Welcome to my secret hideaway

Throughout my life I have been lucky enough to spend time in a fair few magnificent gardens, but I can safely say that none of them holds a candle to the one at Thistledown Farmhouse. Magic abounds in the earth and in the air, permeating the senses and bewitching the soul.

Since far too few of us have access to beautiful outdoor spaces on a regular basis, I have attempted to inject as much of that horticultural enchantment as I possibly can into this fresh new collection of utterly modern embroidery projects. If you hanker for innovative designs bursting with colour and a large dollop of whimsicality, then this is definitely the book for you. With project chapters split into sections for beginner, improver and advanced stitching levels, you should have no trouble re-creating a little piece of natural magic for yourself.

As always, the charts and projects within these pages are chiefly intended as a launch pad, designed to be mixed and matched in order for you to create something truly unique. For example, just because I have stitched the Arbour Alphabet onto flags, it doesn’t mean that you have to do the same. To get you started, you will find ideas for alternative projects in the tips that come with each design.

So are you sitting comfortably? Then turn the page and let’s begin!

Delilah x

{FABRIC}

Counted Thread Fabric

Counted embroidery is most commonly worked on evenweave fabrics such as linen or cotton evenweave, or on blockweaves such as aida and waste canvas. Evenweaves and blockweaves are woven with the same number of threads in the warp and the weft, and this means that the holes between the woven threads form a grid of squares (like graph paper) that correspond to the pattern you are following.

Aida and waste canvas are woven in blocks that create very obvious squares to work on, making these fabrics perfect for beginners, whereas stitching over two threads at a time forms the squares on linen or cotton evenweave. Stitching on linen or cotton evenweave takes a little more thought, but the finish is far nicer.

The diagrams on this page show how the same stitches would be worked on different counted thread fabrics.

Aida blockweave.

Linen or cotton evenweave.

Waste canvas.

Evenweave fabrics come in different ‘thread counts’. The higher the count, the finer the fabric and the smaller your stitches will be. Evenweaves are counted by the number of individual threads per inch, whereas blockweaves are counted by the number of blocks per inch, so stitches worked on a 14-count aida will be the same size as those worked on a 28-count linen, because the linen is worked over two threads at a time. Each project specifies the type of fabric I have used, but feel free to substitute a different fabric of the same thread count if you prefer (unless specified otherwise), so, for example, a 32-count evenweave could be substituted for a 16-count aida.

Felt

Felt is available in a vast array of colours and it is a particularly versatile fabric to use for embroidery because its raw edges do not fray when cut, so it can be turned into small or fiddly shapes very easily. This makes it ideal for people who prefer the stitching part of a project to the making up, which is why you will find that I have used felt for a number of projects in this book. However, since felt is not woven, you will need to use waste canvas to count your stitches onto it.

IMPORTANT: I specify thick (and by that I mean 1mm/Illustration in+) 100% wool felt in the lists of required supplies because it must be strong enough to support the stitches and withstand the strain of removing waste canvas. If you use a wool-viscose mix or acrylic felt, it will not hold your embroidery well and it is likely to shrink significantly and lose shape when the canvas is removed. It is easy to source 100% wool felt, especially online (see Suppliers).

Using waste canvas

Waste canvas can be used to work counted stitches on non-evenweave fabrics without a visible grid to stitch over. The stitch diagrams here and here are shown being worked on waste canvas.

STEP 1 Cut the waste canvas to the same size as your felt and mark its centre with a pin.

STEP 1

STEP 2 Tack the waste canvas in place on top of the felt all around the edge, using a length of waste thread and a loose running stitch.

STEP 2

STEP 3 Work your embroidery stitches through both layers of fabric. When the design is finished, remove the tacking stitches and lightly spray the waste canvas with water to loosen the threads (over-wetting will soak the felt underneath and make the waste canvas difficult to remove; it is best to spray just a little to begin with, then re-spray as needed). While the waste canvas is damp, use tweezers or a small pair of pliers to pull out one thread at a time until it is all gone.

STEP 3

{THREAD}

The majority of the projects in this book use stranded cotton embroidery thread. Its six strands are loosely twisted together so that they can be easily separated for stitching with different thicknesses. The chart notes and key that accompany each charted design list the specific thread colour/type, quantity and number of strands needed for the project; feel free to increase or reduce the number of strands, or to substitute other threads.

For a few of the projects I have also used Kreinik metallic braid, on the Miss Millicent Hare Picture for example (see detail right), and sometimes I have used tapestry wool, such as on the Floribunda Clutch Bag (see below).

Kreinik metallic braid comes in different weights to suit the fabric you are stitching onto and, unlike stranded cotton embroidery thread, you do not separate it but stitch with the whole thread at once. It is best to keep your thread lengths slightly shorter than usual when working with metallics to minimise fraying and knotting.

Tapestry wool is a thick woollen thread available in a wide variety of colours and it is sold in small skeins. It too should be used whole rather than splitting the plies, and you will need to use a chunky needle with a large enough eye to carry the thick thread.

{NEEDLES}

Embroidery needles come in many different shapes and sizes, but generally have one thing in common: a large eye through which you can thread multiple strands at the same time. Working on evenweave and blockweave fabrics, you will need a blunt tapestry needle that will slide easily through the holes in the fabric without splitting the threads on either side. For working on waste canvas on top of another fabric, such as felt, you will need a sharp embroidery or chenille needle to pierce through the base fabric. Details of the best needle to use are given in the list of supplies for each project.

{HOOPS & FRAMES}

It is not essential to use an embroidery hoop or frame when you stitch, but more often than not I opt to do so, especially if I am stitching onto soft linen or cotton evenweave fabrics as I find it helps to keep the tension of my stitches even; without one, I find my hand aches from holding the fabric taut and stitching at the same time.

I have used a variety of different hoops and frames for the projects in this book, and my specific choices have been included in the list of supplies for each project. However, whether or not you choose to use a hoop or frame, and which you opt for, really is a matter of personal preference. In actual fact many of the smaller felt projects in this book can be stitched perfectly easily without a hoop or a frame, as the combination of the thick felt and the waste canvas creates a rigid base to stitch onto.

Roller Frames

Rolling tapestry frames and ‘mini no-sew’ frames (simply a miniature version of a rolling tapestry frame) are so versatile. These roller frames come in a wide array of sizes, with different lengths of mix-and-match rollers and side bars that can be combined to suit any project.

Depending on the frame you choose, the fabric is either sewn in place or attached to the rollers with clips or tape. Sew-on frames provide the greatest degree of strength and are the best choice for larger projects that require high tension; no-sew frames, which use clips or tape, are ideal for making a quick start on small projects.

A selection of roller frames.

Mix-and-match rollers and side bars can be combined to suit any project size.

Excess fabric is rolled around the frame and moved back and forth to complete different areas of a design. As the fabric only needs to fill the length of the side bars, there is generally less fabric waste than if you were using a hoop for the same design.

To fix fabric into a roller frame

STEP 1 First mark the centre point of the fabric with a pin.

STEP 2 Then sew, clip or tape the top and bottom edges of the fabric to the rollers.

STEP 3 Finally, roll the excess fabric around the rollers until the fabric is taut and then tighten the four wing nuts to hold it in place.

STEP 1

STEP 2

STEP 3

Embroidery Hoops

Embroidery hoops are very inexpensive and simple to use, so they are a great option for beginners. It is best to use a hoop that is large enough to contain the whole design rather than moving a small hoop over existing stitches, as it can crush them. You should also try to remove the fabric from the hoop when you are not working on it to prevent it from marking the fabric.

To fix fabric into a hoop

STEP 1 First mark the centre point of the fabric with a pin. Loosen the screw at the top of the hoop and separate the two rings.

STEP 2 Place the inner ring on a flat surface and lay the fabric, centred, on top of it. Place the outer ring on top of the fabric and push it down to trap the fabric in between. Tighten the screw on the outer ring. Pull on the excess fabric around the edge to give you a taut, drum-like circle of fabric in the middle.

STEP 1

STEP 2

{OTHER EQUIPMENT}

Embroidery scissors: A good, sharp pair of small pointed scissors is essential. Keep for snipping threads and quick trimming jobs.

Measuring tape: For accurate measuring, this is a necessity.

Fabric shears & pinking shears: For cutting larger pieces of fabric or finishing edges when making up projects. Use for fabric cutting only to keep them nice and sharp.

Rotary cutter: A supremely sharp cutting tool that should always be used with a metal ruler and self-healing cutting mat; this will vastly reduce the time it takes to make up projects such as the Towering Tulips Jewellery Roll.

Paper scissors: For cutting out paper templates.

Pins: While any decent dressmaking pins will do the job, glass-headed pins are less likely to get lost in the fabric.

Tailor’s chalk: For marking around templates onto fabric; it leaves a distinct line that shows up against dark fabrics and can be brushed away easily if needs be.

Water-erasable pen: This is best for marking around templates on lighter fabrics; it disappears when spritzed with water.

Hand sewing needle & sewing thread: While a sewing machine will make a few of these projects faster, it is not essential; I chose to stitch most things by hand for greater control. A sharp sewing needle is best for fine sewing threads.

Iron & terry towel: Always press your project before making up – it makes the world of difference. Place your embroidery face down over a folded terry towel and iron it on the reverse.

Tracing paper: Essential for making transparent project templates. It can also be used for marking up charts: use washi tape to hold the paper in place over the chart and track your stitching progress over the top.

Red pen or pencil: For marking where you’re up to on a chart, making notes and drawing out templates.

Haemostat: This is actually a medical instrument (see here for photograph), but it is hands down the best tool for turning out awkward and tubular shapes such as the Prophet Rose Sash Belt. They are inexpensive to buy and can be found easily on eBay.

Point turner: Often made of bone or plastic, this is a flat stick with a gently rounded point at one end, used for pushing out corners when making up projects. You could also use a large knitting needle or the lid of a pen – anything with a blunt point will do the trick.

SOURCING SUPPLIES

If you don’t have a local craft shop or haberdashery, or the range of supplies available nearby is limited (as mine is), you can find a full list of online suppliers at the back of this book for all of the materials, tools and equipment used to make the projects.

Counted embroidery, encompassing counted cross stitch and counted thread techniques, is based on a set of simple stitches that can be picked up really quickly. The designs in this book combine these stitches to produce projects of varying complexity, which aim to take you from beginner to confident stitcher. The basic techniques outlined here will stand you in good stead whatever your level.

{READING COUNTED EMBROIDERY CHARTS}

All types of counted embroidery are worked from charts that are based on a grid system: the grid lines either represent the threads in your fabric (for counted thread charts) or the stitched areas between those threads (for cross stitch charts). You will find examples of both types of chart throughout the book. Each chart is labelled as either ‘Cross Stitch’ or ‘Counted Thread’, and the examples that follow below will show you how to read each style.

Mixed-style charts

Occasionally, both cross stitch and counted thread stitches are used on the same chart and in these instances I have chosen the most appropriate type of chart for the majority of stitches in the design, and the stitches in the chart will be displayed and aligned to fit the chosen style.

Cross Stitch Charts

Counted cross stitch patterns use only one type of stitch (crosses) in the same size throughout, so there is no need to distinguish between different stitch techniques. However, they do often use multiple colours, which would be difficult to tell apart on a chart if they were shown as thin stitch lines. For this reason, cross stitch charts show blocks of colour or symbols in a grid: the points where the lines cross in the grid correspond to the holes in the fabric, so you are counting the number of holes. Each square on a cross stitch chart grid contains a complete stitch. Fractional stitches (such as the four corners of the shape shown on the right-hand side of the opposite page) are shown as a partially completed block in the grid.

Cross stitch chart (top) and stitched version (below) – whole stitches.

Cross stitch chart (top) and stitched version (below) – fractional (three-quarter) stitches.

Counted Thread Charts

Counted thread designs use a variety of different stitches that are shown as thin lines placed in between the grid lines, to enable you to distinguish the stitches from the grid lines. This effectively means that each grid line represents a thread of the fabric, so you are counting the number of threads you cross (hence the name ‘counted thread’) as opposed to the number of holes as in counted cross stitch. And each square on a counted thread grid contains a hole in the fabric (the point where various different stitches start/end/meet). This can take a bit of getting used to if you are accustomed to working from counted cross stitch charts, but it actually makes more sense as the grid is a more direct representation of the fabric’s anatomy.

Counted thread chart (top) and stitched version (below).

Chart Notes

In the chart notes that accompany each charted design, you will find some useful information, so do take a look through before you begin:

Stitches used: This outlines the stitches used in the stitched design; if any of the stitches are new to you or you need a reminder on how they should be worked, refer to the Stitch Directory.

Pattern size: The chart size is counted by the number of complete squares contained in the grid, but the contents of those squares (i.e. stitches or holes) differs depending on the style of chart (cross stitch or counted thread), so a cross stitch chart lists the pattern size as 000 x 000 stitches and a counted thread chart as 000 x 000 holes.

Stitched size: This is the size that the finished stitching will measure if the charted design is worked on the fabric outlined in the supplies list provided for the project.

Thread: This is the type of threads and numbers of strands used for the stitching as seen on the worked projects, but details of the colours used and quantities required are given in the chart keys.

Extra info: A few of the projects require a little extra information when stitching the design.

{STARTING TO STITCH}

Finding Your Start Point

Counted embroidery charts are not generally printed to scale, often being larger than the finished stitched design so that you can clearly tell the individual stitches apart. To ensure your stitching ends up in the right place on your fabric, work from the centre of the pattern outwards.

