft, lustrous and naturally bright and
white, although it is often dyed to an
assortment of colours.
Tussah silk
Another natural silk, produced by
tussah moths, is also bought as tops.
The tops are often creamy in colour and
sometimes a darker colour resembling
tea. This type adds a natural golden
colour to the work.
Silk noils
Found in the inner parts of the
silkworm cocoon. These shorter
bres can be particularly useful for
adding texture.
Embellishments
Threads
Using dierent
threads can add
interest, texture
and colour with
both machine
and hand
embroidery.
Cotton and silk threads are useful for
construction and mark making, while
metallic and pearlised threads are fun
for adding lustre and sheen.
Iridescent bres
Iridescent bres are ne, reective
bres that add sparkle to your work.
They are useful for holding other mixed
media materials such as knitting
wools, leaves and threads in place.
Subtlety is the key with these bres:
a little goes a long way. The material
comes in a variety of colours and some

is heat-bondable.
Beads
Available in a vast selection of shapes,

sizes and materials paper, glass,
felt and bone, to name just a few
stitching on a few beads adds light,
texture or colour to whatever you are
wet felting.
Turn the page to make

the rose panel
Lets get started

This rose panel is created using the
wet-felting method, utilising Merino
wool tops and mulberry silks. It is then
embellished using both free-machine and
hand embroidery. The colour palette here
is mainly black and red, with highlights of
green and yellow to lift the work, but you
can choose any colours to suit your taste
(see Notes, below).
A BIT MORE TRICKY
smaller amounts of cool green to the centre

of each rose in the same way and, nally,
tease out tiny amounts of black, twist them
between your ngers to make wisps of wool,
then add one or two to each rose to give
texture and interest.
direction from top to bottom, in a rectangle

measuring 36 x 33.5cm.
You will need

O Basic felt-making
equipment: 50 x 50cm
bamboo mat, soap, spray
bottle, towel, plastic
sheeting, netting and
plastic carrier bag
O Merino wool tops: black,
red, yellow-green and
cool green
O Mulberry silks: variegated
pink, variegated lilac and
variegated purple
O Sewing machine
O Machine embroidery
thread: red and green
O Stranded embroidery
thread in yellow and green
O Embroidery needle
O Embroidery scissors
Notes:
With strong subject matter such as this, it's
important to stick to a limited colour palette
dont be tempted to use any colours
outside your initial planned range.
Turn your work continuously during the
felt-making process. This prevents shrinkage
in one direction only, which will distort your
design or even lose it completely.
Keep bres wispy to encourage them to
lock onto your base layer of wool.
Remember to cover mulberry silks lightly
with wispy Merino slivers to help bond them
to the base bres. If a particular area is not
attaching as well as others, concentrate
on this area until it is rmly xed before
continuing. Cover it with the net, add more
soap and water and rub in a circular motion.
Draw larger amounts of yellow-green

bres from the wool-top hanks,
twist the ends together and open
out the centres to make leaf shapes.
Place a few around the roses to ll a little
of the background.
Lay down a second layer of

black Merino wool on top. This
time, with the wool at right angles
to the previous layer so that the bres all
run from left to right. Lay a third layer on
top, again at right angles to the one beneath
so the bres run from top to bottom on
this last layer.
6
3
Pull o a fair amount of red from

the wool-top hank and shape the
bres into rough circles to represent
roses. The size of each rose is not critical
but you will need to decide how many you
wish to add and adjust the size you make
them accordingly. Here, each one measures
approximately 10cm in diameter. Arrange
the roses on top of the black rectangle.
Felting the piece
Laying out the wool
Protect your surface by putting a

towel on top of a plastic sheet, then
place your rolling mat on top. Tease
out some black wool bres from the end of
one wool-top hank. Lay them out in a ne,
even layer, with the bres all facing the same
Tease out tiny amounts of cool green

bres from the wool-top hanks and
make wisps to add veins and other
detailing to the leaves. Finally, using pinkpurple variegated mulberry silks, create a
ne, broken border around the edges of the
picture. Add some tiny touches of the same
mulberry silk among the leaves and roses,
and cover these touches lightly using small
wisps of merino wool.
Draw o small amounts of yellowgreen bres from the wool-top hank,

shape them into small circles and
place one in the centre of each rose. Add
Lay a large piece of netting over the

whole piece and use the spray bottle
to spray hot water over the whole
area. The addition of the roses and other
details means that the wool is very thick, so
it is important that it is thoroughly wetted to
avoid dry areas remaining inside, which will
prevent it felting properly.
into place and lay the netting back over

the top, then add more soap. Next, rub the
area vigorously with a scrunched-up plastic
bag. This forces the soapy water down into
the area and felts the bres. Lift the netting
away to check the piece has felted properly,
if not, then repeat the steps above, until it is
secured.
details on how to free-machine embroider).

Work from the inside of the ower outwards
in a loose spiral. Keep the red thread within
the red felted area and secure the thread
by overstitching. Trim thread ends then
embroider the other roses in the same way.
Use your hands to smooth the piece

down and ensure the water is spread
throughout. If any areas feel slightly
uy, that area is still dry, so add more water
with the spray bottle.
13
9
Once you are happy the wool is

thoroughly wetted, draw the soap
over the whole piece, working
especially carefully to ensure all the layers
and details stay in place.
Continue wet felting the piece,

remembering to turn the piece
each time, until the piece
measures approximately 28 x 25.5cm in
size. Rinse the piece in clean water and
wring it out to remove excess water and
soap. Pull the piece back into shape and
leave it to dry naturally.
15
Thread your sewing machine

with green embroidery thread
and free-machine embroider
veins onto the leaves.
Embellishing
16
Using all six strands of the

embroidery cotton, stitch a
group of French knots in the
centre of each rose (see page 65 for details
of how to work this stitch).
10
Carefully roll up the mat tightly,

with the netting and wool in
place. Place the palms of your
hands on top of the rolled-up mat and rub
back and forth vigorously around a hundred
times to start felting the piece. Unroll the
mat and check that all the pieces have
remained in position.
14
Thread your sewing machine

with red embroidery thread and
begin to free-machine embroider
loose, wavy spirals on one of the roses, to
suggest the shape of petals (see page 65 for
The nished piece

You can use your nished piece as a wall
hanging, appliqu it to the front of a
cushion or create a second panel to make
a small bag.
11
Carefully remove the netting,

lift the piece away from the mat,
turn it through 90 degrees and
place it back on the mat.
12
Repeat steps 10 and 11 to felt the

piece in the opposite direction.
If any areas are revealed to have
lifted away, then press them back down
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For a bigger project, such as a bed cover, simply make more stripwork
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Tote Sweet
Transform a plain jute bag with this pretty oral design
A BIT MORE TRICKY
You will need

O Chart on page 68
O Jute tote bag (measuring at
least 30 x 30cm)
O DMC stranded cotton
embroidery thread in the
following colours: B5200
(white), 3607 (bright
pink), 211 (light violet),
153 (violet), 554 (dark
violet), 553 (very dark
violet), 3747 (light blue),
159 (blue), 56 (dark blue),
3838 (very dark blue)
O Tapestry needle, size 22
O Tape measure
Finished motif size: 18cm diameter;

84 x 90 stitches
To work the
embroidery
1
2
3
Use a tape measure to nd the

centre point of the front of the bag
and mark it with your needle. This
shows you where to begin your stitching.
The full design is worked in

cross-stitch; see our stitch
guide on page 65 for how to
work this stitch.
The chart on page 68 shows the
nished design. Each coloured
square represents one crossstitch worked over one thread of fabric
using two strands of embroidery thread

in your needle. The key with the chart
indicates the colour of thread used.
Find the centre of the chart, as

indicated by the yellow lines
on the chart. Working from the
centre outward and following the chart,
stitch the ower motif, stitching into the
grid of the jute fabric in just the same
way as you would onto Aida fabric.
Note: This design blends four shades of
the same colour for each of the petals,
which means that if you put a stitch
wrong here and there you really wont
notice. So no unpicking hurrah!
Tip... If you choose a

laminated bag (where the
inside is coated in a thin
layer of plastic), it will
help to keep the bag in
shape around your stitches.
Use your needle to punch
through the plastic with
each stitch, gently removing
any excess that comes away.
Modern Cross Stitch

by Hannah Sturrock;
photography by Jo
Henderson (Cico
Books, 12.99) Cico Books 2015
Stitchcraft
rk'shops
o
W
'
t hat
!
k
wor
'
'
'
'
69
per person
Would you like to be able to

alter a knitting pattern to your own specications? Nows your
chance. Well teach you how to work out a pattern for a simple
stocking-stitch cardigan in double-knitting yarn. Its also aimed at
budding designers with some knowledge of knitting.
10am Welcome, with cofee
and tea
10.30am Draw line diagram with
detailed measurements as
required
11am Work out the tension from
your own swatch to be used to
translate all the measurements
into stitches and rows
11.15am Calculating back and
front instructions and working
out all shapings
1pm Lunch
2pm Calculating sleeve
instruction and working out all
shapings
69
per person
3.30pm Tea break

