I f I

,. ;

I z==s;
~~//07~/-:Z~
~
.. .
.. .: . .
•• • ••

0 •• • • ••
•• •• •
• ••
• • '
•
I

••
•

••
•

0 I

...' .• .• •
• •
•
• I

[J "
0 0

I I

Look for this new fabric

•
c ollection at your local quilt shop.
0111ca ee
 <) \ I '.- & <l A ll ~
...---- S T 0 RY -·----------1
'
1
1 I
I
J t.I~ r--- '
'
I
I
t
1826
"I
t
The Clark mill was
Tell your
story...
I
I
successfUI in Europe.
I
I
The thread was brought
I
I
from Britain by sailing
I
I
captains and intro-
I
I
duced to the women of
I
I America. who used it
I
I in the latest women's
fashions 1n 1826.

lli
I
l (.,
I
I
I

~Ch.'
SEWING SVfORIES • 1866
In 1866 George.Clark
'
~
by visiting Coatsa11dCla1-k200years.com developed a slx-cord, soft
finished thread. the first
T11e COATS & CLARK th1-ead suitable for the sewing
machine which revolution-
story begins in Paisley Scotland in ized the thread industry. He
1812) a11d for 200 years families called it "Our New Thread"
which became known as
l1ave stitched their history O.N.T.. the famous trade-
mark for the Clark Thread
\vi.th the name you can trust for company.
all your sewing needs. Nowwe N"_9 l ~"
share the story vvith you. t

II ut@ '~
I 1939
Market conditions in the
1940's were reversed by
textile requirements of
World war II. American
women began to sew
again to have garments.
as well as for the thera-
peutic value during the
trying times of war.
Coats &Clar ~~
I
1

utC) '~
2007
As home sewing
machines became more
advanced. Coats & Clark
recognized the need
for a thread in which
all variables could be
controlled to produce
a consistently smooth
thread and introduced
Dual Duty XP.
~~

www.coatsandclark.com
www.coatsandClark200Years.com --- _________J •
©2012 Ct>IMS & Cta!1<
A·I ngllts resel'llGd Coa1s
& C ark IS a WJ stered
traden 1afl<
12.()()5
 editor's note
•
sewing
pleasures
I KNO\i\T IT'S STRANGE for the average person to become
enamored \Vith fall \vhen summer is just getting into full
bloom, but it's not at all strange for Se\vists, right? 'vVe need
a full season of time to mull over projects, drool over fabrics
and, well, make the stuff so that it's ready to vvear vv hen fall
arrives for the rest of the \Vorld.
Fall is one of my favorite seasons to sew for.11aybe it
began in chi.ldhood with all the excitement of getting ready
for the beginning of school. There was always a new outfit
to consider and vvear proudly, especially on the first day.
I clearly remember "valking hand-in-hand "vith my mother
to my kindergarten class, sporting a bright red shift \vith
an appliqued ladybug, and my mother wearing a dress
to match. She had made both to celebrate the first day of
school-and if I had that shift in my size today, you can bet
it would be at the front of my closet!
So \Vhat better \vay to celebrate fall sewing than \Vith a
pretty nevv dress? In "Dress It Up'" you'll find everything-
from a pretty-in-pink party frock and demure blue number,
to an all-business sheath, sleek knit tunic dress, and flirty
beaded mini-dress. Something for every occasion!
For t he little ones, the School Days section is ready
for the class bell. From clever and colorful clothing
dividers, a hedgehog tote, and bunny nap pad, to a vibrant
vest appliqued \Vith critters (a modern version of my
ladybug dress!), reusable snack bags. and a pretty notebook
and bookinark for teacher, you \vill find projects that both
you and your children can create.
2
'··~·-····~·-····-······
* stitch
On th.e earth-friendly side, the Upcycle! section
celebrates the season of harvest with projects that you
can cull from your O\vn closets and storage bins. Create a
fab denim bag, S\Veet girl's pinafore, and avant-garde neck
\vrap, all fro·m clothes and fabrics you have on hand. Or try
a shirt blanket, zipper bracelet, ineasuring tape clutch, or a
wall pocket panel to store your loose items. These are beau-
tiful projects all in the name of recycling and restyling.
"fhe Embroider This section \vill appeal to the nester
in you, as chilly \veather approaches. You will adore every
single one of the embroidery projects, from an octopus
clock, woodland animals \Vall art, and autumnal placemats,
to sweet baby shoes, pretty plant holders, a fau'.I\ sashi.ko
pillov.r, and gorgeous guitar strap.
1'op it all off v.rith Great Hats, a section devoted to
toppers from fancy to snuggly. The glam fascinator joins
the daytime wardrobe, along \Vith a inod newsboy-style cap.
soft cashmere head hugger, and t\VO lovely flowering hats,
in felt and fleece.
This issue is ripe for the picking and I hope you enjoy
making these projects as much v.re enjoy bringing them to
you. Be sure to visit SewDaily.com and let us kno\v \vhat
you think, even.if it's only to let us kno"v what you \Vore on
your very first day of school
As al\vays, happy stitching!
amkrede~
stitchsubrnissions@interweave.com
 ' I
•• •

,'I

•
-,

' ..
.1

-r -,. -..
;

- t
._-\.- -.
BERNINA'U
•

The entry-level series from which there is no holding back: the •

BERNINA 3 Series is just the beginning of something beautiful.
Each model combines aesthetics and design with sophisticated technology.
The selection of decorative stitches and sewing alphabets helps you create
a lifetime of possibilit ies for individual creativity and inspiration.

Learn more about the BERNINA 3 Series and downlo<id free patterns at
wv•.'w.berninaLJsa.com/3series.

·~ T . --· .
lr~ ""' .. · ·• ·
. ~...
 •

40
FEATURES
14
technique spotlight:
draping a bodice
GRCTCHEN HIRSCH

24
fabric rosebuds
TOMA A JIMENEZ

26
material worrd:
the bottom line
LINDA TURNER GRIEPENTROG

32 DEPARTMENTS
artist profile:
vicki jensen 2 editor's note 22 wish list
MARY ._,ALTER
•• •
• a what's new+ cool ao sewing basics
34 '
I
o I
I
I
Tools, Techniques,
+Terms
sewing with knits
t
'
I
j
I
Io
I
10 sew boutique
LINDA LEE o liome Ee Workshop
sew inspired
I
o I
144
.. LINZEE KULL MCCRAY
o I
I
'
'
KEVJN KOSBAB
40 I

'
'
• ••
.
I
Crafting Hope
SUSAN BEAL
a strand of thread- •• Perfect Pairing
the story behind the • l ND.A TURNER GRIEPENTROG
200-year eyolution •
•• •
of Coats & crark
SUSAN BEAL
I
'
•• •
.
•
o I

.
' I
' I
'
l' I'
o I

-.....,. ..
' '
- - .. --
...
'
~
I
' . -· • .-.--
...
····------
ON T HE COVER: Quick Faux Sash1ko Pillow, page 60
---* Stitch······-
 DRESS IT UP
The dress is the iconic 48 beaded silk
fashion statement of handkerchief dress
fall, whether sim ple ALEX SUDALNIK
and elegantly chic or
embellished with stylish 4:9 batwing jersey dress
deta ils. Each of these five EMILY LI MAN DRI
dresses are as versatile 50 prettiest party frock
as they are stylish! GRETCHEN HIRSCH
the big blue
51

S2
AMBE R EDEN
the business edge
*
KATRIN VORBECK

--- ... ----·--·--·-

.. --------- --··----- ·-··--

UPCYCLE!
Fall is the season of harvest and what better time to discover creative
ideas for upcycling. Convert something vintage into something beautiful.
67 upcycled denim 70 retroactive neck wrap
messenger bag RACHEL GUEDON
BETZ WH ITE 71 zippy bracelets
68 upcycled pinafore SHEREE SCH LOTE
SIGRID AR NO TT 72 patched pocket panel
MARY WALTER
69 recycled shirt blanket
MISSY SHEPLER 73 measuring tape tote
LINDA TURNER GRIEPENTROG

--------·----·-·-- --------·····-----·-r- ·----- -·--------·------·------·-··---------{

'

SCHOOLDAYS GREAT HATS

It's tim e to start dreaming abou t Hats are the most perfect of
all the ador able supplies, new accessories for fall. Try these toppers! EMBROIDER THIS
outfits, and crafty projects you From pretty freehand work to intricate
74 the fascinator
can devise . - - embellishment, these embroidery
ALEX SUDALNIK
projects will delight you.
S3 fuzzy hedgehog tote 75 slouchy cashmere hat
CHERYL BUSH SIGRID AR NOTT 60 quick faux sashiko pillow
S4: school days COREY YO DER
76 flowering fleece + felt hat
teacher's set STEPHANIE SMITH 61 embroidered
JUNE MCCRARY JACOBS 77 flapper-inspired felt hat guitar straps
MADELEINE ROBERG
ss snack bags. APRIL MOFFATT
ROSEMARIE D EBOER 78 mod newsboy hat 62 harvest placemats
56 night critters vest JENN RHOADS SUSAN LIU
TINA LEWIS 63 embroid~red mary jane$
57 colorful clothing for baby
dividers A PRIL MOFFATT
JENNIFER RODRIGUEZ 64 oilcloth plant holders
58 bunny nap roll CAROL ZENTGRAF
J ENNIFER WOLAK 65 embroidered critters
HEIDI BOYD
59 chalkboard mat
LISA ANDERSO N 66 embroidered octo-clock
STEFANIE BERGA NINI

--·--·----·"'' -- .
' - - · - - - · · · · - - - - - - - · · · - - - · - - · · · - ................................................. 4

------------------------------------------------~

s
sewdaily.com *
 *
i• La Todera •••
••
CREATING WITH FABRIC ;- THREAD

i sewing and oraft patterns • : EDITOR Amber Eden

.....................-:e •••,..:
ASSISTANT EDITOR Rosemarie DeBoer
:• TECHNICAL EDITOR Mary Walter
:• DESIGNER Jocelin Damien
:•
:• PHOTOGRAPHY Larry Stein tmlcss olheni>ise credi1e.d
•:• HAIR & MAKEUP Kathleen Schiffmann • ILLUSTRATION Ann Swanson
•
:• FREELANCE TECHNICAL EDITOR Bernie Ku1isck
CONTRmUTING EDITORS Susan Beal, Linda Turner Griepentrog, Gretchen fTirsch
PRODUCTION DIRECTOR Trish Faubion • PRODUCTION EDITOR Nancv, Arndt
:• PRODUCTION DESIGNER Kate Binder
•••
••• PUBLISHER John P. Bolton, Esq.
•• EDITORIAL DIRECTOR Helen Gregory
•• •
:• GROUP ART DIRECTOR Larissa Davis • ADVERTISING MANAGER Barbara Staszak
AD TRAFFICKER Melissa l\!Iarie Brown • MARKETING DIRECTOR Mary KinCannon
:• MARKETING SPECIALIST Heidi Hedger • CIRCULATION DIRECTOR Mark fleet\VOOd
i CIRCULATION MANAGER Jodi Sm~th • SUDBURY OFFICE MANAG.E R Sally Murray
RETAILERS Ifyou are interested in carrying this magazine in your store please contact us at:
Toll free: (866)949-1646; Email: sales@inten-veave.com; Web: interwe.averetailer.co1u
lntenueave Stitch (JSSN: 2160-6838 [_print] ancl 2164-9375 [online]) is published five times per year by
Interweave Press LLC, 201 E. Fourth St., Loveland, CO 80537-5655. (970) 669-767 2 . .All contents of this issua
of Interweave Stitch ate copyrigl;J.ted by Intenveave Press LLC, 2012 . All rights reseived. Projects and infor-
mation are for inspiration and personal use only. Reproduction in \Vhole or in part is prohibited, except
by pennission of the publisher. Interweave Stitch does J1ot recommend, approve, or e.ndoxse any of the
advertisers, products, set\'ices, or views advertised in Interweave Stitch Nor does Inteiweave Stitch evaluate
the advertisers' clain1s in any way. You Should, therefore, use your own judgment in evaluating the adver-
tisers, product~, services, .and views advertised in lnte1·weave Stitch Visit the Interweave website at
intenveave.con1. For advertising tnforn1ation, caJT Barbara Staszak toll-free at (866) 698-6989, x460; en1ail
bstaszak@interweave.com, or visit the website at interweave.con1. For sales infonnation, call (866) 949-
T646 or email sales@interweave.com. For edltorial inquiries, call (978) 203-5444, enlail stitchsubJ11issions@
i~iteiv,.eave.com, or write to lntenveave Stitch, 490 Boston Post Road, Suite 15, Sudbury, l'v!A or776.

f.f' INTERWEAVE~
-r-A •·

Independent Publishers Since r975

FOUNDER Linda Ligon
CEO Clav
, B. Hall
CFO Trov, Wells •'
SENIOR VP MEDIA&: DEVELOPMENT John P. Bolton
SENIOR VP MARKETING &: COMMUN11'1ES Bob .Kaslik
VP CONTENT Jamie Bogner • VP ECOMM~CE David Dunn
VP EVENTS & EDUCATION Sara Durnford
VP FINANCIAL PLANNING, ANALYSIS &: OPERATIONS Dav.11 Stewart
VP MEDIA SALES Julie Macdonald • VP PEOPLE OPERATIONS Aaron Wilmot
VP PRODUCTION Trish Faubion • VP TECHNOLOGY T.J. Harty
MAGAZINES
FIBER DIVISION
Tnterweave Crochet • Interweave Knits • Handwoven
Piece Work • Spin-Off • Cloth Paper Scissors • Quilting Arts
ART & JEWELRY DIVISION
·· ~ If I •
American Artist • Beadwork • Drawing • Jewelry Artist
Step By S.tep Wire J~welry • Stringing • Watercolor • Workshop
BOOKS
PUBLISHER John P. Bolton • EDITORIAL DIRECTOR Susanne Woods
ACQUISITIONS EDITOR Allison Korleski • ART DmECTOR Liz Quan

••• PRODUC.TION DIRECTOR Kristen Heller

...........
: 0 :.
..................
Get yours at
For questions regarding our book prog~a1n, call (970) 669-767 2
Monday- Friday, 8:00 a.m.- 5:00 p.m., or e-mail books@interweave.com
•
i• latodera.com
: and fin e quilt shops worldWide !
....................................................
......
-~1!}• Interweave Press LLC
~
:!·n·a•- 20T Bast Fourth street
ASPIRE I Loveland, Colorado 80537
6 MEDIA (970) 669-7672
··- ··-········· -~--- ·
Visit our \vebsite interweave.com
* stitch An Aspire Media conrpany
 mic~ae mi er
fRBRIC l
100~ polyester knit with polyurethane laminate
Machine washable, tumble dry \'\IWW.michaeln11llerfabncs.corn
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~--'
 •
sewing room

Edit ors' p icks for p roducts,

~
t ools, books + notions

.... -- ... - ... --............ _... _..... --·· -·- - _,,,, ___ ..... ., . . .....
....- ______ ,,......._
...
what's new +cool
The lightest
interfacing ever-
just right for
sheers, silks,
and other light- ~ - . ...,. - .. ~ -
Mtt!JEJ!liJ
.......... .................
~

to mid-weight
fabrics. ULTRA
SHEER FUSIBLE
INTERFACING
offers a touch of
support without ~...... '>
lli"~~_ah...!ll""-l
changing the
s.;&i!Mi.~ '""· ~·
drape of a fabric . "'Jr ,• ~''°" P;f;/1
!{d<"i
Use in facings, ~,.<-y ~<> <in

collars, or fuse
....
to yardage for a
fabric that needs
a bit more body.
White, beige, or
black. 36" wide.
The Sewing Workshop, This non-greasy hand-therapy
sewingworkshop.corn. gel was designed with
$18/yd. sewists in mind. When your
hands are dry Ol' tired, rub
on a drop of MARY ELLEN'S
MADE BY HAND and get
Draw a precise line every time. Garment sewists,
right back to your needle and
quilters, and crafters will all appreciate the accuracy
thread-it won't stain fabrics
of the CHAKONER. This heart-shaped marking tool
or affect your ability to grip
contains a fine white powdered chalk that dispenses
your needle. Made with white
from a rotating serrated wheel located at the
willow bark, a natural anti-
bottom of the heart. Quickly mark darts or pocket
inflammatory agent. 4 oz, Mary
placements or use with an acrylic ruler for straight
Ellen's, maryellenproducts.com, $1.95.
line marking. The Sewing Workshop, sewingworkshop.con1, $ r 5.

Fast, convenient, and effective, the SEWLINE
GLUE PEN holds fabric pieces together for sewing.
Great for applique or to keep a hem in place before
stitching. The water-soluble glue is light blue (also
available in yellow) when applied, but dries clear.
Refillable. $6.95
8
* stitch
Using a ceramic-based lead, the ·SEWLINE FABRIC
PENCIL is designed to give you a thin clean line while
still being easily removed with the attached eras.er or
sponged off with a damp cloth. Available in five colors:
white, black, yellow, green, and pink. Cushioned finger
grip for comfort. sewline·products.com, $15.95.
 sewing room

------------------------- - -------- - ----- - -------------------------------------------------------~ - ------------ - -------------------- - --- --- --~--- -----

CLOVER WONDER CLIPS are an ideal solution for working

with oilcloth and laminates-no more hunting around for
spring-loaded clothespins or hair clips. They are also a great
alternative to trying to pin through upholstery-weight fabrics,
keeping totebag handles in place, or holding piping secure
before stitching. Clover, clover-usa.con1, $6.95/ro clips.

Celebrate gre.a t fabric by

using every scrap- this is As the firs t cafe sewing shop in Paris, the
the premise behind SUNDAY Sweat Shop storefront in Paris marries the
MORNING QUILTS. practicality of a workroom with the ambiance
Modern quilters Amanda of a living room. LESSONS FROM A
Sun<sloY Jean Nyberg and Cheryl SEWING CAFE: SWEAT SHOP PARIS
Morh}ng Arkison share a passion translates this trendy Parisian experience
into book form- with more than fifty DIY
Oui 1ts for scraps . From sorting to
fashion and home projects. Tvy Press, A.ndrews
piecing to finishing, this
book will help you turn your McMeel Publishing, andrewsn1cn1eeLcom, $24.99.
treasured leftovers into a
modern quilt with your own
Sunday-morning style. Stash
Books, stashbooks.com, $22.95.

---- -- ---------------------------------- -- ---------------- ------- -----

•
A collection of •'
'
projects based on
creative techniques
with fabric, MAKE
IT SEW MODERN
includes more than
twenty sewing ideas- ••
from scarves and '
em.b ellishments to
purses and eye-catch- BROMLEY, a new calico collection from WESTMINSTER
ing quilts. Vanessa FABRICS, is based on selections from the pattern book
Christenson, owner of the Bromley Hall works, a well-known English textile
of V and Co., has a manufacturer near London. The pattern book, now housed
passion for clean lines •' in the Victoria & Albert Museum, dates from around
••
with enough texture to 1760- 1800. The original fabrics, mainly of flowers and
give things a modern, '•• foliage, were printed from copper plates that allowed more
yet soft and personal look. ' detail than the wood blocks previously used for printing.
That Patchwork Place, niartingale-pub.com, $24.99. Westminster Lifestyle Fabrics, wesln1insterfibers.cont

1 · · · ................... · · · .... · · · -........ · .... · · · · · · · · · ... · · ...... · · · · · · · · ...... · · · .... · · · ...... · · · · · · · ..... · · ....... · · · .... · · · · · · · · · · .... · · .... · · ........ · · -......... · · · · · .... · · · ·~ .. · · - · · - · · · · · ........ · · · · · · · · · · · · · · · · ...... · · .... · · · · ·· - · · · · · · · · · · · · · · · · · · · ..... · · - - · · .... · · · · · ·~;wd~ii ~-~; ;.;,9·:,;·····
 •
sewing room
sew
-------------------------------------- ---------------------------------------------------------------------------
Ji'
Part shop, part cozy fam ily room- the Home
Ee Workshop is definitely all creativity'
HOME EC
WORKSHOP
Text LINZEE KULL MCCRAY
Whether it's called a stitch lounge or craft
boutique, a new kind of shop is giving
textile lovers a place to feed all their
handmade longings.
Tn. February 2008, Codi Josephson and
Alisa Weinstein opened one such shop,
Home Ee Workshop in lo\va City, ro,va.
There they offer classes i11 myriad textile
tecmliques, stock contemporary books,
patterns, and supplies, and hold indie craft
fairs and art exhibitions. "We \vanted a shop
that wouJd be part of the creative process,"
says Codi.
\N'hen you step t11rough Home Ec's
doors, it's apparent they've done just that.
In the cozy space, bins overflo\V with shell
buttons, fibers for felting, and folkloric
ribbons and trin1s; baskets hold embroidery
floss, yarn, needles, and notions. Customers
browse through fat quarters filed in vintage
bread tins and the bolts of linen, cotton.
10
* stitch
From inspiring people to hot
trends, check out the news from
around the sewing world.
......-
- ''
... 3 _,
Inspiring supplies bring out the artist in both
novice and veteran crafters.
and oilcloth that line the walls. On a typical
day, Codi may be cutting Japanese fabrics
in the sunny front roon1\¥hile Alisa and a
customer sit on. the red couch, practicing a
ne\v knitting stitch. A.guest instructor in
the "vorkshop may be helping students sew
skirts, screen-print fabric for infinity scarves,
or crochet Japanese-style arnigurumi
critters. l\bove it all you'll hear the whoosh
of the cappuccino n1achine and the sound
of laughter.
Owners Alisa Weinstein (left ) and Codi
Josephson (right) provide an inspiring
atmosphere for t heir creative community.
Like many "craft boutiques," Home Ee is
as much a community as a store. "Customers
n1ay not kno\¥ exactly vvhat they want to
make vvhen they come in, but seeing
our materials and ho>v other people use
them is inspiring," says Alisa. "'vVe .have
lots of beginners and 'crossover' crafters-
knitters try quilting and quilters learn to
screen print." Home Ee also rents sewing
machines, an iron, and cutting table on an
hourly basis, and is a popular location for
baby and wedding showers and birthday and
bachelorette parties.
Similar shops, including Crafty Planet in
Minneapolis; Workroon1 Social in Brooklyn;
Gather Here in Cambridge, Tvlassachusetts;
and Stitch Lab in Austin, Texas; provide
"crafting crossover" opportunities around
the country. "There's a special ki11d of energy
in a place like this," says Codi. "Seeing ho\v
our custo1ners use the n1aterials v.re've
chosen is so inspiring."
For more information visit: Home Ee at
HOMEECWORKSHOP.COM, Workroom Social
at WORKROOMSOCIAL.COM, Crafty Planet
at CRAFTYPLANET.COM, and Stitch Lab
at STITCHLAB.BIZ, and Gather Here at
GATHERHEREONLINE.COM.
 r---------M-----~-------------------------------------------------------------~---------
1

Crafting Hope
·----"
An activist mother
in Texas changes Craft Hope
lives worldwide with
handmade gifts
Text SUSAN BEAL
theEarth
Jade Las\vell started Craft Hope, a global
website to encourage handinade activism,
out of her kitchen i11 Austin, Texas,
in January 2009. Her first post was a call for
Jade
pillowcase dresses for girls at an orphanage Laswell and
in Jvlexico. She was hoping for five dresses her children
surrou nded
by the deadline, but was delighted to gather by the
and send t\venty-seven (as well as shorts for generosity •
the boys). The next Craft Hope project, two of t he
online
months later, asked for handsewn dolls for crafting •
children at an orphanage in Nicaragua- community. ''
I

and crafters all over the world sent in over •

400 of them.
Jade says the dept h of the response
took her breath a\vay. "I \vanted to inspire
others to make a difference. A simple act
of making a doll and sending it to a child
in an orphanage on the other side of the
world can change h earts and inspire hope.
What I didn't expect \Vas the lives changed
for the crafters as \Vell. I thought \Ve
would make things for people who needed
a little hope and love. Then it became
the giver \V ho was benefiting as well:
the simple act of stitching an iten1 for
a person yot1\Vill never meet."
Craft Hope has hosted 1nore than
sixteen community projects (and
Pillowcase dresses ready to b e delivered to
an orphanage in Mexico.
I \Vould guess maybe 20,000 people have
participated. Many people sign up to make •
ite1ns and then rally their friends, craft
groups, Girl Scout gro11ps. and church
groups to join them. It's a beautiful thing. '
'
We are so gratified by everyone's outpouring ''
of love and generosity."
Jade's 2010 book, Craft Hope:Handmade
Craftsfor a Cause, collects thirty·t'vVO
original projects to make for charity, from
designers such as Amy Bt1tler and Amanda
Blake Soule. Jade says her favorite project
\Vas collecting the sock monkeys, \Vhich her
O\vn kids loved playing \vi.th as well.
"I feel like we are just gaining
momentum and growing," Jade says. I

counting). with new drives announced "Amidst heartache and tragedy I want ••
every few months. Jade, a mother of three, people to stop and think, 'vVhat can I do for
explains, "I really like to focus on. projects someone else?' I V1rould like to plant the seed
for kids." That adds up to 600 h andse\vn in people's minds that one si1nple gesture •
I

sock monkeys for children who lost their changes many lives."
homes to wildfires in Texas; 2,614 hats,
booties, and blankets for babies in India;
5 ,210 delivery kits for mothers and babies
Hllndntade Crafts for Q cause
c__{.'2,c_) For more information,
in .Haiti; and 35,000 colorful beaded, .ti>Ol SIMS
(j() visit CRAFTHOPE.COM.
'-- ----
se\vn, \voven, and knotted bracelets for
orphaned children in Russia.
Jade says, "We have collected over
100,000 handmade items for charity, and

11
sewdaily.com *
 •
sewing room
. ---- -------- ----------- ----------·
~-------------------------------------------------------------------,

PERFECT
PAIRING
Identical twins partner
in their creative work
Text LINDA TURNER GRIEPENTROG

\\Thile many identical t\vins are caught up

in sibling rivalry and competitive feats, Lisa
and Lori Lubbesmeyer of Bend, Oregon, are
working toward the same goal-fabulous
appliqued fiber-art "paintings." But, the most
interesting part is that they \vork on the1n
together, but separately.
Their pieces begin \vith color S\vatches
stitched in place on blank muslin
"canvases." One twin begins the work and l
I
soon, \Vithout a word, hands it off to the
''
- { .
Lori (left) and Lisa Lubbesmeyer work both alone and collaboratively on each f ib er painting.
other. The second continues to add layers of
fabrics and her vision of the outcome. The
piece goes back and forth between the t\vO
I

\VO men-sometimes t\venty times, until

they both "feel" that it's complete. There's
rarely any conflict, as each has respect for
the other's vision of the work, despite not
>-
6:: knowing what that is.
~ Working on about fifteen pietes per year,
~ the t\vins sell their art in their stt1dio/gallery
ii: located in Bend's Old Mill District, and they
::l
w
also do commission \Vork for individuals
CD
w and businesses. In 2003, they \Vere invited
Cl
z to exhibit with the A rt in the Embassies
w
er program, \vhere artists' work is shown in
~

:s>- U.S. embassies around the world.