When working on aida, linen or cotton evenweave, iron your fabric before you begin to ensure it is completely smooth (stubborn creases are difficult to remove once you have stitched over them). If working on felt with waste canvas, do not iron directly onto the felt fabric, but lay a cloth on top to protect it and use a dry iron.

Find the centre of your fabric: fold it in half one way, open it out again and then fold it in half the other way, gently pressing along the middle of each fold to find the point where the fold lines cross. Once you have found the centre point, mark it with a pin or your needle until you are ready to begin stitching.

The centre point of each charted design is marked with intersecting lines on the cross stitch charts and with a contrasting coloured dot on the counted thread charts, and this centre point corresponds to the centre of the fabric. Pick the start of a row or section of stitches close to the centre point on the chart and count the number of holes or threads from the centre to this spot, making a note of this distance on the chart. Now count the same number of holes or threads away from the centre point of your fabric to find the place where you will make your first stitch. (Remember, if working on linen or cotton evenweave, you will need to double the number.)

Preparing the Thread

Cut a length of thread about as long as your arm. If standard six-stranded cotton is being used, the chart key will specify the number of strands required. To separate strands, find the end of one strand and hold it firmly between your thumb and forefinger. With your other hand, loosely hold the rest of the strands together and push them down while you pull the single strand up and out of the thread. Straighten out the remaining strands and repeat until you are left with six separate strands. Now take the required number of strands and line them up together to form a single thread that is the right thickness to stitch the pattern with.

Knot-free Stitching

It helps to keep the back of your stitching almost as neat as the front: you will often need to go through the same hole multiple times and if you have lots of knots and tangled threads, you will struggle to do this. To secure the start of your thread without a knot, the following methods are best.

Away waste knot start

This method can be used to secure threads made up of any number of strands. It uses a temporary knot to hold the end of the thread out of the way while you work the first few stitches. Tie a double knot in the thread end; bring the needle down through the fabric about 10cm (4in) away from the stitching start point, to leave the knot sitting at the front. Make your first few stitches, then snip off the temporary knot and thread the loose end behind four or five completed stitches on the back of the work before trimming off the excess.

Knotless loop start

This is my favourite method, but it only works if you are using an even number of strands (two, four or six). To stitch with four strands using this method, for example, take two long strands of thread, line them up together as usual and then fold the length in half so that you have a single length of thread that is four strands thick, with four loose strands at one end and a loop at the other.

Away waste knot start.

Knotless loop start.

Thread the end with the loose strands through the eye of the needle. Bring the needle up through the underside of the fabric at the stitching start point, leaving a few centimetres of thread (the end with the loop) underneath. Put the needle back through the surface of the fabric to form the first stitch, and then through the middle of the loop that has been left at the back. Once the thread is pulled all the way through the loop it will be fixed to the fabric – with no need for a knot.

Finishing a Thread

When you only have 10cm (4in) of thread left, run the needle underneath four or five completed stitches on the back of the fabric to secure it, then neatly snip off the loose end.

Finishing an embroidery thread.

PROJECT ASSEMBLY: FINISHING A THREAD

To fasten the end of a thread when making up projects, first make a couple of backstitches. Next push the needle in between the layers of fabric, then pull it back out again, bringing the last of the thread with it, and trim off the excess.

Many of the projects, such as the Arbour Alphabet Flags, use one type of starting knot for stitching and another for making up.

In this section you will find out how to work all the stitches used on the charted designs for the projects featured in this book. The grid-box diagrams show how the stitch will appear on the charts with, alongside, a diagram of the working of the stitch onto fabric (waste canvas is shown here). If any of the stitches are unfamiliar to you, it is a good idea to practise them first on a spare piece of fabric before stitching them onto your project fabric.

{STRAIGHT STITCH}

Straight stitch joins two points together (A to B) in a single stitch. They appear in charts as solid straight lines varying in length and direction.

To make a straight stitch, come up through the fabric at A and back down at B. The stitches can be combined to make complex patterns. When working on evenweave fabrics, keep the threads on the back running along the same paths as the stitches on the front to prevent show through. Keep the stitch tension fairly tight as longer stitches will flop about if they are too slack.

{BACKSTITCH}

Backstitch, like straight stitch, is also shown as a solid straight line on a chart, but the difference is that it is worked as a sequence of lots of little stitches. (The chart annotations or notes will clearly distinguish between the two stitches.)

To work backstitch, come up through the fabric at A and down at B; come up again at C, then back down at D, where the previous stitch ended. Continue in this way – forward then back, forward then back – for the length of the line on the chart. Backstitch can turn corners and will work along any line – horizontal, vertical or at a 45-degree angle.

The legs of the insects are worked in straight stitch using two strands of black thread (see Little Bug Magnets).

{CROSS STITCH}

Cross stitch is one of the most popular of counted stitches. Many designs are made up of cross stitch only and on a counted cross stitch chart each stitch will be shown as a filled square (see below and here). When combined with other stitches on a counted thread chart, cross stitches will be represented with an X (see right) and may be worked at different scales.

Working a Single Cross Stitch

Cross stitch is essentially just two diagonal stitches that cross over each other to form an X shape. To work a single cross stitch, come up through the fabric at A and make a diagonal stitch to go down at B; come up at C and make a diagonal stitch to go down at D, to complete the X.

Working Cross Stitch in Rows

When a pattern contains blocks of multiple cross stitches in the same colour, it is generally quicker to work these in rows. First complete all of the half stitches in a row by making a series of single diagonal stitches (A to B, C to D, and so on).

When you get to the end of the row, work back to the start to cross the stitches just made (I to J, K to L, and so on).

Next, move on to the row below or above and complete that row in the same way. It doesn’t really matter if you work the next row above or below, or even which way your crosses overlap, but it is important to work all of your stitches in the same way, so if, for example, you decide to work your first diagonal half stitch leaning to the left and the top of the cross leaning to the right, keep it up all the way through the pattern.

Working Fractional Cross Stitches

Small cross stitch patterns sometimes contain fractional (half or three-quarter) stitches in order to create more detail in the design.

Half stitches are shown as short diagonal lines and three-quarter stitches as partially completed blocks, leaning in the direction of the finished stitch. For three-quarter stitches one of the diagonals is cut short, ending in the centre instead of the opposite corner, so they are best worked on waste canvas or linen or cotton evenweave as you will need access to a hole in the centre of the stitch, which does not exist with aida.

{LONG ARMED CROSS STITCH}

This cross stitch variation uses a longer first stitch and a series of overlaps to create a strikingly different effect. Work A to B, C to D, E to F, G to H, and so on.

{HERRINGBONE STITCH}

A simple, open stitch pattern of overlapping stitches: work A to B, C to D, E to F, G to H, and so on.

{CLOSED HERRINGBONE STITCH}

Worked in the same sequence as regular herringbone stitch, all of the lines join up to create a dense texture. This technique uses a lot of thread so start with a reasonable length.

{UPRIGHT CROSS STITCH}

A very simple stitch where a horizontal stitch is worked (A to B) and then a vertical stitch (C to D) to form an upright cross stitch.

{DOUBLE STRAIGHT CROSS STITCH}

Work an upright cross stitch, then work a regular cross stitch on top to create the pretty star effect.

{SMYRNA STITCH}

When you work the diagonal (regular) cross stitch first, with a small upright cross stitch on top, more of a square star shape is made and a Smyrna stitch is created.

{DAISY STITCH}

Work in sequence, stitching each petal from its outside point to the centre, to create a pretty daisy flower shape as seen in the photo details opposite.

{FRENCH KNOT}

The French knot is a pretty little stitch that is perfect for highlighting the centre of a daisy stitch to make it look more realistic. On the chart, you will find it is marked with a coloured dot. It is best to practise this stitch on a scrap of fabric a few times before moving on to your project since it is a little trickier than the other stitches.

To work a French knot, bring your needle up from the back of the fabric at A and wrap the thread around the needle two or three times – the more wraps, the larger the knot.

Hold on to the thread firmly to keep it from unravelling, and insert the needle back into the fabric very close to A.

Pull the thread all the way through the hole.

This will leave a knot that sits on the top of the fabric.

STITCHING TIPS

Illustration When working a series of stitches together, it is best to begin a stitch by bringing your needle up through a ‘clean’ hole (one with no stitches) as you are less likely to split existing stitches this way; pushing your needle back down through the fabric (front to reverse) when there are existing stitches in a hole rarely causes a problem.

Illustration The scale and relative dimensions of many of these stitches can change depending on the charted design, so follow the chart carefully.

Illustration With any crossed stitch, it doesn’t matter whether you choose to work each stitch from A to B or B to A, but do layer the stitches in the same order each time to keep your work looking neat.

APPROXIMATE STITCHING TIME

The quickest design in this book takes just 10 minutes to embroider, whereas the most involved will take you up to 35 hours. Look out for the Approx stitching time that accompanies each chart, which will give you an approximate stitching time for embroidering the design. Project assembly will take a little longer.

Approx stitching time: 45 mins

Approx stitching time: 15 hrs

PROJECT ASSEMBLY: RUNNING STITCH

I have made up many of the projects by hand using a neat, small running stitch. To work a running stitch, come up through the fabric at A, back down at B, up again at C, down at D, and so on. Aim to keep the length of your stitches and the distance between them as even as you possibly can.

{bud}

Wild Thistle Book Band

Daisy Chain Bracelet

Little Bug Magnets

Darling Buds Purse

Lucky Clover Locket

Thistledown Farmhouse

HAVE YOU EVER felt that you don’t fit in, that you were born at the wrong time or in the wrong place and that nobody understands you? It is a feeling I have had for as long as I can remember, a feeling that has always bothered me, that is until I met Miss Merriweather.

Miss Merriweather lived on the edge of a sleepy village in a large, rambling pile of bricks, covered with ivy and thorns, called Thistledown Farmhouse. The front garden was so overgrown with twisted trees, rampant weeds and gigantic thistles that you couldn’t see anything below the attic windows, and that was just how Miss Merriweather liked it. No busybodies interrupting her, no small talk and no uninvited visitors, thank you very much. The villagers thought the house was derelict and so she did her best to keep it that way. Because, you see, Miss Merriweather was another of those wandering souls who had gotten herself born in the wrong time and place, and who was constantly baffled by everyone around her.

Small and wiry with a shock of red curls and a quiet demeanour, Miss Merriweather had never been one for friends and parties and conversation. Even when she was a little girl people had thought she was odd, but she didn’t much care. In fact she relished it. She was of the opinion that it was much more difficult to do something extraordinary if you were dull and ordinary to begin with.

And dull and ordinary Miss Merriweather most certainly was not…

{SUPPLIES}

28-count cream linen, 30 x 15cm (12 x 6in)

Stranded cotton embroidery threads – see chart key for details

Tapestry needle, size 24

Cream cotton backing fabric, 25 x 10cm (10 x 4in) (I used calico)

Narrow cream elastic lace edging (maximum width 1cm/⅜in), 50cm (20in)

Sewing machine or sewing needle and cream sewing thread

Small, sharp scissors and pins Pencil or water-erasable pen and ruler

Mini no-sew frame (15cm/6in side bars and 15cm/6in rollers) and masking tape (optional)

Haemostat and point turner (optional)

1. Refer to Starting to Stitch to prepare your linen fabric and mark its centre point. Prepare a length of green embroidery thread – you will need to stitch this design using three strands. Fix the prepared fabric into the frame if you are using one.

2. Using an away waste knot start and working from the centre point outwards, follow the chart on here to stitch the green sections of the thistles.

3. Next complete the purple (dark) straight stitches of each thistle head (refer to Mixed-style Charts, and Stitch Directory, for more information). To start, secure the thread behind some existing green stitches on the reverse of your work before you begin stitching. Work the stitches in the order shown below: come up from the reverse of the fabric at 1, down at 2, back up at 3, down again at 4, and so on until all of the straight stitches in that row are complete. Again, run the thread behind a row of green stitches on the reverse of the fabric to secure and then trim off the excess.

PLEASE NOTE

Aida is not suitable for this project: to be able to stitch the straight stitches that make the thistle head, you have to be able to work into the fabric in between the cross stitches and this is not possible on the solid blockweave of aida fabric.

The supplies and instructions above make a book band to fit a standard paperback (approximately 20cm/8in high). If you have a larger book or one with a slightly thicker spine, add extra length to the elastic to accommodate it.

STEP 3

4. To complete the stitching of the thistle heads, stitch the mauve (light) straight stitches in between the purple ones as described in step 3. When you have finished the stitching of the thistle heads, the reverse of your work should look like the diagram below.

STEP 4

5. Remove the linen from the frame and iron it face down over a terry towel, to protect the stitches. Cut the linen down to 20 x 7cm (8 x 2¾in) with the stitched design in the centre.

6. Measure and cut a 2 x 4cm (¾ x 1½in) triangle from each corner as shown in the diagram. Use your trimmed embroidery as a template to draw and cut an identical shape from your cream backing fabric.

STEP 6

7. Measure and cut two pieces of the elastic lace edging to the height of your book’s cover: if making a book band for a standard paperback, approximately 20cm (8in) tall, you would cut two 20cm (8in) lengths. With your backing fabric facing right side up, pin the ends of the elastic in the centre of each end as shown in the diagram. Your elastic should be narrow enough that its width ends at least 1cm (⅜in) from each corner otherwise it might get caught in the seams. Leave the pins sticking out at the edge of the fabric so they are easy to remove later.