3.45pm How to incorporate a
simple stitch pattern into your
own instructions
4.15pm Question time
4.30pm Workshop nishes
You will need to bring with you:
' An old sweater or item that ts
you perfectly ' a calculator ' a
tension sample knitted in the doubleknitting yarn that you intend to knit
the entire sweater. The sample
should be knitted on 4mm (No. 8)
over 34 stitches thus: K 3 rows.
1st row: K to end.
2nd row: K2, p30, k2. Repeat last 2
rows, 19 times more. Next 2 rows:
K2, p30, k2. Cast of pwise.
it & Crochet Tea Party

th Freddie and Monika on
iday 25 March and Friday
June
ou know how to knit and crochet, weve

perfect day out for you. We have a
oice of fabulous yarn projects for you to
ake. Youll need to be condent in basic
itting or crochet to join in, but there will
emonstrations on knitting in the round,
em ro ery, ea ng an a crochet slip (or magic) ring. WWs
Editor, Diane, will join you for afternoon tea before you go home.
and tea
10.30am Start work on your
chosen cake project
11am Introduction to pattern
reading and basic shaping
11.30 Tea break
11.45am Double-pointed
needles knitting demonstration
1pm Lunch
2pm Sewing-up instructions
2.45pm Adding beading and
decorative embroidery
3.30pm Tea break
4pm Stuffing cakes and
nishing of
To book
easily,
call 0800
024 1212*
How To Design A
Childs Knitted Sweater
with Tina on
Friday 7 October
How To Design
Your Own Knitted
Cardigan
with Tina on
Friday 15 April
Come along to WWs HQ

for our exclusive
knitting & crochet
workshops and meet
the editorial team
69
per person
Well teach you how to create a

sweater pattern for your child or
grandchild. The pattern will be for a simple
stocking-stitch sweater in double-knitting
yarn that you make at home.
and tea
10.30am Draw line diagram with
detailed measurements
11am Work out the tension from
a swatch to be used to translate
all the measurements into
stitches and rows
11.15am Calculating back and
front instructions and working
out all shapings
1pm Lunch
2pm Calculating sleeve
instruction and working out
all shapings
3.30pm Tea break
3.45pm How to incorporate

motif into front instructions
You will need to bring with you:
' An old sweater that ts intended
child ' a calculator
' a tension sample knitted in the
double-knitting yarn that you intend
to knit the entire sweater. The
sample should be knitted on 4mm
(No. 8) over 34 stitches thus: K 3
rows. 1st row: K to end. 2nd row: K2,
p30, k2. Repeat last 2 rows, 19 times
more. Next 2 rows: K2, p30, k2. Cast
of pwise.
rcular Knitting
asterclass
69
per person
with Freddie and

Monika on
Friday 17 June
For experienced knitters, this
introduces you to two circular
knitting tools: double-pointed
needles and circular needle. Youll
learn how to hold and work on a set
of four double-pointed needles,
creating narrow knitted tubes,
such as socks or a polo neck. In the
afternoon, youll work on a circular needle for straight and tubular
knitting. This workshop is the next step to build up your skills.
and tea
10.45am How to cast on and
divide stitches on to doublepointed needles and join to form
a round
11.05am Working with doublepointed needles
11.30am Tea break
12.30pm Rearranging stitches
and troubleshooting doublepointed needle techniques

1pm Lunch
2pm How to work on circular
knitting needles
3.15pm Tea break
3.45pm Working on a circular
knitting project
4.15 Question time
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Womans Weekly Workshops

OUR 2016 KNITTING & CROCHET WORKSHOPS IN LONDON
TINA EGLETON
WWs Technical Knitting Editor
has over 40 years experience.
Shes designed many of
Womans Weeklys knitting
patterns and is an expert tutor.
Make The Womans

Weekly Knitted Bear
with Freddie and Monika
on Monday 16 May
Youll need to be a condent knitter to
make our adorable toy as he needs some
complex shaping techniques to create the
perfect shape. Well take you through the
tricky shapings, including turning rows and
invisible seaming and facial embroidery.
10am Welcome, with cofee and tea
10.30am Start work on your bear
11am Basic shaping techniques
11.30am Tea break
11.45am Complex sole shaping and
attaching legs to body
1pm Lunch
2pm Sewing-up instructions
2.45pm Indenting eye positions and
adding embroidery
3.30pm Afternoon
tea with WWs
Editor Diane
per person 4pm How to
stuf your bear
4.15pm
Question time
4.30pm
Workshop
nishes
69
Learn To Crochet
With Your Child NEW!
60
Or Grandchild
per pair
on Friday 12 August
This half-day workshop will be fun

for you and your child or grandchild to
learn together. Our tutors will teach you
how to do basic crochet stitches, starting
from how to hold your hook and yarn
to how to do basic stitches. Ticket price
includes one child and one adult.
10am Welcome, with
cofee and tea
10.30am How to hold
your hook and yarn and
make a slip knot
11am Working basic
stitches, chain, double
crochet and trebles
11.30am Using basic
stitches, try an easy
project idea
1pm Workshop nishes
FREDDIE PATMORE
Our Knitting Assistant has been
crocheting since she was a child.
Shes gone on to become a
published author and designer
and loves teaching our workshops.
Learn To Crochet
with Freddie and
nd Monika
on 22 April an
nd
16 Septembe
er
op for
The ideal worksho
ur
beginners. Join ou
friendly team of
tutors, wholl teacch
you all you need tto per person
know, starting with
t do
how to hold your hook and yarn, how to
the basic stitches and how to work from
your chosen pattern.
69
10am Welcome, with cofee and tea

10.30am How to hold your hook and yarn
and make a slip knot
11am Learn how to work the basic stitches,
chain, double crochet and double trebles
11.30am Continue working on the
basic stitches
1pm Lunch
2pm How to read a pattern and work
in the round
3.30pm How to change a colour and work
a basic project
Learn To Knit With Your

Child Or Grandchild
on Friday 19 August
Our tutors will teach
you and your little one
to knit from scratch on
this half-day
workshop. Theyll
show you how to cast
on, knit, purl and cast
off and get started on
a scarf or a bookmark
project, which you can
carry on with
together ready for the winter.
Ticket price includes one
child and one adult.
Speedy/Ultimate
Christmas Knitting
69
per person
with Freddie and

Monika on
Monday 3
October
Packed with handy,
time-saving hints and
gorgeous gift ideas, this
workshop is for the condeent begi
ginner.
10am Welcome, with tea/cofee
10.45am Start work on some super-speedy
Christmas decs
11.30am Tea break
12.30pm Finish of your decs, darn in ends
and learn to stifen for a professional nish
1pm Lunch
2pm Quick scarf project using glitzy yarn
3.15pm Tea break
3.45pm Finish of your scarf and learn
other time-saving tips and tricks
Its easy to book , just call us on
0800 024 1212*

Quote code LTM01
*Lines open Monday to Friday, 10am4pm, but closed bank holidays. Call
charges from mobiles and non-BT
landlines may vary.
Booking notes for the Knit & Crochet
Tea Party: Please state at the time of
booking which craft (or maybe both) you
are condent with. This will allow the
tutor to tailor the day to suit the group.
Where are the workshops held?

' At our HQ, Blue Fin Building,
110 Southwark Street, London SE1 0SU
NEW!
60
per pair
10am Welcome, with cofee and

tea 10.30am How to hold your yarn and
needles
10.45am Casting on
11am Learning how to knit and purl stitches
11.30am How to cast of
11.45am Start work on a beginners project
1pm Workshop nishes
Time Inc. (UK) Ltd by email, phone and post. You can unsubscribe from emails by clicking unsubscribe from within the email
MONIKA COBEL
Our newest member of the
team has a calm and patient
nature, making her an excellent
tutor. Shes now begun
designing for Womans Weekly.
The workshops do not include lunch, but at our