Color is the starting point for each individual
piece. The fabric is transformed using only
simple stitches and a basic sewing machine.
12
* stitch
~ Lisa and Lori use only simple stitches
~ and a very basic machine for their applique
if \Vork, and ironically, neither has any formal
Lori, left, and Lisa Lubbesmeyer began their sevving education. Lisa is trained as a print-
artist ic partnership in the 1990s. maker and Lori as an oil painter, so the fiber
media \Vas nevv to both \vhen they began
their collaboration in tl1e 1990s.
And, of interest to se\vers- their "stash'.'
consists hundreds o.f 1/.-yard cuts of fashion
and decorator fabrics usually pt1rchased on
an annual shopping spree. Lisa notes "Most
sewers are glad not to be behind us in the
fabric store line!"
...
(J,...Vt:::) For more information,
C10 visit LUBBESMEYER.COM.
 sand dollars and starfish
sling chairs and sunsets
polka dots and stripes
unique fatJric and modern style

/
,.
•
• ..•
. ,-"~ .,_""... ...
.. . .. "\.
•~ ~
••
' ~
• - ;~'
I~
"t:''
" 1''

••• • •• ••
~ t ,~

..... ~ ••• .,. .. ., . ' • '~"'

I

• 6

... . • ..- . ~

... .• ~-

... .,.
-....... -.. .. • -
"" _'.

www. dearstelladesign.com
 •
sewing room
, ,
, ,
,,
I
, I

I
I
I
I
I

,,, I
I
I
I
I

•
I
I
I
I
I
I
I
I
I

'
I
I

' I
I
I
• I

'I I
\
\
I
\

''
'' Text GRETCHEN HIRSCH
''
I ''
'
\
I
''
'' IF YOU'RE IN'fERES1'ED IN DESIGNI NG your
'' own sewing patterns, a basic bodice block is
''
) '' \
\
one of the most important tools you can have.
A block (also called a sloper) is a pattern that's
I ' \

j \
\
\
\
in a inly devoid of design details; it's a blank
slate intended as your design starting point.
\
\
\ The basic bodice block has a je,vel neckline,
\
\ waistline darts, and little-to-no >vearing ease.
'' I make my blocks vvith no \vearing ease at all,
'I I
since I often design garments-like retro party
I

'I I
dresses- that are not intended to have ease.
I I fin.d it easier to add ease, if desired, in the
'
I
I
design stage.
I
I There are b.vo methods of patternmaking: flat
I

I
I patten1making, which is done directly on paper
I
with the aid of a reference text; and draping,
I
I ' which is done directly on a dress form. These
I

I
I
methods each have pros and cons, but I prefer
I
I ' draping because it is intuitive and visual, which
• r suits me \vell. On the downside, you need a dress
I
I
I fonn-and a designer dress form is best. This
I
I
I
type of dress for1n is covered in linen and has
I
u
<.f)
0::
.... '
I
I
r
guidemarks that you can feel \vith your fingers
as you're draping-the princess seams, the raised
I
T I side seams, and the metal ar1n hole plates are all
z
w
I
I
I I there to help you out. I bought nune used on
u
'I Craigslist. You can also save 1noney by 1ooki11g
--
f-
u.J I
0::
CD
'' for student forms sold through university
~
OJ
<.f)
'I I
fashion progran1s.
0
f- I Ho\vever, I have also draped on an
0
I
a_
' I
\ inexpensive adjustable dress form, and it
\
I
\
turned out just fin e. You could even get
I
creative and drape on a hu1nan body! You just
''
need a buddy and a skin-tight top that can be
'
\
\
\ pinned into.
' \

' \
1~ • \
...... .. ... ' \
* stitch '
 •

figure 1 figure 2

11/' lf'flU'
"'f:t.I Ii'
'r

,.
I

I
~
I I
I
J,~ I
·I
•J I
I
\

J
I '
figure 3 figure4 I
I

I
I'
I
I
'
crossgrain of the fabric. To find the '
I
DRAPING THE BODICE FRONT 0 Nowthatyourmuslin is in place, smooth I
I

Let's get started! placement of this line, hold your muslin it over the contours of the dress form in a
I
I
I
rectangle up to the dress form and make a counterclockv.rise direction, starting at the
0 First, you need to prep a piece of muslin. pencil mark at the bust position. vVorking
I
I
I
Medium-\veight muslin is ideal. Start by center front neckline. Smooth the muslin I
I
on your muslin, use a clear ruler to dra\v around the neckline, pinning it in place as you I
tearing it into a piece that's large enough I
a line at 90 degrees perpendicular to your go. Pin ctirectly onto your dress form's seam
I

to cover the entire right -front torso of your 'I

dress fonn, with about five extra inches to
spare all around. Make sure that the piece is
wide enough to go around the entire front
center fro11t line. Finally, fold under the lines, \vhich you will be able to feel through I
I
vertical center front line and create a the muslin. 1ne fabric v.rill buckle and 'vrinkle I
'II
crease on the line with your fingernail. around the c11rve of the neck, so you v.rill need
Now \Ve're ready to drape! I

neck of the dress form. to clip into it with your scissors. Holding a I
I
I

0 If your n1uslin rectangle looks skewed,

0 Start by pinning your muslin in place, pair of scissors vertically, n1ake several clips I
I

matching up the fold to the center front into the fabric, being careful not to cut past I
I
pull o·n the opposite con1ers to straighten the neckline itself. (figure 3) I
line on your dress form, and matching I
I
the grain. Test it by laying the edges on the the horizontal line to the bustline. Pin the I

right-angle corner of a desk- make sure it is f) Next, smoot'h the fabric along the top I
I
muslin in place at the neck, the bust, and plane of the shoulder, placing your pins on I
nice and square. I
the •vaistline. (figure 2) Place a te1nporary your dress form's seam line. I
I

0 On one long edge, draw a pencil liner" pin at the sho1llder line, to keep the muslin I
I

in from the raw edge of the n1uslin. This will out of your \vay as yo11 \vork. Smoot11 the 0 Now yo11're at the armhole. Smooth the I
I

fabric around the armhole, pinning along I

•
be your center front. (figure 1) horizontal line over the bustline, and place I

two pins at the bust apex, or the fullest point the ridge on yo1lr dress form. Yotlr arm hole I
I

0 Next, dra\v a horizon tal line that of the bust. (T•vo pins anchor this spot inore will end about r/," belO\V the metal plate. I
I
I

\vill be placed at the bust to mark the securely than one.) (figure 4) I
I

I
I
I

.... ....... .... ..,,....................

15 ..
I
._. ., ,.

s~wdai ly.com *
.
 •
sewing room

0 'fhen comes the side sea1n. Use your

v hands to pull the fabric taut to the side sean1.
You will begin to notice a "cone" of excess
fabric forming underneath the bust; this \\rill
be your dart. Pull the fabric toward the side
seam, smoothing it to the point that you don't
see any diagonal pull lines. Place pins do\vn
the side seain, feeling for the raised seams on
the dress form underneath. (figure 5 )
1
I (i) Our last steps are the dart and the
waistline. Gather up the "cone" of the dart
figure s excess in your hand and place a pin on either
\ side of it. (figure 6) The dart excess should
'' be placed directly t1ndemeath the fullest
'' \ point of the bust. Use the princess seam line
' \
\ on the dress form to locate this point.
\

' \
\
\
\
l a. No\v, sn1ooth and pin the fabric along
\ the \vaistline. If your dress form has a tape
\
I
\
that n1arks the \vaistline, use the bottom of
I
l the tape as your guide. Make vertical clips
\

' ,,I
along the curve of the \Vaistline, just as you
I did with the neckline. Pin the \vaistline all
' \
\
the way to the center front.
t

' I ~ Finally. pin up the legs of the dart, until

figure 6
' I
I you reach the bust apex.
t
•
I
I
I
MARK YOUR DRAPING
I
I Q) Trim your sean1 allowances down to 1"
I
I
I
outside of your pins. Using a pencil (I like
I
I
one with soft lead because it's easier to \>.Trite
,.
I
on muslin), you \vi]l make little dot marks
I

I
I all the way around your draped bodice. Start
I
I at the center front neck and make dots along
I y;;lj.
...
I the neckline. (figure 7)
;
I
•
~ Repeat rnarking with the shoulder seam,
I
I
I
I
I ann hole, side seam, and \vaistline. (figure 8)
·I

I
I
I
I
,_ 0
e }..1Iake little L-shapes that mark the base
I
I figure? of the dart, then mark next to the pins that
I
I are holding the dart in place. (figure 9)
I
I
I
I
G) Once everything is marked, remove
I
I your drape frorn the dress fonn and place
I
I
j
it flat on a table. See ho\V your pattern is
I
I taking shape?
I
I
I
I
~

G) Using a clear nller and French curve,

I
I
\ connect your dots. Start at the center front
I
I
• ~ neckline and use your ruler to draw a short
..t I line (about an inch) that is 90 degrees
I
\
I
perpendicular to your center front line.
I
I (figure 10) This horizontal line will keep
•
\ your front neckline smooth, rather than
I
I
\
I figures
••• .. 16
.. ~ -~ ''
\
\
\

figure~
figure 11
I
I A
figure 13
dipping into a little Vat center front. Use
your ruler and French curve to connect your
dots all the way arou11d the bodice front Be
sure to draw that same short perpendicular
line anywhere two lines meet to fonn a right
angle, like the u nderann, waistline side, and
waistline center front.
G) When you get to your dart, shorten it
slightly, so that the dart doesrrt end directly
on the apex of the bust. Make a n1ark •/,"
t
figure 10
figuntl2
figure 14
do\vn from the apex and connect your dart
legs to this new lo,ver point. Fold in the
dart as it 'vill be sewn and make sure your
\\raistline seam is straight. Using a spike·
tooth tracing wheel and a lot of pressure,
draw over the base of the darL When you
open up the dart, you'll see little dots from
the wheel that indicate the shape of the
dart excess. Draw over these dots \vith your
pencil to "true" the dart. (figure 11)
DRAPE THE BODICE BACK
() This process is much the saine as the
front bodice.1'repyourmuslin, making your
vertical and horizontal lines. The horizontal
line on the back will be placed along the
broadest part of the upper back. (figure 12)
Pin the muslin in place at center back and
drape in a c1ockvvise direction-drape the
neckline, the shoulder, (figure 13) arrnhole,
side seam, waistline, and \va:istline dart.
(figure lLa)
•
17
sewdally.com *
 •
sewing room
---- --- ------------------------------------ ------ --·--------
------------------------------ --
- -~----

. ---.
----
<"!.-If!".

... .,. ....... --- --

figu~ lS

ABOUT THE AUTHOR

Gretchen ''Gertie" Hirsch is a
contributing editor for Stitch and ci
passionate home sean1stress. She is also
the creator of fhe popular sewing blog,
Gertie's New Blog for Better Sewing.
She teaches sewing_in New York City,
around the country, on PBS's It's Sew
figure 16 Easy, and on Craftsy.com. Her work
ha$ beenfeaturedin various sewing
magazines and wev<>ites.

(!) Trim your sean1 allo•vances to about 1"

(figure 15) and inark your draped muslin.
(figure 16) Then remove it from the dress
form and connect your dots as you did for
the front bodice.

TEST YOUR DRAPE

$ It's time to p1.1t yotrr •vork to the test
figure 17 by doing a fitting on the dress form. Pin
the darts closed on the front and back.
(figure 17) Now, fold under the seam
allo\vances on the bodice front and match
up the seam lines to the bodice back on
the shoulder and side seams, placing pins
vertically to hold the bodice together.
ED Place the bodice on your dress fonn,
pinning it only \vhere necessary to make
it stay on. Place a pin at center front a·nd
back at the neckline and waistline. f\iJake
sure that your center front and ce11ter back
lines n1atch the center lines on your dress
form and th at there is sufficient ease at
figure 18
18
... .. .......... --·
 ,'
;~

--- -.
;

----"'"
,-;'
_, ;;

--- ,-'

--- ------ --
--
----- DESIGN YOUR NECKLINE
Start with a basic bodice block that fits you well. I've kept the darts as
they were and left the focus on th e design of t he neckline. For drafting
purposes, it's easiest to work with a bodice wi th out seam allowances.
0 First, mark the \vidth of the neckline. Drav-r a mark \vhere you want
your neckline to start; mine is about r" in from the shoulder.
O NO\V, figu re out ho•v lo"v you want the neckline to be; an in.ch or
t\¥0 lower than the base of your throat is a good guideline for a classic
boatneck. Mark the depth of the neckline, inaking a 1" horizontal mark
at center front tbat is at a 90-degree angle to the center front lin.e of the
bodice.
O Using a French curve, draw a gently curved line from the shoulder
mark to your center front mark.
0 Repeat Step r on the back bodice shoulder.
0 Decide \Vhere you want your lo\v V-neck in the back to end. I ended
mine so that it just covers a regular bra strap, so no special lingerie will
be needed to wear this party dress! Nlark that point v-rith a small dot.
Using a ruler, draw a ne\v back neckline from your shoulder point down
to your low V-neck point.
O Add seam allov-rances to your pattern.
O Cut out your bodice front and back in your garment fabric.

DRAFT FACINGS
An all-in-one facing finishes both the neckline and armholes of a
sleeveless garment, giving you a tidy look on th e inside of the dress.
O On your bodice front and back pattern pieces, make a mark 2s/s" belov,1
the armhole on the side sea1n and another 1nark 2s/8' below the neckline
at the center front line.
O Using a French curve, connect these nvo lines. This is your facing
shape.
tn Transfer the facing patterns to a fresh sheet of pattern paper.
G> Cut out the facings in your garment fabric and fusible interfacing.

the bustline. To test the ease, place three f! Transfer your pattern to paper at this
fingers under the front at the bustline. point. It's no\V complete and ready for your
(D Next, evaluate the fit and check that o\vn designs!
\ your seam lines match up. I found a
J mismatched point on my shoulder seam, Tfyou'd like to delve further into draping and
so Tcorrected it \Vith an orange pencil. pattemmaking, check out the books Draping
The other problem I found \Vas that the for Apparel Design andPattemmaking
:c
u
'$ front \vaistline didn't quite meet at center for Fashion Design, both by Helen foseph-
V) front; it \Vas too small. So I unfolded a bit Arn1stron9. Though a bit on the pricey side, these
-
Cl:'.
I of my r" extra at my muslin center front books are the gold standard.
zw
:c and made that my ne\v center front line.
u
I- (figure 18) NOW TRY THIS
UI
Cl:'.
(.!:)
>-
co
- ~ After you've addressed any problems,
In Stitch Winter 2011, we showed you
how to draft a skirt. Now you know
0
I-
make the corrections on your muslin in a how to drape a bodice. Put the. two
0
I contrasting color. (figure 19) together and you have a dre.ss. Try it!
CL

figure 19
19
sewdaily.com *
 •
sewing room
TOOLS + TERMS
Draping and pattern draft ing come w ith their own
language. Fortunately, ifs not a difficult l anguage t o
master-and you will reap t he benefits immediately by
being able to make your own patterns and mo re easily
alter commercial pattern s. Let's take a look at some of
the tools and t hen catch up wi th the term s.
TOOLS
DRESS FORMS. Basically a body double, dress fo rm s
range from the professi onal dress form such as the one
shown in this story, to fo rms made by being wrapped
(and removed) from duct tape- to many, many options in
between. Although well wor th the money, professional
dress fo rm s can be expensive, so if you 're on a budget,
try to find a used form or start w ith an inexpensive
model.
clear ruler
,. j J
" ,,
"'
hip curve
trench curve
RULERS. If you have a clear ruler and a French curve in
your toolbox, you'll be rea dy fo r almost anything. Because
you need to see the small dot s that you've marke d on the
m usl in w hile it was on the dress fo rm , a basic 2" x 18"
CLEAR RULER will help you create the lines needed fo r
seams and darts. And since not all lines on your sloper
are straight lines, you will also need a FRENCH CURVE to
help you make smoothly rou nded neckl ines and arm -
holes. Often fou nd in art-supply stor es, French curves
come in many different sizes with curves ranging from
a gentle arc to tight coils. An 8" or 10" model w ith soft
s.lopes w ill give you plenty of good options fo r working
with a bodice. For longer and more subtle curves, espe-
cially if you venture forward into pants dra fting, you may
want to invest in a HIP CURVE, wh ich is a longer ruler
with a very gentle curve.
20
* stitch
spiked-tooth tracing wheel
SPIKED-TOOTH TRACING WHEEL. If you're browsing the
notions wall at your local fabr ic st ore, you s hould have
access to three different styles of tracing wheels. The
most com mon has a w heel w ith rounded serrated teeth
and is used to tr ansfer patter n m arkings to fa br ic w ith
t he aid of dressmaker's tracing !or transfer ) paper. The
rounded teeth leave a patter n of dot ted l ines anyw here
it is rolled over the transfer paper. Also used to t ra nsfer
markin gs are t racing w heels with smooth edges that will
leave continuous lines instead of dotted lines. The third
type of w heel is used by pat tern drafters and is what you
should use tor drafting this bodice. It has very sha r p,
pointed teeth and is designed to leave precise marks in
the muslin for the pattern maker to follow. It's also per fect
for copying a pattern .
TERMS
BLOCK/SLOPER. A very fitted muslin shell tha t is then
tr ansfe rred to a paper pattern, the sloper is intended to
repl icate th e body shape as a guide for fitting and design.
It is generally made up of a bodice and straight skirt,
w hich can be changed to creat e different designs. The
sloper is usually a starting point fo r a garm ent rather
than t he final pattern piece.
DART LEGS. To eli minate excess full ness, a dart is a
stitched fo ld, usually a triangle, that shapes that fa bric.
The two lines that are brought together to create the fold
are called the "legs."
DRAPE. When a designer or pattern maker gets ready t o
dr ape, it refers to laying fab ri c over a dress fo r m to create
a design .
MUSLIN. Muslin is often t he fabric used for draping, and
w hen designers speak of "a m usli n" they are re ferring to
a sloper. Made from an inexpensive fabr ic that r epl icates
the dr ape and weight of the final fashion fabric, a
well- constructed muslin is worth its weight in gold.
In general, you will drape a design w ith an inexpensive
version of the final garment fabr ic. For instance, you
could drape a polyest er ch iffon muslin for a silk
chiffon gown. !For home sewists, a muslin is a test
gar ment made to solve any fitting problems.)
 •

oen 1 .. ..

You've got sewing questions. We have interactive classes

taught by award-winning experts. So you get more than answers.
You get access anytime, advice, insight, and instruction.

Gretchen
Hirsch

Visit Craftsy now to view TWO online

classes taught by Gretchen Hirsch.
She'll teach you how to sew with style,
fit, and retro flair! Enroll in either
(or both) classes now for 50% off.
Simply visit:
www.craftsy.com/gretchen

•
access
 wish list
------------------------------ ----------- ----,
I
I l I Smaller than an I
I
apple. Larger than an egg. I
I J
This Amigurumi Fox is
t I
crocheted in cotton with I
a metal washer sewn into I
' the base so that he will
always stand up. Cute I
and useful, this is one
I
pincushion guaranteed to I
make you smile. 3" tall.
Ivtinibytes, etsy.comlshopl
''
PHOTO BY
MINIBYTES minibytes, $I 5.
PHOTO BY I
t MYDREAM I
t GARDEN t

'
I '
I
I
I 2 I This Red Hot and Wild
Orange Bracelet of red twisted
'
wire with orange glass beads is a 't
one-of-a-kind wearable piece of art. t
The slip~on bracelet a lso makes
a charming mini-wreath. Interior 'I
circumference 8". Bracelet can be
I
slightly stretched or squeezed for
I
PHOTO BY an individual fit . mydreamgarden, I
I SYMMETRICAL etsy.comlshoplmydreamgarden. $34.50. I
I POTIE R'/ I
I t
6 I These Spiky Mugs are seriously fun.
The bright white outside and shockingly '
I

'
I
orange inside will add a little excitement
to your daily cup of tea. Each spike is
I
I applied individually. Sold in a set of 2.
I
Each mug holds 18 oz. symmetrica/pottery, •
I
etsy.co1nlshoplsymmetric4/pottery, $ 38.
I
I
>-
0:: z
(!;>
UJ
-'
-'
<(
(!)
"'w
0

'I z
0
:r:
(!;>

-"'z
~
(..) ~
::;:
~• UJ
<fl z
I z<(
I
~ ,_
0
I >-
())
Q)

0
,_
0 ~

0
0 I
:r:
Q.
Q.
I I
I
I
3 I Romance novels continue I

I
~ I Entirely handmade, this to speak the language of love in '
I
little raku-fued Ceramic Jar
these handmade Recycled Paper '
I
I Roses. Hand cut from old books, I
I with Bird is the perfect size to I
l PHOTO BY the orange rose is a symbol for t
I .JOE PAPENDtCK hold small treasures-or to be desire, enthusiasm, and passion. I
I displayed as a treasure itself. 5" diameter. 12" from tip of bloom I
S I Provide a stylish, vibrant des'tination The bright orange crackle to end of stem. Annemusingdesigns,
I
I
I
for your feathered friends . This Modern glaze will add just the right
etsy:comlshoplannernusingdesigns, $9.
Bird Feeder holds seeds on a stainless steel touch of color to any room. I
I
hammock that rests inside the bright orange 3" X 5". Davis-Vachon Gallery,
'
I wheel. Hot color- cool look. 12" diameter. etsy.comlshop!DauisVachon. $69.
I

I Joepapendick, etsy.comlshopljoepapendick, $78. I

'~----------------------------------------------------------------J
22
* stitch
 Freedom to play
and create.
FreeSpirit Fabrics
www.freespiritfabric.com
866-907-3305
<: upyr11-1hr 20 12 , All rights reserved.

\\ 1c11t~ (/11 1s1n1crs C.ocoon Curious l\1at 111 c

\'0/011 Wt•lls Vt1lo1 i \veils Pai son Gretl'

Gra nd /Iott' / Nighl Shade Sec.tr Flcihes and Glitte1 Petgodc1 Lullaby La J)ce f)a
j enec111 Morri son Tula Pink Tinct Givens 'fl11a Givens Ert11 McMort·fs
 •
sewing room

•
r1c

I HAVE ALWAYS LOVED FABRIC FLOWERS.

Depending on the fabric, they can be elegant
or -vvhin1sical-and are a great way to use up
some favorite fabric scraps. Vlhatever their
shape or shade. these roseb11ds always make
n1e smile. Beca1tse they are so easy to n1ake.
you ca11 experiment -vvith fabric and color to
make flo-vvers that inake you happy. These
beautiful embellishments are attached to
a felt base, so it's easy to pin them onto a
gam1ent or a favorite accessory.

FABRIC
- A piece of fabric 22"x 17"\vill yield about
four flo\vers. Fabric should be lightweight
but still have some body, such as satin,
organza, or cotton sateen.

OTHER SUPPLIES
- Templates A, B, and C and Circle
Template, provided on i.nsert
- 2" square of felt to coordinate with fabric
- Handsewi11g needle
- Thread to inatch fabric
-Thimble
- Safety pin

FINISHED SIZE
Each rosebud is 2" tall. This project consists
of three flo,vers in a small corsage.

NOTES
- All sean1 allowances are 1f.4'.
- Finished flowers are sewn onto a felt base
to attach to a garn1ent.
-1'hread should 1natch the fabric. The
samples shov.1n use contrasting thread to
sho\v the stitches clearly.
- Note the grainline on the templates.
Fabric needs to be cut on the bias so the
petals \vill curve easily.
- See Se\\ring Basics for handSe\ving
techniques.

* stitch
 •

Fold each Gather

. .
piece 1n Pull st itched the next
half and line and shape petal
baste. into a flower around
bud. the bud.

Add the Smooth Combine

last petal the t hree t hree
and tack petals. rosebuds
tightly. on a felt
base.

CUT FABRIC
Trace Templates A, B, and C onto paper to
create the pattern pieces. Mark the grainline
on. each piece.
Carefully follow the grain line \Vhen
pinning the fabric. Finished pieces will be
cut on the bias.
Cut 3 each of Templates A, B, and C.
GATHER+ SHAPE PETALS
· Fold each fabric piece in halflength\vise.
Do not press. Starting \vi th a secure knot,
handse\v a running stitch 114· a\vay from
the ra\v edge. Leave a. thread tail of 3" for
gathering. (figure 1)
Starting with the basted piece from
Template C, pull the thread to gatherthe
fabric and shape it into a bud. Secure the
gathered bud by tacking several tin1es at the
base to retain the shape. (figure 2)
Repeat Step 4 using the piece fro1n
Template B, but as yo11gather it, envelop
the smaller bud within it. Secure the
nlid-size bud to the smaller bud by tacking
through all layers. This piece is now called
the inner bud. (figure 3)
Using the piece fro1n Template A,
han<lsew a running stitch, then gather and
surround the inner bud. Tack through all
layers. It n1ay be difficult to push the needle
through all the layers, so go slowly and be
sure to use a thimble. (figure 'a)
Yott n_o\v have a beat1tiful rosebud.
(figure 5) Repeat Steps 4-7 to create t\vo
more rosebuds.
CREATE BASE
. Using the Circle Template, cut out the
base for the corsage fron1 the felt.
e Whipstitch a safety pin to the back
of the circle. Center the flower on the
opposite side. Secure with a couple of
straight pins. Whipstitch along the edges
of the felt circle where it covers the base
to the :flovvers to conceal the ra\v edges.
Taking a sn1all tack in between each
flower into the felt base \vill help to
stabilize the buds. The amount of stitching
necessary \vill depend or1 the weight of the
fabric. (figure 6)
Attach tl1e bouquet of flowers to yoi.1r
garn1ent with the safety pin.
TOMASA JIMENEZ is a niember ofthe
Association ofSewing and Design Professionals,
1Vorth Jersey Chapter. She unites for sewing
niagazines and is currently pursuing a
certificaJe in Haute Couture at the Fashion
lnstitute ofTechnology in ,New York City.
For further reading:
COUTURE: THE ART OF
FINE SEWING by Roberta Carr

25
···-····-····-~ .. -- -·· ··--·· ···-
sewdaily.corn *
 material world

'
_,
. . ' -
••
" '"'Jc .. . 4

'

A professionally finished
hem can make the difference
between a handmade and
homemade look.
Text LINDA TURNER GRIEPENTROG
- - - - - - - - - - -- - - - - - - - - -- - - - - - - - - - - - - - - - - - - - -
-------- ·- ---------------------------------

26
* stitch
HAND
Hemming by hand is preferred by many sewists, as it creates an almost
invisible finish and offers more control than machine hemming.
----------------------------------------------
----------------------------------- -
1. BLIND HEM
Anytime you want an mvisible hemline that
goes Vlrith the fl ow, so to speak, a handstitched
blmd hem is the ans'vver. Stitched under the
hen1's upper edge, it looks good on the inside
and supports the weight of the hem Vlrithout a
visible ridge on the garment side.
To create a handstitched blind hem, first
press up an even hem allo\vance. Choose an
appropriate edge finish (See "On The Edge,"
page 30).
Gently fold fonvard the upper hem edge
and catch a small portion of the hem edge and
then a small portion of the garment fabric.
Because this is a "blind hen1," only the tiniest
of stitches should show on the garment right
side. Be sure to catch only a fevv threads of the
garment fabric and leave the thread slightly
rela,'<edso there won't be visible pull lines on
the right side. Using a n1atching thread aids in
more invisible stitches. To make the hemline as invisible as
Working from right to left, continue possible, take tiny bites of fabric and
stitching, alternately catching the hem and don't pull the hemming thread too tight.
the wrong side of the garment.
This hem works equally well on knits
(no edge finish needed) or wovens.