STEP 7

TIP

Illustration You can use a single length of regular elastic ribbon in place of the double lace edging if you prefer; just remember that different elastics have different amounts of stretch so you will need to factor this in when taking your measurements.

8. Making sure that the elastic is pushed to the centre away from the seam edges (see diagram for step 7), place the embroidered fabric on top so that the right sides are facing together and the elastic is sandwiched in between. Pin the layers together around the edge. (You should still be able to see the pins holding the elastic in place sticking out at each end.)

9. Starting near the end of one long edge, sew around the shape with a 1cm (⅜in) seam, removing pins as you go. Continue stitching until you reach the opposite end of the long edge from your starting point, so that you are left with a partially open seam. Backstitch at each end to secure the thread, then trim off the excess. Cut a notch into each corner, being very careful not to cut into the stitching.

STEP 9

TIP

Illustration Sewing the pieces together by hand will give you more control if you are particularly worried about catching the elastic in the seams.

10. Turn the shape out the right way through the gap in the seam (a haemostat makes this easy) and carefully push out the corner points with a point turner (or similar blunt poking tool). Fold in the open edge to match the rest of the seam and press face down over a towel. Topstitch all the way around the shape, just a few millimetres from the edge, backstitching at start and end to secure the thread (be sure to hold the elastic out of the way as you go).

{WILD THISTLE CROSS STITCH CHART}

STITCHES USED

Cross Stitch, Half Cross Stitch, Straight Stitch

PATTERN SIZE

13 x 88 stitches

STITCHED SIZE

2.5 x 16cm (1 x 6¼in) on 28-ct linen

THREAD

Stranded cotton, 3 strands – see key for colours and quantities

EXTRA INFO

Work the straight stitch for the thistle heads as described in steps 3 and 4 to minimise thread show through on the reverse of the fabric (see step 4 diagram)

Approx stitching time: 2½ hrs

Daisy, Daisy

AT FIRST GLANCE, you could be forgiven for thinking Miss Merriweather was a teenager, no more than sixteen years old. This was partly due to her diminutive stature, but probably had more to do with the fact that she was always draped in daisy chains. Wrapped around her wrists, tied around her neck and perched incongruously on her head, the daisies gave her an air of childlike innocence (or slight madness – once you were close enough to realise how old she really was). They were a link to her past – to the mother who taught her to make them under the shade of an old apple tree on those long summer days of her childhood.

Now Miss Merriweather’s days were filled with running the little cottage industry she had built around her garden. Not the overgrown front garden, of course – I’m not sure anybody has ever made a business out of thistles and thorns. But hidden behind the house, within the boundaries of a wooded copse, Miss Merriweather had cultivated the most extraordinary horticultural haven you could possibly imagine. She faced a problem, however: how could she sell her wares without giving herself away to the public?

Miss Merriweather needed a go-between: a kindred spirit who could help without interfering; somebody to meet customers and make deliveries, and allow her to stay hidden. And, at the very moment Miss Merriweather decided to mount a search for such an assistant, I was in my sister’s front garden teaching my niece to make a daisy chain.

That’s how Miss Merriweather found me.

{SUPPLIES}

14-count waste canvas, 25 x 4cm (10 x 1½in)

Two pieces of green felt, 25 x 4cm (10 x 1½in) each

Stranded cotton embroidery threads – see chart key for details

Sharp embroidery needle, size 6

Embroidery or sewing thread to match felt

Two snap fasteners, 9mm (⅜in) diameter

Small, sharp scissors and pins

Water spray and tweezers

Rotary cutter, metal ruler and cutting mat (optional)

1. Mark the centre of the waste canvas and attach it to one piece of the felt, but note that I didn’t use a frame for this project as it is so small). Prepare a length of cream embroidery thread ready to stitch the daisy stitches – you will need to stitch this part of the design using three strands.

2. Using an away waste knot start and working from the centre point outwards, follow the chart here to stitch the design. Complete the daisy stitch flowers first, then stitch the stalks and leaves in green, also using three strands, and finally work the French knots in the centre of the daisies using four strands of yellow embroidery thread.

3. When you have finished the embroidery, unpick the tacking stitches and remove the waste canvas from the felt, and allow the felt to dry.

4. Once the embroidered felt strip is completely dry, trim it down to leave approximately a 5mm (¼in) border around the stitches at the top and sides and a 2cm (¾in) space beyond the last daisy stalk at the bottom edge (see diagram). If you have one, a rotary cutter is best used for this as it will give the cleanest edge. Now cut a duplicate sized strip from your second (unembroidered) piece of felt for the bracelet backing.

STEP 4

TIP

Illustration These measurements should leave you with a 20cm (8in) strip (including overlap) to fit an average adult female wrist – adjust the length of the strip to fit other sizes.

5. Using two strands of thread to match the felt and a knotless loop start, attach the snap fasteners to the front and back strips: the two female parts are positioned in the 2cm (¾in) space at the bottom of the embroidered strip and the male parts at the top of the unembroidered strip (see diagram). (It is important to use two fasteners as this gives the bracelet much more stability.)

STEP 5

6. Layer the strips together with right sides outwards and the fasteners at opposite ends, and pin into place if desired. Using two strands of embroidery or sewing thread to match the felt and a knotless loop start, sew all around the edge of the strips with a small, neat running stitch just a few millimetres from the edge (see here). Secure the end of the thread with a couple of backstitches and trim the excess (see here).

PROJECT VARIATIONS

Worn alone this bracelet is elegant and understated, but stack a few in different colours if you prefer to make a statement.

To make the perfect hairband for a little girl, repeat the pattern to add a few extra daisies, then trim the embroidered strip equally at each end and attach elastic or ribbons as you prefer.

{DAISY CHAIN COUNTED THREAD CHART}

STITCHES USED

Daisy Stitch, Backstitch, French Knot

PATTERN SIZE

7 x 100 holes

STITCHED SIZE

1.5 x 18cm (⅝ x 7in) on 14-ct waste canvas

THREAD

Stranded cotton, 3 strands for green and cream and 4 strands for yellow – see key for colours and quantities

Approx stitching time: 1 hr

A Bug’s Life

I ARRIVED FOR MY first day of work at Thistledown Farmhouse with no idea of what to expect. The front gate looked as though it hadn’t been used for fifty years, so entangled was it with ivy. Just as I was thinking I might have to climb over it, Miss Merriweather appeared on the other side, seemingly magicked out of thin air.

‘You’re late.’ She was frowning – this was not a good start. She reached down behind the gate, clicked the latch and, to my amazement, it swung straight open; a clean cut had been made through the twisted ivy, hidden by the mass of leaves in front. ‘Follow me. And watch out for the bugs.’

Bugs? I stepped through the gate and saw that a tunnel had been cut through the thicket on one side, invisible until you were beyond the gate. Halfway down one of its walls was a ledge, along which marched a steady stream of invertebrates.

‘Is that…?’

‘My bug transport network.’ She spoke as though this was the most normal thing in the world. ‘They keep to their paths, I keep to mine. Everybody’s happy.’ It appeared to be a miniature motorway. Snails and slugs crawled along the inside lanes, with beetles and spiders scuttling past them on the outside. The middle lanes were populated with ants, ladybirds and other small insects. ‘Don’t bug them and they won’t bug you.’ She allowed herself a little chuckle. ‘And watch out for the flagpole in the back garden – it’s their flight control centre.’

We came to the end of the short tunnel and emerged at a black door. It had a brass knocker in the shape of a bee and was flanked by tall ivy-framed windows on either side. I followed Miss Merriweather inside…

{SUPPLIES}

FOR THE TRIO

Three pieces of 28-count cream linen, 15 x 15cm (6 x 6in) each

Stranded cotton embroidery threads – see chart key for details

Tapestry needle, size 24

Sewing thread, any colour, 3m (10ft)

Three metal self-cover buttons, 38mm (1½in) diameter

Three circular magnets, maximum 25mm (1in) diameter

Tissue paper, cream or white

Small, sharp scissors

Pencil or water-erasable pen

Tracing paper and paper scissors

Craft glue

10cm (4in) embroidery hoop (optional)

1. Take one of your pieces of linen and refer to Starting to Stitch, to prepare your fabric and mark its centre point. Prepare a length of embroidery thread – you will need to stitch the cross stitch body using three strands. Fix the prepared fabric into the hoop if you are using one.

2. Using an away waste knot start and working from the centre point outwards, follow the chart for your chosen bug (see here) to complete the full and three-quarter cross stitches for the body first (for guidance on working fractional cross stitches).

3. Once the cross stitch is complete, work the straight stitches with two strands of black thread, securing the thread ends behind the existing cross stitches on the reverse of the fabric.

4. Remove the fabric from the hoop. Trace the circle template onto tracing paper, including the inner circle and centre-point alignment markings. Align the template over your bug so that the stitched design is centred in the inner circle, and then mark around the outer circle using a pencil or water-erasable pen. Cut out the marked circle from your fabric.

STEP 4

5. Cut a circle from tissue paper that is roughly the size of the inner circle on the template. Use a very small amount of glue to stick the tissue paper circle to the front section of the metal button – this will stop the shiny metal from glaring through the open weave of the linen without adding extra bulk. (Note that the metal shank on the button front is not required and should be removed by squeezing.)

6. Sew a loose running stitch around the outside of the linen fabric circle using a double thickness of spare sewing thread. Stitch about 5mm (¼in) in from the edge and leave the needle threaded when you get to the end. Place the linen circle face down on your work surface and position the button front (also face down) on top of it.

STEP 6

7. Pull on the end of the thread to gather the fabric around the button, checking the position of the motif on the front before pulling tight; secure with zigzag stitches worked from side to side across the back of the fabric to smooth out any bumps around the edge of the button (see diagram). Secure the end of the thread with a couple of backstitches and cut off the excess.

STEP 7

8. Place the fabric-covered button face down over a thickly folded terry towel and push the button back down hard onto it until it snaps into place (it is important to cushion the stitches on the button front as you will need to press very hard to secure the button back in place).

9. Glue the magnet to the back of the button and leave to dry for at least 24 hours before using – the stronger the magnet, the longer you should leave it to dry.

PROJECT VARIATIONS

Leave the shank on the back to turn these into regular buttons, or glue on a brooch fastening to make a quirky accessory.

Use waste canvas to stitch these little bugs directly onto clothes and accessories – they would look especially cute on the shoulder of a jumper or the pocket of a pair of jeans.

{BEETLE CROSS STITCH CHART}

STITCHES USED

Cross Stitch, Three-quarter Cross Stitch, Straight Stitch

PATTERN SIZE

13 x 15 stitches

STITCHED SIZE

2.5 x 3cm (1 x 1⅛in) on 28-ct linen

THREAD

Stranded cotton, 3 strands for full and fractional cross stitches and 2 strands for straight stitches – see key for colours and quantities

Approx stitching time: 1 hr

{LADYBIRD CROSS STITCH CHART}

STITCHES USED

Cross Stitch, Three-quarter Cross Stitch, Straight Stitch

PATTERN SIZE

13 x 10 stitches

STITCHED SIZE

2.5cm x 2cm (1 x ¾in) on 28-ct linen

THREAD

Stranded cotton, 3 strands for full and fractional cross stitches and 2 strands for straight stitches – see key for colours and quantities

Approx stitching time: 1¼ hrs

{SPIDER CROSS STITCH CHART}

STITCHES USED

Cross Stitch, Three-quarter Cross Stitch, Straight Stitch

PATTERN SIZE

16 x 15 stitches

STITCHED SIZE

3 x 3cm (1⅛ x 1⅛in) on 28-ct linen

THREAD

Stranded cotton, 3 strands for full and fractional cross stitches and 2 strands for straight stitches – see key for colours and quantities

Approx stitching time: 45 mins

Darling Buds

INSIDE, THE HOUSE looked more like a botanist’s laboratory than a home. A meandering corridor led through a series of dark rooms: one was crowded with potting tables and seedlings; another housed myriad glass phials and large copper pans; a third had tools and foliage scattered across every surface. I wanted to stop and look at everything properly, but Miss Merriweather was marching along apace.

As we neared the back of the house, the rooms began to brighten. I followed Miss Merriweather through the large kitchen, an ancient scrubbed pine table at its centre, and into an enormous conservatory. ‘Just wait here,’ she said. As I made my way over to a rusty metal chair in the corner, Miss Merriweather nodded curtly before turning on her heels and disappearing outside. A moment later a terrible noise drifted through the open conservatory doors. It sounded like an injured animal. I tried to ignore it but it just kept on wailing until I couldn’t bear it any longer.

I headed towards the doors and looked out, only to find that the noise wasn’t coming from an animal at all, but from Miss Merriweather! She was making her way along a wall of rosebushes, singing to each of the buds in turn. Her voice was truly awful. She must have sensed me watching because she turned around and glared at me, but she didn’t stop singing. Only after she had ‘serenaded’ each and every rosebud did she make her way back to the house.

‘Those roses are special,’ she said. I looked quizzically at her. ‘I’ll tell you more when you prove that you can be trusted.’ She picked up a crumpled piece of paper. ‘Let’s find you some work.’