HQ, there is a canteen or you can bring your own.
There are also food outlets close to the office.
Should your chosen date already be sold out, you
will if possible be ofered an alternative date.
TERMS AND CONDITIONS Tickets will be
allocated on a rst-come, rst-served basis.
Womans Weekly has the right to change the
itinerary of the day. Please note, tickets to this
event are non-refundable, unless it is cancelled or
postponed. A guest-list policy will be in operation
at the event. Shortly after purchasing
tickets, you will receive conrmation:
this is your ticket to the event,
so please retain it for
future reference.
,
ops
h
s
ork m/
w
r
ou kly.co
n
o
e
info answets
e
r
mo om en
For visit w ev
Its
A Wrap!
A mix of modern and retro, this take on the granny-square style
teams perfectly with jeans and a winter jacket
EASY PEASY
Measurements
29 x 160cm/11 x 63in, including
edging.
Materials
400g of DK yarn in six contrasting
colours. Size 4.00 crochet hook.
Abbreviations
Ch, chain; dc, double crochet;
st, stitch; tr, treble; slst, slip st.
Note
approximate. Instructions in square
brackets are worked as stated after
2nd bracket.
To make
Text Catherine Hirst Photographs: Loupe Images/Emma Mitchell
With 4.00 hook and 1st contrast colour,

make 230ch.
1st foundation row: 1dc in 2nd ch from
hook (counts as 1 st), 1dc in each ch to
end, turn 229 sts.
2nd foundation row: 3ch (counts as
1tr), 1tr in rst st, [miss 2 sts, 3tr in next
st] to last 3 sts, miss 2 sts, 2tr in last st,
turn.
1st row: 3ch (counts as 1tr), miss rst
2tr, 3tr in gap between last missed tr and
next tr, [miss next 3tr, 3tr in gap between
last missed tr and next tr] to last 2 sts,
miss 1tr, 1tr in top of 3ch, turn.
Join in 2nd contrast colour.
2nd row: 3ch (count as 1tr), miss rst tr,
1tr in gap between missed tr and next
tr, [miss next 3tr, 3tr in gap between last
missed tr and next tr] to last 4 sts, miss

3tr, 1tr in gap between last missed tr and
3ch, 1tr in top of 3ch.
These 2 rows form pattern.
Pattern another 21 rows, changing
colours on every alternate row.
Fasten o.
Edging
With right side facing, join in 4th contrast
colour to any st along side edge, 1ch
(does not count as a st), work 1 row of
dc evenly along all sides, working 3dc in
each corner and making the total of dc
to be divisible by 6, slst in rst dc.
Fasten o.
Join in 3rd contrast colour
Next round: 1ch (does not count as a st),
1dc in same place as join, [miss 2dc, work
2tr, 3ch, slst in 3rd ch from hook, 3tr all in
next dc, miss 2dc, 1dc in next dc] to end,
omitting dc at end of last repeat, slst in
rst dc. Fasten o.
Tip...IF YOU PREFER,
YOU COULD SEW THE

TWO SHORT ENDS OF
THE WRAP TOGETHER TO
FORM A SNOOD.
Crochet
Cushy
Numbers
When theres no room to sit on the sofa, get comfy on
the oor with these contemporary cushions
A BIT MORE TRICKY
Measurements
Small cushion: 41cm (16in) diameter.
Medium cushion: 46cm (18in) diameter.
Large cushion: 51cm (20in) diameter.
Materials
Small cushion: 4 x 50g (115m) balls of
Bergere De France Sonora (50% cotton,
50% acrylic) in Ecume (220.321). Pair of
8mm (No. 0) knitting needles. Round
cushion pad 41cm (16in) in diameter.
Medium cushion: 6 x 50g (140m) balls
of Bergere De France Coton Fifty (50%
cotton, 50% acrylic) in Ficelle (239.061).
Pair of 6mm (No. 4) knitting needles.
Round cushion pad 46cm (18in) in
diameter.
Large cushion: 7 x 50g (115m) balls of
Bergere De France Sonora (50% cotton,
50% acrylic) in Caverne (244.141). Pair
of 8mm (No. 0) knitting needles. Round
Photography: Angela Spain Stylist: Kandy Regis
SMALL CUSHION
Outer panel: With 8mm needles and
using two strands of Ecume together,
cast on 28 sts.
Pattern row: Sl1, k27.
Repeat pattern row, 139 times more.
Cast o.
Centre: With right side facing and using
8mm needles, working through both
strands, pick up rst st of every ridge row
along one row-end edge of outer panel
70 sts.
Using two strands of Ecume together,
join yarn and k picked up sts.
K another 2 rows.
1st dec row: [K2tog] to end 35 sts.
K 1 row.
2nd dec row: K1, [k2tog] to end 18 sts.
K 1 row.
K, knit; st, stitch; sl, slip; tog, together;

dec, decrease (by taking 2 sts tog).
Using three strands of Ficelle together,

K another 2 rows.
1st dec row: K1, [k2tog] to end 51 sts.
K 3 rows.
K 1 row.
3rd dec row: [K2tog] to end 13 sts.
K 1 row.
4th dec row: K1, [k2tog] to end 7 sts.
Break o yarn, leaving an end. Thread
end through remaining sts, pull up
tightly and secure.
Work other centre to match.
Insert cushion pad and join seam.
Note
LARGE CUSHION

approximate. Instructions in square
brackets are worked as stated after 2nd
bracket.

using 2 strands of Caverne together, cast
on 40 sts.
Cast o.
Centre: With right side facing and using
8mm needles, working through both
101 sts.
Using two strands of Caverne together,
K another 2 rows.
1st dec row: K1, [k2tog] to end 51 sts.
K 3 rows.
K 1 row.
K 1 row.
4th dec row: K1, [k2tog] to end 7 sts.
tightly and secure.
cushion pad 51cm (20in) in diameter.
Tension
12 stitches and 20 rows, to 10 x 10cm, over
garter stitch (every row knit), using two
strands of Sonora yarn together and 8mm
needles. 14 stitches and 24 rows, to 10 x
10cm, over garter stitch (every row knit),
using three strands of Coton Fifty yarn
together and 6mm needles.
Abbreviations

tightly and secure.
MEDIUM CUSHION
using three strands of Ficelle together,
cast on 40 sts.
Cast o.
Centre: With right side facing and
using 6mm needles, working through 3
101 sts.
Knitting
Understanding
Dress Patterns
To get the best from your pattern, youll need to know how to
take your body measurements accurately, choose the right
pattern size and then follow it correctly. Here, we show you how
Taking body
measurements
Whether you are planning to make
clothes for yourself, your children
or grandchildren, you need to
determine which size pattern to buy.
Do not use your dress size as a guide;
sizing varies from brand to brand
and you cannot rely on it. You must
measure yourself accurately.
Measuring yourself
5
1
Trying to measure yourself can be tricky,

so it is best to ask a friend to help. Do not
take measurements over clothing; for the
most accurate results, strip down to your
usual underwear and put on your shoes.
Tie a piece of string around your waist
as a helpful guide for taking vertical
measurements. Keep a note of your
measurements on the chart on page
43; you will need to take them with you
when you go to choose a pattern and
also refer to them later when you come
to make any alterations.
Text Jane Bolsover Technical illustrations Loupe Images/Stephen Drew
Measuring children
Children can be dicult to measure
as they rarely stay still for long. If you
have trouble, take measurements from
garments that t them well and compare
these to the garment measurements
chart on the pattern envelope. Age
is indicated on the childrens and
toddlers charts but as childrens physical
development can vary wildly within an
age group, it is best to compare body
measurements if possible.
For infants patterns (babies who
are not yet walking), you only need
the weight and height (the length
of the baby measured with the foot
at a right angle to the leg, as if the
baby is standing).
1 BUST
Measure around the fullest
part; do not allow the tape
measure to slip down at
the back.
2 WAIST
No breathing in! Take
this measurement rmly
around the waist but make
sure it is comfortable.
3 WAIST TO HIPS
The distance from your
waist to the widest part of
your hips, about 7-8in (1821cm) from your waistline.
4 HIPS
Take the tape measure
around the widest part of
the hips.
5 BACK NECK NAPE
TO WAIST
Measure from the
neckbone at the centre
of your back down to
the string tied around
your waist.
6 HEIGHT
Remove your shoes and
stand straight with your
back against a wall. Place
a ruler on top of your

head and mark the wall
lightly with a pencil, then
measure from the mark
to the oor.
7 FINISHED LENGTH
SKIRT
Measure from the string
at your waist down to the
required hem depth.
8 FINISHED LENGTH
TROUSERS
Measure from the waist
to the oor at the side of
the body.
Know-how
Basic measurement chart

Keep a record of your basic measurements
in the chart below, using a pencil. It is best to
re-measure yourself every six months to make
sure that you have not changed in size. Note your
measurements in the rst column, the pattern body
measurements in the second and the dierence
between the two in the third. A dierence of 6mm (in)
in length and 1cm (/in) in width means that you should
adjust the pattern slightly.
YOUR
MEASUREMENT
PATTERN
MEASUREMENT
DIFFERENCE
Bust
Waist
Hips
Nape to waist
Waist to hip
Height
Pattern size
Types of patterns and

what they tell you
In addition to commercial dressmaking patterns, there are free
sources such as sewing books. Generally, all patterns work in a
similar way but there are a few dierences in how they look.
Back
width at the hemline, and sometimes
more; use them as a guide for any
envelope
information adjustments that you wish to make.
will include: Inside the pattern
Notions or
envelope
requirements: These
Commercial
patterns
These patterns are made from
three main parts: the envelope; the
instruction sheet; the pattern tissue.
Commercial pattern envelopes contain
a wealth of information. The front
of the envelope gives you the style
number, pattern size and illustrations or
photographs of each garment and its
variations, usually called views, which
are included in the pattern.
The back of the envelope is printed
with all the information you need to
prepare for your project and it makes
an excellent buying guide.
50
44
0 LOVE
O TO MAKE
A WITH
W HWWW
WI
are the trimmings,