2 . FACED HEM
If you're ready to hem a coat, faux-fur jacket,
or something heavy and bulky, turning up a
layer for a hem may not look as finished as
---- r

you'd like. Eliminate the bulk by makmg a

faced he1n .
Begin by marking the garment hem-
line. Then trim on the inside 1/2" belo\v t he
finished length.
For the facing, choose a fabric si1nilar in
color but lighter in weight than the outer
garment fabric. Cut a bias strip of the facing
fabric equal to the he1nlme circumference F?lced hems give you th.e opportunity to
plus any seam allo\vances-usually adding introduce a little color or pattern to the inside
1-2" will \vork. The facing should be \vide of a garment.
enough to support the fabric edge \\rithout
Note: All of t he samples use a contrasting thread for better
rippling or boVlring. Machine stitch the visibility. Selecting a matching thread color will result in a more
bias strip to create a circle. Finish the invisible hem finish .
upper facing edge by turning under and

.......... -........... ...., .... .,._..,..............·27

~ ............ "'...... ,,._
sewdaily.com *

Practice making rolled hems on leftover fabric pieces.
You'll soon develop the rhythm of rolling the hem and
3 Delicate fabrics demand a light touch, and a
making the tiny stitches.
Frequent pinning will help keep the gentle
gathers in place on flared hems.
Press hems in place first-it will be much
easier to keep your stitching lines even.
28
* stitc h
stitching or by pinking or serging for a
:flatter finish.
vVith right sides together, sew the facing
to the ganuent hem line circumference \Vi.th
a 1/4" seam allowance. Turn the facing to the
inside 1/4" from the lo\ver edge and lightly
press the fold line. lJse the blind-hemming
technique to stitch the upper facing edge to
the garment, but not so tightly that it pulls
or sho\vs on the right side.
3. HAND-ROLLED HEM
hand-rolled hem can give even the wispiest
of fabrics a soft, flexible edge. Handkerchief
hemlines, circular skirts, and bias hemlines
on thin, sheer, or light,veight fabrics >vork
'vell \vith this technique.
l'viark your hemline. With a light\veight
thread, staystitch 1/s"from the hem 1nark-
ing. Trim the hem r/8' beyond the stitched
line. Tum the hem up and lightly press on
the stitched line. Roll ai.1other /s'" over the
1
stitched line and hold the hem roll between
your thumb and forefinger. Carrying the
hemnung thread through the fold, invisibly
tack the rolled edge to the outer garment
\vi th stitches about r/~" apart. Leave the edge
\Vitha soft roll
4 . EASED HEMLINE
Not all garments have straight-cut side seams;
son1e create a flare so the edge being hemmed
is actually wider than the garrnent area it's
tuming into. What to do \vith the excess
fullness? A11 eased hemline is the answer.
Mark your hemline and add the extra
for the hem. Trin1 the hem line edge evenly.
Lightly press the lo\ver fold so the hen1 rests
inside the garn1ent.
Determine an appropriate edge finish for
the hen1. A pinked edge works well as it doesrrt
add any additional bulk to the seam. For a
lace-or seam-tape finish, apply it to the upper
edge \vhile keeping the fullness gathered in.
To dra\v up the excess fullness, run a
basting stitch (hand or machine) along the
upper hem edge and gently gather until
the hem fits smoothly inside the garment's
wrong side. Don't pull too tightly- leave a
little play in the gathers.
Choose an appropriate hem stitch for
the fabric and attach the upper edge to the
garn1ent.
 MACHINE
For casual garments, those with straight hemlines, or simply for a quick finish,
machine hemming works well. Keep in mind that the stitching will show on the
right side. Although a machine-stitched hem can be any depth, most commonly
the hem is narrow, and the stitching is done near the top fold of the inside edge.
--------------------------------
---- - -----
-----------------~--------------- ----
5. NARROW HEM
One of the easiest machine hems to make,
a narrow hem is also quick to stitch. It's
appropriate for the lower edge of a shirt
or blouse, a full skirt, or the layers of
light"Vveight sheers for evening\vear.
Trim the garn1ent hen1 to length plus =