{SUPPLIES}

14-count waste canvas, 15 x 20cm (6 x 8in)

Two pieces of cream felt, 15 x 20cm (6 x 8in) each

Stranded cotton embroidery threads – see chart key for details

Sharp embroidery needle, size 6

Cream sewing thread

One snap fastener, 9mm (⅜in) diameter

Small, sharp scissors and pins

Water spray and tweezers

Pencil, tracing paper and paper scissors

Mini no-sew frame (15cm/6in side bars and 15cm/6in rollers) and masking tape (optional)

1. Mark the centre of the waste canvas and attach it to one piece of the felt. Fix the fabric into the frame if you are using one (see here).

2. Prepare your embroidery threads – you will need to stitch this design using three strands of each colour. Working from the centre point outwards, follow the chart here to stitch the design (see here for more information on working the embroidery).

3. When you have finished stitching, take the fabric out of the frame; unpick the tacking stitches and remove the waste canvas from the felt, and allow the felt to dry. Once it has dried, gently press the embroidered felt face down over a terry towel if required.

4. Trace the purse back/flap and purse front template here onto tracing paper, transferring all marks, and cut out each. Align the purse back/flap template over your stitched design so that there is an even border around the edge, using centring lines to help you; pin into place and cut out.

STEP 4

PROJECT VARIATIONS

The perfect size for jewellery, coins and buttons, this project makes an ideal last-minute gift. To personalise your purse, you can choose different felt and bud colours.

Instead of running stitch, try blanket stitching around the edge in a contrasting colour when stitching the layers together.

5. Take the remaining piece of felt and pin the purse back/flap template (this is to make the purse lining) and the purse front template to it, and cut out each piece.

6. Position the two halves of the snap fastener on your unembroidered felt pieces as marked by an X on the front and back/flap templates – the female half should be attached to the front piece and the male half to the back lining. Using a knotless loop start, sew the snap fasteners into place with a double thickness of cream sewing thread; secure the end of each thread with backstitches before trimming the excess on the reverse.

7. Layer the felt pieces ready for assembly: embroidered back/flap wrong side facing up; back lining fastener side facing up; front fastener side facing up. Pin the layers together.

STEP 7

8. Sew through all layers with a small running stitch all around the outside of the shape, just a few millimetres from the edge (see diagram).

9. Once you have finished sewing the felt layers together, secure the end of the thread with a couple of backstitches, thread it in between the layers of felt and trim the excess (see here). Fold over the flap to the front and snap the fasteners shut.

STEP 8

{DARLING BUDS CROSS STITCH CHART}

STITCHES USED

Cross Stitch, Three-quarter Cross Stitch

PATTERN SIZE

47 x 63 stitches

STITCHED SIZE

8.5 x 11.5cm (3⅜ x 4½in) on 14-ct waste canvas

THREAD

Stranded cotton, 3 strands – see key for colours and quantities

Approx stitching time: 4 hrs

Note: Light grey background is not stitched but has been included to show the shape of the purse.

The Clover Meadow

TWO WEEKS HAD passed since my first day at Thistledown Farmhouse. So far, I had catalogued a colossal cabinet of seed packets, prepared and packaged 200 bottles of dried herbs, cleaned the house from top to bottom, organised Miss Merriweather’s store cupboard and hand-painted labels for three batches of elderflower cordial. However, I had not been allowed to take any produce out of the house or to meet any potential clients – the two things I had been specifically hired to do; nor had I been allowed any further into the garden.

I arrived for work and let myself in through the gate as usual, making my way through the tunnel and hammering on the bee knocker to be let in. When Miss Merriweather answered the door, she was not wearing her usual frown, but smiling. ‘You have passed your trial period.’ She held out a key. ‘Now we can get down to the real work.’ I hurried after her, through the house to the garden.

As we made our way around the wall of roses, I couldn’t help but gasp: the garden was the size of a football pitch, split into dozens of sections, each housing different herbs and trees, fruits and flowers. It was like nothing I had ever seen before. We followed a path between two tall hedges and rounded the corner into a small green plot. ‘Today you will be harvesting lucky clovers.’ What I had taken to be grass was in fact a clover meadow. I bent down and picked one – it had four leaves. I picked another – it was the same. Miss Merriweather grinned as she handed me a small basket. ‘We’ll need a hundred to begin with. Pick only the big ones, close to the base so you don’t crush the leaves. We’ll press them and sell them in lockets. People always need luck. Oh, and call me Miranda.’

{SUPPLIES}

Scrap of 14-count waste canvas, minimum size 5 x 4cm (2 x 1½in)

Scrap of cream felt, minimum size 5 x 4cm (2 x 1½in)

Stranded cotton embroidery threads – see chart key for details

Sharp embroidery needle, size 6

Large locket with aperture approx 2 x 3cm (¾ x 1⅛ in)

Small, sharp scissors and pins

Water spray and tweezers

Pencil, tracing paper and paper scissors

Craft glue

PLEASE NOTE

Lockets are available very cheaply in all manner of shapes and sizes – try Etsy or eBay for the best selection.

1. Position the scrap of waste canvas over the felt and prepare a length of mid-green embroidery thread – you will need to stitch the design using three strands. As the piece being worked is so small, there is no need to mark the centre of the waste canvas or to sew it to the felt – use your eye to approximate the centre point and start stitching from there.

2. Using an away waste knot start and referring to the chart here, stitch the four petals in order, working clockwise from the top right. The lucky clover design is a variation on the daisy stitch (see Stitch Directory) but here some of the ‘petals’ are also stitched in the halfway points between the main holes to create the dense, solid effect of the clover’s leaves. Alternate leaves are stitched in two different shades of green to give dimension to the design. By the time you get to the last petal, the centre hole will be getting very tight – it is this density that causes the petals to overlap to give them a little more realism. Stitch the stalk last using backstitch.

3. Once the embroidery is complete, remove the waste canvas and allow the felt to dry.

4. Using tracing paper and a pencil, make a template of the inside aperture of your locket frame, and cut it out. Align the aperture template over the top of the embroidered clover motif so that the clover is in the centre and pin it into place. Cut around the template. Check the fit of your felt shape in your locket and make any minor adjustments now before you commit to gluing it in. (If your locket is double-sided, you can use your aperture template to cut a photograph to fill the other frame for a very personal gift.)

STEP 4

5. Put a blob of glue in the inside aperture of your locket – don’t make it too thick or it will splodge out when you press down the felt. Insert the felt into the locket and use your needle to push the fluffy outside edges underneath the lip of the inner frame. Do remember to allow the glue to dry before giving or wearing!

{LUCKY CLOVER COUNTED THREAD CHART}

STITCHES USED

Daisy Stitch (variation), Backstitch

PATTERN SIZE

7 x 9 holes

STITCHED SIZE

1.3 x 1.5cm (½ x ⅝in) on 14-ct waste canvas

THREAD

Stranded cotton, 3 strands – see key for colours and quantities

Approx stitching time: 10 mins

{blossom}

Towering Tulips Jewellery Roll

Early Bird Hanger Sachet

Honey Bee Pin Cushion

Arbour Alphabet Flags

Lilac Blossom Spectacle Case

Towering Tulips

MY DAYS WERE infinitely more exciting now that I was working in the garden. Miranda even let me sing to the roses outside the conservatory. They had doubled in size since I had taken over.

Miranda had been so busy lately that she didn’t even stop to give me instructions in person – she just left a list stuck to the fridge door. Normally the directions were long and complicated, but today the note simply said: ‘Speak to florist – tulips nearly ready.’ In a large bucket beside the fridge, she had left five tulips. I knew they were tulips because the note had said so, otherwise I would have thought they were some sort of gigantic flowering bamboo. They were about as tall as me, with poker-straight stems and petals larger than my head, yet when I picked them up they were as light as a feather. I tied them together with twine and set off to the florist’s.

As I got closer to the centre of the village, I noticed that a couple of passers-by had changed direction and were now following me, pointing at the tulips and exchanging confused glances. By the time I reached the florist’s, no fewer than nine people were trailing along behind me. I ducked inside the shop with the flowers. A bell rang as the door closed.

‘Hello?’ shouted a woman from the back room.

‘Hello,’ I shouted back, then waited. Nothing. ‘I have some tulips that you might be interested in buying for your shop. I brought a sample for you to look at.’

‘Too late for tulips,’ said the woman impatiently, finally coming through to greet her visitor, ‘they’ll be all mangy and…’ She stopped dead as she glimpsed the blooms in my arms and the villagers’ noses pressed up against the shop window. ‘Oh my!’

{SUPPLIES}

14-count waste canvas, 25 x 35cm (10 x 13¾in)

Yellow felt, 25 x 35cm (10 x 13¾in)

Cream felt, 50 x 35cm (20 x 13¾in)

Cream tapestry wool (DMC ecru), 20m (65¾ft)

Yellow stranded cotton embroidery thread (DMC 3852), 5m (16½ft), for making up

Needles: sharp chenille, size 16; sharp embroidery, size 6

1cm (⅜in) wide cotton tape or ribbon, 1.5m (4ft)

Small, sharp scissors and pins

Water spray and tweezers

Rotary cutter, metal ruler and cutting mat

Mini no-sew frame (23cm/9in side bars and 30cm/12in rollers) and masking tape (optional)

1. Mark the centre of your waste canvas, attach it to the yellow felt and fix it into the frame if you are using one).

2. Using an away waste knot start, stitch the design here from the centre outwards, using a single thickness of tapestry wool and the chenille needle.

3. When you have finished the embroidery, take the fabric out of the frame; unpick the tacking stitches and remove the waste canvas from the felt, and allow the felt to dry. Once it is completely dry, press the embroidered felt face down over a terry towel to ensure that it is flat.

4. Using the rotary cutter, ruler and cutting mat, trim the embroidered felt down to 20 x 30cm (8 x 12in), leaving an even border around the stitches. Cut a duplicate shape from the cream felt for the lining.

5. Now measure and cut the internal pockets and flaps from the remainder of the cream felt as follows:

Left-hand pocket: 17 x 7cm (6¾ x 2¾in) pocket and 17 x 3cm (6¾ x 1⅛in) flap

Middle pocket: 9 x 5cm (3½ x 2in) pocket (no flap)

Right-hand pockets (cut three of each): 7 x 4cm (2¾ x 1½in) pocket and 2 x 7cm (¾ x 2¾in) flap

Also, cut three strips of cotton tape or ribbon, each measuring 10cm (4in), for the middle hanging strips.

STEP 5

TIP

Illustration A rotary cutter, metal ruler and cutting mat will make light work of this project. If you don’t have a rotary cutter, you can use a ruler and water-erasable marker to measure out the pockets instead, before cutting them out with scissors.

6. Round the bottom corners of the flaps, then lay out the pockets and flaps onto the cream felt lining piece and pin into place (see diagram). Leave the ribbon strips to one side for the time being. Using two strands of yellow stranded cotton, the small embroidery needle and a knotless loop start, sew the pockets and flaps to the lining with a small, neat running stitch. Sew along the top edge of each flap, and down each side and along the bottom of each pocket (see diagram).

STEP 6

7. Take the set aside cotton tape or ribbon strips and press the ends of each under by 5mm (¼in) to neaten, then pin them into place in the middle section of the lining (see step 8 diagram overleaf for positioning). Sew the strips down with a line of backstitch at each end and at quarter intervals along the length using two strands of yellow embroidery thread.

8. Cut a length of cotton tape or ribbon to approximately 1m (3ft) and fold it in half. With the embroidered front right side facing down, position the folded ribbon ties at the centre of the left-hand edge of the embroidered fabric (see diagram), then place the lining on top, right side facing up. Pin the layers together all the way around the edge.

STEP 8

9. Using two strands of yellow stranded cotton, the small embroidery needle and a knotless loop start, sew the layers together around the outside edge with a small running stitch. Make a few extra stitches back and forth over the ties for strength. When the stitching is complete, secure the end of the thread with a couple of backstitches, thread it in between the layers and trim the excess (see here). Finish the ends of the ties by turning them under twice to hide the raw edges before stitching into place.

PROJECT VARIATION

For an extra pop of colour, choose patterned ribbon for the ties and contrasting felt for the interior pockets. With a few minor adjustments this would also make an excellent tool roll for your sewing paraphernalia.

{TOWERING TULIPS CROSS STITCH CHART}

STITCHES USED

Cross Stitch*

PATTERN SIZE

153 x 92 stitches

STITCHED SIZE

28 x 17cm (11⅛ x 6¾in) on 14-ct waste canvas

THREAD

Tapestry wool, single thickness – see key for colour and quantity

EXTRA INFO

*The cross stitches are worked over blocks of 3 x 3 to create very large crosses; the individual crosses are marked on top of the colour blocks to aid counting; this gives the appearance that there are gaps between the cross stitches, but in fact the stitches should butt up to each other

Approx stitching time: 4 hrs

The Early Bird

I HEADED BACK TO Thistledown Farmhouse with a spring in my step, thrilled to have made my first sale. As I let myself in, I could hear Miranda in the kitchen. ‘I think we need some proper transport for our deliveries,’ I called, as I made my way down the corridor. ‘Something discreet. I had an audience by the time I reached the florist’s – what if they try to follow me back here?’ As I entered the room, she made a half-hearted noise of assent. She was sitting at the table, something small and green laid out in front of her. ‘Is everything okay? What’s that?’ I asked.

‘Gerald.’ Miranda moved her hand away to give me a better view of a tiny bird. ‘Every morning for the past two years he has taken it upon himself to wake me up at the crack of dawn demanding breakfast – because he is too lazy to get his own,’ she added, looking pointedly at the forlorn creature. ‘But I’ve been so busy lately that he’s had to fend for himself, so he decided to help himself to the honey cake in the bread bin. The cat heard the racket, came to investigate and now his wing is broken. Lucky that’s all it was, you great buffoon.’ (That last comment was aimed at the bird, not me.)