fastenings and any
other items that
you will need in order to complete
your garment.
Suggested fabrics: As recommended
by the patterns designer to suit the
style best, to ensure that you select a
suitable fabric. Advice on plaids, stripes
and napped fabrics is also given.
Fabric quantities chart: This tells you
exactly how much fabric to buy for each
size and view, in several fabric widths.
Interfacing and lining quantities will
also be given if required.
Finished garment measurements:
Usually the length and sometimes the
Here you will nd an instruction

sheet that provides the following
information:
O Outline drawings of all views;
O Pattern piece diagrams to help
with identication;
O Cutting layouts;
O Step-by-step sewing instructions
for the pattern you are going to make,
plus important details on how to use
the pattern.
Finally, of course, the pattern envelope
contains your pattern tissue. Each
pattern piece is printed separately on
the tissue, ready for you to cut out.
Tip... Where the width of your chosen fabric is not

included, ask the sales person to help you work out
how much you will need but bear in mind that the
pattern will contain no cutting layouts for that width.
Complimentary
patterns
Patterns provided by magazines,
such as the girls pinafore dress on
page 51, are a great way to introduce
yourself to dressmaking as you do
not have to spend a fortune on the
pattern to start with. The fact that
they are free does not mean they
are no good. Generally with these
patterns you will nd:
OPhotographs illustrating the
garment and its variations, which
will be printed along with the step-bystep sewing instructions in the main
book or magazine.
OThe pattern sheet is normally
inserted separately at either the centre
or back of the publication. You will need
to trace out the pattern pieces before
you start, as they often have a multitude
of dierent patterns and sizes printed
on both sides of a sheet.
OThe size chart and fabric quantities
chart is normally printed with the
pattern sheet although it may appear
with the step-by-step instructions

instead. You will need to compare
your measurements to nd the
correct size to trace out and right
amount of fabric to buy.
OThe recommended fabrics,
trimmings and outline drawings may
also be printed either with the stepby-step instructions or on the separate
pattern sheet.
The main dierence between

commercial and complimentary
patterns is that commercial patterns
are sized not only for dierent body
measurements but also for body
types. Womens gures vary greatly
in shape from one person to another,
so this is an attempt by the pattern
companies to cut out as many tting
issues for you as possible.
Recognising your
gure type
Once you have taken your measurements, you need to
assess which gure type you most closely resemble.
These gure types are normally printed in the back of
each pattern book. Overall height is one indicator but
more important are the back neck-to-waist and waistto-hip measurements. Although gure types are not
supposed to signify age groups, an age level may be
suggested by the styles and designs in that group. It is
best to stay in your gure type if you can, as these will
tend to t you better.
Misses, Misses Petite and

Misses Plus
Misses is statistically considered to be the average gure
type: height 5ft 5in to 5ft 6in (165-167.5cm) without shoes,
with a well-developed and proportioned body. The hips
are measured at 8in (23cm) below the waist and the back
neck to waist is longer than the other gure types. Misses
Petite gure is 1in (2.5cm) shorter overall than Misses,
with the hip measured at 7in (18cm) below the waist but
the proportions are similar. Misses Plus is for the wellproportioned and developed gure.
Misses,
Misses Petite and
Misses Plus
Y u g u i r/
Te n
Teen
Young Junior/Teen
Womens
This group is for the young developing miss about 5ft

2in-5ft 5in (157-165cm) without shoes with a small bust,
waist larger in proportion to hips and hips measured at 7in
(18cm) below the waist.
For the larger, more fullyy mature gure

average height 5ft 5in-5fft 6in (157-167cm)
with the hip measured at 8in (23cm)
below the waist.
Wom n s
Buying the right pattern size

Compare your measurements to the measurement charts to decide
which of the gure types is most like your own (commercial patterns
only). Your pattern size is then determined by your circumference
measurements, so refer to the appropriate category again to
nd the bust, waist and hip measurements that correspond most
closely to yours. Few of us have a standard gure, so there are
often discrepancies between the chart measurements and our
measurements; depending on the pattern you choose, it is best to
select a size that corresponds to the most important area of t.
O For a dress, blouse,
or jacket, buy a pattern
nearest to your bust size
and adjust the other
measurements to t.
O For skirts and trousers,
buy a pattern nearest to
your hip size and adjust
the waistline to t.
O If you choose a
multi-pattern that
includes several
dierent garments
blouse, skirt and
trousers, for example
select the size that
corresponds to your bust size and

adjust the other areas if necessary.
If there is a large dierence, or you
are worried about adjusting the t,
buy two sizes of the same pattern
and use the appropriate pattern
pieces from each. However, many
styles come with a multiple of sizes
in one pattern envelope, which can
be a great help if your bust is one
size and your hips another.
O Be guided by the description on the
pattern. A blouse may be described
as tted, loose tting or very loose
tting. If you dont want a loose t,
for example, choose a smaller size or
another style.
Selecting the right

pattern pieces
The pattern piece diagrams enable you to
identify easily the pattern pieces you will need
to use. If your pattern doesnt have one of these,
then it will usually have a list of the pieces. As a
last resort, look at the cutting layouts, which can
help you to identify them.
6
2
3A
1A
5
This diagram shows an illustration of the pattern
pieces included in a suggested princess-line dress
pattern, identing the pieces needed for each
view. It also shows whether any pieces need to be
extended. The pattern pieces are labelled clearly by
name, number and view, and are listed accordingly.
There is often a key that tells you which piece to use
view
for which view.
1B
3B
1 (1A) Front
2 Side front
3 (3A) Back
4 Side back
5 Sleeve
6 Front facing
7 Back facing
Understanding pattern markings

All pattern pieces have pattern markings or symbols, which provide
information essential for every step of the making-up process, from
identifying pattern pieces and cutting out to constructing the garment.
They are fairly standard on all patterns but it helps to understand the
functions they perform. They can be split into two groups: (1) Preparation
and cutting out; (2) Construction. To follow, are the most common.
Preparation and
cutting-out markings
These markings help you to cut out the pattern pieces,
make simple pattern alterations and lay out your pattern
pieces correctly on the fabric.
Construction markings
Other marks are used to help you match pieces of fabric
together correctly and to show where zippers, buttons
and other garment features, such as darts and pockets,
are to be positioned.
Cutting lines: Multi-sized patterns have dierent cutting lines

for each size. See the key for the correct line for your size and
follow it around each pattern piece carefully.
Notches: These are marked as triangles or diamonds and

are used for matching pattern pieces when sewing. You will
nd notches are placed in groups of one or more notches
but they will correspond with adjoining pieces. Small circles
or squares are sometimes used as extra matching aids for
joining pieces, such as a sleeve to an armhole.
Extension marks: These are used when two pieces of a pattern

have to be joined together to make one complete pattern
piece. The symbols may vary depending on the pattern brand;
they could appear as a shaded area (A) or a row of crossed
circles (B) at the edges to be joined. Overlap the matched
symbols to join the pieces together to form a whole.
Dots: Dots show the position of pockets, buttons, zippers

and eyelets, for instance. They are also used as positions to
sew up to or cut in to.
Darts: On a dart, notches

or dots should be brought
together. The solid or
broken lines shown are
stitching lines that meet
at a point.
Alteration lines: These double parallel lines show you where

to lengthen or shorten a pattern piece.
Straight grain or grainline: A straight line with arrowheads

means place on the straight grain of the fabric, an even
distance from the selvedge.
Fold: Place your pattern piece exactly on the folded edge of

the fabric. Make sure it is lined up carefully with the fold, as it is
easy to increase or decrease the size of your garment piece.
Buttons and buttonholes: The line shows the position

and length of the buttonhole; the button position may be
marked with a broken line or a dot.
LLOVE TOMMAKE WITH