r/,". Press up the hem </4" to the \Vrong side

t\vice and edgestitch in place using match-
ing thread. Stitch a double row for a ready-
to-wear look. To make narro\v hemn1ing
even easier, insert a piece of 1;· fusible web
1
3
tape to hold th.e pressed layers in place
before stitching. This also adds body to the
he1nline, eliminates the need for pins, and A successful \
assures a no-slip stitching process. blind hem
depends.
6. BLIND HEM on careful
Machine blind hemming is often one of the folding.
first skills taught to ne\v machine owners.
Jt works well on many garn1ents (especially
prints), straight-cut hems, and bulky fabrics
such as \vools and fleece.
'fhe n1achine blind he1n is sewn \Vi th a
stitch that alternates several straight stitches
"Vvith a larger zigzag "bite" stitch that catches
the outside fabric. (Blind hems for knit
fabrics V1rill alternate several narro\v zigzag
stitches with a \vider zigzag bite.) The goal is
to have the bite show only minimally on the
••
garment's right side.
~
The key to successful blind hemming
is all in the folding process. First, finish the
~~~~"'-"'""""'!"; I
hem edge, then fold and press the hem in
1Jlace. Next, fold the gam1ent do\1\rn onto the
hem so that just the hem edge extends be-
yond the fold and pin in place. The stitching Binding the
goes on t he hem extension. hem with a
The straight stitches are lined up on the complementary ,, -:- c
·iJ'·'J
~ .. _
,~••.:.;>_·}.J~
fabric adds ..... , .. ·.•.
....___•• "'···-
folded hem extension- close to the hem .........
. ~· .. ·-- ··,:,..~
··...:-......r.
a delightful _, __
~~

edge-so the zigzag bite barely catches the

designer touch.
garn1ent fold. If the bite is too big, a large
visible stitch "vill sho\v on the gar1nent's

29
..... - ................ .i ..... , ..... ,,, ....................._...,,..... -1. .. -

sewdaily.com *
 I
I
I
I

w I
I
right side; if the bite is too small, the hem
will not be held securely. Stitch carefully,

I I
I
I
using the foot as a stitching guide. Once
you've stitched the hem, unfold and press.

~ Depending on the type of hem you're using and the fabric, there
are several ways to finish a cut edge before stitching the hem.
Z Choose a finish appropriate for your fabric and that Is the flattest
possible so yowr hem edge isn't visible on the garment's right side.
i\tJany machines con1e 'Arith a foot
I designed specifically for this process. If one
I is available for your machine, follO\\' the
I instn1ctions for stitch settings. vVork on a
I
I
test piece first to get the feel for the process.

0 The simplest and flattest hem edge is an unfinished one..On

fabrics t hat don't ravel- such as knits, faux suedes, or fleece-
or on garments where the upper hem edge w ill be covered with
I
I
I
I
I
7. BOUND HEM
A bound hem adds a little trim detail-and
you can expand your design options by
a fining, there's no need to finish the edge. Otherwise a finished I using either matching or contrasting fabric.
I
edge is the first step in the hemming process. I It's the perfect foil ifyou've accidentally cut
I
To determine the best edge finish for your project, make a I a garment too sh ort, as there's no turn"UP
I
sample usfng your fabric and one of the suggested methods. I length needed. The binding also acts as the
I
Use this same sample to test hem stitches to find the best one I edge finish-it's a t\vo-for-one finishing and
I
for finishing. I hernn1ing method.
I
I This binding technique works on both
I
rf you p refer a slightly I
I curved ai1d straight hemli11es. Bias binding
decorative edge, use I
I is effective for both straight or curved edges.
pinking shears to finish I
I Straight-cut binding can be used only on
the edge. For a little I straight hems.
I
more stability, combine I For a fin ished •/," binding, trim gannent
a row of st itching with a I
I to the desired length. Create enough bind-
pinked edge. I
I ing to go around the entire hem edge-don't
I
I forget to allovv a fevJ extra inches for the
I
I seam allo\va11ces. For a •/," finished binding,
On straight hems where easing isn't I
I cut the original binding strip 2 " wide.
necessary, a turned and stitched I
I Beginning at a side seam, pin binding to
hem edge works well on light- to I
I the ganuent, right sides together, matching
medium-we.ight fabrics. I
I the cut edge of the binding to the hem edge.
I
I In the example of a 1/i" binding, you would
I
I stitch the binding to the garment using a
I
I •/," seam allowance. For other binding
You can also use your serger I
I \vidths, adjust the seam allowance so that
to overcast the hem edge by I
I you are stitching this first seam in the first
machine. If the hem is curved, I
I pressed fold of the binding.
adjust the differential feed I
I Press the seams toward the binding and
setting to help lightly gather in I
I tl1rn the folded binding edge to the wrong
the fullness and finish the edge I
I side just past the stitching line. Pin in place
in one operation. I
I and stitch by hand for an invisible finish or
I I
I stitch in the ditch of the binding seam by
I 1nachine to catch the binding's underlayer.
Covering t he upper
I For a visible stitching line, topstitch on the
hem's raw edge is also
I binding. Press for a crisp edge or leave the
an option. This can be
I binding \Vith a soft fold.
done with seam tape or
narrow lace, or create I
your own lightweight I LINDA TURNER GRIEPENTROG is a
binding. I contributing editor for Stitch and the owner
I ofG Wiz Creative Services. In addition to
I writing, she leads fabric-shopping tours to
I Hong Kong for theA merican Sewing Guild.
I
30 I
* stitc h I
 FEL.TED fL@WER BY HWD FELT

~O~CL U,,'1,,CL Modem prints on premium organic cotton

for quilting, sewing, apparel and the home
fresh . organic. fabric .

31
sewdaily.com *
 profile

lab manager by Oay, artist by night

A fiber artis t and
feltmaker gleans
inspiration in the
most likely and
unlikely places
Text MARY WALTER

A DAY TNTHELTFEOF .1\RTIST

VICKI JENSEN is a rich one. H.ovv she
arrived \vhere she is today has been
a complex journey. Her early family
influences and education naturally played
a part in her creative DNA, but in her current
life, they reveal \vhat she has created and
\vhat she might show us next.
Jensen loves vvorking \vlth fibers, vvool,
and dyes- it is \Vhat she thinks about daily.
Professionally Jensen is e1nployed at a
Massachusetts chemical and dye company
\Vith many overlapping tasks that need
attention. An average day could include
scheduling the next group of fiber-related
c:lasses, finding a talented teacher to 111ake it
happen, and then promotingth.e class and
supplies on their website.

z
l.lJ
v;
z
w
-,
:s:
(_}

>
>-
en
<f)
In Fallen Leaves, above, Vicki Jensen uses 0
l-
wool, a time-honored mat erial, for her modern o
:r:
interpretations of t he nat ural world. Right , detail. a..

32
* Stitch
 There is a lot of
,
and pa.eJlCe,.
,
to
promoting CJ1 9Jr
- V ICKI JENSEN

In her lab manager role, Jensen tackles

t he testing and quality-control requirements
surrounding the rnany products available
to today's fiber artist. She takes this
responsibility seriously and stresses the
importance of maintaining a quality product
\Vhile providing the necessary instructions
and safety literattue. Jensen adds, "There
is a lot of 1n ath and science to promoting
creativity." At her job she has grown
accustomed to vvearing many hats.
It is not uncommon to find her back in
the lab after hours or on weekends. She is
able to walk to work and often does just that
when she has an idea. The combination of
her technical expertise, t'he influences of the
natural world around her, and her desire to
create, merge in a magical •vay.
When Jensen begins a new piece of
artwork, she has a plan in mind. She has
thought about the imagery and materials include other materials and tech niques
she would like to combine to support her such as silk organza, freeform lace,
artistic vision. and embroidery. In her piece Old Man's
She starts \Vi th merino wool roving. Beard Moss, Jensen incorporates layers
Roving is the natural-colored rav.1 wool that of subtle color and texture, capturing so
is ready to be spun into yarn, dyed, or felted. expertly t he texture of her subject with
She dyes her wool v.rith colorfast acid dyes conte1nporary embroidery and •vet-
to capture the colors of her design.1nis felted merino \l\IOOl that ad1nirers aln1ost
involves adding color, then steaming to forget they are viewing a fiber version of
permanently set the dye. Once the \vool is nature.
dyed, wet felting co1nes next. Tn Fallen Leaves, pale organza leaves are
Jensen is dra\vn to the idea that wool embroidered and layered on a richly dyed Top, in Vicki Jensen's hands,
is one of the oldest forn1s of textiles and stitched ground imbuin.g the rusty reds contemporary embroidery over
wet-felted merino wool creates
u sed. "Wet felting is a tin1e-honored and oranges of the season \vith the stitched a fi b er expression of the natural
t echnique," she says, "that employs shapes of many leaves. Jensen engages world. Detail above.
olive oil, soap, and abrasion to produce her vie\ver to investigate the colors and
a non-woven textile." After fe lting, the shapes of the season in a sophisticated, yet Ge).[) For more information,
animated scene, implying •vind and falling
'(jt:.) visit VICKIJENSEN.NET.
dyed piece is ready for the next step
in t he design process- embellishing leaves. The visual and tactile combination
and handstitching. She employs of her art\vork is a satisfying and inviting
conte1nporary stitching methods on the message to the vie\ver, leaving one with
felted 'vool in her art\vork. the desire to see more. It is a pleasure to see
Most of the thread that Jensen uses is the vision inside the nlind and hand of this
traditional embroidery floss, but she does artist's beautiful textiles.

33
sewdaily.com *
 material world

ING
ITH
Text LINDA LEE

I REl\ilEMBER WHEN Kt\JIT FABRICS vvere

hard to find. Novv, the abundance and variety
available to the home sevvist is unbelievable.
And \\r:ith that con1es the challenges of
taming and tackling this huge range of knit
selections.
Where we once had n1ostly cotton
interlock and vvool jersey, novv \Ve have
new fibers and blends such as ban1boo and
soy, nevv weaves and text ures, and many
vreights-from ultra-sheer and super-stretchy
to double strength and fairly stable.
AlJ knits have some things in common,
though. They are created by a single fiber
that is looped, not \voven. They will not ravel
\vhen cut. And they stretch, son1etimes one
\Vay only, but very often, in all directions.

THIN GS TO KNOW
ABOUT KNITS
While there are many terms that apply to the
knit category, there are four that are the most
usefu l to knovv as you n'l.ake a purchasing
decision.
Jerseys, or single knits, have lengthwise
ribs on the face and horizontal purl loops
on t he reverse. All cut edges curl to the right
side. (figure 1)
Double knit s have lengthwise ribs on both
sides so they look the same, and th erefore,
are reversible. They are heavier than jersey
knits and do not curl. (figure 2)
Interlocks have fine ribs on both sides like
LU
LU
....J
a double knit. They are slightly heavier and
~ have less stretch than jersey knits. The edges
z do not curl. (figure 3)
....J
>-
00
(/) Rib knits have prominent ribs on both
0
l-
o sides. They are used mostly for finishing and
:c
Q_
trimming hems, necks, and wrists. (figUl"e 4)

Knits requi re a few special

techniques- worth learning!

* stitch
TYPES OF KNITS
ligure l: jersey figure 2:
double knit
CUTTING AND
LAYING OUT PATTERNS
Here are some simple guidelines for success
in laying out patterns and cutting knits.
• Use the uwith nap" Jayout so you \vill get
uniform color shading. A fabric with "nap"
\Vill appear to have different shades from
dlfferent angles. So1netimes it is not until
the fabric is vertical on the body that you
can discern a tonal difference Cut your knit
so that the nap runs down the length of the
pattern piece.
• Lay out the pattern pieces so the greatest
stretch goes around the body.
• Do not allow the fabric to hang over the
edge of t he cutting sttrface-it will stretch,
and you >vill not get accurate cutting results.
• If the fabric torques or is hvisted after
v.1ashing, cut a single layer at a time. It will
be impossible to line up the selvedges and
establish a true straight of grain. Visually
line up the ribs as best you can.
ACHIEVE GOOD
STITCH QUALITY
Using the appropriate and best thread is
important when se\ving !..-nits. Buy quality
polyester thread that is cross-wound on the
spool Don't be tempted to buy bargain thread!
Why polyester? Polyester thread has a slighl
give that keeps it frorn breaking when a knit
stretches. ff you have a serger, buy four spools
\vnen you buy your fabric-one for your
se,ving machine. three for your serger.
ligure 3: interlock figure 4:
rib knit
It is mvays good to keep a supply of all
sizes and types ofinachine needles. When
PRESSER FOOT
your sewing machine is not behaving and OPTIONS
you are seeing puncture marks, skipped
~-
stitches, or puckers, change and experi rnent
with different needles. Start with a univen;al
needle. Then,if needed, change to a ball-point
(also called a jersey) ora stretch needle. For figure Sa:
a finer \vcight of fabric, use a smaller needle. clear presser
foot
And it's always a good idea to start a ne\v
project with a new needle.
The correct presser foot is also helph1l for
good performance. Using a clear presser foot
(figure Sa) allows you to see your work.
Using an edgestitch foot (figure Sb) allows
you to topstitch a precise distance fron1 an
edge. And add a walking foot, also called an
figure Sb:
even-feed foot, (figure Sc) to your arsenal edgestitch
of accessories. Tt will change your life. foot
This foot v.riTI preve11t fabric "creep." thus
acbjeving sn1ooth and flat seams, hems, an.d
topstitching.
Another useful accessory is a single-hole
throat plate. If you are using a se,ving
machine that also embroiders, then it is
likely that the fabric \viii get pulled do\vn
into the large-opening throat plate that is figure Sc:
designed for multi-directional stitching. A walking foot/
single-hole throat plate helps feed Lhe fabric even-feed
foot
through more easily.
If you are still having problems getting
a quality stitch, try loosening the pressure
on the presser foot. Check your machine's
manual for the location of the pressure
knob or dial, and foUow Lhc rnan ufacturer's
recommendations for altering the pressure.
... ...... ... 35
.. .
sewdaily,com *
 material world
HEMS+ SEAMS
figure 6: single
narrow zigzag
SEAMS AND HEMS
Before beginning to sew a knit gam1ent, it
is iinportant to perform a few tests. Because
every knit behaves differently with every
machine, no one method of sewing knits
\VOrks every time on every knit. You can
make the same pattern in five different
knits and not stitch them in the same
way. Now is the time to sew so1ne practice
sa1nples to determ1ne th.e best stitch to
use for sean1s and hems, whether you will
use a serges or not, and if you need so·me
additional se\~1ing aids.
Here are the seam stitch options.
Straight stitch: Use a straight stitch
\Vhen the garment is fairly loose and not
extremely fitted. Loose garments do not
put a lot of strain on the seams, so popped
stitches are less of a problem.
Single narrow zigzag: Use a narrow
zigzag of 2.5rnm length x .5mm width when
the gannent is fitted and needs to stretch
\Vhen it is put on or during \Vear. (figure 6)
Two rows of zigzag: Use a double ro\v
of zigzag stitches when the fabric is curly
or more reinforcement is needed. Se\.\' the
firsl row along the seamline using a 2.5mm
length>< .51nm width stitch setting. Sew the
seco11d ro\v next to the first, within the seam
36
••• •• • • • ••••
* s titch
figure 7: two figure Sa: 3-thread
rows of zigzag stitch serged seam
aJJowance, using a \Vider setting of 31n1u
length x 41n111 width. (figure 7)
A note about the stretch stitch: So·rne
se...ving machines come \vith a built-in
"stretch stitch.tt r find this stitch to be a bit
heavy and that the single narrow zigzag is
more effective.
All machine-se\\111 seams can be trimmed, or
left untrimmed, and pressed open OT to one
direction. 1'he degree of curl \'Jill dictate this
decision.
Serged seam: Use a 3-thread stitch
(figure Sa) fonnation for light\veight
and semi-sheer knits with a loose fit. Use
a 4-thread stitch (figure Sb) formation
for heavier knits and more fitted,
performance-type garments.
HEMMING ON KNITS
PREPARING THE HEM
Since a garment is generally hemmed on the
cross grain-\vhich is the direction with the
most stretch-it is important to control the
s:tTetch so the he1n will lie flat. The correct
presser foot, stitch selection, and se\ving aid
\vill alleviate this proble1n.
Let's start wi Lb sewing aids. Ln most cases,
using fu sible web tape (figure 9a) will
do the trick. These tapes are paper-covered
strips that are fused to the wrong side of the
figure Sb: 4-thread
stitch serged seam
hem. The paper covering is removed, leaving
a narrow band of adhesive. The hem is then
fused in p]ace, allowing you to topstitch
without fear of fabric creeping.
A second option is to use a knit fusible
hem tape (figure 9b), which is a strip of
tricot interfacing with fusible on one side
only, so it needs to be sewn or serged to the
hem first before the hem is fused in place
for topstitching. Thls product is available in
various wi.dths depending on th.e finished
width of your hem.
STITCHING THE HEM
Once the hem is stabilized, it's ti me to
choose a stitch. Ttis al"'iays a good idea to do
some test hems on your particular knit.
Straight stitch: This is the cleanest solution
for a sophisticated look, especia 11y \Vhen the
gannent is not dose fitting.
Double needle: Thls stitch emttlates a
ready-to-wear finish '1vithout using a serger.
It stretches nicely so stitches don't pop.
Experiment with the needle widths. ·rhe
wider the needle set, the more apt the fabric
will tunnel (form a little bu1np) between the
stitch ro\VS.
Cover stitch: With the introduction of the
cover-stitch option to the home se>vist, we
can now create a true ready-to-wear look
on our knit garments. Some sergers have a
SEWING AIDS
figure 9a: fusible web tape
cover-stitch fea ture or there are dedicated
cover-stitch machines.
Raw edges: Many high-end knit garments
do not have finished edges, and it is an
especially funlook\vhen the fabric curls. It
makes for a quick-finish garment, too.
THE READY-TO-WEAR
NECK BINDING
This lnethod of finishing a neckline does
not actually bind or completely cover the
raw edges of the neck opening, but the
applied trim lies flat and is less bulky than a
traditional binding.
O For the neck binding, cut a strip of knit
on the crossgrain 2 1/ 4" \vi de and the length
of the neck opening less 10 percent. Sew the
short ends together and press the seam open.
O Fold the binding in half lengthwise,
wrong sides together. Chalk 1nark a line on
the binding 3/8' from the folded edge {not
from the raw edge).
O Divide both the binding and the neckline
into quarters and ptlt a pin at each mark.
Matching the four markings of the binding
to the neck opening, pin the binding to
the right side of the garment, aligning the
ra\v edges. Place the neckline seam of the
binding at the center back.
G As you stitch the binding to the neckline,
hold the garment at the pins and stretch
figure 9b: knit fusible hem tape
gently until the binding matches the
neckline. Stitch on the chalk line-fro1n
one set of pins to the next. Keep an eye
on th.e left side of the presser foot to make
sure it is al\vays an even distance from the
folded edge. The seam allo\vance may not
necessarily be exact.
0 Fold the seam allo\vance to the wrong
side into the neck opening, exposing the
finished binding on the right side. Move
the needle position to the left of the center
position and stitch next to the "veil of the
seam through the garment and the seam
allo\vance. Use an edgestitch foot or walking
foot to stitch evenly. (figure 10)
O Use a 3-thread setting to serge the ra\v
edges of the binding and garment. This is
delicate \vork, so work slowly and carefully.
Tf you choose not to serge this seam, then
trim the ra\v edges neatly.
0 l'Jace the neck opening over a tailor's ham.
Lightly steam and finger press the binding.
Shape the binding to a sn1ooth neck curve.
Mastering basic se\ving v.rith knits techniques
\vill give you the confidence to expand your
sewing horizons. Enjoy the journey.
LIN DA LEE is the owner ojThe Sewing
Workshop Pattern Collection and producer
ofSevv Confident! Class in a Flash, the only
figure 10: Edgest itch foot
learn-to·sew progran1 with a year ofgarment
sewing education in easy-tojollow classes.
37
sewdaily.com *
 material world

CREATE A CHIC NEW TOP

FROM OUTGROWN T-SHIRTS Text LINDA LEE

How m any of us have saved our children 's

T- shir ts because they are just too cu te
to throw away? Ra ther t han store them
in a plastic bin, think about getting them
out, cutting t hem up, and using them as •
•
, ,.•
"fabric" to embellish a new garment that v~

som eone m ight actually wear.

• Choose a basic T- s.h.irt pattern and. use

it as the basis to bre ak apart, ret hink,
and use as a canvas to embellish with
sentimental l ittle bits of fa bri cs ..

• I collected a few fun graphic T-shirts

from my daughter 's cl oset of outg rown
clothes.

• Then I laid out the front pattern pieces

in the w ide- striped knit on a flat su rface.
Carefully (and reluctantly), I cut some
generic- sized squares of fab ri c fro m my
daughter's T-shirts.

• I made a pocket piece in one contrasting

fa bric-makin g sure to choose a m oti f
that was bold but a sim ilar value to the
background.

• Sometimes the mot ifs spoke to me-

a semicircle to preserve , a zigzag to use,
some great lettering as a highlight. Ot her
times, I simply cu t ran dom pieces without
regard to size or shape. Through a process
of moving t he small pieces around like a
puzzle, the balance of color and pattern
emerged. I mixed a few basic stripes f rom
my stash and .continued to play.

• Once I established a look t hat I liked, I

took a dig ital photo to record the placement
of the pieces. This also allowed rne to look
at the overall design with a fresh eye. Using
a chalk marker, I outlined the general shape
of the appl ique pieces, so I would know
where to place them again.
• I used fusible web tape to hold the pieces
in place. A temporary spray adhesive woul d
also work well. A.fter all of the pieces were
fused, I stitched them in place, mixing
both straight and zigzag stitches. Using
Snippets from outgrown T-shirts fin d new life in thi s trendy top. Use fusible web or
temporary spray adhesive to hold things in place· while stitching.
my machine's walking foo t prevent ed the RESOURCE: The pattern
knit fab ric creeping and kept t he pieces flat for the shirt shown here
w hen stitching in place. is the Urban T-Shirt from
SEWING WORKSHOP.COM
The shirt I'm planning next is making
a Typography T w ith words I'll be cutting
fro m my daughter's high school shirts. Get
your fami ly's old T-shirts out of storage-
it's easy to stitch new life irito t hem I
 Pat;chwork
Forest;
Quilt; Kiti ,. .
• •, • "'"" '.-'l"
,,~ .....,. . ..

.JL.. Uk• ~ on
LJ Facebook

Like us on Facebook to enter:

www.facebook.com/sulkyofamerica
or visit our website at www.sulky.com

........... ··- ... ......... 39 -·~· ~

sewdaily.corn *
 profile

a strand of

The story behind the 200 -year evolution of Coats & Clark
Text SUSAN BEAL

WHEN YOU REACH for a new spool of thread to start a sewing project
or mend a favorite garment, chances are you don't thinlz much about
how that thread was made. You probably also don't wonder why each
perfectly consistent, colorfast strand works so effortlessly whether it's
threaded into your machine or used for handstitching with a needle.
Thread's evolution from an undyed, laboriously home-spun product to
being part of a lavish display of thousands of colorful spools has spanned
two centuries of technological innovation. Its evolution mirrors the
Industrial Revolution's impact on industry of every kind.
.rao
* Stitch

Innovation in thread construction and material made education an
important component of the Coats & Clark story.
The story of Coats & Clark is a
micro-history of th.e modem se\ving
industry itself, from its roots in European
trading to its expansive growth.in the United
States. From homegrown inventiveness
that revolutionized the textile vJorld at a
small Scottish mill in 181 2 through t\venty
decades of innovative gro\vth into a global
com.pany, the 'l\vo Great Nam.es In Thread"
have navigated cultural shifts, from the
invention of the sewing machine to ha ute
couture. And they have inspired 1nillions of
women in their home se>ving. But how did
this company-and modem, mass-produced
thread-eve11 come to exist?
THANKS TO A
FRENCH BLOCKADE
In the early 1800s, Napoleon's France
blockaded British ports from receiving ai.1y
merchandise or materials. This crippled
many industries, including the weaving
mills of Paisley, Scotland, which employed
thousands of people to make luxurious
shawls in the style of Kashmir, India.
With no ne>v silk available, production
THREAD...one of the great small th· .........
O.N.T. (which stands for "Our New Thread")
was an instantly recognizable trademark.
of sha\vls and other fine fabrics stopped
abruptly. James and Patrick Clark, two
brothers who owned a loon1 equipment
shop, savv their once-robust business
buckling. Patrick came up with a new
technique for tvvisting n1ultiple cotto11
yarns normally used for \veaving into a
fine, strong, and smooth se'vving tl1read.
His product vvas versatile enough for use in
loon1s as well.
The revolutionary Clark cotton thread
replaced the more costly silk that the
::<'.'.
a::
:)
u
o()
~
u
LL
0
~
~
:::>
0
u·
(/)
~
0
:r:
0...
blockade had made scarce, and in 1812, the
Clark brothers opened a ne\v factory- the
first ever dedicated to cotton sevving thread.
Along >vith supplying shops and mills, they
sold hanks of their thread directly to local
sea1nstresses. They then began winding
it onto wooden spools, another up-to-the-
min.ute idea. The French blockade had
inadvertently sparked and nurtured a brand-
ne>v British industry.
RIDING THE WESTERN WAVE
Jan1es Coats, ar1 experienced weaver, adnllied
the Clarks' success and began manufacturing
thread himself in a small factory in 1826. His
sons, James and Peter, took over the fami ly
business in 1830 and called their expanded
con1pany J. & P. Coats. Coats \vas knov.rn for
their six-cord machine cotton thread, \vhich
quickly gained prominence in the market.
Mean\.vhile, Clark's thread was brought
to the United States on British ships.
American fashion and home se\vingvvere
both quickly influenced by this ne\v
product, \vhich \Vas affordable, plentiful,
and easy to use. As the first sewing machines
41
sewdaily.com *
 .............................
Two.»a.&.w•11 o>.an•~Te.
~- ..t•"'*'··· .......".... -
2:J lb
~
....

-~ ...
~- 8Jltt
S£1(0 ORDERS TO s1x-coao.

tlO $;f:!.bEt<iE,f"i;IB CABlti$TS .

- ·
ui;w ,'. N St'X ORAWS~ CABIN.Et.
CHE'.RRY. Bl.ACK WAlNUT OR ASH
FOUR DRAWE:R CABIN!i:T CONTAIN I NO 100-ooz E:>I.
CHS:RRY. 8 LACK WALNUT OR ASl-l
DRAWE'R GABlNET; CONT/.fNINO 50 OOZ'E M

CHERRY S.LACK WALNUT OR ASll •

---
C0"4Ti'llNJNG ZS PQZt:;N.

:::<:
a:
5
(.)
Dry goods
.0
merchants
....
"'
<( received
- - -· 49.KDl'tJ: 0 tree spool
0
u. cabinets
0
>- with their
<ft
...,...:,:-..._ •I: I•• thread

--
w
'Wnl.. ~ • ....... • .. -a: orders.
• .*.I - :::> These are
-·· , =.. .. _
• • • ...• • .... 0
0 highly

--
~ _ ........- ... •+:...- ~
VI
:..,.
-
r: = 0
,_ collectible
"""!14~~·-
..
·--··-.... • •
II :J".l"-
.
0
J:
a.
antiques
today.

\Vere developed in the r84os and r 85os
and becanic \videly available overthe next
dec.:ides, a whole new style of thread was
needed.
Un like the sturdy g1azed threads
traditionally used for handsewing, machine
f
thread needed to accommodate a faster
stitching pace and a much more intricate
Lhreadingpattem \vithout breaking or
failing. George Oark, the grandson of James,
inLroduced ·o.N.T." (which stood for "Our
NC\\ Thread"), which combined the durability
ofa six-cord thread \\'ith innovative softnes.5
and nexibility-fucling1he new machines as
this phase of the Industrial Revolution S\vept
through textile and garment manufacturing.
"O.N.T." became an instantlyrecognizable
trademark and \Vas-printed on packaging and
the labels on top of thread spools, in general
stores and dry goods sh ops. Clark's was a1so
the first co1Tlpilny to guarantee their black
Lhread as "boiJ-fast," a 1n ajor accomplislrn1enl
in an era of uncertain dyes.
1' hough both Coats's and Clark's products
had been .:ivailtlble in the United States
ror decades. th\! co·1npanies exclusively
manufactured and exported their thread
[rom Brit.:ii n. They were very populm in
America; it was said that every covered wagon
heading out on the long journey West carried
a precious supply of their thread to satisfy
demand on the frontier.
BUILDING THE STRAND
Ho\vever, \Vhen the Civil \Var brought
blockades, expensive tariffs. and other
obstacles to their thriving American market.
each company set up their own mills
stateside. Jn 1864, Clark opened its first
U.S. factory in Newark. Ne\v Jersey, \Vbile
). & P. Coats built its factories in Rhode
Island six years later. Coats also opened
a special ractory to build wooden spool
cabinets for displaying thread at general
and dry goods stores. These were distributed
[rec Lo merchants >vith an order. Thousands

........... .... .. .
 In 1846, John Clark of
Glasgow, Scotland,
developed a machine that
would turn the spools
for winding thread. The
"Glasgow" Clarks and the
"Paisley" Clarks merged
their interests in 1882.
of spool cabinets, in hundreds of different
styles (one for each selling agent) \Vere
inade. These are valuable antiques today.
By the r 88os, both Coats and Clark
distributed colorful lithographed trade cards
to customers, from hun1orous scenes of
Victorian children to charming Gibson Girls.
These stylish cards \vere very collectible-
1nuch like gaily printed flour sacks-and
ofcen included a calendar or color charts
for matching threads. Tn 1896, Clark's and
J.P. Coats consolidated their interests \Vhile
retaining their independent identities. Shortly
aftenvard, The Spool Cotton Co. became
the sole selling agent representing both
co1upanJes.
As the t\ventieth century opened
and factory-made clothing became more
prevalent, women's Se\ving shifted to reflect
fashion and tailoring rather than necessity.
Coats and Clark began introducing new
lines of embroidery floss, darning thread,
and other garment se\ving necessities such
as bias tape, seam bindings, and zippers-
often in bright, fashionable colors that
coordinated \vith their threads. Coats &
Clark offered affordable notions to \vomen
sevving at home during the Great Depression
of the 1930s, and sponsored national 4-H
clothing and textile competitions as the
economic crisis and then World vVar II
made new fabrics and other materials less
accessible.
COATS MEETS CLARK
In 1954, J. & P. Coats and The Clark Thread Co.
formally merged and first became known as
Coats & Clark Inc. Tn this golden era ofhome-
Se\ving popularity, the company's thread and
products were always on trend, in colors and
styles reflecting everything fTom couture
Lithographed t ra de cards were very popular w it h customers
in t he 1880s.
fashion-such as the glamorous dresses Edith
Head designed for her films- to Butterick
and Simplicity Se\vingpattems, which
made fashionable clothes accessible to every
vvoman \vi.th a sevvil1g machine.
By the early r 96os, a new Coats &
Clark product, Dual Duty Plus, combined
cotton and polyester in a sjngle versatile
thread. like "0.N.T" decades earlier, it
revolutionized the market by providing an
innovative new product. T11e nevv thread
was perfect for creating Hp-to-the-minute
styles in natural, synthetic, knit, or \voven
fabrics-even combining different materials
in the same conte1nporary garment-
\vithout having to stop to change the thread.
Sewing \Vas a boo1ning industry, with
$1 billion spent in 1963. By 197 4, an estilnated
44 million \Vomen in America were sewing.
Ronald Reagan proclaimed September as Thomas Edison used a
National Se,ving Month in 1982, an event strand of Coats' Cord
Coats & Clark continues to celebrate today. No. 29 in one of his many
Ne\v thread and se\vingproducts have
changed with the tin1es over the last few experimental light bulbs.