Gerald slowly lifted his head, made a strangled sort of tweeting noise and then let his head fall back down for dramatic effect. His stunt appeared to have worked though, for Miranda now scooped him up onto a soft feather cushion and began to feed him crumbs of honey cake whilst stroking his feathers. The cat stared furiously through the kitchen window.

‘I’ll make us some lunch,’ I volunteered. Now was clearly not the time to talk business.

{SUPPLIES}

14-count waste canvas, 15 x 20cm (6 x 8in)

Cream felt, 20 x 30cm (8 x 12in)

Stranded cotton embroidery threads – see chart key for details

Sharp embroidery needle, size 6

1cm (⅜in) wide cotton tape or ribbon, 20cm (8in)

Cream sewing thread

Dried lavender, 3–4 heaped teaspoons

Small, sharp scissors and pins

Water spray and tweezers

Mini no-sew frame (15cm/6in side bars and 23cm/9in rollers) and masking tape (optional)

Skewer/knitting needle or other poking tool

1. Cut your piece of felt into two pieces, each measuring 15 x 20cm (6 x 8in), and set aside one of the pieces (you will use this to make a backing for the finished bird embroidery in step 5). Mark the centre of the waste canvas, attach it to one piece of the felt and fix it into the frame if you are using one.

2. Prepare a length of embroidery thread – you will need to stitch this design using three strands. Use an away waste knot start to begin stitching the design from the centre outwards, following the chart here. I prefer to complete one colour at a time – I began with the lilac coloured areas – and to move around in sections; however, you can complete the sections in whichever order you wish as it makes no difference to the finished result for this design.

3. When you have finished stitching, take the fabric out of the frame; unpick the tacking stitches and remove the waste canvas from the felt, and allow the felt to dry. Once it has dried, gently press the embroidered felt face down over a terry towel if required.

4. Using small, sharp scissors, carefully cut around the bird motif so that there is a border of felt approximately 5mm (¼in) beyond the stitches. Take care not to cut into your embroidery.

5. Pin the cut out embroidered bird to the set aside piece of felt and use it as a template to cut a duplicate bird shape for the backing.

6. Take your length of cotton tape or ribbon and fold it in half to create a hanging loop. Pin the ends of the looped cotton tape/ribbon to the backing piece so that they are placed just behind the head. Place the embroidered bird on top so that the ends of the loop are sandwiched in between the two pieces of felt: make sure that the pins that hold the hanging loop in place are sticking out to make them easy to remove later. Pin the bird shapes together.

PROJECT VARIATION

Try stitching the bird onto coloured felt or using different thread colours for a unique finish. Alternatively, this design would look beautiful stitched onto fine linen and displayed on the wall in a hoop or frame.

STEP 6

7. Using a double thickness of sewing thread with a knotless loop start, sew the bird shapes together, stitching through all layers with a small, neat running stitch: start at the bird’s beak and sew clockwise around the edge of the shape. Work your stitches right next to the embroidery, stitching just beyond the feet, but leaving the curved area to the beak open for filling; keep the needle threaded.

8. Fill the bird shape with dried lavender through the opening, using a skewer or knitting needle or similar poking device to push the filling into the tail, head and feet – but be careful not to poke through your stitching. When your bird is nicely stuffed, finish sewing up the seam, and then secure the end of the thread with a couple of backstitches, push it in between the layers of felt and trim off the excess (see here).

STEP 8

TIP

Illustration If you are not keen on lavender, you can experiment with different scented fillings to suit your tastes.

{EARLY BIRD CROSS STITCH CHART}

STITCHES USED

Cross Stitch, Three-quarter Cross Stitch

PATTERN SIZE

71 x 48 holes

STITCHED SIZE

13 x 9cm (5¼ x 3½in) on 14-ct waste canvas

THREAD

Stranded cotton, 3 strands – see key for colours and quantities

Approx stitching time: 11 hrs

The Milk & Honey Bees

FROM THE MOMENT Miranda’s honey cake touched my lips, I instantly understood why Gerald the green tit had risked his life to get some. I tried to make the slice last but it was gone all too soon. ‘Seriously, what is your secret?’ I asked.

‘It’s the bees,’ she replied. ‘I once put some milk out for the cat – he turned his nose up of course, but when I went to pick up the saucer, the bees were all over it. I started putting it out for them every day and now they make the most amazing honey. It tastes like it’s been mixed with cream. I use it for the cake. Here – try it for yourself.’ She went to the pantry and came back with a little honey on a teaspoon.

I tasted it – honey and cream! ‘That’s incredible! Do you have enough to sell?’

‘Probably not to sell in jars, but I could show you how to make the cakes. You could see if the deli wanted some.’

‘The baker is going to hate us…’

‘He’ll be okay. I’ll talk to him,’ Miranda said without thinking.

‘You’ll what?’ I stared at her, disbelieving. ‘I thought nobody knew you were here?’

‘Uhhh… Did I say that? Are you sure I didn’t say, “Almost nobody”? Or, “Nobody apart from the baker, the butcher and the grocer”?’ Her cheeks were just a little flushed.

‘Quite sure,’ I said.

‘Well I can’t fend for myself completely, can I? How do you think I make the ham? And the milk? The greenest fingers in the world wouldn’t help me conjure those out of thin air!’ She paused, searching for another excuse. ‘I have sworn them all to secrecy…’

Words deserted me.

{SUPPLIES}

28-count cream linen, 20 x 20cm (8 x 8in)

Stranded cotton embroidery threads – see chart key for details

Tapestry needle, size 24

Cream cotton backing fabric, 20 x 40cm (8 x 16in) (I used calico)

Toy stuffing

Sewing machine or sewing needle and cream sewing thread

Small, sharp scissors and pins

Pencil or water-erasable pen and ruler

Mini no-sew frame (15cm/6in side bars and 23cm/9in rollers) and masking tape (optional)

Point turner (optional)

1. Prepare your linen fabric, mark its centre point and fix it into the frame if you are using one (see Starting to Stitch).

2. This design is stitched in two layers: first, a honeycomb pattern is worked in straight stitch (stage 1), and then the bee is cross stitched on top of the honeycomb (stage 2). Two charts are provided, one for the stitching of each layer. Referring to the stage 1 chart, prepare a length of golden yellow embroidery thread(you will need to stitch this part of the design using two strands of thread), and begin stitching using a knotless loop start. I started at the centre of the design for accurate placement on the linen; after the first stitch it doesn’t matter which order you complete the stitching in, but do try to travel the threads on the back of the work along the paths of the threads on the front to prevent them from showing through the open weave of the linen as much as possible. Secure thread ends by knotting them tightly around existing threads (the straight stitches are too long to secure the thread ends on their own).

3. Now work the second layer of stitching, referring to the stage 2 chart. For this part of the design, use three strands of embroidery thread for the cross stitch and two strands for the straight stitch detailing. Working from the centre outwards and using an away waste knot start, complete the cross stitches first (three strands), then work the black straight stitches for the legs and antennae (two strands) and finally the cream straight stitches (also two strands) over the top of the wings.

4. Remove the linen from the frame and iron it face down over a terry towel, to protect the stitches. Using your ruler and a pencil or water-erasable pen, draw a border approximately 3cm (1⅛in) from the honeycomb pattern, rounding off the corners. Trim your fabric along the marked outline.

Completion of the first layer of stitching: the honeycomb pattern worked in straight stitch.

5. Use your embroidered linen fabric as a template to cut two duplicate hexagon shapes from your cream cotton backing fabric. Layer the three pieces of fabric so that the embroidered linen, right side facing up, is sandwiched between the two pieces of backing fabric. Pin the fabric layers together.

STEP 5

The reverse of your fabric should look similar to this.

6. Starting just before a corner, sew around five sides of the hexagon shape through all layers with a 1cm (⅜in) seam. Stop stitching just after the final corner to leave an opening in the sixth side (see diagram). Backstitch at the start and end of the seam to secure the thread. Remove the pins, then cut notches into the corners of the hexagon shape as shown, taking care not to cut into the seam.

STEP 6

7. Turn the hexagon shape out the right way through the gap in the seam and carefully push out the corner curves with the point turner or your fingers. Fold in the open edge to match the rest of the seam and press face down over a terry towel.

8. Fill with toy stuffing through the gap in the seam, then sew the gap in the seam closed by hand with small, neat stitches (see diagram). Secure the thread with a few backstitches before threading it in between the fabric layers and trimming off the excess (see here).

STEP 8

PROJECT VARIATION

For a simplified version, stitch the bee only, without the honeycomb pattern background, and frame it in a miniature wooden hoop. Add it to the little bugs and the butterflies here and you will have the beginnings of a very fine entomological collection. If you want your bee to look more traditional, you can work the stripes on its body in black cross stitch rather than cream.

{HONEY BEE CROSS STITCH CHART STAGE 1}

STITCHES USED

Cross Stitch, Three-quarter Cross Stitch, Straight Stitch

PATTERN SIZE

56 x 49 stitches

STITCHED SIZE

10 x 9cm (4 x 3½in) on 28-ct linen

THREAD

Stranded cotton, 3 strands for all cross stitch and 2 strands for straight stitch – see key for colours and quantities

EXTRA INFO

Stitch the design in two stages: stage 1 honeycomb pattern and stage 2 bee design over the top

{HONEY BEE CROSS STITCH CHART STAGE 2}

Approx stitching time: 5 hrs

Under the Arbour

AS SPRING TURNED into summer, our fledgling business was rapidly gaining momentum. The herbs, elderflower cordial and honey cakes were flying off the deli shelves and the grocer was taking any produce Miranda couldn’t eat. The florist was demanding deliveries three times a week and the lucky clover lockets were selling faster than we could make them. We could barely keep up.

At least the delivery issue had been resolved. Now that I knew the butcher, baker and grocer had been making covert deliveries to the house all along, I was able to sweet talk them into taking our stock back to the village in exchange for a free supply of honey cake (it really was that good). Nevertheless, Miranda and I were shattered, so on a sweltering day in early July we decided to play hooky.

Miranda set up a paddling pool under the arbour and we lay looking up at the flowers snaking their way around the frame, the soft dappled light filtering through their leaves. ‘We need to start thinking bigger,’ I yawned as I swirled the water with my fingers. ‘There aren’t that many people in this village. It won’t be long before we run out of customers.’

Miranda sighed. ‘I like that it’s small. We don’t need much.’

‘I was just thinking,’ I continued, ‘that it might be worth sending some samples out. Just to a select few people. Your stuff is amazing. It would sell for much more in the city.’

Miranda looked uncertain, but I knew it could work. ‘Nothing will change for you,’ I continued. ‘I’ll deal with everything. That’s what I’m here for.’

Miranda rolled her eyes and gave a small smile in spite of herself. ‘Go on then. What have we got to lose?’

{SUPPLIES}

FOR EACH FLAG

14-count waste canvas, 15 x 20cm (6 x 8in)

Cream felt, 20 x 30cm (8 x 12in)

Stranded cotton embroidery threads – see chart key for details

Sharp embroidery needle, size 6

Cream sewing thread

Small, sharp scissors and pins

Water spray and tweezers

Tracing paper, pencil and paper scissors

Rotary cutter, metal ruler and cutting mat (optional)

13cm (5in) wooden embroidery hoop (optional)

1. Cut your piece of felt into two pieces each measuring 15 x 20cm (6 x 8in) and set aside one piece (you will use this to make a backing for the embroidered flag in step 4). Mark the centre of the waste canvas, attach it to one piece of felt and fix it into the hoop if you are using one.

2. Prepare a length of green embroidery thread – you will need to stitch this design using three strands. Use an away waste knot start to begin stitching the design from the centre outwards, following the charts here. It is important to stitch the green sections (stems/leaves) first before going on to stitch the flowers as the stitches overlap in a few places and the flowers need to sit on the top; however, you can stitch the flowers in any order you prefer.

3. When you have finished stitching, take the fabric out of the hoop; unpick the tacking stitches and remove the waste canvas from the felt, and allow the felt to dry. Once it has dried, gently press the embroidered felt face down over a terry towel if required.

4. Trace the flag template here onto tracing paper and cut out. Align the template over your stitched design so that your letter is positioned in the centre of the flag, pin into place and cut out (a rotary cutter will give the neatest edges but it’s not essential). Use the same template to cut a duplicate shape from the set aside piece of felt for the back of the flag.

STEP 4

PLEASE NOTE

To make the flags into a length of bunting, you will also require cotton tape, ribbon or twine to string them together – allow 9cm (3½in) per flag plus 50cm (20in) for the tie at each end.

TIP

Illustration Use the flags to spell out a name or a message – they make a wonderful present for a new baby.

5. Follow steps 1–4 to prepare as many flags as you require to make your finished bunting. To string your flags together, cut a length of cotton tape or ribbon (see here for details on length) and fold it in half to find the centre. If your name/message has an odd number of flags (as mine has), align the centre of the tape/ribbon to the centre of the middle flag’s backing piece, temporarily holding it in place with two pins positioned so that the pin heads stick out beyond the flag at either side (see diagram). If your name/message has an even number of flags, attach the two middle flags either side of the tape/ribbon’s centre point.