H WW
W 47
WW
1
g
paper
rns
Tracing a
complimentary
pattern
e in too much of a
tissue patterns tear
; it pays to take your
to prepare the pieces
perly. Here are four
mple steps.
Open out your pattern

tissues and, using the
pattern piece diagram,
identify the pieces you need
view and size you are making.
aining pieces back in the
to avoid confusion.
Tip...If you are going

to be tracing a lot of
patterns, invest in a roll
of tracing paper from
a graphic design shop.
However, you can also use
greaseproof paper or a
tracing wheel to trace the
pieces onto brown paper
or left-over wallpaper.
Using cutting
layouts
Now that your pattern pieces
are ready, it is time to study
the cutting layouts. These
show how your fabric should
be laid out and where the
various pattern pieces should
be placed to achieve the
economical fabric usage given
in the fabric quantities chart.
Always read the key for the
cutting layouts it provides
the essential details you need
to be able to cut out your
pieces successfully.
ooth out the pieces and press out

e creases with a warm, dry iron if
sary, then cut your pieces apart from
est, cutting well away from the actual
ing lines; the excess tissue is useful if
you have to make pattern alterations.
Complimentary patterns generally

have a multitude of dierent patterns
and sizes printed on both sides of
a pattern sheet, so you will need to
trace o the pattern pieces before you
start. Follow our four easy steps to
getting this right.
Make a note of the pattern pieces

you require and check the key to nd
out which line you need to follow for
your size.
Carefully trace around the

appropriate lines onto paper
(see tip, far left) and cut out each
pattern piece following the lines
you have traced.
If your measurements do not match

those of the chart size exactly, you
may need to adjust the t and/or length.
Lay the pieces back onto the pattern

sheet to double check that you
have traced along the correct lines, then
transfer all information, including the
words and pattern markings, onto each
pattern piece.
When you are satised that the t

and length are correct, trim the
pattern pieces along the cutting lines
for your measurements.
Make sure that you add extra length

to pieces if required; join relevant
pattern pieces if requested and place
pieces to fold of paper where stated.
A shaded pattern piece

is placed with the right
side of the pattern
piece facing down.
When a pattern piece is

shown more than once,
cut it out as many times
as it is shown.
Selvedges
1
2
3
6
Fold
Each layout gives the numbers of the pattern pieces required for
that view, so you can check that you have not missed any out. It
also shows whether any pattern pieces have to be extended or
lengthened and whether they need to be cut from lining and/
or interfacing, as well as from fabric. Find the layout(s) for your
view, size and fabric width. Place all the pattern pieces on the
fabric as shown in the diagram, bearing in mind that pattern
pieces may t more closely together for smaller sizes.
48
5 LOVE
LOV
O TO MAKE WITH
W T WW
WW
W
A pattern piece extending beyond the fold is cut

from a single layer of fabric. After cutting the
other pieces, open out the fabric at with the
right side of the fabric uppermost, then line up
the pattern grainline with the original fold.
Cutting out your

fabric pieces
Transferring
pattern markings
With the pattern pieces in position,

it is time to think about cutting out.
Accuracy is vital: not only will the
t be better but cutting too far
inside or outside the cutting lines
can make a dierence to the size.
This guide is pretty much a guarantee
against making mistakes, so use it
as a checklist:
After cutting out the fabric pieces,

transfer all your construction pattern
markings from the tissue pattern
to the fabric before unpinning it or,
if you are using a traced pattern,
carefully place the pattern pieces
back on top of the corresponding
cut pieces ready to transfer the
pattern markings.
For dots, circles and darts, make a
small hole in the pattern and mark the
position with a chalk pencil on the top
layer of fabric. At the dot position, push
a pin straight down through the fabric
layers and mark the dot on the other
layer of fabric with a chalk pencil. If you
n also draw in the dart lines
ruler to help you
O Make sure the grainlines on pattern

pieces run parallel to the selvedge
by measuring from each end of the
grainline arrow to the selvedge and
moving the pattern pieces until the
distances are equal.
O Check that foldlines on pattern
pieces are placed exactly on the fold
of the fabric.
O If you are using a tissue pattern, pin
the pattern pieces to the fabric, spacing
the pins about 20cm apart and pinning
through both fabric layers on a double
thickness, or weight them down with
something heavy.
Notches ca
around the
the diamo
snip abou
allowan
O If you are using a traced pattern

on thicker paper, weight down your
pattern pieces and mark carefully round
each piece with tailors chalk, then
remove the weights and pattern pieces.
Carefully pin inside each cutting line,
pinning through both fabric layers on a
double thickness.
O Before cutting out, double check
the pattern pieces against the cutting
layout to make sure that they are
correct.
O If you pinned your pattern pieces
onto the fabric, carefully cut around the
edges. Do not trim the pattern or cut
too far away from the edges. If you have
chalked around your pieces, cut along
the lines.
O Do not cut through any fold lines!
You are now ready to start

sewing, so turn to page 33 for
details of our FREE Butterick
Lifestyle Wardrobe pattern or
have a go at the girls pinafore
dress on pages 51-53.
Page
33
Page
51
Winter Accessories To Knit

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2.99
WOWE14ID000C Kids Pompom Hat Knitting Pattern 2.99
WOWE14KS0046 Ribbed Hat Knitting Pattern
2.99
WOWE14KD0004 Hat, Scarf & Mittens Set
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4.99
WOWE25ST9603 Hat & Scarf Knitting Pattern
2.99
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Sewing
Flower Power
A jazzy print lines the bodice of this pretty pinafore dress and provides
the owers that are appliqud onto the skirt. Its nished with
ribbon waist ties and fastens at the shoulders with matching buttons
A BIT MORE TRICKY
Fabric suggestions
O For the dress: needlecord,
corduroy, lightweight denim,
cotton drill. This style is not
suitable for large checks,
stripes or diagonals.
AGE
2-3
4-5
Height
92-98cm (36-38in)
104-110cm (41-43in)
Chest
53-55cm (21-21/in)
57-59cm (2223in)
Waist
52-53cm (20-20/in) 54-55cm (2121/in)
Finished length
53cm (21in)
(back neck to hem)
O For the lining and appliqu:

coordinating printed cotton,
polycotton or linen, with a
simple design that can be
cut out easily for appliqu.
60cm (23in)
Back view
FABRIC QUANTITIES
112cm (45in) wide fabric
Fabric
0.9m (1yd)
Lining
0.5m (yd)
Fabric
0.6m (/yd)
Lining
0.5m (yd)
90cm (36in) wide iron-on interfacing
0.2m (yd)
You will also need:

O Pinafore dress pattern
pieces traced off from pages
69 to 73
O Matching sewing threads
1yd (0.9m)
0.5m (yd)
0.6m (/yd)
0.5m (yd)
Front view
0.2m (yd)
PLEASE NOTE: Fabric quantities and cutting layouts are given for one-way fabrics
only. If you choose a fabric with a two-way design, you may be able to lay your
pattern pieces into a smaller amount of fabric always remember grainlines must still
run parallel to the selvedge.
O Pack of fusible web

O Two 20mm diameter
buttons
O 1.5m of 10mm-wide ribbon
in two matching colours for
the tie belt
CUTTING OUT YOUR FABRIC

Use pattern pieces
1, 2, 3, 4 and 5.
O Lightweight iron-on
interfacing (see chart for
quantity)
Pinafore all sizes

Fold
2
Key for
cutting
layouts
112 cm (45 in)
Selvedge
Right side
of fabric
Wrong side
of fabric
Reverse side
of pattern
Selvedge
3
Selvedge
1
150cm (60in)
Fold
5
Pinafore lining all sizes

112150cm (45-60in) wide fabric
1
2
Fold
Fold
Selvedge
Selvedge
1
3
Selvedge
6
90cm (36in)
115-152cm (45-60in)
Pinafore
all sizes
150 cm (60in)
wide fabric
Interfacing
all sizes
Fold
PLEASE NOTE: Save the
remaining lining fabric for
appliqu owers.
Selvedge
Selvedge
7
Fold
To make
Please note
O 1cm seam allowances are included
unless otherwise stated.
O Stitch seams with right sides together
and notches matching.
the strip measures 1cm wide. Edgestitch

2mm in from each pressed edge. Cut the
belt loop strip into four equal lengths.
5
1
Following the appropriate cutting

layout, cut out all your fabric pieces.
Using an iron, press the interfacing
to the wrong side of the bodice, lining
neckline and armhole edges. With right
sides together, pin, tack and machine
stitch the front bodice to the front
bodice lining around the armhole and
neckline edges, starting at one side seam
edge and nishing at the other. Trim and
layer the seam allowances and notch the
curves (see diagram).
Work a buttonhole on each back

bodice shoulder extension at the
positions marked on the pattern
(see your instruction manual for details
of how to work buttonholes on your
particular sewing machine).
Following the manufacturers

instructions, fuse adhesive web to
the wrong side of your remaining
lining fabric and cut out the motifs that
you want to appliqu. Apply them to
the right side of the front and back skirt
pieces, then set your sewing machine to
a close zigzag stitch and stitch around
the edges of your motifs, enclosing the
raw edges.
Turn the front bodice to the right

side. Press the seamed edges at,
making sure the seamlines are
placed exactly on the edge. Repeat steps
1 and 2 with the back bodice and backbodice lining.
With right sides together, pin and

tack the front bodice and lining
to the back bodice and lining at
the corresponding side seam edges,
matching the raw edges and armhole
seams. Stitch the bodice and lining
side seams in one continuous line of
stitching. Press the seams open.
Pin and tack the bodice and lining

waist edges together, matching
the side seams. Then edge stitch
around the bodice neckline and armhole
edges, working about 2mm away from
the garment edges.
Press the short ends of the belt

loops to the wrong side so each
one measures 3.5cm long. Pin
and tack the loops to the dress with the
pressed ends to the dot positions on the
bodice and skirt. Set your machine to a
close narrow zigzag and stitch the loops
in place. Then, machine stitch a single
row of straight stitches across the centre
of each loop, reverse stitching at each
end to secure, to create two channels for
the ribbon ties.
10
Neaten the hem edge.