decades, reflecting the recent innovations It burned for over thirteen
such as rotary cutters, sergers, and hours and "was the sign
embroidery machines. Though home
se\ving has declined from its lofty at last that they are on
nu1nbers of the 196os and 19 70s, today's the right track."
sewists and designers enjoy \vorking with
sophisticated fabrics and are influenced
sewdaily.com *
 I

f
Like the popular trade
cards of the 1880s, fun
promotions such as the
"Spool Zoo" were included
tI'
I
in packages of bias tape '::<'.
o;
<{
_J

during the 1930s. Children (.)

oil
<J)
could collect all six printed \:;:
0
(.)
zoo animals-a zebra, u.
0
>
hippo, fox, bear, lion,, and (/')
w
r-
er
elephant-and bring them ::)
0
(.)
to life by cutting them (/')
0
Coat:s & Ctarli I-
0
out and gluing the head ...............
wsiu..W:t .~,., I
" CL

and tail to each end of an An early 1960 s ad focused on both style and education-new
threads for the new fabrics available t o t he home sewist.
empty spool of thread.

In 1924, Mary Brooks Pickens cowrote

the very popu lar Sewing Secrets: Modern
Methods of Stitching, Decorating and
by everything from runway shovvs to Finishing, published by
I ' ready-to-\vear. The Spool Cotton Co.
The color range of all Coats & Clark
After the success of this
threads, from Dual Duty XP (introduced
in 2008 as a polyester-\vrapped, core-spun book, Coats & Clark's
thread) to those specialized for handquilting Education Bureau created
or machine applique, are updated frequently
many craft publications
to reflect fashion and color trends. Today,
they offer more than 300 colors, including for women over the next
Pantone's 2or 2 Color of the Year, Tangerine decades with techniques
Tango. Kno\vn to Coats & Clark as 7650
and original patterns that
Tango, this hot color has been in their color
range for more than fifty years. covered not only sewing, but knitting,
crochet, lacemaking, and other crafts.
SUSAN BEAL is a. craftwriter who loves to
The books and pamphlets reflected the
•
!• sew. She is the author ofModern Log Cabin
Quilting, World of Geekcraft, Button It popular trends of their day, from shapely,
Up, and Bead Simple, as well as being the fitted dresses of the 1950s to psychedelic
president ofthe Portland Mo.dern Quilt Guild.
afghans of the 1970s.
Visit her at westcoastcrafty.com.

l. . -~. .*---~~---·
Stitch
. . ·--..... ·-· . . . . . . . . . .
 HOW IS MADE
Thread- making has evolved dramatically
over the centuries. In the earliest days inside amodern thread ~lant
of sewing, animal sinew was used for
stitching animal hides. When bone, ivory,
and then metal needles were devised,
plant fibers were twisted together t o
create simple threads. As fibers such
as wool, silk. cotton , and linen were
cultivated and used for spinning, people
began weaving multiple strands into
fabri c for clothing and blankets. Of
course, textile techniques changed
greatly as wheels and looms were
developed, making fabric more and more
sophistica ted.
Two hundred years ago. fibers were
brushed and carded by hand. then gently
twisted into roving, and spun on a wheel
t o create a single- ply interlocking strand
Thr ead was often spun .at home and then
delivered to vveavers in small batches,
James Clark's innovative cotton thread
combined multiple strands of cotton to
create a flexible, durable thread for home
sewing and factory weaving alike that was TOP: Thread was once spun by hand and
sold in hanks. Within the next few decades, delivered to weavers in small batches.
both the J. & P. Coats and Clark mills
RIGHT: Although the concept remains the
in troduced new m ill processes, such as same-twisting fibers into a continuous
in-house thread spinning. machine winding strand-the method has changed dramat i-
cally over the decades.
onto wooden spools, and boil -fast dyes.
By the mid-twentieth cen tu ry,
mode r n plants used huge machi nes Duty XP) are a polyester-wrapped, core-
for techniques such as mass con1b ing, spun construction . Some threads have
Lapping , carding , and spinning . They t wo or more single plies twisted together
had the capabilit ies of mercerization, for durabi lity.
bl eaching, and chemical dyeing-and Dyes are carefully mixed accordin.g
coul d wind hundreds of thr eads on to to t he color fo r ecasting and t rends.
their n1ass-produced wooden spool s Th r ead is dyed in huge quantities -
si mu ltaneously. t housands and thousands of ya rds
Today Coats & Clark plants start with at once . The fresh ly dyed th read is
gigantic bales of cotton or polyester that st eamed dry to set the col or, si nged
weigh more than 600 pounds and will to remove any lint . and-depend ing
each yield about 25,000 spools of thread, on what type o f thread it is-given a
Fiber s are cleaned and carded into lubrica te.d or gl ace fin ish .
sl ivers-each hundreds of times thicker Fina lly, the t hread is wound onto
than the fin ished strand. The sl iver s are spools. inspected, labeled, and boxed for
twisted into roving, which are then spun retail stores- ready to becon1e a part of
into yar ns. Some threads (such as Dual your next sewing adventurel
projects
 •
The dress is the iconic fashion
statement of fall-whether simple
and elegantly chic or embellished
with fresh details. Each of these
five dresses are as versatile as they
are stylish. Go uptown with a fancy
brocade or more down-to-earth
with a comfy cotton. The creative
choice is 100% yours.

·rhis sassy silk dress goes from surnmcr

to fa ll witb aplomb, especially when
paired with a bolero cardigan, boots, and
leggings. The chic beading Jlong the
handkerchiefhem adds weight
and S\ving to a dress th.:lt can \\'Ork
day or night
P~w"""""
This is a great basic dress'With a
chio sjlhouetre.The neckline, sleeve
leJlITTh,:and hem can all be changed very
easily to create a completely different
gal'ment. n could also be made with a silk
jersey, wool fersey, or stretch velvet for a
different effect
DESIGNED BY Emily Li Mandri
[project instructions en gage 89]

49
sewdaily.com *
 CQmbine this 1g.5o's-style sweet
dress with a boatneck bodice and
gathered skirt and a fancy fabric,
and you've one bombshell of a
garment. A simple silhouette that
is flattering to everyfigure, it also
has lots of'easy-to.add CGuture
details that will make it stitch up
like a dream.
DESIGNED BY Gretchen Hirsch
(proje.<;:t instructions on
page90]

so
...........................
 t/1£ ~UteA,s e.%re
Give theclassicsheilth ,1 twisl with
colorful piping on the front Jnd hJck.
This simple style is lined .ind contoured
lo make you look your le\'cl best.
DESIGNED BY Katnn Vorbeck
Lproject instructions on page 92J

52
--··· ··--· ..
* stitch
 t'~,
"· ' '•. ,,...-·•' . _,.''
I .. ,t
~ ........... ·•' .:
! ,• ,..,)
,....,, I
\
.......
•.,-f:'
.... .'\ : _ ;,
~ ·· ~·...
\ / ... / ........
••

; ; :-~. 'e
,I :' ".. ..... _. . ....... ,,~
,'f

,) I
•..........."' ..
._
' " ..... ,,),,
\ j '
·, ..
·'

When school days

signal the end of
summer, it's time
to start dreaming
about all the adorable
supplies, new outfits,
and crafty projects
you can devise.
Here, you'll find
gifts, garments, and
accessories that both
you and your favorite
little ones can create .

fuzzy
hedgehog tote
A cuddly fr) end made from fuzzy, soft
anti-pill fleece to carry a small person's
favorite things all season lon.g. The soft
overlapping fringe "quills" add cozy
dixnension. sweet hand embroidery
on the face brings out the personality.
This messenger-style bag is just perfect
for putting a little forest-style fashion
into th·e fall wardrob.e.
DESIGNED BY Cheryl Bush
[ project instructio ns o n page 95.]
....... ...Sit
... ••t• ..........
* stitch ··
snack bags
Go green in your own little \Vay by creating
these nifty baggies to be used time and again
by your tots and family. The clever carriers are
lined \vlth waterproof fabric on the inside and
decorated with your choice of happy fabric
on the outside. Way to feel good about your
munchies.
DESIGNED BY Rosemarie DeBoer
[project instructions on page 98]
•
•

,<\.{ ..,f
$;>/.:lfJJ
.J(/•

SS
sewdaily.com *
night critters vest
E\ ery child will love '>''earing Lhis
'est replete\\ ith its odd menagerie of
nocturnal animals creeping Jround
under the sleeping moon. Inspired by
a \'1ntagecarpcnter's vest, it is rnade
of coz.~ \~001 mclton. Theappliqucd
\\ool felt animals arc detailed \\ith
en1broidcf), and l he bright facings
and exposed zipper arc created to he
C}C CJLChin~

DESIGNED BY Ttna Lewis

( projPct lnstructioni:; 0 11 paqt• 98 1
 colorful clothing dividers
Avoid the 1norning debate with your child on \Vhat
to wear to school They are sure to enjoy helping you
make these delightful clothing dividers. Every Sunday
. ..- .-
:
\y'
.
/
" ....
~.'\.

evening you can help them choose their clothes for the
week and hang them \:vi.th the coordinating divider.
DESIGNED BY Jennifer Rodriguez
[project instructions on page 100]

57
sewdaily.corn *
bunny nap roll
This bunny v.Jnts to accompany }OUT favorite
youngster to preschool or daycare or Grandma's
house for rup time The nap mat has a pillo\"\· at
one end .ind rolls up for por~b1ht}-~'lth the
ears seT\ 1n~ c1 straps lo sccurt: the mat
DESIGNED BY Jennifer Wolak
[proJect 1nstru t10 on e 101J
'\
'
 chalkboard mat
Combine cotton prints and chall<board
oilcloth to make this fun, easy-to-clean floor
mat. It can be used outside on a vvarm spring
day or inside to brighten a rainy day. Floor
mat can also double as an "I Spy" game.
Coordinated play inats add to the fun.
DESIGNED BY Lisa Anderson
[project instructions on page 103:]

59
sewdaily.corn *
 -=
•

embroidered guitar straps

Be the envy of your p,icking buddies at the next meet-up
with this custom-embr0id'ered guitar strap. These guitar
straps are inspired by traditional Kantha embroideries.
from the Gujarat region of India Make one today for
I
yovrseJI or your favorite musician:.
DESIGNED BY Madeleine Rooerg
[project instructions on page 106]

....,...,,,.~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ .~t
61
.... ~ ....
sewdaily.corn *
 .' '' '
.i. '
.~.4-'~ '
"\\ '
\

\'
\.,,
,.
"\ \
"
·:~

\•
\'
\
I
~
\
'
"

62
.. ---- --- - ········•
'if Stitch
 -.
.....
••
•
•

••
••

... - , I ,'
,' , ''
.: /\ 11 I
I I 11 \,,' !
I I
' I I
II '
.-
I I
i I I I I
' , I
I
"' , __ .,,I I •
I

-- .
oilcloth plant holders
Dress up }·our f.i\·ortt? horrseptlnt wl1cp
you mtlke J fabric CO\'er for the pol The
- -
•
embroiaered ran\'JS on tlie oillSide of the
co\'er: is lined '\vith lammated faoric for a - -
punch of color and \\Jterresistance.
- - - ~,--

Embroider the \\'Ords shown or choose your

•
own, such clS herb names ortsmaller covers.

-•
-~;-

-
DESIGNED BY Carol 2ehtgrar
!project instructions on page 110] -
-
---·· -··-.
* stitch
 foxy

••
 t

I
a 4
., s

66
--· ..
* Stitch
sewdally com *
 •
Fall is the season of
harvest and what better
time to discover creative
ideas for upcycling?
Upcycling is the process
of converting something
vintage or used into
something more
beautiful and useful.
Take this commendable
f environmental practice
into the sewing studio to
create beautiful objects
for the home, wardrobe,
family, and friends .

Tum a man's shininto a d.irling

girl's pinafore dress. A bib applique
providNI .:i cameo spot for .a tre.isnred
[Jbric:, .ind some :favorite buttons
;Jnd the re-;t of the dress dazzles with
sn.izzy n1en's shirting.
DESIGNED BY Sigrid Arnott
[pt·oiect instructions on page 121]
 -
..•••...• • ••
•• ••
.
••..
. .•• •
.." e ·~.••.•
~ (' I c
(_

.. -·~~...

!oSeou grown.Dr out-of-favor fashions into a

tr5ndy cuddle-up quilt. This sweet twin-size throw
combines women's woven cotton and men's flannel
shirts into easy-to-piece patchwork:, adding an extra
pop of color '\Vi th scraps of cast-off corduroy and a
pocket or two.
DESIGNED BY Missy Shepler
[project instructions on page 123]
69
sewdaily.corn *
-- _........72
, .....-
'if Stitch
 73
scwda1ly.corn '*
 75
sewdaily com *
 76
'if Stitch
 78
--····---····.
* stitch
 THE SE CS W@R~Stt@P
Learn to Sew-one garment at
a time.
S~ U>MideW\-t\ is the only
itit>'''"" learn-to-sew program that
r o Y,'1 1lea n:
_,__ brings you a year's worth of
,.,....,.:.,;.,-~.,. sewing education in easy-to-
It The importance
of o fitting axis 1 follow step-by-step
and how to use it
personal sewing tutorials,
IC How to recognize t--1-41••·
•"""'"'". by Linda Lee a leading
I
fitting issues. sewing educator.
such as drag
lines and folds Receive a new tutorial
~ '·J.11- every month for an entire
IC Basic pattern-
making skills to ONLY year-with sewing tips, insider
ensure accurate
a lterations t99 tricks, pattern variations, and
fitting solutions.
IC And much more
' PER YEAR ,'
, ........ " Jt\ ~S~vJ__Cof.\~i~V\t_\
,-.,9~~~ ~ --- CLASS IN A FLASH
~ V'~·'* r
Get started today -
go to www.sewingworkshop.com
Available inyout favorite book or <r~t store. www.creativepub.com
More info? Call 1-800-466-1599 Or email: Linda@sewingworkshop.com

therrooy.-ebonli ne-com
·-~
_.,,,_..
•• focebook.com/ThermE>WebMimi
·• Temporary, Sewoble • Repo.s.itioooble • Groot fGr dtuigrun91 pk:ici~ ond 'hastingf blog.tbermoweb.com

..... --.. ...... .. _............. ...........79

_..__.. ~ -.....................
sewdaily.com *
 * GETTING STARTED
l Basic tools, techniques,
SEWING KIT
The follov.ring items are essential for your Se\ving kit l\tlake
sure you have these tools at hand before starting any of the
projects:
0 ACRYLIC RULER 'This is a clear flat ruler, \Vith a
measuring grid at least 2 " \vide x 18" long. A rigid acrylic
(quilter's) ruler should be used when working v..rith a
rotary cutter.
0 CLOTH MEASURING TAPE Make sure.it's at least
60" (152.5 cn1) long.
0 CRAFT SCISSORS Use these for cutting out paper
patterns.
0 DRESSMAKER'S SHEARS These sharp long-bladed
scissors are used to cut fabric.
0 EMBROIDERY SCISSORS These small scissors
are used to trim off threads, clip comers, and do other
intricate cutting \VOrk.
0 FABRIC MARKING PENS & PENCILS Available in
several colors for use on light and dark fabrics; use th.em
for tracing patterns and pattern markings onto your fabric.
0 HANDSEWING & EMBROIDERY NEEDLES
Keep an assortment of se,ving and embroidery needles
in different sizes, from fine to sturdy.
0 IRON, IRONING BOARD & PRESS CLOTHS
An iron is an essential tool \Vhen Se\ving. Use cotton
muslin or silk organza as a press cloth to protect delicate
fabric surfaces from direct heat.
0 PATTERN PAPER Have some pattern paper or other
large paper (such as newsprint, butcher paper, or pattern
tracing cloth) on hand for tracing the patterns from
the pattern insert. }(egular office paper rnay be used for
templates that v.ri.11 fit.
0 PINKING SHEARS These scissorsv.rith notched teeth
leave a zigzag edge on the cut cloth to prevent fraying.
0 SEAM GAUGE This small ruler \vith a movable slider
is used for n1arking hems, checking seam allo\vances,
placing buttons, and more.
80
* stitch
& term s you'll need
for the projects in
this issue.
0 SEAM RIPPER Handy forquickly rippingoutstitches.
0 SPIKED TRACING WHEEL & COLORED
TRACING PAPER Use these tools for tracing
patterns and markings onto your fabric.
0 STRAIGHT PINS & PINCUSHION Al\vayskeep
lots of pins r1earby.
0 WEIGHTS Pattern \veigh.ts or small rocks are great for
keeping fabric in place v.rhile dra\ving, pinning, and cutting.
* OPTIONAL . .. butgoodtohave.
0 FRENCH CURVE Atemplate of metal, plastic, OI\Vood
that includes many ctuved edges for constructing smooth
curves.
0 NEEDLE T HREADER An inexpensive aid to make
threading the eye of the needle super fast.
0 POINT TURNER A bluntly pointed tool that helps push
out the comers of a project and/or smooth seams. A knit-
ting needle or chopstick can also be used.
0 ROTARY CUTTER & SELF-HEALING MAT Useful
for cutting out fabric quickly. Always use the inat to protect
the blade and your work surface (a rig.id acrylic ruler
should be used with these to make straight cuts).
0 TAILOR'S CHALK Available in triangular pieces,
rollers, and pencils in various colors, tailor's chalk is
useful for marking cloth. Some forms (such as po\vdered)
can simply be brushed a\vay; refer to manufacturer's
instructions for recommended removal method.
0 TAILOR'S HAM A firm cushion used when pressing
curved areas of garments to preserve the shape and
prevent creases.
0 THIMBLE Your fingers and thun1bs v.rill thank you.
0 ZIPPER FOOT This accessory foot for your 1nachine has
a narro\v profile that can be positioned to se\v close to the
zipper teeth. Zipper feet are adjustable so the foot can be
1noved to either side of the needle.
 PATTERN SYMBOLS & MARKINGS
Here is a quick reference guide to the
symbols and markings on the patterns.

,- - - • CUTTING • DARTS Angled lines show where the ,

,• NOTCHES Notches are triangle-
I
'
' LINES : stitching will be, and the dot shows , ~·' shaped symbols used fo r accurately
'
Multisize !
you the position of the dart point , ,-' matching seams. Pieces to be joined will
patterns have :' (signaling the point, at the end of the ,1'
' have corresponding notches.
, ,
different cutting ! dart, where your sti tching should end). ,
,,
lines fo r each : , ,' , .• PATTERN DOTS Filled circles indicate
' , ,, , ,, that a mark needs to be made (often
size. ' , ,,
'' ,, ,' on the right side of the fabric), for place-
'' ,
,'
, ,,
•' , ,, , ment of elements such as a pocket or
' , , '
a dart point. Mark by punching through
the pattern paper only, then mark on the
fabric through the hole.

.• ,• PLACE ON FOLD BRACKET

,'
, This is a grainline marking with arrows
,, '
I
I
i pointing to the edge of the pattern. Place
,' '
' J
, the pattern edge on the fold of the fab r ic
I
I
I
.
•
so that your finished piece will be twice
I I
• the size of the pattern piece, without
'
I
I I
c
I
I ,, 0 having to add a seam. Do not cut the fold.
I I , ~
I ,,
• •
I
I
I
I
I
I
I
I
I
I
:
I
.I
'
,'
,,
,'
, "'
0.
.. ,•
. • GRAINLINE The double- ended arrow
should be parallel to the lengthwise
~ l ; ~ ••
·~ ~ ,• ' grain or fold unless marked as
I I ,, .
I
I ,•• crosswise.
I
I I
I I
I '
I
---- ·· • BIAS GRAINLINE This grainline is
I

' :i
I

--· .-- .-- diagonal and indicates that the pattern

41 --· -·-
.-·
I
I ~~ piece should be cut on the bias. The
I 1',r
I
I "true·· bias is at a 45- degree angle to the
.I
I
' I • straight grain of the fa bric.
I
.. I
!
I
I
:
I
.• I i
I :
I .-· •• --- --· .- - • SLASH LINE The dashed line indicat es
that the pattern needs to be slashed
---
I

....
I •
I
I
I
I
t
•
I
: • .- --·--- along the l ine. Slash to the dots only. if
I
i
:
'
I
t' .. - ........
-·· • present . If there are no dots, the pattern
r ••I
·---·1
_ __ _ _ -
.
t
;. - -1

•
' .I
t
f
•

;
should be slashed from edge to edge
I• along the entire line.
I' I•
! '
I
I
I I . . ..... - .-· -- - -- .-- -• BUTTON & BUTTONHOLE
PLACEMENT MARKS
••
I' I
• Solid lines indicate buttonholes. A large
I'
I
open circle is the button symbol and
•
I
•
shows placement.
•
I
•"--· - - - - • · - ·• - ~ - - .• - · · - · · - · • - •. - •• - .. - - - - • • - ••- .. -
I
--'- '=...:.~-:--=-= ::.."'.'=.-:.-:..7: ::.:=..":':::::..'":'=.:: :":'.:': .:: -:..=:.:::..";"~ =~-=.:: =~'":"..:.=...-:.-:
• ' l • • •• • .• • • ••••• , , •
=----= =~-..:.=::...":'..:.:::..-.= =~--==-
..-

•
--- . ·- • • -

• •••
•. - - • - •• - ·• - • •

•• •• •• ' •
CB: Center Back
CF: Center Front

81
sewdaily.com *
 s
PATTERN INSERT GUIDE A quick
reference to the full-size patterns on the insert.

LAYOUT, MARKING + CUTTING GUIDELINES
O The pattern insert features overlapping patterns, so you may not
want to cut patterns or templates directly fron1 the insert. Instead, use
pattern paper (or other paper such as ne\vsprint) or pattern tracing
cloth to trace the pattern pieces you need from the insert and then
cut out your traced pieces. Regular office paper may be used for small
templates that will fit. If necessary, use a light box or bright window
for tracing.
fJ if you are cutting pattern pieces on the fold or cutting two of
the same pattern piece, fold the fabric in half, selvedge to selvedge,
with right sides together or as indicated in the cutting layout or
instructions.
D All pattern markings sbould be on the wrong side of the fabric
unless othenvise noted.
IJLay the pattern pieces on the fabric as close together as possible.
Double-check that all pattern pieces cut "on the fold" are placed on
the fold.
0 1vlake sure all pattern pieces are placed on the fabric with the
grainline running parallel to the lengthwise grain unless a bias
grainline is present or as otherwise noted.
D Use weights to hold the pattern pieces dovvn and use pins to secure
the comers as needed.
IJCut pieces slo\vly and carefully.

GLOSSARY OF SEWING TERMS

+TECHNIQUES A quick reference to the technical
sewing terms used throughout the project instructions.

BACKTACK Stitching in reverse for a
short distance at the beginning and ending
of a sea1n line to secure the stitches. Most
machines have a button or knob for this
function (also called backstitch).
BARTACK A line of reinforcement
stitching often placed at areas of stress
on a garment. Bartacks are created with
short zigzag stitches (by machine) or
whipstitches (by hand).
BASTING Long, loose stitches to hold
something .in place temporarily. To baste
by machine, use the longest straight stitch
length available on your machine. To baste
by hand, use stitches at least•/," long. Use a
contrasting thread to make the stitches easier
CLIPPING Involves cutting tiny slits or
triangles into the seam allowance of curved
edges so the seam \vill lie flat when turned
right side out. Cut slits along concave curves
and triangles (vvith points toward the seam
line) along a convex curve. Be careful not to
clip into the stitches.
DART This stitched triangular fold is used
to give shape and form to the fabric to fit
body curves.
EASE/EASE IN V..Then a pattern directs to
"ease" or "ease in," you are generally se..,,ving
a longer piece of fabric to a shorter piece or a
curved piece to a straight piece. This creates
shape in agarmentorobjectwithout pleats
or gathers. To ease, rnatch the ends or notch-
to the edge of the fabric or an existing
seam line.
FABRIC GRAIN The grain is created in
a woven fabric by the threads that travel
lengthwise and crosS\1\rise. The length\vise
grain runs parallel to the selvedges; the cross·
'vise grain should always be perpendicular
to the length\1\rise threads. If the grains aren't
cornpletely straight and perpendicular, grasp
the fabric at diagonally opposite comers
and pull gently to restore the grain. In knit
fabrics, the lengthwise grain runs along the
wales (ribs), parallel to the selvedges, with the
crossvvise grain running along the courses
(perpendicular to the wales).
FINGER-PRESS Pressing a fold or crease
~

to spot for removal.
BIAS The direction across a fabric that
is located at a 45-degree angle from the
lengtnwise or crosswise grain . ·rhe bias has
high stretch and a very fluid drape.
BIAS TAPE Made from fabric strips cut on
a 45-degree angle to the straight grain, the
bias cut creates an edging fabric that will
stretch to enclose smooth or curved edges.
You can buy bias tape ready-made or make
your own.
es of the uneven section and pin together (or
as instructed by the pattern). Continue to
pin remaining fabric together, distributing
the extra fullness evenly, but making sure
that the seamlines match up as smoothly as
possible (you \viii be smoothing the excess
fullness away from the edge); don' t be afraid
to use a lot of pins. Stitch slowly, smoothing
as necessary to ease the pieces together as
evenly as possible, being careful not to catch
tucks in the sea1n.
EDGESTITCH Edgestitching is a row
of topstitching placed very close ('116- '/a")
\vi th your fingers as opposed to using an
.iron.
GATHERING STITCH (machine)
These are long stitches used to compress a
length of fabric before Se\ving it to a shorter
piece. To gather, set the machine for a long
stitch length (use the shorter length for
lighter-weight fabrics) and loosen the
tension slightly. With the fabric right side
up, sew on the seam line and again V&" from
the seam line, \vithin the seam allo•vance.
Sometimes you \viii be instructed to place
the first line of stitches '/s" from the seam

82
·····-········~········

*titch
line \Vi thin the body of the garment so
the stitches dont.become tangled in the
permanent seam.line. Leave thread tails at
each end and do not backtack. Pin the fabric
to be gathered to the shorter piece right
sides together, matchjng edges, centers, and
pattern marhlngs as directed in the pattern.
Pin at each mark. Grasp the bobbin threads
from.both lines ofstitching at one end and
pull gently. Work the gathers along the
thread until the entire piece is gathered and
lies flat against the shorter fabric piece. Pull
the bobbin threads from both ends to gather
long pieces. Stitch the seam, then remove the
gathering threads.
GRADING SEAM ALLOWANCES 1'he
process of trimming seam allo,vances to
different \vidths to reduce bulk and allow the
seam to lie flat. The seam allo..,,vance that will
lie to the interior of the project is trirruned
the most, leaving the seam allo,vance that
\vill lie closer to the exterior of the project
slightly wider.
GRAINLINE A.pattern markin<Yshowino·
0 0
the direction of the grain. Niake sure the
grainline marked on the pattern runs
parallel to the lengthwise grain of your
fabric, unless the grainline is specifically
marked as cross,vise or bias.
INTERFACING/INTERLINING
Material used to stabilize or reinforce
fabrics. Fusible interfacing has an adhesive
coating on one side that adheres to fabric
wben ironed. Interlining is an additional
fabric layer between the shell and lining,
used to change the garn1ent drape or add
structure or \Varmth.
LINING The inner fabric of a garment or
bag, used to create a finished interior that
covers the ra\v edges of the seams.
MITER Joining a seam or fold at an
angle that bisects the project corner.
Most common is a 45-degree angle, like
a picture frame, but shapes other than
squares or rectangles will have miters
with different angles.
OVERCAST STITCH l\ machine stitch
that \vraps around the fabric raw edge to
finish edges and prevent raveling. Some
se\ving machines have several overcast
stitch options; consult your se\vi.ng iuachine
manual for information on stitch settings and
the appropriate presser foot for tlle chosen
stitch (often tlle standard presser foot can be
used). Azigzag stitch can be used as an alter-
native to finish ra\v edges if your machine
doesn't have an overcast-stitch function.
PINK To trim with pinking shears, "vhich
cut the fabric edge into a zigzag pattern to
reduce fraying.
PLACKET A placket is a finished garment
opening, most often at the location of a
garment closure. A placket can be :finished
by hemming or with binding or a facing.
Plackets are often seen on sleeve vents
(above the cuff) and are also used at neck-
line and waist edge openings, often in con-
junction \vi.th buttons or other closures.
PRESHRINK Many fabrics shrink \vhen
"vashed; you need to wash, dry, and press
all your fabric before you start to sew. Fol-
low the suggested cleaning method from
the fabric bolt. Don't skip this step~
RIGHT SIDE (RS) The front side or side
' stitches will fall between the hvo fabric
that should be on the outside of a finished
garment. On a print fabric, the print will be
stronger on the right side of the fabric.
RIGHT SIDES TOGETHER (RST) '[he
right sides of two fabric layers should be
facing each other.
SATIN STITCH (MACHINE) This is a
s1nooth, completely filled column of
zigzag stitches achieved by setting the
stitch length to 0.2-0.4 mm. The length
setting should be short enough for
complete coverage but long enough to
prevent bunching and thread buildup.
SEAM ALLOWANCE The amount of fabric
benveen the raw edge and the seam.
SELVEDGE This is the tightly woven
border on the lengthwise edges of woven
fabric and the finished lengthwise edges of
knit fabric.
SHELL The outer fabric of a garment or
bag (as opposed to tlle Jinin g, which will
be on the inside).
SLIP BASTING A temporary slip stitch
used for basting in curved areas, or for
matching plffids or stripes in preparation
for se\ving seams (it can also be used to
baste zippers in place by hand). \.Vlth a
folded-under edge lying along the seam
line, on top of a flat (unfolded) edge, take
stitches about'/." long, alternating between
the folded edge and the flat edge.
SQUARING UP After you have pieced
together a fabric block 0r section, check to
make sure the edges are straight and the
measurements are correct. Use a rotary cutter
and a rigid acrylic ruler to trim the block if
necessary. Because you might trim off the
backtachlng on seams when you square up,
machine stitch across any trimmed seams
to secure.
STAYSTITCHING A line of straight
stitching (through one layer of fabric),
used to stabilize the fabric and prevent
stretching or distortion. Staystitching is
usually placed just inside the seam line,
often at curved edges such as armholes.
STITCH IN THE DITCH Press a sewn
seam open or to one side. Lay tlle seamed
fabric right side up under the presser foot
and sew along the seamli:ne "ditch." The
pieces and disappear into the seam.
TOPSTITCH Used to hold pieces firmly
in place and/or to add a decorative effect, a
topstitch is simply a stitch that can be seen
on the outside of the gan11ent or piece. To
topstitch, make a line of stitching on the
outside (right side) of the piece, usually a
set distance fTom an existing seam.
UNDERLINING Fabric used as a backing
for the shell ofa garment to add structure
and/or aid in shaping. It is also sometimes
used to make a transparent fabric opaque.
Underlinings are cut to the size and shape
of each garment piece and the two are
basted together and treated as one during
construction.
UNDERSTITCH ING A line of stitches
placed on a facing (or lining), very near the
facing/garment seam. Understitching
holds the facing and seam allowance
together and to prevent the facing from
rolling to\vard the outside of the garment.
WRONG SIDE (WS) The \vrong side
of the fabric is the underside, or the side
that should be on the inside of a finished
garment. On a print fabric, the print will be
lighter or less obvious on the wron<>0 side of
the fabric.
83
..................... ····~· ·-·········· ...
sewdaily.com *
 s
STITCH GLOSSARY
A quick reference to the handstitches
used throughout the project ins tructions.
ARROWHEAD STITCH A
Stitches are worl<ed at nght angles to each
other Rrst work from left to right and top to
bottom. Bring !he needle up al l , angle the
needle down and toward the center or lhe
slilch 2 . Now working from righl lo left, bring
lhe needle up from the backside ot 3 . Ang le
down and to the left inserting the needle into
the fabnc finishing the stitch al lhe center le.
BLANKET STITCH A
Working from Left to right. bnng the needle up
at l and insert a l 2- Bnng the needle back up
at 3 and OYN the woc1<1ng thread Repeal by
malung the next stitch 1n the same manner,
keeping the spacing even
BLINDSTITCH
/ BLIND-HEM STITCH A
Used mainly for hemming fabrics where an
1nconsp1cuous hem 1s d1ff1cult to achieve
(this stitch is also useful for securing b1nd1ng
on the wrong side]. Fold the hem edge back
about '4". Take a small slltch In the gorrnenl,
picking up only a few threads.
8~
-----··-······
* stitch
CHAIN STITCH A
Working from top to bottom, bring the needle
..-=::::=:;;l_~,''J.k::~~~,~ up and then reinsert at l to create a loop;
do not pull the thread taul. Bring the needle
, , 3
, , back up at 2 , keeping the needle obovc the
,
I loop and gently pulling th e needle toward you
I
lo lighten the loop flush lo the fabric !leave
a l1tlle slack in the thread to keep the loop
round) Repeal by inserting lhe needle al 2 lo
form a loop and bringing the needle up at 3
Tack the last loop down with a straight stitch
1 CROSS·STITCH T
Working from right to left, bring the needle up
at 1. insert at 2 . then bnng the needle back
I ' up at 3 Finish by inserting the needle at le
BACKSTITCH A Repeat for the desired number of stitches.
Working from rlg l1l to left, bring the needle
up at l and insert behind the starting point al
2 . Bring lhe needle up al 3 , repeat by insert·
ing at l and br1ng1ng the needle up at a point
that 1s a shtch length beyond 3 .
FLY STITCH T
Working from left to right, bring the
needle up at 1 and irsert at 2 . leaving
the thread loose. Bnng the needle back
up at 3 . keeping the needle above the
thread and pulling the needle toward you
BUTTO NHOLE STITCH A gently to lighten the thread so that 111s
flush with the fabric. Tack thread down
Working from r19h l lo tell and wilh the point