STEP 5

6. Place the embroidered flag on top and pin in place so that the ribbon is sandwiched in between the two layers of felt. Using a double thickness of cream sewing thread and a knotless loop start, sew all the way around the edge of the flag through all layers with a small, neat running stitch just a few millimetres from the edge. (I rolled up the ribbon ties and pinned them in place to keep them out of the way while I was stitching so I didn’t get tangled up.)

STEP 6

7. When you have returned to your start point, secure the end of the thread with a couple of backstitches, push it in between the layers of felt and trim off the excess (see here). Remove the pins. Repeat to sew all the flags in your bunting into place, unravelling the tape/ribbon as you go.

8. To finish your bunting, fold the ends of the tape/ribbon ties under by 1cm (⅜in) and then by the same amount again, and pin. Stitch into place with cream sewing thread; secure the thread end with backstitches and trim the excess. Remove the pins and your bunting is ready to be hung.

PROJECT VARIATION

A single alphabet flag would make a great birthday card – simply glue it to the front of a card blank. The template can be turned 90 degrees so that the flag points to the side, and the letters will fit either way. So, you could attach a sideways flag to a wooden skewer and use it as a cake topper for the birthday girl or boy.

{ARBOUR ALPHABET COUNTED THREAD CHARTS}

FOR EACH LETTER

STITCHES USED

Straight Stitch, Daisy Stitch, Double Straight Cross Stitch, Smyrna Stitch, Cross Stitch

PATTERN SIZE

Maximum 30 x 30 holes

STITCHED SIZE

Maximum 5.5 x 5.5cm (2¼ x 2¼in) on 14-ct waste canvas

THREAD

Stranded cotton, 3 strands – see key for colours and quantities

Approx stitching time: 1 hr per letter

Lilac Blossom Love Potion

MIDSUMMER SAW THE blossoming of Miranda’s spectacular lilac. Hidden away in a shady corner of the garden, it bloomed uncommonly late and produced a scent so powerful that it brought tears to your eyes if you stood too close. Its fragrance miraculously captured the exquisite agony of falling in love.

When I asked her, Miranda said she didn’t know why it bloomed so late or why it smelled that way, only that the air around it was always a few degrees cooler than anywhere else in the garden. Was it possible that Miranda’s plants staggered their seasons to help her out? It was as if they knew that she couldn’t possibly cope if they all matured at once, so they defied nature and waited until she could give them her undivided attention.

This year Miranda had decided to make the lilac blossom into perfume. She collected the flowers and carried them into the house in four enormous baskets. The smell was even stronger inside. It permeated every room, undeniably beautiful but completely overwhelming. I had to move my work outside to keep from bursting into tears every five minutes – I was busy packing up samples and the water marks were becoming a perfect nuisance. Miranda took to wearing a scuba mask while she worked.

After three long days of steeping and a particularly emotional day of condensing, the perfume was finally ready. It was so potent that even the tiniest drop could cause a swooning fit. In the wrong hands, this stuff could cause serious havoc. I carefully wrapped a minute phial of the liquid in a swathe of muslin, packed it in brown paper and string and sent it off to a very special customer. And then I waited.

{SUPPLIES}

14-count waste canvas, 10 x 19cm (4 x 7½in)

Two pieces of cream felt, 10 x 38cm (4 x 15in) each

Stranded cotton embroidery threads – see chart key for details

Sharp embroidery needle, size 6

Cream sewing thread

10cm (4in) flexi clasp

Small, sharp scissors and pins

Water spray and tweezers

Pliers

Rotary cutter, metal ruler and cutting mat (optional)

1. Mark the centre of the waste canvas and attach it to the bottom half of one of your pieces of felt.

STEP 1

2. Using an away waste knot start and working from the centre point outwards, follow the chart here to stitch the base layer of the lilac bloom, working cross stitch and upright cross stitch for the flower in mid purple and dark purple embroidery thread and straight stitches for the stalk/leaves in mid green and dark green. The design is stitched using three strands of the relevant embroidery threads. (For preparing threads, and for how to work the stitches, refer to the Stitch Directory.)

Do make sure you stitch the design the right way up: the stalk should be at the bottom edge, with the blossom towards the middle of the felt strip.

3. Once you have completed the stitching of the charted design, return to the lilac blossom and add the blue areas of the design by layering cross stitches and upright cross stitches over the top of the existing purple stitches, overlapping them and filling the gaps with the blue-toned threads. There is no chart for this, but you should refer to the detail photo (see here) and use the darker blue-grey on top of the dark purple, and the light blue-violet on top of the mid purple, blending them a little in the middle. Continue until you are happy with the look of the blossom (you may want to add a few more purple stitches).

PLEASE NOTE

When cutting your felt pieces to size, a rotary cutter and metal ruler will produce the most accurate result if you have them. These tools should always be used with a cutting mat to protect your work surface.

4. When you are happy with the stitching of your lilac blossom, unpick the tacking stitches and remove the waste canvas from the felt, and allow the felt to dry. Once it has dried, gently press the embroidered felt strip face down over a terry towel to flatten it.

5. Take the embroidered felt strip and fold it in half, right sides facing out, and press along the fold. Take the remaining felt strip, fold it in half and press along the fold. These are the front (embroidered) and the back of your spectacle case.

STEP 5

TIP

Illustration You could add a little patch pocket to the back of the case to hold a cleaning cloth. Stitch it in place just before step 6.

6. Layer the two folded pieces of felt so that the embroidered side is on top and all of the folded and raw edges align; pin around the sides and bottom, leaving the top edge unpinned. Slide the two halves of the flexi clasp through the channels created by the folded felt strips (see diagram).

STEP 6

PROJECT VARIATION

You could stitch the pattern onto linen, mount it in a pretty photo frame and add it to a botanical wall display.

7. Push the ends of the flexi clasp closed and insert the pin to hold them together. Use pliers to bend the metal cover over the pin to keep it in place.

STEP 7

8. Using a double thickness of cream sewing thread and a knotless loop start, start stitching just under the clasp on one side, sewing through all layers with a neat running stitch a few millimetres from the edge. Work your way down one side, along the bottom edge and up the other side to finish stitching just beneath the clasp on the other side. Secure the end of the thread with a few backstitches before threading it in between the layers of felt and trimming the excess (see here). Remove the pins.

{LILAC BLOSSOM COUNTED THREAD CHART}

STITCHES USED

Cross Stitch, Upright Cross Stitch, Straight Stitch

PATTERN SIZE

46 x 88 holes

STITCHED SIZE

8.5 x 16cm (3⅜ x 6¼in) on 14-ct waste canvas

THREAD

Stranded cotton, 3 strands – see key for colours and quantities*

EXTRA INFO

*The chart only shows the placement of the purple base stitches – the blue stitches are worked randomly over the top of these to create a busy, layered effect as described in step 3.

The marked centre point for this pattern doesn’t fall in the true centre of the design, as the motif looks more evenly placed if you use this as the starting point to correspond to the centre of the fabric.

Approx stitching time: 6 hrs

{bloom}

Floribunda Clutch Bag

Lepidoptera Triptych

All in a Row Cushion

Miss Millicent Hare Picture

Prophet Rose Sash Belt

Atishoo, We All Fall Down

BY THE END of July our entire stock of lucky clover lockets had been snapped up by an exclusive boutique in London, the lilac blossom perfume had been sold to a prestigious Parisian fashion house for an obscene amount of money, and the honey cakes were best-sellers in Harrods with new deliveries required daily.

Each time Miranda came up with something new, I would send a small sample to a single influential person. That really was all it took. Miranda’s exquisite products were so inimitable that before long people were contacting me from far and wide, clamouring to get their hands on her latest creation. Of course nobody actually knew about Miranda specifically – I made sure of that.

And yet, despite her burgeoning success, Miranda’s mood was deteriorating by the day, and she had developed an irritating cold that she just couldn’t shake. I arrived at work early one Tuesday to find her violently deadheading the roses, sneezing repeatedly as she went. The garden beyond resembled a floral graveyard: blousy camellias and peonies littered wildly across the ground in a carpet of peach and coral and green.

She turned to look at me and I noticed that the spark had disappeared from her eyes. ‘It’s too much,’ she sniffed. ‘All the fun has gone.’

We were doing so well – how could that possibly make her unhappy? But then I remembered: all she had ever wanted was a simple, quiet life. I was the one who had been swayed by success, carried away with the excitement of it all, pushing for bigger, better things. Miranda was a shadow of her former spritely self, totally exhausted. And I had promised that nothing would change for her…

I picked up a basket. ‘Then we stop,’ I said, and together we started to gather the fallen flowers.

{SUPPLIES}

14-count waste canvas, 40 x 40cm (16 x 16in)

Silver blue-grey felt, 40 x 100cm (16 x 40in)

Tapestry wool – see chart key for details

Sharp chenille needle, size 16

One snap fastener, 13mm (½in) diameter

Sewing needle and sewing thread to match felt

Small, sharp scissors and pins

Water spray and tweezers

Tracing paper, pencil and paper scissors

30cm (12in) embroidery hoop (optional)

1. Cut a 40cm (16in) square from your piece of felt to match the size of your waste canvas. Mark the centre of the waste canvas, attach it to the 40cm (16in) felt square and fix the fabric into the hoop if you are using one.

2. The chart for this design can be downloaded from our website following this password (aRgkkjv9H4Wu) protected link. Using an away waste knot start and referring to the chart, stitch the design from the centre outwards, using a single thickness of tapestry wool and the chenille needle. Try not to carry threads between each set of flowers if you can avoid it as it will add unnecessary bulk to the reverse of the fabric.

3. When you have finished stitching, take the fabric out of the hoop; unpick the tacking stitches and remove the waste canvas from the felt, and allow the felt to dry. Once it has dried, gently press the embroidered felt face down over a terry towel to flatten. It is important to do this before making up the bag as the heat of the iron can shrink the felt.

4. Next make the templates for the back/front flap and the front pocket pieces of the clutch bag by transferring the template lines marked on the chart to tracing paper – the back/front flap template encompasses the whole outline, and the front pocket piece is the bottom half only up to the middle line. Transfer the snap fastener positions (marked with circles) onto the templates too. Align the larger back/front flap template over your embroidery using the chart, which is printed to scale, as your guide for positioning, and pin into place. Cut out the shape.

STEP 4

5. Taking your remaining felt, cut another back/front flap piece for the lining and use the front pocket template to cut two front pockets.

STEP 5

6. Pin the two front pocket pieces together. Using a double thickness of sewing thread to match your felt colour and a knotless loop start, join the layers with a small, neat running stitch along the top edge only, working just a few millimetres from the edge – do not sew around the rest of the shape at this stage. Secure the end of the thread with a few backstitches before threading it in between the layers of felt and trimming the excess (see here). Position the female half of the snap fastener as marked on the template and sew it to the front pocket, sewing through both layers and using the same thread.

STEP 6

7. Position the male half of the snap fastener at the top of the unembroidered lining piece for the back/front flap (see template). Cut a small disc of felt a little larger than the snap fastener and hold it on the back of the lining piece, so that the lining is sandwiched between the snap fastener and the felt disc. Sew the snap fastener in place through both the lining and the felt disc – the felt disc will give extra strength to the join.

STEP 7

TIP

Illustration You can add an extra patch pocket inside your clutch bag to hold your phone or other small items. Attach it to the back lining piece before sewing the layers together in step 8.

8. Layer the pieces as follows: embroidered back/front flap, wrong side up; unembroidered back/front flap lining in the middle, right side up with the snap fastener facing up; front pocket piece on top, snap fastener facing up. Align the edges neatly and pin the layers together all the way around the edge.

STEP 8

9. Using a double thickness of your matching sewing thread and a knotless loop start, sew all the way around the outside edge of the bag through all layers, using a small, neat running stitch close to the edge. Make a couple of extra stitches back and forth over the two points where the front pocket joins the back/front flap piece to give added strength.

STEP 9

10. Secure the end of the thread with a couple of backstitches, thread it in between the layers of felt and trim the excess (see here). Remove the pins. Fold over the flap to the front and snap the fasteners shut.

PROJECT VARIATION

The look of this bag will differ greatly depending on the felt and thread colours you choose – match it to your outfit for a unique wedding accessory.

The Entomologist’s Descent

A MONTH HAD PASSED since we had decided to scale down production and all was calm at Thistledown Farmhouse. We were in the garden cutting roses for the florist, who was now limited to just one delivery a week, when I realised that Miranda still hadn’t told me what was so special about these flowers, beyond the fact that they grew when I sang to them!

Miranda’s face lit up as she proceeded to explain. These were prophet roses – they bloomed repeatedly from May to September, each time producing different coloured petals, but the final blooms of the season held special properties, the exact ones needed to remedy or aid a particular situation in the coming year, so these, Miranda kept. ‘Often I can’t tell what they are for right away, but they have never been wrong yet,’ she said.

I was about to ask a question when something distracted me. At the far end of the garden, just inside the wooded boundary, a set of gangly arms was flailing about in the air above the hedge. We dashed across the garden to the vegetable plot to discover a middle-aged man with mad, wispy hair, horn-rimmed spectacles and a face the colour of beetroot, leaping about with a butterfly net. He was chasing the lacewing butterflies without success: their unique perforated wings allowed them to move through the air like stunt pilots, performing aeronautical acrobatics with ease.