Pin, tack and press it to
the wrong side by 2cm.
Topstitch in place with two rows of
stitching 6mm apart. Sew buttons to
the front bodice at the positions
marked on the pattern. Thread the
ribbon lengths through the belt loops;
the dress is now ready to wear.
With right sides together, pin,

tack and machine stitch the front
skirt to the back skirt at the side
seams. Neaten the seam allowances and
press toward the back skirt. Matching
the side seams, pin and tack the bodice
to the skirt at the waist edges, then
machine stitch them together. Neaten
the turnings together and press them
toward the bodice. Working from the
right side, topstitch around the skirt
waist 2mm up from the seamline.
Neaten one long edge of the belt

loop strip. Fold the raw edge over
to the wrong side of the strip by
1cm and press. Press the neatened edge
over the raw edge, enclosing it, so that
Sewing Machine Basics

by Jane Bolsover
(Cico Books, 14.99).
See page 59.
Draught Dodger
Keep winter chills out and bring a touch of summertime fun in with
this easy-to-make draught excluder, stuffed with a rolled-up towel
A BIT MORE TRICKY
You will need

O 71 x 38cm of plain fabric
O 51cm zipper
O A towel, measuring 66cm
across
O Scraps of brightly coloured

fabric
O Free-motion embroidery foot

O
O
O
O
for your sewing machine

Repositionable spray adhesive
for fabric
A strip of fusible interfacing
measuring 71 x 18cm
Black sewing thread
Quick unpick
Note: A 1cm seam allowance is included,

unless otherwise stated.
1
2
Cut your plain fabric along its

length to create one strip of fabric
that measures 71 x 18cm and one
that measures 71 x 20cm.
Take the piece that measures

71 x 20cm and cut it in half
lengthways. Sew it back together
again, taking a 1cm seam allowance,
then press the seam open.
Take the other piece of fabric,

measuring 71 x 18cm, and iron
the interfacing onto the reverse
side. This will help to keep your fabric in
shape when embroidering.
6
3
Place the zip teeth-side down over

the pressed seam and pin. Tack all
the way round the zip to secure it,
then remove the pins. Put the zipper foot
on your sewing machine and sew the zip
in place.
Using a quick unpick, cut through

the stitches over the teeth of
the zip youll have a few little
threads in the seam so remove these

(tweezers may help here) as well as the
tacking stitches.
To make the beach huts, cut six

rectangles from dierent coloured
scrap fabrics, each measuring
7.5 x 10cm, then snip o the top two
corners to form the roof shape.
Spray a little adhesive on the back

of the huts and space them evenly
across the fabric.
Stitchcraft
Cut two rectangles measuring

7.5 x 2.5cm for each roof, using
dierent colours for each hut.
Spray the back of each with adhesive
then place over the top of each hut,
overlapping the ends as shown.
the wavy-stitched line. Free-motion

stitch a few times around each triangle
then snip away any loose threads.
best if you draw around the outline two

or three times. Dont worry if your lines
arent straight thats all part of the
sketchy look. Free-motion stitch around
doors and add windows if desired.
The doors are created from six

rectangles of contrasting fabric,
each measuring 5 x 6cm. Spray the
back of each with adhesive and place in
position on the front of a hut.
10
Attach the free-motion

embroidery foot to your
machine. Using a straight
stitch, begin to draw around each hut
with black thread so it stands out (see
Stitch Guide, p. 65, for details). It looks
12
Partly open the zipper and

place the decorated front of
the draught excluder right
sides together with the zipped back
section. Sew all the way around the
edge then turn so the right sides face
outwards and press. Stu with a rolledup towel and close the zipper.
11
For the bunting, stitch a wavy

line across all the beach huts
and, again, go over it a couple
of times. From scraps of fabric, cut little
triangles about 1cm across the top and
2.5cm deep. Spray the backs of them
with adhesive and space evenly along
Taken from Half Yard

Gifts by Debbie Shore
See page 59.
Take One
Coffee Table
and give it a designer edge with
one of our four stylish looks
Wood Veneer Table

A chunky wooden coee table works well
teamed with neutral shades
HARDISH
You will need

O MDF coffee table, such as
O
O
O
O
O
O
O
O
Ikeas LACK side table

Sheets of wood veneer to t
table
Sheets of marquetry glue
lm
Sharp craft knife
Metal rule
Cutting mat
Wood ller to match veneer
Sandpaper for bare wood
French polish
Measure the table top and divide

it into quarters. Cut four pieces of
veneer to t. Cut four more strips for the
sides of the top and 16 pieces to cover
the legs.
Cut the marquetry glue lm to

t the veneer pieces you cut
previously, then iron them onto the
back of the veneer pieces with a dry
iron. Cool, peel o the backing paper
and iron veneers onto the table. Make

sure they are stuck rm or they may
blister when polished later on.
Smooth wood ller into joints and

corners and, when dry, rub lightly
over the surface with sandpaper.
Finally, apply a few coats of French

polish to the table, according to the
manufacturers instructions.
Photograph: Delphine Adburgham
Be inspired
Glass Display
Table
Add a glass panel to the top
of a table and place memorable
images underneath
A BIT MORE TRICKY
You will need

O MDF coffee table, as before
O 6mm-thick MDF
O Centre glass panel
(see step 1)
O Eggshell paint
O Wood adhesive
O Paint brush
Faux Leather Table

This timeless look adds a touch of class
HARDISH
You will need
Make a border for the edges of

the top from strips of 6mm MDF;
the glass panel then sits inside.
Stick the border strips to the top,
then paint the whole table using
eggshell; leave to dry.
Place your photos, or whatever you

wish to display, in the centre of the
table, then insert the glass panel.
O
O
O
O
O
MDF coffee table, as before

Large piece of faux leather
Impact glue
Matching thread
Fabric scissors
Cut a top and four side strips from faux

leather, adding 1.5cm seam allowances
to all sides.
Stitch side strips to edges of top,

along long edges, starting and
nishing 1.5cm in from each end (youll
end up with a cross shape). Open seam
turnings out at and topstitch in place
5mm each side of the seamline. Stitch
short ends of side strips together, then
fold up and stitch a 1.5cm hem around the
whole lower edge.
Cut strips of faux leather to wrap

around each leg and, using impact
glue, stick to the legs. Slip top section in
place and glue down around side edges.
Venetian Glass Table

If you like sparkle then this table is the
perfect look for you
A BIT MORE TRICKY
You will need

O MDF coffee table, as before
O 4mm mirrored glass cut to t
O
O
O
O
O
your table (see step 1)

Impact glue
Glass frosting/etching spray
Artists paint brush
Black satin paint
Paint brush
Ask a glazier to cut a piece of

mirrored glass to t the top of your
table and four pieces for the sides.
Spray the glass frosting/etching

paint into the lid of the can. Using
the paintbrush, paint a tiny half daisy in
each corner of the glass pieces and a few
along the edges. Join up with dots and
leave to dry. Meanwhile paint the legs
black and also leave to dry.
Glue the mirror to the table top;

leave to dry. Turn upside down
and glue the side sections in place;
leave to dry.
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Bookshelf
From sewing to felting, jewellery making to Scandi style, here are
some of the craft books that have inspired us recently
SEW SCANDINAVIAN
HALF YARD GIFTS
30MINUTE JEWELLERY
By Kajsa
Kinsella
(Cico Press,
12.99)
The trend
for all
things
Scandinavian is still
strong, for which we are grateful.
This stylish new book by Kajsa
Kinsella is full of beautiful, handstitched projects inspired by her
childhood in Sweden (think Scandi
hearts, folklore motifs, Dala horses
and Sami slippers). The book is
divided into four chapters The
Home, Accessories, The Nursery and
Celebrations and every project
has clear, step-by-step instructions
and detailed step images. Kajsas
introductions are evocative and will
leave you wishing youd enjoyed a
Swedish childhood.
By Debbie
Shore (Search
Press, 9.99)
Debbie Shore
is a genius
when it comes
to making a
lot from just
a little bit
of fabric. In her latest book, she
presents 22 ways to make pretty yet
inexpensive presents for everyone.
Working with a half yard of fabric
or less, you can create cushions, a
draught excluder (see pages 54 to
55), purses and even a gardeners
kneeling pad, plus many other
fun and functional items. These
easy-to-make designs will help
you use up your fabric stash and
try out some new skills, including
free-motion embroidery, Cathedral
Window quilting, fabric slashing
and many more.
By Beverly
McCullough
(Search Press,
9.99)
Beverly
McCullough,
founder of
the Flamingo
Toes craft
blog, is passionate about crafting,
sewing and jewellery making.
Her style is a mix of modern and
vintage, and she incorporates her
love for sewing, cross-stitch and
embroidery with jewellery making
to create unique pieces. In this new
book, Beverly shows you how easy
it is to make beautiful jewellery in
just a few minutes. Whether you
are starting out on your jewellery
adventure or youve been making
accessories for years, this book has
all sorts of projects that will inspire
and excite (see page 60).
FELT & FIBRE ART
LOVE TO SEW LITTLE