by In serting the need le al '*· Repea t for
of the needle toward you. bring the needle
th e desired number of s titches.
above the fabric edge at 1. loop the thread
to the left. then down and to the right.
inserting the needle from the wrong side 2
7
at 2 . keeping the loop of thread behind lhe
needle at both the lop and bottom. Pull the
needle through, tightening the shlch so that
the looped thread hes along the edge of the
fabnc. Do not tighten so much that the lops
of the stitches pull together. When using the
buttonhole stitch lo f1n1sh a hand button-
hole, work lhe stllches so that they are very
closely sp;:iced.
;;

FRENCH KNOT,.-
Bring the need l e up at l and hold t he
thread taut above the fabric. Point the
needle toward yo ur fingers and move th e
needle in a circular motion to w r ap the
t hread aroun d the needl e once or twice.
Insert the needle near l and hold th e
''
thr ead taut near the k not as you pull the
needle an d thread th rough the knot and
the fa br ic to complete.
'
..
!
. STANDARD HAND-
. APPLIQUE STITCH,.-
' Cut a length of thread 12- 18". Thread
''
LAZY DAISY STITCH 'T
Working from top to bottom. bring the needle
up at l and create a loop by reinserting at l ;
do not pull the th read taut. Bring the needle
back up at 2 , keeping the needle above the
loop and pulling the needle tovvard you gently
to tighten the loop so that it is flush with the
fabric. Tack the loop down by inserting the
needle at 3 . Repea t tor the desired number
of stitches.
OVERCAST STITCH ,.-
.Keeping your stitches at consistent depth and
spacing, take a diagonal stitch by bringing
!he needle through the fabric at 1, wrapping
the thread over the edge, and then bri nging
the needle through the fabric again at 2 , to
the side of the previous stitch. The result is a
diagonal stitch that wraps around the edge.
SATIN STITCH,.-
Ou tline the shape to be satin stitched with
ti ny r unning stitches 1. Working from one
edge of the shape, bring the needle up from
the back of the fabric. Working from bottom
to top, bring the needle up from th e back
just at the outer edge of the running stitch
2 . Make a long straight stitch inserting the
needle into the fabric just at the outside edge
of the ru nning stitch 3 . repeat until the whole
ou tlined shape is covered with stitches.
a Using th is techn ique to threa d the needle
SEED STITCHES
/ SEEDING STITCH ,.-
Small stra igh t stitches worked in clusters
or scattered at random. Seed stitches can
also be worked tightly together an d all in the
same direction to uniformly fi ll a space.
SLIP STITCH,.-
Working from right to le ft, join two pieces of
fabric by taking a •1i.-1/t." long stitch into the
folded edge of one piece of fabric an d bringing
the needle ou t. Insert the needle into the
folded edge of the other piece of fabric,
directly across from the point where the
th read emerged from the previous stitch.
Repeat by inserting the needle into the first
piece of fabr ic. The thread will be almost
entirely·hidden inside the folds of the fabrics.
- ---
s
STRAIGHT STITCH/
RUNNING STITCH 'f'
Working from r ight to left, make a straigh t
stitch by bri nging the needle up and insert
at 1, 1/s- 1/4" from the starting poin t. To make
a °Line of r unning stitches (a row of striligh t
stitches worked one after the other]. br ing
the needle up at 2 and repeat.
the newly cut end through the eye of the
needle, pull this end through, and knot it.
an d knot the th read will help keep the
th read's ·· twist'· intact and will al so reduce
k notting. Beginning at the straightest edge
of the applique and worki ng from right ·
to left, bring the needle up from the
under side, through the background fa bric
an d the very edge of the applique at 1,
catching only a few threa ds of the applique
fabric Pull the thread tau t, then insert the
needle into the background fabric at 2 . as
close as possible to l . Bring the needle
up th rou gh the background fa bric at 3 . 1/8'
be.yond 2 . Conti nue In this manner, kee ping
the th r ead ta ut (do not pull i t so tigh t that
the fabric puckers) to keep the stitching as
invisible as possible.
l
~
3 2
STEM STITCH ,.-
Working from left to r ight, br ing the needle
up at 1 and insert it'!.- %" away at 2 (do
not pull taut). Bring the needle up halfvvay
between 1 and.2 , at 3. Keeping the needle
above the loop j ust crea ted. pull the stitch
tau t. Repeat by inserting th e needle '/s- V."
to th e right and bring up a t 2 .
/
SS
sewdaily.com *
 s
UNEVEN SLIP STITCH/
SLIP-STITCH HEMMING 'Y
After securing the threa d in the fold, take a
small stitch in the garment or outer fabric.
picking up only a few threads of the fabric.
Then, take a stitch, about 1/i' long, in the
fold. across from th e stitch in the garment/
outer fabric. Continue, alternating between
tiny stitches in the garment/outer f.abric and
longer stitches in th e fold.
WHIPSTITCH 'Y
Bring the needle up at 1, insert at 2, and
bring up at 3.
2
CREATE BINDING
CUTTING STRAIGHT STRIPS
Cut strips on the crosswise grain, from
selvedge to selv.edge, cutting to the width
indicated in the project instructions. Use
a rotary cutter and straightedge to ob tain
a straight cut. Remove the selvedges and
join the strips with diagonal seams.
1
CUTTING BIAS STRIPS A
Cut strips to the width indicated in the
project instructions. Fol d one cut end of
the fa bric to meet one selved ge, for ming a
told at a 45·degree angle to the selvedge.
With the fabric placed on a self-h ealing
mat. cut off the fo ld wi th a rotary cu tter
using a straight edge as a guide to make
a straigh t cut. With the straigh tedge
and rotary cutter, cut strips to the
appropriate width. Join the str ips with
diagonal seams.
86
I ................ •• •• .-. •• .. .
* sti t ch
.i
''
.
.'
' .
..'
DIAGONAL SEAMS
' FOR JOINING STRIPS A
Lay two strips righ t sides together, at
r ight angles. The area where the strips
overlap forms a square. Sew diagonally
across the square as shown above. Trim
the excess fabric 1/i' away from the seam
line and press the seam allowances open.
Repeat to join all the strips, form ing one
long fabric band.
" the binding fabric up, away from the
FOLD BINDING•
A. Double-fold Binding Th is option will
cr eate binding tha t is similar to pack -
aged double-fold bias tape/binding. Fold
the strip in half lengthwise, with wrong
sides togethe r; press. Open up the fo ld
and then fol d each l ong edge toward the
wrong side, so that the raw edges meet
in the middle (l ). Refold the binding along
the existing cen ter crease. enclosing the
raw edges (2 ). and press again.
B. Double-layer Binding This option
crea tes a double- thickness binding with
only one fold. This binding is often favored
by quilters. Fold the strip i n half l ength -
·wise with wrong sides together; press.
l then fol d it over the project r aw edges to
(
2
' the projec t back. Slip-stitch the binding in
Never miss
another stitch!
stitch
'' ---
-·--I
ng ,-~=~· ·
Download a PDF of our
expanded sewing basics
section at sewdaily.com!
BINDING WITH
MITERED CORNERS 'Y ....
If using double-layer binding {option 8 above}
follow the alternate italicized instructions in
parentheses whereveryou see them.
Open the bin ding and press 1h " to th e
wrong side at one short end {refold the
binding at the center crease and proceed}.
Starting with the fol ded- under end of
< the binding, place it near the center of
t he first edge of the project to be bound.
matching the raw edges, and pin in place.
l Begin sewing near the cen ter of one edge,
. along the first crease {at the appropriate
distance from the raw edge}. leaving
several i·nche s of the binding f<;ibric free
at the beginning. Stop sewing 1/i' before
reaching the corner, backtack, and cut the
threads. Rotate the project 90 degrees to
posi tion it for sewing the nex t side. Fold
.. project, at a 45-degree angle (1), then
told it back down along the project raw
' edge (2 ). Th is forms a m iter at the corner.
Stitch the second side, beginni ng at the
project raw edge (2 ) and ending 1/i' from
the next corner, as before. Con ti nue as
established until you have completed the
last corner. Continue stitching until you
are a few inches from the beginning edge
of the binding fabric. Overlap the pressed
beginning edge of the binding by 112" (or
overlap more as necessary for security)
and trim the wor ki ng edge to fit. Finish
sewing the binding {opening the center
fold and tucking the raw edge inside the
pressed end of the binding strip}. Refold
the binding along all the creases and
the back, enclosing the raw edges [there
are no creases to worry about wi th option
Bl. The fol ded edge of the binding str ip
should just cover the stitches visible on
place, tucking in the corners to comple te
the m iters as yo u go (3 ).
------ - _...,., ___ _
l
-- - ------- - -------- ~ I
I
2 '(
I
I
l
I
l
I
•
 t
I
~ I·
1 Ir
l
•
.
t t
t t l
f ; f•
j
j
,.
•

f1
i' .J
'
r
i I
-
•
•
•
tt .I
' J
f. l
I

l• ~If I

•
~

!
I
.i
'
'
\
 how-to

El Fold Shoulder Straps in ha l f

along the long edges RST. Turn
right -side- out and press with seam
centered on the back. Fold in 1/4" on
each short end and press.
IJ Matching marked notches, stitch
• Bodice to Skirt RST, using a 5/s" SA.
Serge or press under 1/s" on seam
allowance tor an edge finish, wh ich you
will need to make the waist casing.
Beaded Silk
MAKE A WAIST CASING
Handkerchief Dress D To make the waist casing, press
by ALEX SUDALN IK finished waistline seam up toward the
{from pC1ge 48} bodice. Stitch 1/s" from top finished
edge, leaving 1" open at back to insert
elastic.
Elastic in the waistline and upper bust
creat es a custom, comfortable fit .
D Take waist measurement. Cut
elastic to this measurement. Use a
safety pin to guide elastic through
Bust Waist Hip the waistband casing. Overlap elastic
I- . ,_
,25" ends 1" and stitch securely. Slip- stitch
0:: X-S 32~33"
.,-,. 34lft35V1"
<
::c:
s 34-35'.'.
M 36-37111"
26-27"
2a-39Vi"
36l/i:37Y1~·
38%-40"
casing opening closed.

v L 39-411/z" 3.1 -331/i"

.~ '

w XL 42 1(~·44111"
341h:361/z" .
-
N
Cl> $hown insize Small
NOTES
- RST = right sides together
- WS = wrong side
- RS = right side
- SA= seam allowance
- All SA 5/s" unless otherwise noted .
- All raw edges can be seam- finished
by serging or turning edge under 1/s"
The beaded trim adds weight and swing- and stitching the edge.
as well as style.
- Press all seams open unless
(:'. DOWNLOAD THE FULL-SIZE otherwise noted.
J~ PATTERN FOR THIS PROJECT
- Mark, rather than clip, notches.
• AT SEWDAILY.COM
CUT FABRIC
FABRIC in yd 0 Cut out Bodice, Shoulder Straps.
Kerchief Top, and Skirt from pattern
- 45": XS- 23/s, S- 21/2, M- 25/s. L/XL-23/4
pieces provided. Transfer all markings.
- 60": XS/S-17/s, M-2. L/XL- 21/s If desired, extend lengt h of skirt. Let
skirt and bodice pieces hang overnight
OTHER SUPPLIES
to prevent future stretching.
- Pattern. provided
- 3 yd 1/4" elastic STITCH DRESS BODY
- Beaded trim, in yd El With RST, stitch darts and Bodice
XS 6 1/2, S 63/4, M 7. L 7114, XL 71/2 side seams. Finish seam edges as
recommended in Notes.
- Thread to match fabric
41 %:43"
•" H
MAKE KERCHIEF TOP + CASING
D Matching notches, stitch righ t side
45-47"
of Kerchief Top to the wrong side of
the Bodice using a 5/s" SA. Edge finish
seams by serging or pressing under 1/s"
and topstitching the edge.
ll Press Kerchief Top seam down
toward Bodice. To make the casing,
press finished Bod ice seam [serged or
pressed under 1/s" and stitched) down
toward the waist. Stitch 1/s" from top
finished edge, leaving 1" open at back
to insert elastic.
ll At underarms, measure around
chest. Cut elastic to this measurement
for Kerchief Top casing. Using a safety
pin, guide elastic t hrough Kerch ief
Top casing. Overlap elastic ends 1"
and stitch securely. Slip- stitch casing
opening closed .
iI!JPlace Strap 1/2" inside front of bodice
matching notches and RS front facing
out. On the Bodice only, and avoiding
the Kerchief, handstitch across strap a
scant 1/a" at the top and bottom edges
of the casing- avoid ing the elastic.
Note: straps can be crossed in the
back or not, as preferred. Adjust strap
l ength at the back and handstitch
above and below the casing in the
same manner as the front. Repeat with
second str ap.

88
.. -----·····-··-····-~

* stitch
 how-to

ADO BEADED TRIM FABRIC D Ptace Back pattern piece on fabr ic

mPress Kerch ief edge under 1/4". - 60": XS -2, S/M/L-21/s, XL-2 1/4 yd
Pin the beaded trim to the WS of the
Kerchief edge, aligning the bottom OTHER SUPPLIES
- Pattern, provided
woven edge of the trim with the edge
of the Kerchief. Topstitch on the RS - Matching thread
along the bottom edge of the Kerchief, - 1/4yd lightweight fusible tricot
catch ing the t rim edge. Add a second interfacing
row of stitching a scant 1/4" from the
edge of the first stitching , catching in
- Press cloth
the other woven edge of the trim. - Optional: 3mm twin needle for knits
iE Hem the dress by pressing edge - Optional: Serger
under 1/4". Follow the same directions - Optional: for alternate hemming
in Step 11 above to apply the beaded met hod in Step 7: 2 yd paper-backed
trim to the hem edge. fusible web hem tape
ALEX SUDALNIK is afashion and knitwear
designer living and working in Los Angeles, Bust Waist
t- XS 32-33"
California. a: 25'.'
c( s 34-35" 26-27"
:c M 36-371/ /" 28-39Yi"
Batwing Jersey Dress u L 39-411/i" 31-33%"
by EMILY LI MANDRI LI.I XL 421/i-441/1" 34%-361/z"
{from page 4 9}
-
N ,.
using the selvedge to follow grainline .
0 Cut one each of Front and Back
Facings of main fabric and interfacing .
SEW BACK+ SIDE SEAMS
D Serge Back pieces toget her. See
Notes for alternate seam finishing.
D Serge Front and Back pieces
togethe r or use the double zigzag
method in Notes.
ll Fuse interfacing to Facings
following manufacturer's directions.
Stitch front and back interfacings
toget he r at shoulder seams.
ll Pi n to neck edge following marked
Hip
notches. Stitch to neck edge .
341/z-35Yi"
DlJ Serge, pink, or press under a 1/4"
361/z-37Yi"
38i/1-40" and topstit ch facing edge.
4TYi-43" mTurn facing to inside of dress and
press using a press cloth.

en Shown insize Small

' ' ' "
45-47"
NOTES
- All seam allowances are S/s".
- Sleeve and hem depths are 3/4".
- Alternate method for seam fin ishing:
instead of serging the seam edges,
use a double row of zigzag stitches.
Stitch the first row of zigzag along
the seam line using a 2.5mm
length and a narrow .5mm widt h
setting. Stitch the second row next
to the first, staying in the 5/s" seam
allowance, using a wider setting of
3mm l ength x 4mm width stitches to
fin ish the seam s.
- Use a press cloth for synthetics to
avoid scorching fabrics.
- Alternate method for sleeve and
hem finish ing, use a double need le
for a different fin ish .
iE Optional: t opstitch neck edge with
the same double needle finish if used
for sleeves and hem.
COMPLETE DRESS
Double Needle Hem
iEJ Hem using the twin needle, with
a 3/4" seam allowance for sleeves and
bottom hem.
Fusible Web Hem Tape
iD To use pape r-backed fusible web
hem tape, first press up a 3/4" seam
allowance for hem. Insert a strip of
fusi ble web hem tape with the fusible
side toward the dress body. Press using
a press cloth to prevent scorching .
IE Remove paper backing from hem
tape . Press hem using a press cloth.
Straight stitch , use a small zigzag, or
double needle to stitch hem in place.
iD Repeat your chosen hemming
met hod for the sleeves.

CUT OUT FABRIC EMILY LI MANDRI is a part-tirne MBA

Make a d ouble needle hem f or the look of
ready-to-wear on the soft, cotto n jersey.
(l~ DOWNLOAD T.HE FUL.L ·SIZE
J ._ PATTER'N FOR THIS PROJECT
AT SEWOAILY.COM
D Print and cut out the pattern pieces.
fJ Fold the fabric in half with selvedges
aligned.
D Place Front pattern piece on the
fold. Pin and cut.
student at NYU Stern and also the founder
ofBrooklyn-based fashion brand Natty
Paint (nattypaintcorn). '\tVhat started as a
silkscreened 1'-shirt venture has evolved into a
contemporary ready-to-wear clothing line.

>>
89
sewdaily.com *
 how-to

fold, cut 2 back fac ings each from

Prettiest Party Frock fabric and from interfacing.
by GRETCHEN HIRSCH
fJ Transfer all markings to fabric with
{from page SO} chalk or marking pencil.

CUT SKIRT PIECES

D Cut 1 Skirt Front on the fold.
Transfer all markings.
D Cut 2 Skirt Backs as directed on
pattern. Transfer all markings.

SEW THE BODICE

D Sew the waistline darts on the
Bodice Front and Back.
ll Sew the Bodice Front toBodice
Back at the shoulder seams and press
seams open.
D Fuse inter facing following
manufacturer's directions to the Front
and Back Facings.
D Sew the Facings together at the
shoulder seams and press open.
D Edge finish Facings by pinking.
Remove the cord from the piping before zigzagging , or staystitching 1/4" from
the zipper opening to reduce seam bulk.
the outside edge.
iill With
right sides together, pin
the Facing unit to the Bodice at the
Skirt gathers can be arranged to flat ter Bust Waist Hip neckline and armholes. Stitch .
I-
your figure type.
~ XS 32-33" 25" 34Yz-351/1"
iD Trim, grade, and clip seam
<( s 34-,3;5" 26-27'' 36%-371/r." allowances. First press open, then
(j~ DOWNLOAD THE fULL·SIZE ::x: ~ 36-37 h~
1
28-391/{ 38i/1-40"
J ·~ PATTERN FOR THIS, PROJECT u l 39-411/t" 3J-33%" 41 i/i-43"
press seam allowances toward the
~ AT SEWDAILY.COM I.I.I XL 421/1-44V2"
facing. Turn the facing unit to the

FABRIC in yd
- 45": XS/S- 23/s, M- 21/2, L/XL-27/s
- 60": XS/S- 13/4, M/L/XL- 21/2
OTHER SUPPLIES
- Pattern, supplied
- 22" medium-weight fusible
interfacing
- XS/S/M - 5/s yd
- L/X L- 3/4 yd
- · 2 yd 1/s" cord for piping
- · 2 yd 1" grosgrain ribbon
- 18" regular zipper
- Thread to match fabric
- Chalk or marking pencil
-en
N
Shown insizeSmall
34111-361/i '
NOTES
- All seams are 5/s" seam allowance
unless otherwise noted.
- Edge finish all seams unless
otherwise noted by serg ing,
zigzagging, pinking, or turning
under edges of seams 1/a" and
topstitch i ng.
- WST=wrong sides together
CUT BODICE PIECES
D Bodice Front: Cut 1 on fold
Bodice Back: Cut 2
Front and Back Facings: Cut 1 front
facing from fabric and interfacing on
45-47" inside of the Bodice.
IE Understitch the facings as far as
possible. [See Sewing Basics.)
iEI Flip Facings up andsew facing and
bodice side seams in one continuous
seam. Edge finish the side seams.
ID Tack the Facings to the bodice side
seams at the seam allowances by hand.
ADD WAISTLINE PIPING
ml Fold the bias strip in ha l f WST. Place
the cording in the middle of the bias
strip. With a zipper foot , stitch as close
to the cording as possible.
III Baste piping to bodice waistline,
using a zipper foot, so piping extends
just over the 5/s" seam allowance. A
little piping will extend at both ends
of the zipper opening. This will be
t r immed later.

90
.. -----··· . ··-··---~
'if Stitch
 how-to

ASSEMBLE SKIRT
llJ Sew the center back skirt seam to
the marked notch. Sew the skirt front to
the skirt backs at the side seams. Edge
finish seam allowances and press open.
ill Gather the skirt waistline. Tip: to
gather, use a wide zigzag stitch over a
length of dental floss, stitching within
the 5/e" seam allowance. Pull the ends
of the dental floss to gather the skirt.
DJ Pin skirt to bodice, right sides
together, and distribute skirt gathers
evenly. The sample shows fewer
gathers at the dress front than the
sides. Gather your dress according to
your personal preference. Baste skirt
to bodice-continue using a zipper foot
to keep stitching close to the piping.
Tip: before the end of your basting,
trim cording from inside the piping to
just inside the seam allowance at the
back seams to avoid bulk in the seam.
Finish basting to end of waistline.
fE Check gathers to make sure you're
happy with them. Stitch again with a
regular stitch length. Trim waistline
seam and press toward the bodice.
Bl Insert back zipper following
manufacture r's di rec ti ens.
ADD A WAISTLINE STAY
IE To finish the inside of the waistband
seam, pin the bottom edge of the
grosgrain ribbon inside the waistband
aligning the bottom edge of the ribbon
just inside the waistline seam. Trim
extra ribbon if necessary: tuck the
ends under the fold of the seam edge
at the zipper. Handstitch the ribbon
inside the waistband. Handtack at side
seams and zipper edge.
HEM YOUR DRESS
fE Press up 2" on the bottom edge
The Big Blue
of the dress. Fold up an additional 2"
for the hem. Finish by hand using an
by AMBER EDEN
{from page 51}
invisible slip stitch to hem the dress.
QUICK SKIRT PATTERN
The skirt for the Prettiest Party Frock
is a simple rectangle. You can use the
enclosed pattern pieces, or easily make
your own skirt pattern. Here's how:
0 First, decide how long you \Vant
your skirt to be-24" is generally
arounciknee length on someone of
average height.
0 Nert decide ho\V \vide your skirt
front needs to be. For a ga:t hered skirt,
I use <i.TatiO·of 2r/, to 1, meaning that
the skirt wiJl be 21/2 times wid,er than
the waistfu1e and then gath.ered to fit
the waistline seam. So, ifyo·u hJve a 30"
\vai$t, divide that number by two (for
the front and back)-giving you t5".
8 For the Front Skirt piece, multi ply
that by 2 11.. In this example is" x 2•/i
will give you a skirt width of 37 1/,"
before seam allo\vances.
0 .-'\.dd1•1~· forsi.deseam alJO\vances, Hidden details- French darts and a waist
stay-enhance the fit of this dress.
sfs" to the top foT \Va.ist seam allO\VJnce,
and 4" to the bottom for hem J1lowance. ri~ DOWNLOAD THE FULL-SIZE
J ._ PATTERN FOR THIS PROJECT
0 Using your measurements, ~tout
AT SEWDAILY.COM
the Skirt Front on the fold.
G For the Back Skirt, use your same - 1/2
yd light- to medium-weight woven
starting measurements as the front, bu.t fusible interfacing
add 2 1/1" to allow for both side and
- 2 yd 1/," twill tape
center back seams. As forthe Skirt
F,ront, add s/i' for a waist sean1 allow- - Thread to match
ance and 4" to the bottom for a heln - 24" invisible zipper
allowance. - 6 yd lace hem tape
0 After you have detennined your - Opt;onal waist stay: 1 1/s yd of 1" wide
measurements, cut out the Skirt Back. grosgrain ribbon plus hook and eye
Cut this piece m bal[ to create Lhe back
seam.
Bust Waist Hip
....
Q: XS 32-JJ" 25" 34'/r35'/1"
• ····-···----·---
~ s 34-35" 26-27" 36'/i-37'/,"
::i:: M 36-37'/z" 2.8-39'/i" 38'h-40"
u L 39-41 '/i" 31-33''1" 41 1/i:-43"
w XL 421/2-441/1" 341/2-361'1"

GRETCHEN rtGERTIE• HIRSCH is a

1 FABRIC in yd
- 45": XS-2 1/4, S-2J/s, M-2 5/a, L-27/e,
-
N
(/) Shown in size.Small
45-47"

contributing editorfor Stitch and a passionate

home sean1stress. She is the creator ofthe XL-2 7/a
popular sewing blog, Gertie's New Blog for - 60": XS-13/4, S-13/1., M-2, L- 21/a, NOTES
Better Set.uing. She teaches sewing in New York XL-2 1/, - First pin-then baste-then stitch.
City, around the country, on PBS's Tt's Sew This is the key to accurate sewing
Easy, and on Craftsy.con1. OTHER SUPPLIES for anything other than a straight
- Pattern, provided seam. })
91
·~····
sewdaily.com *
 how-to
- Make a muslin sample as a test
garment. Adjust pattern as needed.
- Try putting the zipper in by hand with
a pick-stitch for a clean, couture
finish. A pick-stitch is sewn by hand
like a straight stitch except the
distance between the stitches is less
than the length of the stitch. When
finished it resembles a mach1ne-
stitched line.
- To keep the French dart bias line
from stretching, reinforce with
lightweight woven interfacing.
- If needed, reinforce the waist,
shoulder seams, and neckline with
1
/4" twill tape Vis rt the SewDaily.com
blog for more information.
- Clip curves and grade seams as
needed.
- Finish seam allowances with
preferred method. A Hong Kong
finish is a seam allowance that is
enclosed wrth bras strips, usually
silk, a material whose fluidity keeps
the seams from becoming too bulky.
Serging, pinking, or zigzag stitching
are also good scam finishes.
- Allow dress to hang 24 hours before
hemming.
- All seam allowances are 1h" unless
otherwise indicated.
- RST== right sides together
- For explanations of terms and
techniques, see Sewing Basics.
CUT + MARK+ INTERFACE
D Cut out all pieces as 1nd1cated on
pattern.
D Mark notches and darts.
El Fuse interfacing to facing pieces
according to manufacturer's directions.
STITCH BODICE
D Stitch darts 1n Front and Back
Bodice. Reinforce darts with fusible
interfacing as needed.
0 Stitch shoulder and side seams of
bodice
D Staystitch neckline and waistline
of skirt and bodice If your fabric
has a lot of stretch, use twill tape
to further stabilize . Cut the desired
l ength an d stitch just inside the
seam allowance
92
..................
* Stitch
D Stitch the Front an d Back Facings at
shoulder seams, leaving center back
seam open.
D Attach facing to dress neck, RST.
D Understitch neckline seam and
turn facing to 1ns1de, tacking facing
shoulder seams to bodice shoulder
seams. F1n1sh fa cing edges with
a zigzag stitch or as desired.ISee
Glossary in Sewing Basics )
illl Stitch sleeve seams. Run n basting
stitch around the sleeve cap from back
to front notches on each slcevo. Ease
sleeve cap to fit dress armhole.
mBaste sleeves to armholes, RST,
matching front and back notches,
shoulder seams. and side seams.
Stitch sleeves to armholes 1/4" from
edge. Stitch again using 1/2" seam
allowahce.
STITCH SKIRT
iB Stitch Skirt Front to Skirt Back at
side seams.
IEJ Stitch Skirt Back seam up to the
zipper opening as marked on pattern.
ATTACH BODICE TO SKIRT
ID Stitch bodice to skirt at waist.
111 Insert the invistble zipper following
manufacturer's dtrections.
Optional: sew zipper 1n by hand with
a pick-stitch. Refer to Notes, above.
ill Optional waist stay: a waist stay
acts as a stabilizer and helps prevent
the garment from sliding up or down.
To make a waist stay, use a 1" wide
grosgrain ribbon. Cut to the desired
waist measurement plus 1". Anchor
the waist stay by stitching to the
waistline seam. Fold each end under
V2" and add a hook and eye Handstitch
the ribbon ends to the zipper tape.
HEM DRESS+ SLEEVES
llJ Hang dress for 24 hours before
hemming.
D!I To hem sleeves, press sleeve edge
up 1/2". then 1/2" again. Blindst1tch hem
in place
111 To hem the dress, pin or hand baste
lace hem tape 1/," from right side edge
of hem. Machine stitch lace In place.
Turn up hem 1/2" press. Handstitch hem
using a blindstitch.
AMBER EDEN islheeditorofStitch and
SetvD,1i[J•.com She lo11t.'S t11l things sewing
and is 11 lifer student at Fashion Institute of
Tecltnology. She lives bctu1ccn Boston and
Huntington, New York, c1nd has threefar
chilclrcn (nvo golden retrievers, plus a cat ivho
thinks she is one) and a husband who dotes on
each oftht•m
VISIT THE
SEWDAILY.COM BLOG!
Want to learn a snazzy, easy seam
finish' Check out the Hong Kong
ftn1sh on the SewDaily.com blog.
You can also read more about the
pick-stitch and waist stays.
---------···--··-·-···-···------··-·-···-
The Business Edge
by KATRIN VORBECK
{from page 52}
FABRIC
Light· to medium-wetght suiting or
wool blend (shown · dark gray wool
blend of 55% wool, 450/o polyester).
Suit fabrics or wool blends work best.
Because of the curved seams with
piping accents, solid-colored fabric s
w ithout pattern or direction are
recommended. Fabric needed, 1n yd:
- 45". XS-2 1/s, S-2''•· M-21/4, L-23/a,
XL-2 1/2
- 60" XS-1 1/, , S-1 1/A, M-1 1/4, l-1 l/s,
XL-2
- 1 fat quarter accent fabric of each of
2 colors, for piping !shown: quilting
cottons. Fabric A turquoise, Fabric
8 · lime green). Cottons work well,
but for a more elegant look, you may
use silk or satin.
You may also replace fat quarters
with readymade bias and cording,
OR readymade piping (see amounts
for each color in cutting l1stl.
Lining 1n yd
- 45" : XS/S- 1 1/a yd, M- Xl- 17/a
- 60": 1 1/4 for all sizes
 how-to

- 18" invisib le zipper

- Tailor's chalk or fabric marker
- Scissors or rotary cutter
- Invisible zipper foot
- Optional: piping foot or zipper foot
for your sewing machine

NOTES
- All seam allowances are 5/a" unless
otherwise noted.
- Hem depth is 2".
- Press seams after every step.
- When pressing curved seams. a
tai lor's ham is helpful. If you don't
own one, a hard stuffed pillow
will do , but make sure it's heat
resistant I
- For expla nations of terms and
techniques, see Sewing Basics.
- Pretreat the fabrics as the finished
garment will be cleaned (wash,
dry, iron, or dry-clean) to avoid
shrinkage after the garment is
sewn.
- As this dress has many seams, it
is recommended to make a muslin
Hand b aste the back seam so that the
first to check the fit. Because of t he piping matches perfectly.
seam lines, this dress can be easily
altered if your measurements are PREPARE THE PIPING
A tailor's ham is an extremely helpful tool between sizes- or to make other fJ Fold and very lightly press piping
for pressing curved seams. adjustments for a better fit. strips in half lengthwise, right side
of fa bric facing out. Insert the piping
CUT THE FABRIC
DOWNLOAD THE FULL-SIZE snugly into the fold of the prepared
PATTERN FOR THIS PROJECT
D Pin pattern pieces to fabrics as
bias strip. Pin or baste prepared piping.
AT SEWDAILY.COM shown in the cutting layout. Transfer
all pattern markings to the fabric. El Using a piping or zipper foot, sew as
close to the cord as possible, enclosi ng
From main fabric, cut on straight of
the cord in the strip. Use thread that
grain, one each:
matches the piping and a longer stitch
Bust Waist Hip A-Right Front length [3.5 - 4mm) . Repeat with all
t- XS 32-33" 25" 341/2-351/i"
ex B- Center Front piping strips.
~ s 34-35" 26-27" 361h-37V{
:c M 36-371/i" 22-39l/i' 381/i-40"
C- Left Front
SEW THE LINING
u L 39-411/i" 31-33%" 41 1h-43" 0 -Left Back El Sew all lining darts. Press bust
UJ XL E- Center Back
-
N
Cl)
421/z-441/( 341/i-361/i"
Center backleugth ls_35Yi"
Shownin s~e Small
45-47''
F- Right Back
From lining, cut on straight of grain:
darts down and waist darts toward
center front .
D With r ight sides facing, sew center
back seam closed. Press seam open.
Front Lining on fold
OTHER SUPPLIES Back Lining, 2 pieces D With right sides facing, sew the
- Pattern, provided right side seam closed.
From piping fabrics, cut bias strips:
- 43/4 yd piping cord, about 1/a" thick Fabric A: 1 1/2 yd long, 1 1/ 2" wide
D Sew the left side seam from notch
(omit if you are using readymade to hem. Press both side seams open.
Fabric B: 4 yd long, 11/2" wide
piping) D Pin a 3" hem in the lining and baste.
Cut piping cord a few inches longer Blind stitch hem. } }
- Sewing thread to match fabrics
than each fabric strip.
93
sewdaily.com *
 how-to
Clip curved seams to allow the dress t o
hang smoothly.
SEW THE EXTERIOR
ll Serge or zigzag raw edges except
the hem.
D!I Sew dart on Piece D and press
toward center back.
DI Pin Pieces D and E, right sides
together. Stitch the center back seam .
Press seam allowances open.
ADD THE PIPING
lE Baste piping to right side of the
fabric along seam lines of t he exterior
pieces: piping A to Piece C, piping B to
Pieces A and F. Align seam allowance
of piping with the seam allowance
of the exterior pieces. Tip : it's easier
when you clip the fabric of the piping
where it meets a convex [outside)
curve. Just ease the fabric to concave
!inside) curves.
iEJ Stitch the piped seams on the
front and back sides closed. Tip: this
might be the trickiest step, so take
your t ime. Basting the seams makes
it easier.
IIJ Clipseam allowances along
curves. Depending on the thickness
of your fabric you may want to t rim
the seam allowances of the piping .
.. _...................................
* stitch
iE Carefully press seam allowances
to one side. Using thread to match the
piping , topstitch about 1/s" away from
piping, securing seam allowances. To
reduce bulk, pull out piping cord a bit
where the piping meets an edge (hem.
armhole, shoulder) and cut it back so
there ·s no cord in the piping fabric at
the seam allowance.
COMPLETE THE EXTERIOR
iD Sew right side seam closed. Press
seam allowances open.
Ell Following manufacturer's
directions, sew the zipper into the left
side seam. Stitch seam below zipper
and press seam allowances open.
lD From the right side, carefully sew
a few stitches across the seam l ine
where the zipper ends to lock the end
of t he zipper.
BAG THE LINING+
FINISH THE DRESS
Bagging is the quickest way to line
a dress (or j acket or vest). Once you
have done it, you'll never go back to a
different technique again!
ID With right sides together and the
dress inside the lining, pin or baste the
neckline and armholes of the lining
and dress together. Do NOT close
shoulder seams!
IE Sew around armholes and neckline.
Begin and end sewing at the shoulder
seam allowances at th e zipper. Clip