Following a particularly adventurous leap, the man landed on a cabbage, twisted his ankle and fell awkwardly to the ground. The bag he was carrying burst open and, to our horror, a collection of specimen jars, pins, cotton pads and a bottle of chloroform spilled out. Just at that moment the grocer came hurtling through the trees behind him, brandishing a heavy stick, yelling, ‘Leave them alone!’ Then he spotted Miranda, promptly tripped over the man and fell into a heap beside him.

{SUPPLIES}

FOR THE TRIO

Three pieces of 32-count linen in pale grey, mocha and aubergine, 25 x 25cm (10 x 10in) each

Stranded cotton embroidery threads – see chart key for details

Tapestry needle, size 26

Three pieces of cream cotton backing fabric, 25 x 25cm (10 x 10in) each (I used calico)

Three 18cm (7in) embroidery hoops

Small, sharp scissors

Craft glue

1. Mark the centre of your piece of linen and fix it into one of the hoops. Stitch your chosen design from the centre outwards (see here for charts), using two strands of thread with a knotless loop start. (I like to work the cross stitch in rows from the centre to the bottom of the design, and then I turn the hoop and fabric 180 degrees to complete the rest of the design in rows from the centre to the top; then I stitch the straight stitch detailing.)

2. Once the stitching is complete, remove the linen from the hoop. Gently handwash your embroidery if it is required and allow the fabric to dry naturally. Once it is dry, place the embroidery face down over a folded terry towel to protect the stitches and iron the fabric on the reverse to remove any creases – steam helps here!

3. To frame your finished embroidery in the hoop, first position your stitched design exactly where you want it to lay in the hoop; pull the fabric taut and tighten the rings. After a minute or so, remove the fabric from the hoop to leave a visible mark where the hoop was. This will act as a guide to help you get the fabric in the right place once the glue has been added to the hoop frame.

STEP 3

TIP

Illustration Make sure you get the position of the fabric right at this stage, as once it is glued in it can’t be changed: if necessary, re-iron the fabric and try again until you are happy with the placement before moving on to step 4.

PLEASE NOTE

The finished embroideries are shown framed in wooden embroidery hoops, and these can be painted if you want to add a little variety to your display using an inexpensive paint tester pot with a couple of coats of all-purpose varnish to finish. Do allow the hoops to dry fully before following the framing instructions in steps 3–8.

4. Run a thin line of glue around the outside of the inner ring – don’t make it too thick or it will bleed onto the fabric when the rings are tightened.

STEP 4

5. Take a piece of your cotton backing fabric and sandwich it between the two rings of the hoop so that it is glued into place. Tighten the screw and pull the fabric taut. Allow the glue to dry.

6. When the glue is completely dry, loosen the screw and remove the hoop’s outer ring – the backing fabric should remain attached to the inner ring. Run another line of glue around the outside of the inner ring, in the same place as before but this time on top of the backing fabric.

STEP 6

7. Now take your embroidered fabric and use the ring mark to help you align the fabric over the hoop’s inner ring (on top of the backing fabric). Push the outer ring over the top to sandwich the linen in the hoop, tighten the screw and pull the fabric taut as before.

STEP 7

8. Leave the second layer of glue to dry fully before trimming the excess layers of fabric from the back of the hoop. Pull the fabric up and away from the rings and hold the scissors flat against the back of the hoop to get the neatest cut possible.

STEP 8

PROJECT VARIATION

Each of these charts is stitched in a single shade so it is particularly easy to substitute alternative colours for the linen and thread. They would look especially effective as black silhouettes stitched onto cream linen, and they could be mounted in box frames to create the illusion of entomological specimens.

{LACEWING BUTTERFLY 1 CROSS STITCH CHART}

STITCHES USED

Cross Stitch, Straight Stitch

PATTERN SIZE

77 x 59 stitches

STITCHED SIZE

12.5 x 9.5cm (5 x 3⅝in) on 32-ct linen

THREAD

Stranded cotton, 2 strands – see key for colour and quantity

EXTRA INFO

This design was stitched on Zweigart 32-ct Belfast linen in Ash Grey (786)

Approx stitching time: 15 hrs

{LACEWING BUTTERFLY 2 CROSS STITCH CHART}

STITCHES USED

Cross Stitch, Straight Stitch

PATTERN SIZE

73 x 52 stitches

STITCHED SIZE

11.5 x 8.5cm (4½ x 3⅜in) on 32-ct linen

THREAD

Stranded cotton, 2 strands – see key for colour and quantity

EXTRA INFO

This design was stitched on Zweigart 32-ct Belfast linen in Granite (7025)

Approx stitching time: 12 hrs

{LACEWING BUTTERFLY 3 CROSS STITCH CHART}

STITCHES USED

Stitches used Cross Stitch, Straight Stitch

PATTERN SIZE

71 x 72 stitches

STITCHED SIZE

11.5 x 11.5cm (4½ x 4½in) on 32-ct linen

THREAD

Stranded cotton, 2 strands – see key for colour and quantity

EXTRA INFO

This design was stitched on Zweigart 32-ct Belfast linen in Aubergine (9033)

Approx stitching time: 16 hrs

The Vegetable Garden

M IRANDA AND I looked at each other, then at the two men still sprawled at our feet. I was the first to regain the power of speech. ‘What on earth is going on?’

‘I was coming to deliver your order,’ piped up the grocer, ‘when this idiot cut me up in my van, abandoned his car and came running this way. I figured he must be headed for your house so I tried to stop him.’ He gave the man a withering look.

‘I didn’t know this would be anybody’s garden!’ the red-faced man yelled, incredulously. ‘I heard tell of some unusual butterflies around this way and I just wanted to catch a couple for my collection. I didn’t even see you coming!’ He shot a petulant look at the grocer and then turned to Miranda, baring his teeth in what he clearly thought was a winning smile: ‘If you could just help me catch a couple of the little beasts, then I will be on my way.’

‘Let me get this straight,’ said Miranda. ‘You cut someone up, trespass on my property, trample my vegetable patch and then expect me to help you skewer a couple of my butterflies?’

The man didn’t get the chance to reply because the grocer was already frog-marching him back through the trees. When he returned, a few minutes later, the grocer set about repairing the damage to the vegetable patch. ‘My name’s James, by the way,’ he said, as he picked up a couple of crushed cabbages and re-stacked the bean poles. ‘This place is amazing. I don’t know how you keep on top of it.’ He hesitated, then continued in a tentative voice, ‘I could always come and help out sometimes?’

Miranda was watching him with a strange look on her face. I had a feeling we would be seeing much more of James from now on.

{SUPPLIES}

14-count waste canvas, 46 x 46cm (18 x 18in)

Green felt, 46 x 90cm (18 x 35in)

Tapestry wool – see chart key

Sharp chenille needle, size 16

30cm (12in) zip

Cushion pad, 35.5 x 35.5cm (14 x 14in)

Sewing machine or sewing needle and sewing thread to match felt

Small, sharp scissors and pins

Water spray and tweezers Water-erasable pen

40cm (16in) quilting hoop (optional)

Rotary cutter, metal ruler and cutting mat (optional)

Seam ripper and point turner

1. Cut a 46cm (18in) square from your piece of felt to match the size of your waste canvas. Mark the centre of the waste canvas, attach it to the 46cm (18in) felt square and fix the fabric into the hoop if you are using one.

2. The chart for this design can be downloaded from our website following this password (aRgkkjv9H4Wu) protected link. Using an away waste knot start and referring to the chart, stitch the design in rows from the centre outwards, using a single thickness of tapestry wool and the chenille needle.

3. When you have finished stitching, take the fabric out of the hoop; unpick the tacking stitches and remove the waste canvas from the felt, and allow the felt to dry. Once it has dried, gently press the embroidered felt face down over a terry towel to flatten. It is important to do this before making up the cushion as the heat of the iron can shrink the felt.

4. Trim the embroidered felt down to 40cm (16in) square with the design aligned in the centre so that there is an even border around the edge. Cut a duplicate shape from the remaining felt for the back of the cushion; the most accurate way to do this is to use a rotary cutter and ruler.

5. Place the two pieces of felt together with right sides facing and pin together along the bottom edge only. Use a water-erasable pen to mark a small line 3cm (1⅛in) in from each side of the bottom edge (see diagram opposite, top left). Using a double thickness of sewing thread to match your felt colour and a knotless loop start, start to sew a 1.5cm (⅝in) seam along the bottom edge only. Use a small, neat running stitch from the left-hand corner to your first marked line. Lock the end of the first section of stitches with a few backstitches before continuing along the seam taking large tacking stitches (these are just a widely spaced running stitch and they mark the position of the zip).

STEP 5 & 6

6. When you get to the second mark 3cm (1⅛in) from the right-hand corner, make a few more small backstitches to lock in this section of tacking, and then continue to the right-hand corner using a small, neat running stitch.

TIP

Illustration You can use a sewing machine to put this cushion together or sew it by hand, which gives you much more control, especially when it comes to inserting the zip. If you prefer not to use a zip, you can simply sew up the bottom of the cushion using the same method as used for the pin cushion.

7. Open out the layers and press the bottom seam open. Pin the zip face down over the seam so that the teeth are in the centre of the seam. Sew the zip in place with a small running stitch through all layers of fabric using a double thickness of thread as before and removing the pins as you go – try to keep your stitching as neat as you can as you will be able to see it on the cushion front.

STEP 7

8. Turn the fabric over to the right side and unpick the tacking stitches from the middle section of the seam to uncover the zip – a seam ripper will make fast work of this if you have one.

STEP 8

9. It is important to open the zip before continuing. Once you have done so, fold the joined pieces of felt together along the zip seam so that the right sides are facing each other. Match up the raw edges and pin the layers together along the top and sides. Using a double thickness of thread and a small running stitch, sew a 1.5cm (⅝in) seam up one side, along the top and down the other side.

10. Once the stitching is complete, remove the pins and trim the fabric across each of the corners to reduce the bulk, and then press the seams open. Turn out the cushion through the open zip and push out the corners before inserting the cushion pad.

STEP 10

PROJECT VARIATION

Consider going freestyle with your own design and colours – use the chart and measurements as a guide to mix and match rows of different stitches to create a truly unique cushion.

Miss Millicent Hare

IN THE LATE afternoon of the last day of summer, Miranda and I were packing up for the day when a hare darted across the grass directly in front of us, heading straight through the middle of the hedge and into the trees. A second later, two more followed, and then another five. By this point the hedge was looking decidedly worse for wear.

There were often hares in the garden, but we had never seen so many at once, and never acting so strangely. Miranda peered over the hedge to see what was going on, when another two hares bounded up behind her, knocking her off her feet. There was definitely something happening in those trees.

We followed the hares’ trail and didn’t have to go far before we discovered what all the fuss was about. A section of the undergrowth had been cleared to make room for an improvised boxing ring. Woven twigs marked the boundaries and a crowd of excitable hares stood around the edge, pushing each other out of the way to try to get a better view.

Above it all, sitting calmly on a small hill behind the ring for all to see, was Miss Millicent Hare. She was batting her heavily lidded eyes and shooting sultry looks at the audience, whipping up a frenzy just by being there. The hares were clearly going to be fighting for her.

‘I might have known,’ said Miranda, tut-tutting. ‘She is such an outrageous flirt.’ Miss Millicent was known to Miranda because she had once stolen into her bedroom to help herself to Miranda’s mascara, making quite a mess in the process.

‘Let’s leave them to it,’ Miranda said, and, as we headed back to the house, a roar of noise erupted from the trees. They were off.

{SUPPLIES}

32-count cream linen, 45 x 50cm (17¾ x 20in)

Stranded cotton embroidery threads – see chart key for details

Kreinik Fine Braid #8 (shade 104C – Colonial Gold), 5m (16½ft)

Tapestry needle, size 26

Strong sewing thread, any colour

Picture frame with 25 x 30cm (10 x 12in) aperture

Cream or white mount board, 30 x 35cm (12 x 13¾in)

Small, sharp scissors and pins

Pencil, craft knife, metal ruler and cutting mat

Sewing machine with zigzag or overlock function (optional)

Rolling tapestry frame (minimum size 23cm/9in side bars and 46cm/18in rollers) (optional)

1. Prepare your linen fabric. When working on larger projects, it is good practice to overlock the edges of your linen before stitching to prevent the fabric from unravelling under heavy use. You can do this on any sewing machine with an overlock or zigzag function. It is not essential, but if you choose not to overlock the edges, you should take extra care when handling or washing the linen to prevent it from fraying at the edges. Mark the centre point of the fabric and fix it into the frame if you are using one.

2. The chart for this design can be downloaded from our website following this password (aRgkkjv9H4Wu) protected link. Referring to the chart, start by stitching the hare design from the centre outwards, completing all of the mocha full and fractional cross stitches first using two strands of the stranded cotton embroidery thread, then moving on to work the cross stitch for the hare’s eye using two strands of black stranded cotton.

3. Complete the hare design by stitching the eyelashes and whiskers with a single strand of black stranded cotton, working straight stitches over the top of the mocha stitches. These are particularly long stitches, so knot the end of the thread securely behind some existing stitches on the back before you begin.

4. Finally, stitch the floral frame around the hare using a single thickness of the metallic thread and two strands of the black stranded cotton.

TIP

Illustration Stitching with metallic threads can be a little tricky, and if you prefer, you can replace the metallic thread used for this design with a golden yellow stranded cotton.

5. When you have finished the stitching, remove the linen from the frame. Gently handwash your embroidery if it is required and allow the fabric to dry naturally. Once it is dry, place the embroidery face down over a folded terry towel to protect the stitches and iron the fabric on the reverse to remove any creases. Take extra care when ironing the metallic thread as it can withstand less heat than the stranded cotton – if you are unsure, test a sample thread first.