BAGS &
PURSES
By Val Hughes
(Search Press,
17.99)
This book is
part of a series
showcasing the
techniques and
talents of some
of the UKs
most innovative textile
artists. Felt is at the heart of
Val Hughes extraordinary textile
artwork and through this book
you can explore her stunning
collections of wearable art and
wall-hangings, while she leads you
through the history, landscapes and
imagination that inspire her. This
book is a powerful and personal
introduction to the art of felting,
with clear, step-by-step instructions
on how to make dierent types of
felt; an ideal source of information
and ideas for all.
By Saskia
Abel
(Search
Press,
7.99)
For those
who love
to make bags, this book has a
delightful collection of practical
and usable styles. Part of the Love
To Sew series, there are 16 projects,
including a phone cover, makeup bag and bag organiser. Theres
nothing exactly new but they all
look so good that youll want to
make them and, as we all know,
a girl can never have too many
bags! All projects have step-by-step
instructions and the templates are
included at the back of the book.
The designs are suitable for all skill
levels and ages.
SEWING MACHINE BASICS

By Jane Bolsover
(Cico Books,
14.99)
Well, it seems
odd to write a
review of my
own book but
as we have
featured it in this
months issue, I thought I would
mention it! Sewing Machine Basics
is a step-by-step guide to learning
to sew using your sewing machine
for beginners and those wanting a
refresher. The book is designed in
two parts: the boring but essential
Getting Started bit is at the
beginning; then the second part is
set out in workshops with projects
to undertake at the end of each
one, which increase in the level of
skill required as you work your way
through the book. Turn to pages 42
to 53 for a taster. Happy sewing!
To buy these books, visit searchpress.com.

Free postage within the UK
Chain Reaction
These eye-catching earrings are just perfect for a party or special night out.
Make the chains even longer if you really want to glam up your outt
A BIT MORE TRICKY
To make
You will need
Begin by cutting the lengths of chain

(for two earrings) as follows: two
pieces 38mm long; four pieces 33mm
long; four pieces 31mm long; four pieces
29mm long; four pieces 27mm long.
Two lever-back ear wires

Two eye pins
Two 8mm crystal beads
Two square jump rings
66cm length of small
chain links need to be
large enough to t over
the square jump ring
O Wire cutters
O Round-nose pliers
O Flat-nose pliers
O
O
O
O
O
Thread half of the chain pieces onto

a square jump ring, starting with the
shortest, moving to the longest, then
back to the shortest. You will have a total
of nine chain lengths on the jump ring.
Close the jump ring.
Place an eye pin through the crystal

bead and create a loop at the other
end. Open one of the loops slightly and
add the top of the square jump ring it
will hang with a point at the top and one
at the bottom.
attach it to the ring on the lever-back

ear wire. Repeat steps 2 to 4 to make
the second earring.
Tip: To measure and match your

lengths of chain easily, feed one
end of a long piece of chain onto a
piece of wire or a head pin. Hold
the pin horizontally so the chain
hangs freely. Cut to the desired
measurement. Add the next piece
of chain to the wire and you can
easily match up lengths to the
rst piece of chain as they hang
side-by-side.
Taken from 30-minute

Jewellery by Beverly
McCullough
See page 59.
Open up the other eye loop at the

opposite end of the crystal bead and
Jewellery Techniques
Here are a couple of basic jewellerymaking techniques that will be helpful
for creating these earrings and other
jewellery projects.
How to open a
jump ring
Jump rings are metal rings with a cut
in them. They come in a wide variety of
sizes, colours and thicknesses. Choose
the ring size and colour that works best
for your project. To open jump rings,
hold the ring with at-nose pliers on one
side. Hold the opposite side with
distorts and weakens the shape.

Close the ring by twisting the ends
back together. Make sure the metal
pieces are touching and closed tightly,
otherwise wire or cording could slip
through the gap.
Adding a bead to a
head pin and forming
a loop at the top
Place your bead on a head pin.

Make sure the head pin you choose
is long enough to extend over the top
of the bead to form the loop size you
want to create.
2
round-nose pliers. Always open jump
rings by twisting the open ends away
from each other, so the ends stay in a
vertical line. Dont open them by pulling
the ring wider or horizontally as this
Place the wire in the round-nose

pliers, so that the bead is just
below the section where the pliers
meet. The end of the wire should be
pointing upwards. The tips of the pliers
are angled, so keep in mind where you
place the wire in the pliers. If the bead is
further back towards the handle, you will
have a larger loop. A smaller loop can be

created towards the tips of the pliers.
To start the
loop, bend the
pin at a slight angle
at the top of the
bead. Wrap the pin
wire around one
side of your roundnose pliers, away from the way you
created the bend, to make a loop. Wrap
the wire tightly around the nose of the
pliers and cross the end of the wire over
the bead so the wire makes an X.
Clip o the end of the wire without

the bead, just above the bead, using
your wire cutters. Make sure to point the
at side of the cutters away from you.
Bend your pin wire just a little more to
create a complete loop. Make sure that
when you open the loop that you twist
the wire open, rather than separate it,
just like a jump ring.
Fashion makes
Night, Night,
Sleep Tight
This is a great rst sewing project make a sweet felt mouse,
then a tiny bed, and tuck him in with his teddy bear
EASY PEASY
You will need

Templates on page 66
Empty mint tins
Scraps of felt
Piece of polyester toy lling,
or cotton wool
O Pink, black, blue, beige
stranded embroidery thread
O Double-sided sticky tape
O Fade-away marker pen
O
O
O
O
To make the mouse
Trace the mouse templates from

page 66 and cut out two: bodies,
arms and legs from grey felt or
colour of your choice. Then, cut two ears
from contrasting coloured felt.
bodies together around the edge, using

a mixture of small running stitches and
whipstitch. Fasten the legs, ears and
arms in place at the same time but
leave one side seam open below an
arm for stung.
4
5
Using a pencil to help you, ll the

body cavity with polyester toy
lling or cotton wool, and then
sew up the last side seam.
Make a tail by knotting three
lengths of stranded embroidery
thread together and plaiting them
to the required length. Knot the ends together and trim o excess thread. Stitch
tail to back of body.
To make the teddy
1
2
Trace the teddy templates from

page xx and cut out two: bodies
and ears from brown or yellow felt.
Follow steps 2, 3 and 4 of the

mouse to make your teddy,
omitting reference to stitching a
mouth, making tucks in the ears (his are
at) or attaching the arms and legs, as
the teddy already has these attached.
To make the bed
www.timeincukcontent.co.uk
Using the templates and photos

as a guide, embroider the eyes,
nose and mouth at the narrower end of one body piece, using two
strands of embroidery thread in your
needle. Make a small tuck in the at bottom edge of the ear by pinching them
between your ngers to form a shallow
cone; stitch tucks in place.
Pin the ears, arms and legs to the

front body and then, with wrong
sides facing, stitch the two mouse
Look out for rectangular metal tins

of mints, which will make great bed
shapes once empty. They can have
hinged lids or lids that come o completely, it doesnt matter.
Choose three colours of felt, one

for the bed base, one for the
pillow and one for the blanket.
Place your empty tin on top of each
piece and draw around the outside edge
with a fade-away marker pen. Cut out
the pieces.
3
4
Using the double-sided sticky

tape, stick one piece of felt to the
inside base of the tin, making sure
it lays at.
For the pillow, make a small
sausage shape from polyester toy
lling or cotton wool the width
of the tin and roll it up inside a second
piece of felt; place pillow in tin at the top
of the bed, with the seam underneath.
Place your mouse and his teddy

inside the bed and then tuck them
in and make them cosy with the
third piece of felt, folding the top edge
down to form a blanket.
Tip..YOU CAN CLOSE
THE LID TO KEEP YOUR