and trim seam allowances around the
neckline and armholes.
Bl Slide your hand through the
shoulder seams, grab the hem, and
slowly turn the dress inside out. Press
seam allowances toward lining, then
press lining into dress.
EE Tu rn everything inside out again.
Reach throug h the openings in the
shoulder seams of the lining and with
right sides facing, sew shoulder seams
of exterior fabric closed. Press seams
open.
fEJ Sew shoulder seams of lining closed
by hand. Press.
EE Sew left-hand seam allowances
of lining to zipper tape by hand or by
machine.
mSerge or zigzag around hem edge of
dress.
E!I Hem dress. As the seam allowances
and the piping add some bu lk, a
single-fold, blindstitched hem is
recommended.
Have fun wearing it!
KATRIN VORBECK is a passionate
sewist--always learning and exploring. It's
the small details and the sin1ple design features
that she loves most. An adrnitted fiberholic and
bookworm, her sewing and knitting library
is just as big as her stash. Visit her badly
neglected blog at sew-mad.blogspot.com.

Bonus instructions to convert this tote to a
pillow are at the end of the next page.
j..
(~ DOWNLOAD THE FULL-SIZE
PATTERN FOR THIS PROJECT
AT INTERWEAVESTITCH.COM
FABRIC
- 1 yd anti-pill fleece or felt for body of
bag and straps (Fabric A)
- 1/2 yd anti-pill fleece or felt for quills
!Fabric Bl
- For mouth detail: scrap of fleece or
felt at least 4 1/2" x 1/a" (Fabric Cl
- For ear: scrap of fleece or felt at
least 3"x 3" (Fabric DI
- Optional bow: scrap of fleece or felt
at least 11/2" x 5" (Fabric El
OTHER SUPPLIES
- Template, supplied
1/2 yd firm stabilizer (Pellon Decor
-
Bond recommended)
- 1 large porn-porn (2" diameter) for
nose
- Embroidery floss for eye (to match
Fabric Cl
:-=:x::
I
·--::;:
I
I
: -~
I
figure 1
- Sewing thread to match Fabrics B,
C, and D
- Ballpoint sewing machine needle
- Embroidery needle
- Air- or water-soluble fabric marker
or tailor's chalk
- Optional: Polyester fiberfill for bonus
Hedgehog Pillow project.
See instructions in Bonus Project box
on next page.
FINISHED SIZE
20" wide x 14" tall (23" tall with strap)
NOTES
- All seam allowances are 1/2" unless
otherwise noted.
- Trim and clip curves on all seams
unless otherwise noted.
- For explanation of terms and
techniques, see Sewing Basics.
- RST =right sides together
CUT THE FABRIC
Fold Fabric A in half, and cut:
(shown: beige)
- Two sets of Template A (four
pieces). Transfer strap and opening
marks to both pieces. Trace face
and quill markings to one side of
outer bag.
- One strip 29" x 5" for Strap
how-to
The smile is made b y topst itchlng a narrow
band of f leece; eyelashes are embroidered.
From stabilizer, fold ed widthwise, cut:
- One set of Template A (two pieces).
Transfer strap and opening marks.
- One strip 29" x 5··.
From Fabric B, cut: (sh own: red)
- One 4" x 7 1/2" strip
- Two 4" x 11" strips
- One 4" x 12" strip
- Four 4" x 13" strips
- Three 4" x 13 1/2" strips
From Fabric C, cut: (shown: brown)
- One 3 1/2" x 1/a" strip
- One 1 1/k" x 1/s" strip
Fold Fabric D widthwis e, and cut:
(shown: white)
- One set from Template 8
!two pieces]
Optional bow: from Fabric E, cut:
!shown: purple)
- One 5" x 1" strip
- One 2 1/1o" x 1/s" strip
MAKE THE BAG
To make the strap: place stabilizer
on wrong side of fab ric strap.
Fold layers lengthwise RST. Stitch
the long edge with a •;, .. seam
allowance. Trim edge and turn strap
right side out. Topstitch 1/s" along
both long edges.
To make the quills: take the
4" x 71/2" strip of Fabric B and fold
lengthwise with wrong sides facing.
Starting at back end of the marked
••
95
..
sewdaily.com *
 how-to
outer bag piece, place fold along the
qu ill marking line and pin so that there
is 1/2" on either end of quill [for seam
allowance when bag is sewn together].
Stitch down quill strip 1/a" from fold.
Cut 1//' w ide fringe- be careful to stop
just before seam. (figure 1) Repeat with
remaining quill strips [see photo on
facing page]. working in rows from the
back toward the head, in the following
size order: 4" x 11", 4" x 12", 4" x 13'',
4" x 131/2", 4" x 131/2". 4" x 13 1/2",
4" x 13", 4" x 13'', 4" x 13", 4" x 11 ''.
D Place 31/2" x 1/a" strip of Fabric C as
the longer Smile Mark and topstitch in
place. Place 11/4" x 1/a" strip of Fabric C
along the shorter Sm ile Mark Corner
and topstitch into place .
D Hand- embroider eye and eyelashes
with embroidery floss using a
backstitch. [See Stitch Glossary in
Sewing Basics).
D With RST. sew Ear pieces around
cu rved edge with a 1/4" seam allowance.
Leave straight side open. Clip around
curve and turn right side out. Fold open
edges inward and topstitch around
entire Ear 1/a" from seam. Place Ear
piece behind second row of quills as
marked on pattern Template and stitch
along straight end 1/a" from edge to
secure.
D Optional Bow: With RST on 5" x 1"
strip of Fabric E, fol d widthwise and
stitch raw edges of short side together
with a 1/4" seam allowance. Trim seam
allowance and turn the loop right side
out. Cut a sideways V- shape on the top
and the bottom to create a bow. Wrap
21/4"X 1/a" strip of Fabric E around the
center to pinch the loop into a bow.
Handstitch the ends together and t ri m.
Handstitch bow in place, just behind
the first row of fringe and in front of
the ear.
D Following manufacturer's
instructions, fuse stabilizer to wrong
sides of both outer bag fr ont and back
pieces. Place bag front and bag back
pieces together with RST. Insert strap
in between the right sides, with the raw
ends of the strap between the marks
on either side of the opening. Pin all
layer s toget her. Stitch along raw edges
with a 1/2" seam allowance. Leave open
.......96
····-···-~---·
* stitch
a gap at the top between the large
dots. Double-stitch over straps fo r
reinforcement. Trim around edges and
clip curves.
D Place bag lining pieces together
with RST. Stitch together up to large
dots. leaving a 3" opening at the
bottom for turning in Step 9.
llJTurn outer bag right side out.
Insert into bag lining, so that right
side of outer bag and lining sections
are facing. Pin the top opening edges
together. Stitch around opening. Trim
raw edge and turn bag right side out
through the bottom opening in lining .
ml Sew lining open ing closed by hand
with a slip stitch and insert into bag.
Handsew porn- porn nose in pl ace-
sewing it through all layers will he lp
keep the lining in place.
Tote is now complete!
CHERYL BUSH is a selftaught designer
and mother ofthree. She writes a crafting
blog at sewcando.blogspot.com and offers
her custon1 wearables, plushes, and patterns
at thegreenhedgehog.com She also creates
original projects for Tin1eless Treasures and is
afeatured artist on PellonProjects.com.
BONUS PROJECT
FUZZY HEDGEHOG PILLOW
To t urn the Fuzzy Hedgehog Tote
into a pillow, repeat Steps 1- 6.
Then pin the prepared front and
back sections of the Hedgeho g RST,
leaving a 4" opening at the bottom
for stuffing. Stuff the pillow-start
with the head and t hen fill up t he
rest of the body. Tuck in opening
used for stuffing and slip stitch
closed .
School Days
Teacher's Set
by JUNE MCCRARY JACOBS
{from page 54}
Children can participate by learning t he
basic embroidery stitches needed.
FABRIC
- 3/syd of 44" wide 100°/o cotton fabric
[shown: red - and-white gingham
check]
- 9" x 12" scrap of 100°/o cotton flannel
fabric [shown: black]
- 16" x 6" scrap of wool felt
[shown: red)
OTHER SUPPLIES
- Embroidery template, supplied
3/s
- yd of 44" wide cotton batting
- 3 buttons, 15mm diameter,
[shown: white star- shaped )
- 2 buttons, 15rnm diameter.
[shown: red heart- shaped ]
- Thread : machine quilting, and perle
cotton
- 2/3 yd of 3/a" satin ribbon [shown: red)
- l/3yd of 3/a" satin r ibbon
[shown: white)
- 11/4 yd of medium r ickrack trim
[shown: white)
- Spiral-bound journal [journal used
for sample measures 6" x 8 1/2".l
- Rotary cutter, rigid acrylic ruler,
self- healing mat
- Embroidery needles
- Pinking shears
- Fabric glue stick

Using a decorative stitch adds definition to the bookmark. The journal cover is attached to
the outside of the journal cover and the inside f lap with fabric glue.
- Non-permanent method of
transferring embroidery charts to
black flannel [designer used chalk
wheel]
FINISHED SIZE
- Journal cover: 20 1/2" x 8 1/ 2" {flat)
- Bookmark: 21/2" x 12" [including
charm)
NOTES
- All seam allowances are 1/2" unless
otherwise noted.
- All topstitching was sewn with
multicolor machine quilting th read
and a decorative stitch.
- Buttons were sewn on with perle
cotton.
- Measure journal accurately before
cutting fabric, using instructions in
Steps 1 and 2.
- A small-scale cotton print would
also work well for this project.
MEASURE JOURNAL
D Measure journal height from upper
to lower edge. Add 1" to this number
for height cutting measurement.
D Measure journal width from right
front edge around spine to back left
edge and record measurement. Add
81/2" to this number for Length cutting
measurement.
CUT OUT FABRIC
El From gingham or print fabric: cut
two rectangles using measurements
from Steps 1 and 2.
El From batting: cut one rectangle
using same measurement.
1:1 From black flannel fabric, cut one
5" square for journal and one 21/2 "
strip for bookmark.
I] From red wool felt fabri c, cut two
3" x 6 1/2 " strips for bookmark and two
2 1/2" squares for bookmark charm.
D Cut white rickrack into two equal
lengths based on journal length
measurements [from Step 21.
SEW JOURNAL COVER
D Transfer embroidery chart for
"School Days" text to center of
5" black flanne l square. Stitch words
using white perle cotton and a running
stitch . (You can encourage your child
to practice th is beginning stitch by
stitching the words on this flann el
square.)
D Pin squa re to center front of
journal cover. To determine the
center of the jou rnal, fo ld your outer
journal rectang le in half. Center this
halfway mark on the center of the
spine of the journal. Tuck under the
flap to the inside for placement to pin
the embroidered square on the front
center panel. Baste square to gingham
an 1/a" from ou ter edge.
iE Pin red satin ribbon over edge of
black flan nel, fold ribbon corners for a
smooth border. Stitch around outer and
inner edges of ribbon using red thread.
mSew two star buttons and two heart
buttons in alternate corners of black
flannel applique using white perle
cotton . [This is an opportunity to teach
your ch ild how to sew on a butto n.)
how-to
iE Pin wh ite rickrack trim across
journal cover at upper and Lower edges
at about 1 1/ 4 " from the top and bottom
edges. Sew down the center of the trim
using white thread.
iEJ Pin journal cover pieces together in
the follow ing order, from top to bottom:
Wrong -side front, right-side lining
[second gingham rectangle). batting.
ilJ Sew around all edges of journal
cover, leaving a 5" opening on the
bottom edge of the cover fo r turning.
IE Trim corners and turn to right side.
Fold raw edges of open ing to inside,
slip-stitch opening closed, and press.
x 5"
ED Topstitch /1." from edge around
1
entire cover usi ng red machine qu ilting
thread.
in Press again. Now, center cover on
journal. Glue cover securely, beginning
at the spine and working toward the
front and back ends of the journal
edges. Then fold and glue the flap to
the inside. Allow glue to dry thoroughly.
SEW BOOKMARK
ill Follow Step 8 above and embroider
th e "ABC" text on black flann el strip for
bookmark.
iD Trim along raw edge of black flannel
strip [2 1/ 2" x 5") with pinking shears.
Pin strip to center of one 3" x 6 1/2" red
wool felt strip.
Eli] Stitch around edge of black strip 1/a"
from edge using red thread.
ED For bookmark charm, sew a star
button to the center of a 21/2" red wool
felt square. Fold white satin ribbon in
half and insert about 1" of ribbon end
between the two 2 1/ 2" red wool fe lt
squares, pinning securely.
IE Stitch around all edges of red felt
squares at 1/2", using wh ite mach ine
quilti ng thread.
ED Insert about 1" of the oth er end of
the ribbon loop between two layers of
the 3" x 6 1/2" red wool felt strips and pin
securely. [Make sure the button side of
the charm is fac ing the same direction
as the "ABC" side of the bookmark).
Ila Repeat Step 22 above to stitch the
two red felt rectang les together.
})
97
sewdaily.com *
 ~
O OILCLOTH PLANT HOLDERS El EMBROIDERED GUITAR B FLAPPER· INSPIRED FELT 0 THE FASCINATOR
by CAROL ZENTGRAF Project p hoto on STRAPS by MADELEINE ROBERG Proj- HAT by APRIL MOFFATT Project photo on by ALEX SUDALNIK Project photo on page
p;igq 64; instructions on pag<,>TI1. ect photo on page 61: instructions o n page 106. pag~ 77; instructions on page 136. Z4; instructions on P.age 133.

,. •
I

• •

0 UPCYCLED DENIM i1iJ SCHOOL DAYS TEACHER'S mEMBROIDERED iB HARVEST PLACEMATS

by SUSAN LIU Project photo on page 62;
MESSENGER BAG by BETZ WHITE SET by JUNE MCCRARY JACOBS OCTO·CLOCK by STEFANIE
Project photo on i:fa>ie 67; instructions on Project photo on page 54: instructions on BERGA NINI Project photo on ~age 66: instructions on page 108.
page 11ll. page 96. instructions on p1ige TIS.

en
t I
--*
t I
()
\.. y
J
jl«ifrmr
 r•

0 COLORFUL CLOTHING 1J FABRIC ROSEBUDS 1J MOO NEWSBOY HAT [I SLOUCHY CASHMERE HAT
DIVIDERS by JENNIFER RODRIGUEZ by TOMASA JIMENEZ Project photo and by JENN RHOADS Project photo on page 78; by SIGRID ARNOTT Project photo on p9gc
Project photo on .P.<l9C $7; instructions on P<>9e 100. instructions on page 2!1. instructions on page 13". 75: instructions on page 134.

IEQUICK FAUX SASHIKO i1J EMBROIDERED MARY Im FLOWERING FLEECE + FELT III EMBROIDERED CRITTERS
PILLOW by COREY YODER Project photo JANES FOR BABYby APRIL HAT by STEPHANIE SMITH Project photo by HEIDI BOYD Project photo on
on page 60: instructions o n pag~ 10!!. MOFFATT Project photo on page 63; on page 76: instructions on page 135. page 65; instructions on page n2.
instructions on P<l9.e no.

click to download the N

0N
_J

I _J

Lt
z
-
z
w
w
f.J)

PATTERNS + TEMPLATES f.J)

<r
 how-to

EB Trim around edges of the charm and
the bookma rk with pinking shears.
Some supplies used were: Coats & Clark
thread, Dill Buttons of America Inc.,
Warm & Natural Batting.
JUNE MCCRARY JACOBS's original
designs and articles have been published in
sewing and crafting rnagazines in the United
States and the UnitedKingdoni. Lastyear, her
Tic·Tac-Toe Travel Ganze wasfeatured in Fabric-
by-Fabric: One-Yard \\Tonders.
Snack Bags
by ROSEMARIE DeBOER
{from page SS}
If your loca l fabric store does not
carry it, check online.
- 3" hook and loop tape [for two Snack
Bags)
FINISHED SIZE
- Small: 6 1/ 2" x 4 1/2" [folded)
- Large: 8" x 5 1/2 " {folded)
NOTES
- The construction methods fo r the
small and the large Snack Bags are
the same.
- If you have fabric with words or
other di rectioncil patterns, test the
layout before trimming the corners.
- WST =wrong s ides together
CUT FABRIC
D From Fabric A [small Snack Bag
Body). cut a rectangle 61/2" x 14".
El From Fabric B (large Snack Bag
Body). cut a rectangle 8" x 18".
iiiJ Fold up the bottom of the Snack
Bag. using dotted Fold Line A on the
Template as a guide.
mBefore stitching the binding to the
outer edge, fold under 1/2" of binding
at one bottom corner. Then continue
to bind the sides a nd the curved top
using the same method as in Step 9.
Fold under the last 1/2" at the e nd of the
binding before finish ing your binding.
iEI Fill with snacks, fold down the top
on Fold Line B, and off you go!
ROSEMARIE DEBOER is the assistant
editor at Stitch rnagazine and recently moved
from 1-\Thite Sox to Red Sox territory. Her love
for her hon1etown baseball team and all her
fabric came with her.
------------------------~----------------
Night Critters Vest
by TINA LEWIS
{from page 56}

D From PUL, cut a rectangle 6 1/2" x 14"

W aterproof PUL fabric m akes Sn ack Bags
practical for either crackers or carrots.
C:~ DOWNLOAD THE FULL·SIZE
J~ PATTERN FOR THIS PROJECT
• AT INTERWEAVESTITCH.COM
FABRIC
Cotton quilting fabric:
- Fabric A: V2 yd for small Snack Bag
Body and bias binding for large
Snack Bag
- Fabric B: 1/2 yd for large Snack Bag
Body and bias binding for small
Snack Bag
OTHER SUPPLIES
- Snack Bag Templates. supplied
- 1/3 yd PUL fabr ic. PUL is fabric
that has been laminated with a
waterproof backing. It is soft,
flexible, and can be machine washed
and machine dried on a low setting .
and one 8" x 18".
0 From remaining quilting cotton, cut
enough 2" bias strip to make 36" length
for the small Snack Bag and 45" length
for the large Snack Bag.
ADD THE BIAS BINDING
D Create double-fold binding from the
bias strips. [See Create Binding section
in Sewing Basics).
[I Layer the Snack Bag Body WST
with the PUL. Pin together in the seam
allowance to avoid puncturing the PUL
fabric. Recycle wool from an outgrown coat-j ust
check for fabric f laws b efore cutt ing.
D Trim the rounded corners on
both Snack Bags as shown on the
Templates. (i · DOWNLOAD THE FULL-SIZE
J~ PATTERN FOR THIS PROJECT
ll Cut the hook and loop tape into 11/2" . AT INTERWEAVESTITCH.COM
pieces. Stitch the loop portion to the
PUL side and the hook portion to the
FABRIC
fabric side as labeled on the Templates.
- S/s yd of 54- 60" wide blue wool
ll Stitch the contrasting double-fold melton or similar soft, dense,
binding to the short, straight edge of coat-weight woo l [will make all
each Snack Bag as fo llows: unfold sizes of the vest)
the bias binding and align one long - 5" x 7" pieces of wool felt for the
raw inside edge to the PU L side of
appliques in the following colors:
the Snack Bag. Stitch along the first
Moon: Yellow
fold . Fold the tape up and over the raw
edges to the inside and topstitch close Bats: Dark gray
to the second folded edge.
Armadillo: Purple

98
"if Stitch

Porcupine: Orange
Snake: Red, plus scrap of blue- green
for t he spots
Lizard: Yellow- green, plus scrap of
orange for the zigzag
Raccoon: Light gray, plus scrap of white
for t he face and dark gray for the
face and tail stripes
- 3/4 yd r ed cotton for the bias binding
OTHER SUPPLIES
- Templates, supplied
1/ 3
- yd paper- backed fusible web for
the appliques [Wonder Under or
similar product]
- 14" YKK #5 brass separating zipper
[see Sou rces at end of article]
- Cotton sewing t hread to match
the vest fabric and each applique
fabric
- 6- strand embroidery floss:
Moon: Yellow-orange for all markings
Bats: Black for all markings
Snake: Black for eye, red for tongue,
light gray for spots
Lizard: Black for eyes and nose, or ange
for zigzag
Raccoon: Black for eyes, nose, inner
ear and claws; wh ite for ears and snout
Armadillo: Black for eye, ear, and
claws; light gray for all markings
Porcupine: Black for eye, ear, mouth,
and claws; orange for quills and
w hiskers; two coordinating lighter
shades of orange for quills.
- Small, sharp embroidery scissors
- 3/4" bias tape maker (Clover #18]
- Press cloth
- Handsewing and embroidery
needles
FINISHED SIZE
Children's sizes 3, 4, 5, and 6
[chest 22-25")
NOTES
- Seam allowances are 1/2" at the
shoulder and side seams and 1/4"
on the bound edges- for the neck,
front, armho les, and hem.
- Use 3 strands of embroidery floss
for all embroidery.
~ ---
A b ias tape maker gives you the freedom
to make binding in any color you want.
- The vest can be made from recycled
wool from an old coat. Have the wool
cleaned and inspect the fabric for
flaws or holes. The vest can also be
made from heavy corduroy, den im,
or real suede.
- Because of the thickness of
wool, it is easier to take the tiny
whipst itches and backstitches
needed for the appliques by using
the stab- stitch method of stabbing
the needle down through the fabric
and back up from the wrong side.
- Wool re sponds to pressure and
steam and requires a press cloth
to prevent imprinting. Pressing the
seams is easier when using a seam
roll. Always allow steamed wool to
dry in place.
- RST =right sides together
CUT FABRIC
D Trace the front and back pattern
pieces along the lines for the desired size.
Pin to the fabric and cut out. Cut napped
fabrics with the front and back in the
same direction w ith the nap going down.
SEW THE VEST
fl With RST, pin vest fronts to vest
back at side seams and shoulder
seams. Sew seams with a 1/2" lapped
seam as follows: stitch the seams,
then trim the back seam allowance to
1/4". Press the seams toward the back.
Topstitch the seam allowances 3/a" from
t he seam lin e, enclosing the trimmed
seam allowance.
PREPARE+ STITCH BIAS BINDING
El Cut 11/4"
bias strips from the binding
fabric, trimming the ends diagonally.
how-to
Take the time to start and stop your
embroidery stitches neatly.
With RST, sew the strips together with
1/4 " seams to make 3 3/4 yd. Press the
seams open . To make the binding, draw
the strip through the bias-tape maker,
pressing the binding as it emerges.
[See Diagona l Seams fo r Joining Strips
in Sewing Basics.I
D With RST, unfold one long edge
of the bind ing and pin the r aw edge
to the lower edge of the vest, having
edges even. Stitch a 1/4" seam, easing
the binding along concave curves and
stretch ing it slig htly along convex
curves. In the same manner, stitch
t he binding to the neckline, easing the
binding around the curve. Stitch the
binding to t he armholes, beginning and
ending at the underarm seams . Turn
the end of the binding 1/4" to the wrong
side at the start and lap the binding· 1/4"
over the turned edge at the end. Ease
the binding in around the armhole as
you stitch .
D Press all t he bindings away from
the vest. Turn the bindings to the
wrong side. Roll the seam out to the
edge and stab-st itch baste t hroug h
all thicknesses 1/a" from all bound
edges to hold in place. Press all of the
basted edges. Handstitch the armhole
bindings together at the underarm
seam . From the wrong side, topstitch
the bindings 1/a" from the folded edges.
Remove the basting stitches.
INSERT THE ZIPPER
D Tightly fold the tops of the zipper
tape to the wrong side at an angle just
>>
99
sewdaily.com *
 how-to
Applique details and critt er bodies are
fused in place before st itching.
above the zipper stop on both sides.
Handstitch the tape in place and trim
off any excess. Unzip the zipper. With
RST. baste the edge of each zipper
tape 1/a" from the vest front edge. The
bottom of the zipper and the top of
the zipper stop should be 1/4" from the
bottom and top of the front edges.
D Unfold one edge of the binding and,
RST, pin the edge to the vest right front
edge, sandwiching in the zipper tape,
and extending the binding 1/2" at the
top and bottom. Stitch the front edge
using a 1/4" seam, catching in 1/a" of the
zipper tape. Press the binding away
from the vest and fold the binding to
the wrong side. Turn in the top and
bottom binding ends and handstitch
to the neck and hem bind ing . Pull the
zipper out from the seam and baste
through all th icknesses of the front
and the binding close to the zipper.
Press. From the wrong side, topstitch
the bindings 1/a" from the folded edges.
Remove the basting. Repeat for the left
side.
PREPARE THE APPLIQUES
IJ Trace reversed applique Templates
and applique details on the paper side
of fusible web. Cut out a rectangle
around each traced image. Fuse each
rectangle to a same-sized piece of
wool felt following the manufacturer's
instructions. Using small, sharp
embroidery scissors carefully cut out
each paper- backed applique piece
along the pencil-traced lines.
100
'if Stitch
D Remove the paper backings from the edges of the appliques- the
the applique details only- 12 snake raccoon claws , armad illo claws, and
spots, 2 raccoon face pieces, 6 raccoon porcupine whiskers and claws in
tail stripes, and the lizard zigzag. straight stitch; the snake tongue and
Referring to the applique patterns, the porcupine quills in backstitch;
fuse the snake spots, lizard zigzag, and and the porn - porn on the moon cap in
raccoon tail stripes in place according satin st itch.
to the manufacturer's instructions. Resource: Brass separating zipper
Fuse the raccoon face and white face available from zipperstop.com.
stripe in place, slipping the face under
t he stripe as indicated . Remove the TINA LEWIS is a designe1; writer, stylist,
paper backings from the rest of the and seamstress. She designs sewing and
appliques. needlework projects, quilts, and clothing for
niagazines, books, shops, and private clients.
ml Using thread to match the applique
She especially loves to create children's clothing.
details, stitch the snake spots. the
Tina lives on top ofa mountain in Park City,
zigzag , and the raccoon tail stripes
Utah tinalewisdesigns@gn1ail.com.
and face pieces in place using a tiny
whipstitch.
mReferring to the applique patterns Colorful Clothing
and the photos, work the embroidery
within the edges of each applique. Dividers
by JENN IFER RODRIGUEZ
fvfoon: Backstitch for the mouth, eye,
{from page 57}
and cap stripes.
Bats: French knots for the eyes,
backstitch for all other markings.
Snake: Straight stitch for the eye, gone
over 4 times; backst itch around the
inside edge of each spot.
Lizard: Straight stitch for the eyes.
gone over 4 t imes; backstitch down
the center of the zigzag; 2 lazy daisy
stitches for the nose.
Raccoon: Straight stitch for the eyes,
gone over 4 times; backst itch for the
ears and tail stripes; satin stitch for the
nose, inner ears, and snout.
,
Armadillo: Straight stitch for the eye,
gone over 4 t imes; French knots for the Fusible interfacing g ives these clothing
dividers stability for daily use.
dots; backstitch for all other markings.
Porcupine: Straight stitch for the eye, FABRIC
gone over 4 times; straight stitch for Makes 5 cloth ing dividers
the mouth and ear.
- 6" square of five different cotton
COMPLETE THE VEST solid fabrics for front of dividers
IE Arrange the embroidered appliques - 6" square of five different
on the vest, referring to the applique coord inating cotton print fabrics for
patterns and photos for placement. back of dividers
Fuse appliques in place according to
OTHER SUPPLIES
manufacturer's instructions. Using
- Template. supplied
thread to match each applique, stitch
the appliques to the vest using tiny - 1/3yd of medium-weight fusible
whipstitches. interfacing
iE Referring to the applique - Thread in coordinating colors
patterns and the photos, complete - Skein of size 5 perle cotton, black
the embroidery that goes beyond

If you've sewn garment s for your children,
it's fun to use the scrap s for the backing.
- Embroidery needle
- Air-erasable fabric marker
- Quilter's curved safety pins
- Fray Check
FINISHED SIZE
5 1/2" diameter
NOTES
- To reduce fraying. treat edges of
fabric with Fray Check after cutting
fabric.
- Fusible interfacing provides stability
for the embroidery and helps
ma intain the divider's shape while
on the clothing rod.
- Embroidery is done by hand and
does not require an embroidery
hoop.
- Younger children who want to
participate but cannot yet write.
could dood le an image on each
divider.
.CUT THE FABRIC
D Cut the following using Template A:
- 5 pieces from the 6" solid cotton
fabric squares [fused to interfacing
in Step 2]
- 5 pieces from the cotton print
D Following manufacturer's
inst ructions. iron the fusible
interfacing to the wrong side of the
cotton solid fabric .
EMBROIDER THE DIVIDER FRONTS
D With the air-erasable fabric marker,
print in freehand the days of the school
week and the divider line on the right
how-to
side of cotton solids. Center each day
(':~ . DOWNLOAD THE FULL-SIZE
above the divider line .
.) . _ PATTERN FOR THIS PROJECT
D Thread an embroidery needle with · AT INTERWEAVESTITCH.COM
a Length of black perle cotton. Tie
a small knot and bring the needle FABRIC
up from the wrong side of the fused - 1 yd solid cotton fabric: Bunny Body
fabric. Using a backstitch, embroider [shown: bright pink]
the weekday letters. [For embroidery - 1/4
yd each of four coordinating
inst ructions, see Stitch Glossary in cotton prints or solids: Pieced Stripe
Sewing Basics.] Section
COMPLETE THE - 1 1/2 yd of quilting cotton: Backing
CLOTHING DIVIDERS Panel [shown: animal print]
D Cut along the marked dividing lines. - 1/4
yd of coordinating quilting cotton:
D Using the curved safety pins. baste Backing Panel [shown: teal)
the embroidered divider fronts to the - 6" square of felt for eyes and mouth
coordinating cotton print backs w ith applique [shown: white]
wrong sides together. Be sure that the
divider split Lines are lined up. OTHER SUPPLIES
- Templates for Ears. Face, and Paws.
D Machine sew the dividers together
provided
with color-coordinated thread and
bobbin with a tight satin stitch around - 1 yd of 3/4" fusible hook-and- loop
tape
the outside edge, along the divider slit,
and around the interior circle. - 6" square of fusible web
D Press cloth ing dividers. - 12/3 yd of 90" wide cotton batting
- Polyester fiberfill for pillow
JENNIFER RODRIGUEZ quilts, stitches,
and wrangles her two adorable daughters in - Polyester machine thread
vVest Jordan, Utah, with her sweet husband. - Quilt basting spray
Visit her at allthingsbelle.blogspot.con1 and
allthingsbe/le.etsy.com. FINISHED SIZE
- Main body: 25 1/2" x 48"
- Including ears and paws. 34" x 66"
Bunny Nap Roll NOTES
by JENNIFER WOLAK
- All seam allowances are 1/ 4" unless
{from page 58}
otherwise noted.
- RST=right sides together
CUT OUT FABRIC
D Fr om the solid fabric for the Bunny
Body, cut one rectangle each:
- 22 1/2" x 26 1/2"
- 91/ 2" x 26 1/2"
D From the coordinating prints. cut
four rectang les:
- 51/ 2" x 26 1/2"
- 21/2" x 26 1/2"
- 6 1/ 2" x 26 1/2"
- 41/2" x 26 1/2"
D For the Backing Panel, cut:
- 1 1/ 2 yd of Backing Panel A to
Hook-and-loop t ape on t he ears and b ack 42" x 26 1/2"
of the nap roll m ake t his bunny portable.
- 1/4 yd Backing Panel B to 7" x 26 '12" }}
101
sewdaily.com *
 how-to
Rolled up and ready for travel or storage.
The eyes and smile are fused, then stitched.
IJ Print the Temp lates for the Ears and
Paws. Cut four each ot th e ea rs and
paws from the Bunny Body fabric.
PREPARE THE BATTING
D Cut a 6" x 90" strip of batting and
set aside for the Ears and Paws.
D Cut remaining piece of batting into
thi r ds - each piece will be 30" x 54".
D Stack the three pieces of batting one
on top of the other, smoothing each
flat. Spray baste together.
CONSTRUCT THE FRONT
OF THE BUNNY
ll Usi ng t he stack of batting as the
foundation! place the larger rectangle
of t he solid Bunny fabric right side
102
* stitch
The bottom section is stuffed with polyfill for a built-in pillow.
up at one end on the stack of batting
with the 26 1/2" edges as the sides of
the bunny's head . [The batting will
be larger than the body of the bun ny.
Place the fabric so that there is a 1"
margin of batting showing at the top
and sides of the main solid fabric piece.
D Next, place the first strip of the
coordinating prints over the solid fabric
piece [the bunny's head) wrong side
up . Line up the bottom edge of the
solid fabric with the bottom edge of the
coordinating print and pin down.
l11l Stitch along this bottom edg e with a
1/4"seam allowance, catch ing the two
layers of fabric and the three layers
of batting. Fold down the coordinating
print so that the print fa bric is now
right side up. Press the seam flat.
mRepeat this process using the next
print from Step 2. Place the next printed
strip of fabric on top of the first pri nted
fabric, RST. Line up the bottom edge of
the first strip with the bottom edge of
the next strip and pin. Sew along this
seam, then fold down, and press.
IE Continue in th is fashion until the
four coordinating strips are sewn
down . For the last row, use the smaller
rectangle piece of the main solid fabric.
ADD THE EARS+ PAWS
iE Using the Templates provided, cut
two Ears and two Paws from the piece
of quilt batting you set aside earlier.
Im To construct the Ears and Paws, make
a stack with a layer of the batting on the
bottom, topped with two of the pieces you
cut earlier from the solid fabric.
Gl Pin these RST and sew around the
edges, leaving the bottom edge open.
Trim the excess batting and clip as
necessary.
IIJ Turn the Paws right side out, so that
the batting is inside and the solid fabric
becomes the front and back of the Paws.
Press and topstitch around the edges,

again leaving the bottom edge open. Do
this for both Ears and both Paws.
IE Align the Ears and Paws on t he
bunny base. I placed the outer edge
of the Ears 6" in from the ends of th e
head and t he Paws directly above the
striped section. Lay them so that the
open edge lines up w ith t he edge of
the bunny body, as if they were folded
inward . Pin in place.
ATTACH THE BACKING PANEL
II] Sew toget her the 7" x 26 1/2" Backing
Panel B and the 42" x 26 1/ 2" Backing