6. Now to frame the finished embroidery (I remove the glass from the frame first as I prefer to frame embroidery without it, but you can keep it in if you prefer). Working on a cutting mat and using a craft knife and metal ruler, use the backing paper from your picture frame as a template to cut a piece of mount board that is approximately 5mm (¼in) smaller to allow for the bulk of the wrapped fabric to fit inside the frame.

7. Place your embroidered linen panel face down on your work surface and put the mount board on top of it, aligned in the centre. Fold the corners of the linen in towards the centre (left-hand side of the diagram) and then fold each side flap inwards and pin the flaps into place at the corners (right-hand side of the diagram).

STEP 7

8. Using a double thickness of strong sewing thread and a knotless loop start, lace from side to side like a corset, working from the centre out in each direction to stretch the linen tightly over the board. Once you have completed lacing from side to side, move on to lace from top to bottom as shown in the diagram.

STEP 8

9. Finally, sew the four corners closed, working from the outside edge towards the centre as shown in the diagram. Remove the pins. Now all that remains to do is to place the stretched embroidery in the frame and replace the back board.

STEP 9

Rose Petal Jam

WHEN I ARRIVED at Thistledown Farmhouse on the second Saturday in September, the house seemed unusually quiet. I let myself in and headed to the kitchen, where a note had been left on the fridge, my name scribbled on the front. I assumed it was just another list of the day’s jobs and that Miranda and James must be busy with something in the garden – but when I looked it was no such thing.

Dear Delilah,

The prophet roses bloomed last night. They turned out to be a beautiful creamy white – for new beginnings. They were right, as always.

By the time you read this, James and I will be on our way to Scotland. We have found a little croft to keep us busy. The house is yours. We know you will be amazing.

Take the white rose petals and make them into jam – I have attached the recipe. Eat it for breakfast and it will help.

Love,
Miranda

Short, sweet and to the point. Just like her.

I unfolded the second piece of paper, headed: ‘Miranda Merriweather’s Rose Petal Jam’, scanned the list of ingredients and headed out to the rosebush brandishing a pair of secateurs.

So began the first day of my next adventure.

{SUPPLIES}

32-count lime green linen, 30 x 50cm (12 x 20in)

Stranded cotton embroidery threads – see chart key for details

Tapestry needle, size 26

Cream cotton backing fabric, 25 x 45cm (10 x 17¾in) (I used calico)

Iron-on fabric stiffener, 25 x 45cm (10 x 17¾in)

3.8cm (1½in) wide cotton tape or ribbon, 2m (6⅔ft)

Small, sharp scissors and pins

Tracing paper, pencil, water-erasable pen and paper scissors

Sewing machine or sewing needle and cream and lime sewing threads

Pinking shears

Haemostat

Rolling tapestry frame (minimum size 23cm/9in side bars and 53cm/21in rollers) (optional)

1. Prepare your linen fabric. When working on larger projects, it is good practice to overlock the edges of your linen before stitching to prevent the fabric from unravelling under heavy use. You can do this on any sewing machine with an overlock or zigzag function. It is not essential, but if you choose not to overlock the edges, you should take extra care when handling or washing the linen to prevent it from fraying at the edges. Mark the centre point of the fabric and fix it into the frame if you are using one.

2. The chart for this design can be downloaded from our website following this password (aRgkkjv9H4Wu) protected link. Referring to the chart, stitch the design from the centre out using two strands of stranded cotton, with the exception of the two French knots in the middle of the daisy stitch flowers, which are stitched with four strands. Remember that, as an even number of strands is being used, you can begin Secret Garden Embroidery stitching with a knotless loop start. I stitched the large left-hand rose first before moving on to the right-hand one, and then I finished off by stitching the mini flowers dotted around the edge of the design, working the small daisy stitch flowers in the centre of the design last of all. However, the design can be completed in any order you choose.

3. When you have finished stitching, remove the linen from the frame. Gently handwash your embroidery if it is required and allow the fabric to dry naturally. Once it is dry, place the embroidery face down over a folded terry towel to protect the stitches and iron the fabric on the reverse to remove any creases.

4. Trace the sash belt template onto a folded piece of A3 tracing paper (or tape two A4 pieces together) to make a pattern, transferring the seam lines too. Cut out the tracing paper pattern and position it over your embroidery so that the design is centred inside the seam line (the fold line should go through the centre of the small daisy stitch flowers). Trace around the pattern with a water-erasable pen and cut it out to give you the front of your sash belt.

STEP 4

5. Attach the iron-on fabric stiffener to the back of your cotton backing fabric, following the manufacturer’s instructions. Use the sash belt tracing paper pattern to mark and cut out the sash belt backing from the stiffened fabric.

6. Pin front and back pieces together with right sides facing. Sew along the top and bottom edges only, along the marked 1cm (⅜in) seam line, leaving the sides open at either end. (If using a sewing machine, use lime sewing thread for the top needle and cream sewing thread in the bobbin, and be sure to stitch with the embroidered fabric facing up). Remove the pins and then cut notches into the seam allowance around the curves as shown.

STEP 6

7. Press the seams open and trim the excess seam allowance, using straight-edged scissors for the linen and pinking shears for the cotton backing fabric. Turn the belt the right way out through the open ends – this can be quite tricky as the hole is quite small and the haemostat tool will make it much easier to grip the fabric. Use the curved back of the haemostat to push out the curves through the open ends and then give the belt a good press, ironing it face down over a folded terry towel to protect the stitches.

8. To make the belt ties, cut your ribbon or cotton tape to length – I used an 85cm (33½in) length on each side, which allows for a long bow to be tied at the back when worn around a 66–86cm (26–34in) waist; adjust the length to fit as necessary. Fold the raw edges in by 1cm (⅜in) at each end of the belt and press. Insert one of your lengths of ribbon or cotton tape into each open end so that it reaches a couple of centimetres (an inch) inside. Pin into place.

STEP 8

9. Topstitch all around the edge of the belt as close to the edge as you can get, sewing the ties in place as you go.

STEP 9

10. Finish the ends of the ribbon or cotton tape ties by turning the ends under twice to hide the raw edges before stitching into place.

PROJECT VARIATIONS

These roses would look very elegant stitched onto the front of a long narrow cushion – try stitching them up on a larger scale, using 25-count evenweave for example, or make a tapestry version using mono canvas and tapestry wool.

Miranda Merriweather’s Rose Petal Jam

Petals from thirteen large scented roses,

approximately 100g (4oz)

450g (1lb) jam sugar

500ml (18 fl oz) water

Juice of one lemon

IMPORTANT NOTE

Do not use flowers that have been treated with pesticides. For the best results, use only highly scented roses and pick them just after blooming so that they are as fresh as can be. This recipe makes only a couple of jars at a time to ensure the highest quality and freshness, but if more of your roses bloom at once, you can make a double or triple batch. The colour of the roses determines the colour of the jam.

1. Remove the petals from the roses, tearing away any discoloured parts; wash thoroughly to remove any loitering bugs and dirt. Drain and set aside.

2. Put the jam sugar and water into a large, heavy-bottomed pan and stir over a low heat until the sugar has dissolved. Remove the pan from the heat and stir in the rose petals, then leave to steep for 3–4 hours.

3. Strain the liquid into a fresh pan and set the petals to one side. Add the lemon juice to the liquid and then gradually heat the mixture until it starts to boil. Add half of the rose petals back into the mixture and continue to boil gently for 15 minutes, stirring occasionally.

4. Decant the boiling jam into pre-heated, sterilised jars and fasten securely whilst hot. Leave to cool and set.

When properly jarred, the jam will last for a number of months if kept unopened in a cool, dark place.

Enjoy a spoonful with scones, spread it on toast or add a dollop to your porridge. Keep it in the fridge after opening and eat within a week or so.

You can find the full-size templates ready to download from

www.pavilioncraft.co.uk

{LITTLE BUG MAGNETS}

{DARLING BUDS PURSE}

{ARBOUR ALPHABET FLAGS}

{PROPHET ROSE SASH BELT}

Note: Cut from a folded piece of A3 tracing paper to make the full pattern for the sash belt.

WHAT DELILAH DID

Contemporary cross stitch and embroidery patterns, kits, supplies and accessories.

www.whatdelilahdid.com

{SEW AND SO}

Massive range of evenweave fabrics, threads and accessories.

Quick, reliable service.

www.sewandso.co.uk

{CLOUD CRAFT}

Modern embroidery supplies and 100% wool felt in a wide

selection of sizes.

www.cloudcraft.co.uk

{WOOL FELT COMPANY}

100% wool felt – excellent quality and lovely colours.

www.woolfeltcompany.co.uk

{JOHN JAMES NEEDLES}

Specialists in embroidery needles – all types,

including easy-threading versions.

www.jjneedles.com

{SIESTA FRAMES}

Roller and mini no-sew frames, embroidery hoops and accessories.

www.siestaframes.com

{HOBBYCRAFT}

Assorted craft supplies, haberdashery and notions,

including toy stuffing and tracing paper.

www.hobbycraft.co.uk

{SEWING ONLINE}

Snap fasteners, coloured tailor’s chalks, self-cover buttons and assorted notions.

www.sewing-online.com

{THE QUILTED BEAR}

Great range of rotary cutters, rulers and cutting mats.

www.quiltedbear.co.uk

{EBAY}

Lockets, elastic lace edging, cotton tape/webbing, magnets – especially good for small quantities of specialist supplies.

www.ebay.co.uk

{ETSY}

Lockets and assorted craft supplies.

www.etsy.com

{BAG CLASPS LTD}

Flexi clasps for spectacle case.

www.bag-clasps.co.uk

{ORGANIC TEXTILE COMPANY}

Large selection of organic and fair trade fabrics.

Especially good for plain cotton backing fabrics.

www.organiccotton.biz

Sophie Simpson

(aka Delilah) is the creator behind embroidery business, What Delilah Did. She runs a successful blog and online shop where she sells her distinctive embroidery designs to customers all over the world, and her kits are sold in boutique haberdasheries and lifestyle shops throughout the United Kingdom.

When she is not making books or dreaming up things for her own business, Sophie can be found designing projects for the likes of Mollie Makes and CrossStitcher magazines. Her designs, which are a thoroughly modern take on traditional techniques, are attracting a whole new generation to this age-old craft.

A mildly eccentric girl with a rather overactive imagination, Sophie lives in a sleepy village in Norfolk, England, and loves folk music, period dramas, whales and all things handmade. You can follow her crafty adventures at www.whatdelilahdid.com.

OTHER BOOKS BY SOPHIE SIMPSON

Storyland Cross Stitch

Step inside and explore the splendiferous wonders of Storyland Cross Stitch. Choose a colour, pick up a needle and thread, and let your imagination go wild. With simple projects for beginners, and more complex charts for seasoned cross stitchers, you will soon find your thoughts whisked away to hidden places, untold mysteries and secret dreamlands.

ISBN: 9781908449399 / £14.99

Stitch the Halls!

Stitch yourself a merry little Christmas. This thoroughly modern take on counted embroidery is all you need to create your perfect hand-stitched Christmas. With a variety of simple techniques and a selection of colourful bite-sized projects to entertain beginners and experienced stitchers alike, you will be hard pressed to stop yourself from making them all.

ISBN: 9781909397842 / £9.99

Firstly, thank you to my superb family and friends for supporting me in my unorthodox career and everything besides. Mum especially – without you I don’t know where I would be. Probably having a nervous breakdown under a vat of rose petal jam! Also thank you to David for your continued patience (most of the time) and calming influence, and to Jane Petts and Aunty Sally for being two of my biggest fans (love you both!).

Thank you to Aunty Ady and Uncle Donald for providing us with the most idyllic place to grow up and, rather randomly, to Mr Croote for fostering my imagination with his super-cool old house and car, liberal amounts of cherryade and kind generosity – the inspiration for this book lies in the seeds sown by the three of you when I was knee-high to a grasshopper.

Thank you to Rachel and Katt for your beautiful images, to Cheryl for your outstanding clarity and patience in editing my stack of rambling pages, and to Krissy, Amy, Zoe, Frida and everybody at Pavilion for your part in making the book lovely and for your continued faith in me.

Last but by no means least, I would like to say a huge thank you to all of you who continue to support my work, especially those of you who take the time to write and send me pictures of things you have made from my books, patterns and kits. Seeing my designs stitched by people on the other side of the county/country/planet never fails to make my day. Thank you!

First published as Paperback and eBook in the United Kingdom in 2015 by Pavilion

1 Gower Street

London

WC1E 6HD

Copyright © Pavilion Books Company Ltd 2015

Text and pattern/project copyright

© Sophie Simpson 2015

Distributed in the United States and Canada by Sterling Publishing Co., Inc.

1166 Avenue of the Americas, 17th floor New York, NY 10036

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the copyright owner. The patterns contained in this book and the items created from them are for personal use only. Commercial use of either the patterns or items made from them is strictly prohibited.

eISBN 978-1-910496-97-8

This book can be ordered direct from the publisher at www.pavilionbooks.com

Photography by Rachel Whiting except pages 35, 37 and 39 by Christina Wilson Decorative illustrations by Katt Frank Step-by-step illustrations by Kuo Kang Chen

Whatever the craft, we have the book for you – just head straight to Pavilion’s crafty headquarters.

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