LITTLE FRIENDS SAFE IT
WILL BE YOUR SECRET
AND TAKE THEM WITH
YOU WHEREVER YOU GO.
Love To Make for Kids
Stitch Guide
All the stitches and techniques you will need
to complete the projects in this issue
FREESTYLE
EMBROIDERY
STITCHES
Satin Stitch
Following the outline of the shape,

work straight stitches close together
as illustrated. Keep the tension even
and stitches close for a smooth,
awless nish with no background
fabric visible.
French Knot
BASIC HAND
STITCHES
Whipstitch
A. Whipstitch is
generally used to
sew two nished
edges together.
B. It can also be
used to hold a raw
edge neatly against
a at surface. Insert
needle at right
angles and close
to the edge, picking up just a few threads.
Slanted oats will be produced between the
tiny stitches. Space between the stitches can
be short or long, depending on your project.
COUNTED THREAD
STITCHES
Cross-stitch
Bring the thread up through the fabric,

hold it with the thumb and rst nger
of your left hand and turn the needle
round it once or twice or as necessary. Still
holding the thread rmly, turn the needle
and reinsert it close to the point where it
rst emerged. Pull the thread taut so the
knot slides down the needle to touch the
fabric, then release as the needle goes
through the fabric leaving the knot on
the surface.
To work cross-stitch, bring the needle

through at the lower left-hand side,
insert the needle one block up and
one block to the right and bring it out
one block down, forming a diagonal
stitch. Continue in this way to form a
row of stitches.
Blanket Stitch
Bring needle out at 1, reinsert at 2 then,

trapping the thread under the needle,
out at 3. Gently pull the loop taut, then
reinsert needle at 4 ready for next stitch.
Complete the upper half of the crosses

as shown. Cross-stitch may be worked
from right to left or vice versa, but the
upper half of all the crosses must lie in
the same direction.
FREE-MACHINE
EMBROIDERY
O Use this style
oidery
embro
todraaw
details
on to
a project
with the
t sewingmachine needle
o colour in areas.
and to
You can go over stitching
several times to give a sketchy,
scribbled look; it doesnt have to be
neat to give a great eect.
O If you havent tried free-machine
embroidery before, practise rst on
scraps of fabric. To embroider, you will
need to adjust your sewing machine by
dropping the feed dogs (these are the
teeth that come up through the needle
plate as you sew and move the fabric
along in a straight line); refer to your
sewing-machine manual to do this.
O You will also need a free-machine
embroidery foot, sometimes called a
darning foot or a free-motion foot. This
stops the fabric from lifting while you
sew. You might also nd it helpful to
t the fabric into an embroidery hoop
while you sew to keep the fabric at
and taut and prevent any puckering.
O Once youre ready, set the stitch
length on the machine to zero. You
will need to move the fabric around
manually to create the stitches,
otherwise you will just sew on the
spot, so start slowly to get the feel of
the stitching and to see how fast you
need to move the fabric to achieve
the look you want. Think of the fabric
as a piece of paper and the needle as
a pencil and reverse it in your mind
so youre moving the paper (fabric) to
make the design.
Warning! Be very careful to keep your
ngers away from the needle as you
move the fabric about under it.
FROM THE
HEART
PAGE 27
Swiss Darning
Chart
15
14
13
12
11
SWISS DARNING TECHNIQUE

Fig 1
10
9
8
Fig 2
7
6
5
4
3
2
1
Thread a blunt darning needle with a length of yarn in your chosen colour.
Bring point of needle through from back at base of the stitch to be worked
and draw yarn through, leaving an end at the back; take needle behind the
2 loops of the stitch above from right to left (Fig 1) and draw yarn through.
Insert needle into same place as before and bring through at base of next
stitch to be covered (Fig 2). Draw yarn through to the tension of main knitting.
Continue in this way until entire motif is embroidered.
KEY FOR
SNOWFLAKE
Red (Red Hot 167)
Cream (Alabaster 003)
NIGHT, NIGHT,
SLEEP TIGHT
EARS
Cut 2
PAGE 62
Shown actual size
EARS
ARMS
Cut 2
Cut 2
BODY
Cut 2
BODY
LEGS
Cut 2
Teddy
Templates
Cut 2
Mouse
Templates
HOME SWEET HOME SAMPLER

PAGE 17
Cross-stitch chart
Each coloured square represents

one cross-stitch worked with two
strands of thread.
Key to cross-stitch chart

1021 Dusky pink
108 Lilac
186 Pale Jade

TOTE SWEET
PAGE 34
Cross-stitch chart
Key to cross-stitch chart

Each coloured square
represents one cross-stitch
worked with two strands
of thread.
B52
200 White
5 Dark violet
554
156
6 Dark blue
360
07 Bright pink
5 Very dark violet

553
383
38 Very dark blue
211 Light violet
3
3747
Light blue
3 Violet
153
159 Blue
FLOWER POWER
PAGES 51 TO 53
Ne
ck
lin
ed
ge
Shown actual size
But
Posit ton
ions
Age
Age
4-5
2-3
Armhole edge
Place to fold
Dress front
bodice grainline
1
DRESS FRONT
BODICE
Age 2-3
Belt loop
positions
Waist edge
Side seam edge
Cut one to fold

of fabric
Cut one to fold
of lining
Age 4-5
Waist edge
FLOWER POWER
PAGES 51 TO 53
Shown actual size
DRESS
FRONT BODICE
INTERFACING
e
Ag
Cut one to fold of

interfacing
5
n
tto
Bu
4-
Grainline
e
lin
ck
Ne
i
sit
Po
ge
ed
le
-3
e2
Ag
ho
Place to
fold
on
hole
Arm
Cut one to fold

of fabric
Cut one to fold
of lining
fold
Place to
DRESS BACK
BODICE
n
e Grainli
ck Bodic
Dress Ba
edge
Age 4-5
Age 2-3
Side seam edge
sitions
o
P
p
o
o
Belt L
dge
Waist e
2Cm hem
included
Dress extending edge
4B
DRESS FRONT SKIRT

EXTENSION
2Cm hem
included
2Cm
h
e
m
includ
ed
2Cm
h
e
m
includ
ed
Dress belt loop

strip grainline
Fold
Side se
am edg
e
DR
E
S
S
B
E
L
T
L
O
O
P STRIP
Side sea
m edge
3B
DRESS BACK SKIRT

EXTENSION
Cut One
Dress extending edge
Fold edge
FLOWER POWER
Cutting Line
Size Key
PAGES 51 TO 53
Shown actual size
Girls Pinafore Dress

Age 2-3
Age 4-5
*Note: For details on how to extend your

skirt pattern pieces, see page 73.
Age 4-5
Age 2-3
4A*
DRESS
FRONT SKIRT
Cut one to fold
of fabric
Place to fold
Belt Loop
Positions
irt
Dress Front Sk
Grainline
Side seam
edge
Waist edge
ge
Dress extending ed
ge
Waist ed
Age 4-5
Age 2-3
rt
Side seam edge
Cut one to fold

of fabric
g edge
tendin
Dress ex
fold
Place to
DRESS
BACK SKIRT
ck Ski
Dress Banline
Grai
3A*
Belt Loop
Positions
Dress Front And Back Skirts

How To Extend Your Pattern Pieces
Stick a piece of spare paper to the extending

edges of pattern pieces 3A (front skirt) and 4A
(back skirt). Lay a long ruler along the straight fold
edge and draw along it extending the fold edge
by 27cm for pattern piece 3A and 26cm for pattern
piece 4A.
4A
Draw a line to join all the marks and stick the

extending edge of pattern pieces 3B (for the
front skirt) and 4B (for the back skirt) up to the
new line, making sure that the fold lines are all
lined up.
26cm
27cm
27cm
26cm
3A
Measure 27cm (3A) or 26cm (4A) down from

the extending edge at two further intervals
between the fold line and side seam edge; mark
these positions in pencil.
4B
3B
Lay a ruler along the side seam edges and

draw along to complete the skirt pattern
pieces. Cut out.
Cut one to fold

of interfacing
Place
to fold
ne
Grainli
DRESS
BACK BODICE
INTERFACING
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o You...
What you are doing, sharing and making this month
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bag; lovely readers (from
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and Ann Sterry show off
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ntly. As
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Bling bauble
Knitting assist
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ith beads.
One result of he
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Get Creative With...

Hello and welcome

To help you with your

Jane Bolsover EDITOR

ART DIRECTOR Fiona Watson CHIEF SUBEDITOR Diane Cross

19-20 Make it tonight!

21-25 Patchwork throw

38-39 Crochet wrap

40-41 Knitted oor cushions

42-49 Understanding dress patterns

8, 64 Our latest subscription oers

*You just pay 2.75

and the rest...

60-61 Tassel earrings

6-7 Nows the time to upcycle

9-18 Take a letter

27 Christmas tree dec

28-31 Try wet felting

34-35 Cross-stitch tote

51-53 Girls pinafore dress

54-55 Draught excluder

56-57 Take one table

Subscribe to Love To Make

62-63 Mice friends for kids

Nows the time

Retro-Style Serving Trolley

Dcoupage an old chest of drawers

Take a pair of worn-out jeans, scraps

Lace Doily Lampshade

Mobile Recycling Hub

Almost any shade and lampstand can

Using our simple lettering techniques, you can make

LOVE TO MAKE WITH WW 9

These padded fabric letters

You will need

Apply a thin layer of glue to the front

On the reverse side of the letter

Peel o the backing papers from the

10 LOVE TO MAKE WITH WW

to help the fabric

Now cover the cardboard backing

Apply strips of double-sided sticky

You will need

Type out your chosen letter on your

Make sure that your plate is clean

With your chosen colour, paint small

outline, continuing until you have gone

Fill in the entire letter with dots.

Tip... Before starting, test

Cant nd the right pattern

LOVE TO MAKE WITH WW 11

Create this fun artwork for a childs

You will need:

You will need

Type out your chosen letter on

Cut a piece of mountboard to t

Remove the template and then,

12 LOVE TO MAKE WITH WW

28th row: 1ch, 1dc in each of next 9dc,

Keep things neat and tidy

end, turn. Fasten o.

of 35th row, 1ch, 3dc in rst dc, 1dc in