Panel A to construct a f inished Backing
Panel that measures 48 1/2" x 26 1/2".
1IiJ Place t his Backing Panel on top of
the Bunny Body, RST.
l!Cll Sew around the edges. Start sewing
about 1" above the bottom edge on
the left- hand side and sew around the
entire rectangle, stopping 8" from the
bottom on the right- hand side. Th is
will leave a 7" opening on the bottom
right side t hat you wi ll use to turn the
shape r ight side out and to later add
the stuffing for the pillow.
Ell Trim away any excess batting.
III Through the open ing , turn right
side out, pushing out t he corners as
needed.
QUILT THE NAP ROLL
IE Sew a line of stitching at the bottom
of the Pieced Strip section, where it
meets the solid fabric of the bottom
rectangle. Do not qui lt below this line
of stitching; this section w ill be stuffed
as a pillow.
E?J Above this line of st itching, qui lt as
desired to ensure the top layers and
the backing fabric are qui lted together.
I qu ilted using horizontal str ipes at
uneven 3- 5" widths apart. Backstitch
at t he begi nning and end of your rows
to help secu re the qui lting .
APPLIQUE EYES+ MOUTH
fD Iron the fusible interfacing to
the felt, following manufacturer's
instructions.
fII Trace t he Face Tem plate onto the
felt and cut.
fD Fuse t o the solid main fabric for
the bunny's face. Topstitch the felt
appliq ues in place.
FILL THE PILLOW
Ii.Ill Stuff t he bot tom segment with
fiberfill fo r the pillow.
EE Tuck in the opening edges 1/ 4" and
slip-stitch closed.
ATTACH THE
HOOK-AND-LOOP TAPE
Elli Cut the loop side of hook-and -loop
tape into two 17" pieces, trimming
one end to a point. Line up on the
center front of the ears and fuse down
following manufacturer 's instructions .
Topst itch in place.
ED Roll up the bunny, starting at the
pillow end, wrapping the ears around
the ro ll. Mark where the ears line up
w ith the back of the quilt.
EE Place two shortened str ips of t he
hook side of the tape where it lines up
and fuse down. Topstitch in place.
JENNIFER WOLAK biogs about
quilts, sewing, and other randornness at
blempgoif.blogspot.com
Chalk Cloth Play Mat +
Sitting Mats
by LISA L. ANDERSON
{from page 59}
I - From backing , four pieces, each
Pin chalk cloth in the seam allowances or
use clip s to avoid m aking perm anent holes.
FABRIC
- 1 yd cha lk cloth
how-to
- 13/4 yd cotton print for backing
[enough for chalk cloth play mat and
four sitting mats)
- 1 1/2 yd cotton for border- single
fabric or a combination of scraps
- 3/4 yd cotton fabric for binding
OTHER SUPPLIES
- 1 1/ 2 yd batting
- Coordinating thread
FINISHED SIZE
- Play mat: 41 1/2" square
- Sitting mats, each: 10 1/4" square
NOTES
- Seam allowances are 1/4" unless
otherwise noted .
- Press seams open.
- Do not use pins with the chalk
cloth- they will leave holes.
- Do not iron the front of the chalk
cloth. The back can be lightly
pressed w ith a warm iron.
- Before writing on the chalk cloth,
condition it by coloring enti re area
w ith the side of a piece of chalk and
then wiping clean.
- Chalk cloth can easily be cleaned
w ith a da m p cloth.
- RST-= right sides toget her
CUT THE FABRIC
D For the play mat , cut the following
pieces:
- From chalk cloth, one piece
30 1/2" x 30 1/2"
- From backing, one piece 44" x 44"
- From batting, one piece 44" x 44"
- For scrappy border [as shown).
21/2" squares, cut 196
- OR solid border, two 6 1/2" x 30 1/2"
strips PLUS two 6 1/2" x 42 1/2"stri ps
- From binding fabric, seven st rips,
each 2 1/2" x width of fabric
To Make Four Sitting Mats:
- For mats, one hundred 21/2" squares
11 1/2" x 11 1/2"
- From batting , four pieces, each
11 1/2" x 11 1/2"
>>
103
sewdaily.com *
 how-to
If you use a wide variety of prints for t he scrappy border, you can play I Spy.
- From binding, four strips, each
2 1/2" x width of fabric
PIECED BORDER AND
SITTING MATS
0
For the pieced border, you will need
to sew nine- patch blocks and four-
patch blocks using the 21/2" squares.
To create the nine- patch block, place
two squares RST and sew one side.
Add a third square to your chain of
two. Repeat to create two more rows of
three squares each . Then join all three
rows together to create a nine- patch
block. This block will measure 61/2"
square. You will need twenty of the
nine-patch blocks.
D To create a four-p atch block, make
two rows of two squares each and then
join them into a four-patch block. This
block wi LL measure 4 1/2" square. You
will need 4 four- patch blocks.
D
Sew five of the nin e-patch blocks
into a row. Add a fou r-patch block to
each end. Make another row of five
104
* stitch
nine-patch blocks with a four-patch
block on each end.
1:1 Sew the remaining ten nine - patch
blocks into two rows of five blocks
each.
D For each sitting mat, sew twenty-
five 21/2" squares into a block with five
squares across and five down. Use the
same piecing techniques as in Step 2.
SEW BORDER TO CHALK CLOTH
D Take the two shorter block border
chains and with RST, sew to the left
and right side of chalk cloth. Stretch
the cotton border pieces as you sew to
get the two different fabrics to line up
properly. Do not pin in place as the pins
will damage the chalk cloth. See Notes
for instructions on pressing chalk
cloth. Avoid pressing back seams too
vigorously as damage to t he chalk cloth
may occur.
D Now take the two longer block
border chains and with RST. sew to the
top and bottom sides of the chalk cloth.
, .
, ,,
' ''
,, '
' '
'
'
,
'' '
I , '
'.
' I '
'
' I ,,
' ,,
figure 1
Again, stretch the cotton border as you
sew.
FINISHING
D For both play mat and all four
sitting mats, create a quilt sandwich
by layering the backing [wrong side
up), batting, and assembled top (right
side up). Baste with safety pins every
2" on border secti on only. Due to the
nature of working with two different
fabrics numerous safety pins are
required for the fabric to lie flat for
quilting .
iil1
Quilt as desired on border section
only of play mat and sitting mats. The
sample is quilted in straight lines with
white thread using a walking foot.
mTrim the batting and backing to
match the play mat top. Trim corners
at a 45 -degree angle. (figure 1)
iD Trim the batting and backing to
match t he sitting mat tops.
IE Join the binding strips to create a
continuous length of binding. Press
the binding in half lengthwise, wrong
sides together. Bind the play mat and
sitting mats using mitered corners.
[See Binding with Mitered Corn·ers in
Sewing Basics.)
LISA L. ANDERSON has a design
background and loves all things crafty-
especially sewing. She has previously
contributed designs to Stitch and u;rites
about her creative endeavors on her blog,
Crafting My vVay Through Life at
in1alisawork.blogspot.com.
 how-to

- Coordinating #8 perle cotton or

#12 sewing thread [shown: plum,
~
_,, ~ ., ' I I
' -
tangerine, moss green, and dark
-
, \ \
golden brown]
"
THIS
\ - Size 100/16 machine needle
- Neutral thread for bobbin ,.... ' ' ~
"'I
- Water-soluble fabric marker
I
'
Quick Faux \ \ \ I
- Temporary spray adhesive ...
~

Sashiko Pillow ~

I
..... I \
~

\" ~

by COREY YODER FINISHED SIZE

{from page 60} 15" square
,I ~
'
..... 'i ...... ~ ~

NOTES
- All seam allowances are 1/4" un less
I
'
I
' I
' ' ,\

otherwise noted. figure l

- For the machine qui lting, use a
longer stitch length and, if possible,
set your needle to end in the down I

position.
\
- Use all-purpose thread in the
bobbin and #8 perle cotton or
Aurifil in the top. If your machine
'
cannot handle the #8 perle cotton,
substitute a #12 sewing thread.
" /
/
' I - ./
' ....

[shown: #8 Finca Mouline perle

cotton from Presencia. A suggestion
'\
Create the look of sashiko by threading for the slightly thinner #12 thread
your sewing machine with perle cotton. J
wou ld be Au rifil.] J

FABRIC CUT THE BINDING \

Pillow Top
- Main fabric: One 15 1/2" square piece
of linen or solid qu ilting cotton
- Apptique: Twenty-five 21/2" squares
of quilting cotton fabric scraps
- Pillow Top Base: 16" sq.uare of
muslin or qu ilting cotton
Pillow Backing
- Two 11 1/2" x 15 1/2" rectangles of
coordinating quilting cotton
Binding
- 1/s yd quilting cotton for 3/s" finished
straight-grain binding
OTHER SUPPLIES
- Petal Template and Applique
Template, supplied
- 16" square pillow form
- 16" square low-loft batting
- 1/4 yd lightweight fusible web
[20" wide]
- Heavy paper or template plastic
- Neutral thread for applique
D Cut 2 strips of binding fabric
21/4" x width of fabric.
MARK THE QUILTING LINES
El Using a water-soluble fabric
marker, draw a 1/ 4" seam allowance
around the perimeter of the 15 1/2"
square Pillow Top.
El Measuring from the lines drawn for
the seam allowance-not the fabric
edge-draw a grid 5 squares across
and 5 down. The lines wi ll be 3" apart.
0 Trace the Petal Template from the
pattern insert onto a piece of heavy
paper or template plastic and cut it out
carefully. The Petal Template wilt be
used to mark the quilting lines.
l\'I Use the grid on the Pillow Top to
align the points of the Petal Template
to the marked intersections. Trace
along the Template using the water-
soluble marker. Conti nue marking
until all of the quilting lines have been
drawn. Use 1/2 of the Petal Template
figure 2
to draw the quilting lines around the
perimeter. (figure l)
,
APPLIQUE THE GRID CENTERS
D Using the Applique Template from
the pattern insert, trace 25 Applique
outlines onto the paper side of the
fusible web. Cut each piece out about
1/s" from the drawn line. Fuse to the
wrong side of a 2" fabric scrap. Cut on
the traced line and peel away paper
backing.
D Using the quilting lines as a guide,
center each fused Applique in one
of the marked grid squares on the
Pillow Top Background. Following
manufacturer·s instructions, fuse
Appliques into place.
D Machine applique each fused fabric
piece into place using a straight stitch
1/s" from the cut edge.

lOS
sewdaily.corn *
 how-to
Curved st itching lines can b e sew n
accurat ely b y using t he tem plat e provided.
PREPARE THE PILLOW TOP
FOR QUILTING
Layer the 16 square Pillow Top
M . ---------· ·-
Base (wrong side up), 16" square
batting. and Pillow Top (Main Fabric)
right side up Use temporary spray
adhesive to baste layers. or hand baste_
STITCHING THE
FAUX SASHIKO LINES
Stitch one vertical and one
horizontal faux sashiko line (U1ure 2 ) .
Beg in stitching at the cut edge of the
fabric so that the quilting runs through
the seam allow ances. Use a sepa rate
thread color for each set of vertlca l
and horizontal lines. Continue until the
quilting is complete.
Trim away excess Backing and
Batting Square up the pillow to 15 1/2M _
COMPLETING THE
PILLOW BACKING
Place one 11 1/2" x 15 1/2" Backing
piece wrong side up and fold and press
down •;, on the 11 1/2" edge. Fold and
M - 1/a yd of 1OOo/o cotton 1n a solid color
press down an add1t1onal •/,.. and sew
into place_This Backing piece now
measures 11 x 15 1/2" and has one
M
finished edge. Repeat with the other
Backing piece.
COMPLETE THE PILLOW
Ill With the completed Pillow Top
wrong side up, place one Pillow
Backing piece right side up with
fi nished edge toward the center line.
·-·-···106
. .......
* stitch
Place the other pillow Backing piece
with its finished edge also towards the
center_ The Backing pieces will overlap
in the center. Pin 1n place and machine
baste around the perimeter 1/a" from
the edge_
Join the binding strips into a
continuous length with diagonal
seams. Press the binding in half.
lengthwise. with wrong sides together.
Bind the pillow using your favorite
binding method. (See Create Binding:
Diagonal Seams for Joining Strips
and Binding w ith Mitered Corners in
Sewing Basics. )
E Insert the pillow form and enjoy!
COREY YODER is a dt!signi:r specializing in
modern quilt and pillotv cit-Sign. Hi:r work has
beenfeatured in various books and '1tagazines.
VISit Corey's blog 11t litLlenlissshabby_cont
Embroidered
Guitar Straps
by MADELEINE ROBERG
{from page 61}
FABRIC
- 5 1/2" x 7" wide piece of black leather
or 26" of a used bicycle inner tube
[Slit along one seam. the tire should
measure at least 2" wide_)
OTHER SUPPLIES
- Pattern Templates for strap ends,
supplied
- 2 to 3 skein s of 6-strand embroidery
floss
- Guitar strap 1 (shown: dark gray and
terra-cotta I
- Guitar strap 2 (shown: sort gold)
- Strap hardware: one 2" tr1-glide and
one 2" rectangular ring
- 3" x 59" cotton batting
- All-purpose sewing thread 1 spool
black and 1 to match cotton fabrics
- Walking foot for your sewing
machine
- Knitting needle or other device for
turning out the strap corners
- White m ar king penci l
- Craft knife
FINISHED SIZE
32"-57M long x 2" wide
NOTES
- There are two different embroidered
versions of the guitar strap. The
directions below are for one strap.
Follow separate embroidery designs
for each strap shown in Step 10.
- All seam allowances are 1/2 unless
otherwise noted_
- If you use a bicycle inner tube for
the tabs. use a walking foot on your
sewing machine and adjust the
tension to sew through the rubber.
Start at #8 and adjust the tension
fr om there. The natural curve in the
bicycl e tu be will disappear w hen the
two pieces are sewn together.
- The automatic keyhole buttonhole
function on your sewing machine
may not be able to handle the
rubber_ If so, simply stitch slowly
around the circular end or the
keyhole, moving the tab as
necessary.
NOTE: An easy way to get the
necessary strap hardware 1s to
purchase a cheap [or used) guitar strap
and disassemble it for the tri-glide.
rectangular ring, and tabs.
CUT OUT FABRIC
From the cotton fabric:
D Cut 3 strips, each 3" x 40" .
B Cut 1 of these strips in half to create
2 strips. each 3" x 20".
))
 -
-
Get your favorite patterns from Sti1~1J .

PATTERN
STORE

sti.t~b. magazine brings you patterns from stylish

clothes and home decor to fun accessories and gifts.

r -e-i< ;,.._...,._t.~
'lf'iJ ..........,. ..." _
..-.. ...... ~. a..
-N'"""•"'"-
__.. -
---
II

J__
·::~,:.r- ........
""'X!'vf,.-~

------
~ .....- ---__
___ .............-
... --·~--·­
~ ,..
,
.........., .......
------
~~t:::=-:;,•
''ll>'·-~,

·~·
.... - ...........

..__ .. _
~:::;:;:::i= -·- ..

--
r..:.,,.-.::r-- -...
_..,,.,,.._!
·-······~··-·-·
.........
~- .,._
----
...."*'""""" ..,,__
______..
.,,_,.. ... .......
------
-·----
-·-·-·----
~--
- ---
- ....-
__
.---
___
- ,.._
... ,..,.
~=-
...,.
___
--
~~-
----·----
--
_-w
-··--
_ -- __
.....____
..........,.....
_,._
~~=· _.__..
_.._........__
O I

--
,.,.....,It.,..,
' ..

--;.-
_,,..._,___._
I
,..__=--
- - - " .,-.11....,.__..,~
_ .... _ ....
~-~
~:r

J•
"---·--
-~ . ------·
~-·-
-
~

... ~;:::__ ' ·-·-- "":,':!-1t ·-~~ ----- - -.-:..._-·Ii

Download your favorite sewing patterns from Sti.t~b today!

• Dresses + Skirts • Quilts + Throws
• ScaNes + Shawls • Pillows + Home Decor
• Women 's Tops, Coats +Jackets • Baby + Kid's Clothing,
• Men's Clothing Toys + Accessories
• Bags, Jewelry+ Accessories • Gifts + More!

Begin your celebration of fabric and thread with patterns from

the sew daily pattern store.
---------------------------------------------------------------------------------------------------
 how-to
figure 1
.," .
•, ,,
From the black leather/bicycle
tubing:
El From Template A, cut 2. With wh ite
marking pencil, mark sewing and
cutting lines for keyhole buttonhole.
D From Template B, cut 1. Mark
sewing and cutting line for keyhole
buttonhole.
SEW STRAP
1:1 Sew a 3" x 40" str ip to one of the
3" x 20" strips at a 45-degree angle.
(See Diagonal Seams for Joining Str ips
in Sewing Basics.I Press . Repeat with
the other 2 strips.
0 Layer the two 3" x 59" strips of
fabric right sides together and place
the batting on the top.
D Sew around 3 sides of the strap-
up one long side, across the short end,
and down the other long side.
D Trim batting close to the seam line.
ll Using a knitting needle or sim ilar
blunt object, turn the strap right side
out through the unstitched short end.
Press well.
EMBROIDER STRAP
For embroidery diag rams, see the
Stitch Glossary in Sewing Basics .
Because of the batting, you will not
need to use an embroidery hoop.
lllJ For Guitar Strap 1: Use a running
stitch to create 8 lines of embroidery
lengthwise, about 1/4" apart. Alternate
embroidery floss colors as desired.
For Guitar Strap 2: Make random
V st itches [Arrowhead Stitch) until the
strap is densely covered.
ASSEMBLE STRAP
mSandwich the unstitched end of
the embroidered strap between both
pieces of Template A, wrong sides
108
.. ··········-···-~---·
* stitch
Purchase a used or inexpensive guitar strap
and take it apart to reclaim the hardware.
together. Using a 1/4" seam allowance,
sew completely around the Leather tab.
Sew across the straight end twice for
durability.
iIJ Sew twice along the keyhole
buttonhole stitching line. Cut along the
keyhole cutting line using a craft knife
for cutting out the stem and circle.
iE Slide piece cut from Template B
through the rectangular ring and fold
in ha lf. Using a 1/4" seam allowance,
stitch around the tab, following the
stitching lines shown on Template B.
Sew the straight st itching line twice.
iD Stitch and cut the keyhole on other
end as described in Step 12.
lE Run the end of the embroidered
strap with Template A through the
tri-glide, with the r ight side of the strap
going under the outside bars and over
the middle bar. (figure 1)
ill Run the same end through the
rectangular ring and through the back
of the tri-glide-in the same under-
over-under pattern.
mStitch the end to the back of the
guitar st rap, secu ring the tri-glide in
position. To do this, sew a 1/2" x 11/ 2"
rectangular box across t he width of the
strap and then sew an X through t he
center of the box.
DJ Now rock it!
MADELEINE ROBERG co-hosts REPEAT,
a fabric design con1petition run byThe
Printed Bolt. She is also a textile historian
and designer with a graduate degree from
the University ofNebraska-Lincoln in textiles
history with a quilt studies en1phasis. Visit her
at thep1intedbolt.con1 and papagostudio.cont
Harvest Placemats
by SUSAN LIU
{from page 62}
I
r
~'
I•.. {
•A.'
1
•
\
These basic embroidery stitches are easy
to master-and fun to do.
FABRIC
To make 4 placemats:
- 1 yd of 45" solid quilting cotton
fabric [main)
- 1 yd of 45" coord inating quilting
cotton fabric [backing]
- Three 1/4 yd pieces of 45" coordinated
quilting cotton fabrics, or 3 fat
quarters (for vertical strips)
OTHER SUPPLIES
- Fruit Pattern Embroidery Templates,
provided
- 1 yd of low- loft polyester batting,
such as Pellon Therm olam
 how-to

3" 6"
I I I
,• ,. I
I I I I I
I I I
I I I
I I I

I
I
I I
I
I •I I
13" I I I
I I I
I I I
I I I
I I I
I I I
I I I
I I I
I I I I
I I
I I t I
I I
I I I I
I I
\ I
I I I I
I I I
I II 1,
12"
I 3
.. I 3
.. I I, I

t.1••.!i". figure l I 6" 6"

I 3
.. I 3
.. I
Inserts are created by piecing three figure 2
different fabrics cut in random widths.
prints RST and stitch along the 31/2"
side. Add another piece in the same D With embroidery needle and the
- Coordinating sewing thread
manner until the strip is 13" long. recommended number of strands
- Various colors of embroidery floss of floss noted on each Embroidery
Fin ished piece will measure 3 1/2" x 13".
for fru its Template, embroider the fruits with
Make 4 vertical strips.
- Embroidery needle stitches indicated . (See pattern insert.)
- Iron -on transfer pencil ASSEMBLE THE PLACEMAT TOP
QUILT+ FINISH
- Fabric-marking pen
D Place one 13'' x 121/4" solid
[I With the backing fabric right side
rectangle next to the pieced strip RST
- Spray-on temporary fabric adhesive and stitch along the 13" side. Add one down and following manufacturer's
13" x 3 1/4" solid rectangle to the other directions, spray temporary fabric
FINISHED SIZE adhesive on the wrong side of the
raw edge of the vertical strip and stitch
13" x 18" each fabric. Center the batting on top of
together along the 13" side (figure 1).
the backing. Spray temporary fabric
NOTES Make 4 placemat tops. Trim tops to
measure 13" x 18". adhesive on top of the batting. Center
- Prewash and iron all fabrics before
and smooth the placemat top, right
cutting.
EMBROIDER THE FRUIT side up, on the batting.
- All seam allowances are 1/4" unless
IJ Following the transfer pencil D Using a fabric -marking pen and
otherwise noted. manufacturer's instructions, trace and a straight edge, trace quilting lines
- Press all seams open unless iron each Embroidery Template onto (figure.2) onto the placemat top.
otherwise noted. the lower left-hand corner of the right Machine quilt along these lines with
- RST = right sides together side of the placemat top . coordinating thread.
- Stem stitch, backstitch, running
stitch, and satin stitches are used
to embroider the fruits. (See Stitch figure 3: folded mitered-comers
Glossary in Sewing Basics.)
Step 1: Step 2: Fold
CUT THE FABRIC Trim the the clipped
D Cut four 13" x 12 1/4" and four corners corner over
13" x 3 1/4" rectangles from main fabric. of the toward the
binding. right side of
- Cut four 16" x 21" rectangles from the placemat.
backing.
- Cut four 15" x 20" rectangles from
batting.
Step 3: Fold half Step4: Now
- Cut a 3 1/2"
strip from each of the of the backing fold the backing
coordinating fabrics. Cut these extension toward over the
strips into pieces with random the placemat top placemat top,
widths between 11/2" and 3". The so that the raw forming miters
variation in widths gives each edge -of the back- at each corner.
vertical strip a distinctive look. ing aligns with the Pin in place.
raw edge of the Slip~stitch the
MAKE THE VERTICAL STRIP placemat top. binding to the
D Using the coordinating fabric strips place mat top.
prepared in Step 1, place two different
>>
109 .
. -...............................................
sewdaily.com *
 how-to
All stitches are illustrated in the St itch
Glossary in our Sewing Basics section.
NOTE : Do not stitch the quilting lines
through the embroidered fruit motifs.
D Trtm batting even with placemat top.
Do not cut inlo the placemat backing
D Trim backing fabric to a 1 1/2°' margin
all around the quilted placemat.
II!] Finish the placemat corners using
the folded mitered-corner method
shown in (figure 3). Invisibly applique
edges and mitered corners in place.
SUSAN LIU resides in Cupertino, California
and is afull tin1e project 1nana9cr. In herfree
tinie, she loves to sew, kni4 and draw. Read
about her creations at so-sue.blogspot.co111.
.. - .. . .. .. .....
Embroidered Mary
Janes for Baby
by APRIL MOFFATT
{from page 63}
If you would like to make these for an older
baby, enlarg e the pattern on a copier.
110
--··· .
-···* stitch
FABRIC
- 1/, yd wool felt (shown : soft aqua)
- Scrap wool felt (shown: red)
- 1, yd cotton print for Lining
1
OTHER SUPPLIES
- Mary Jane Templates. provided
- 2 buttons to coordinate with felt. 3/e"
- Matching thread
- Embroidery floss to coordinate with
cotton fabric
- Press cloth
FINISHED SIZE
Newborn. 0-3 months
NOTES
- RST = right sides together
- Seam allowance is 1/4" unless
otherwise noted.
- Use a press cloth to press wool felt
before cutting.
- Fold fabric so that when cutting you
get both a right and left Shoe Sole.
- Transfer all pattern markings.
CUT THE FABRIC
From fo lded wool felt:
- Cut 2 Shoe Uppers
- Cut 2 Soles (mark arch with a pin or
a pencil mark)
- Cut 2 re ctang les for Straps
(1 1/2" x 4")
From folded cotton fabr ic:
- Cut 2 Shoe Linings
- Cut 2 Soles (mark arch with a pin or
a pencil mark)
MAKE THE SHOES
D To make the Shoe Upper, with RST,
pin heel seam together. Stitch 1/&"
seam. Repeat for other shoe.
D With RST, pin the center back
seam of the Shoe Upper to the center
back dot on the wool felt Sole. Pin the
center front dot on the Shoe Upper to
the center front dot of the Sole. Pin
edges, easing the fabric around the
curve. Stitch. Clip curves just to the
stitching line-be careful not to snip
through the thread. Turn right side
out. Repeat this process with the other
outer Shoe Upper.
The blanket stitch embroidery keeps the
lining in place and adds a decorative touch.
0 To make the Shoe Lining. repeat
Steps 1 and 2 with the Lining fabric.
To make the Strap. press the rectangle
lengthwise. Stitch along the side and
across one end. Turn right side out.
Tops1itch 1/s'' on folded edge of Strap.
Press. Repeat for the other Strap.
ASSEMBLE THE SHOES
D Take the left Outer Shoe Upper and
the left Lining Shoe (the marked Arch
Point will be on the inside of the shoe).
Keeping the Outer Shoe (teltl turned
right side out, place it inside the Lining
of the left shoe RST. Match and pin the
edges around the shoe top. Using the
Strap Guidelines from the Template for
placement, slide the unfinished end of
the Strap in between the right side of
the Outer Shoe and the Lining.
NOTE: The Strap will be stitched on
the same side of the shoe as the Arch
Point. Strap is adjustable and can be
shortened if necessary.
D Stitch around the top edge leaving
a 2" opening along the back of the
heel for turning. Turn shoe right side
out. Gently press Lining seams into
the Outer Shoe seams. Turn under the
edges of the opening and slip-stitch
closed. Press. Repeat for other shoe.
FINISHING THE SHOES
1J Using coordinating embroidery
floss, blanket- stitch the edges of the
straps and the upper edges of the
shoe. [See Stitch Glossary in Sewing
Basics.)

IJ Cut a small horizontal slit into
the end of the strap for the button
to fi t through. Sew buttons in the
appropriate place after measuring the
strap placement.
D To make the Wool Felt Flower, cut a
5" x 1" rectangle. Press the rectangle
lengthwise. With sharp scissors, cut
the folded edge every 1/ 4", being careful
to not cut through to the other s ide.
Roll up, securing with stitches every
half turn to form a rosette. Attach
folded -side up to the outer toe with
thread. Re peat for other shoe.
APRIL MOFFATT comesfron1 a long line
ofsewing divas. .Her grandmother sewed
her way through the Great Depression,
and her industrious n1other has sewn just
about everything you can irnagine. April
horneschools herfour children and also designs
textiles. She shares her ideas and patterns at
apriln1offattdesign.com.
Oilcloth Plant Holders
by CAROL ZENTGRAF
{from page 64}
FABRIC
These plant holders work well for holding
gardening supplies or outdoor toys.
For large cover:
- 1 yd of 60" wide cotton duck
- 1 yd of 60" wide laminated cotton
For medium cover:
- 1/2 yd of 60" wide cotton duck
- 1/2 yd of 60" wide laminated cotton
OTHER SUPPLIES
- Embroidery Template. supplied
Personalize by embroidering the name of a
friend for a great fall gift.
- 1 yd of ultra-firm fusible stablilizer,
such as Peltex
- 6-strand embroidery floss in a color
to coordinate with cotton duck
- Embroidery needle
- 1 1/2" to 2" diameter button for each
cover
- Tracing paper
- Transfer paper
- Press cloth
FINISHED SIZES
- Large cover: 14" x 14 1/2" x 12 1/2"
- Medium cover: 11" x 11 " x 10 1/2"
- To create other sizes, see Making
Custom Covers at the end of these
instructions.
NOTES
- All seam allowances are 1/2".
- Always use a press cloth and low
iron temperature with laminated
fabrics. Press on the wrong side
when possible.
- RST =right sides together
CUT THE FABRIC+ INTERFACING
D For the large cover-from the cotton
duck, cotton laminate, and interfacing,
cut:
- four 15" x 17" rectangles for the
sides [12 pieces total]
- one 15" square for the bottom
[3 pieces total]
fJ For the medium cover- from the
cotton duck, cotton laminate, and
interfacing, cut:
- four 12" x 15" rectangles for the
sides [12 pieces total]
how-to
•
I
•
I
•
I
I
-- -'.
"
"
•
.... ~....
--·-
.
•
I
•
I ,
, •.
figure 1
- one 12" square for the bottom
[3 pieces total]
EMBROIDER THE FRONT PANEL
El Trace one of the words from the
Pattern Template [or write your own
word] on tracing paper. Transfer the
word to be embroidered to the panel.
centering the bottotn of the word 2" up
from the bottom of the panel. In placing
your lettering, remember that the top
edge of the planter will be folded down.
El Thread the embroidery needle with
6 strands of embroidery floss. Embroider
the letters using a running stitch. [See
Stitch Glossary in Sewing Basics.]
ASSEMBLE THE COVER
D Fuse the interfacing pieces to the
wrong sides of each of the cotton duck
pieces.
[I For the outside cover, stitch the
cotton duck side panels together. To
accommodate the bottom panel, start
stitching 1/2" from the bottom edge.
IJ Sew the bottom panel to the side
panels. Press seams away from the
bottom panel. Turn the cover right side
OU t. (figure 1)
D For the lining, repeat Steps 7 and 8
using the cotton laminate, leaving an
8" ope.ning in the center of one bottom
edge. Press on the wrong side using a
press cloth . Do not turn right side out.
D Place the outside cover inside the
lining, aligning the side seams and top
edges. Sew around the top edge.
il!l Pull the outside cover through the
opening in the lining, which will turn ) "'·
the lining right side out. Insert the 'I
111
sewdaily.com *
 how-to
,,
I '
,,-, I '
I I I I I
I
I
I
I '•I
~ I
' ·-- '
,.
I
I
I
I I
'~-
figure 2
lining in the outside cover and press
the top edges using a press cloth .
Topstitch 1/2" from the edge.
FINISH
mFold the top edge to the outside,
adjusting the depth as desired.
i8 Sew a button to the center front of
each folded edge, stitching through all
layers.
IE To add stability to the corners
on the large cover, use 6 strands of
embroidery floss and stitch through
each corner with a running stitch .
(figure 2)
MAKING CUSTOM COVERS
To make a cover to fit any pot:
D Measure the diameter across the
top of the pot. Add 2" for the width of
the rectangle .
D Measure the height of the pot. Add
7" for the height of the rectangle.
D So, if your pot has a 5" diameter and
is 6" tall, cut side rectangles 7" x 13".
D The bottom square is the same as
the final measurement in Step 1. In
this example, the bottom would be 7"
square.
(Some supplies for this project
were provided by James Thompson,
Westminster; Rowan, and Pellon.]
CAROL ZENTGRAF is a writer, designer,
and editor who specializes in sewing,
embroidery, textiles, painting, and decorating.
She designs for several n1agazines and fabric
company websites. Carol is also the author of
seven home decor sewing books.
112
..............................
* stitch
until the center fabric is taut and ready
Embroidered Critters for stitching.
by HEIDI BOYD D Cut felt from the templates. Cut
{from page 65} each felt piece exactly to the Template
size. Do not add seam allowances.
'
''
D Stitch the letters. With the Lettering
'I 11 Template behind the fabric, center the
' I \ " /1 I
•
word under the felt animal, 1" up from
''
I t ' I
I
I
I
I ' I
the hoop base. Trace the letters with
j
•
I
I
an air- erasable fabric marker. Thread
your embroidery needle wit h 3 strands
of black floss. Each letter is formed
with a backstitch. (See Stitch Glossary
in Sewing Basics.)
D Finish the embroidery and
critter appliques. Turn the finished
embroidery over and trim away excess
cotton fabric so that only 11/2" extends
beyond the hoop. Thread your sewing
needle with a Long strand of thread and
make a long running stitch along the
Applique and hand embroidery give a outside edge of the trimmed fabric.
whimsical dimension to woodland friends.
Pull the thread ends to gather the
fabric and allow it to hide inside the
GENERAL SUPPLIES back of the hoop. Tie the thread ends
- Templates, supplied in a knot.
- 8" wooden embroidery hoop D Add the backing. To finish the back,
- Small amounts of felt in a variety of use the inner hoop as a template to
colors- scraps are perfect' trace a circle on the 9" square of felt.
Cut out the circle and position it over
- Fine -tip air- erasable fabric marker
the gathered embroidered fabric in
- Sewing and embroidery needles the hoop. Temporarily secure t he felt
- Off-white sewing thread circle to the gathered back with a few
- 9" square of felt for each backing straight pins. Carefully dot fabric glue
or hot glue around the perimeter of the
- Fabric glue or hot glue gun felt circle- working in sections to keep
FINISHED SIZE it from shifting.
8" diameter BANDIT
NOTES FABRIC
- The General Supplies and General - 1/3
yd printed brown cotton [shown:
Instructions are common to each Denyse Schmidt's Hope Valley)
of the embroideries. Individual - Wool felt: silvery gray, off-white,
supplies and instructions are listed black, and light tan
below under each critter's name.
- Trace a circle from the 9" square of OTHER SUPPLIES
- Two 1/4" 2-hole buttons, off-white
felt using the inside diameter of the
outer hoop as a template . Set aside - One 1/4" shank button, black
until Step 5.
- 6-strand embroidery floss: silvery
GENERAL INSTRUCTIONS gray, off-white, black, and gold
D Set up the embroidery hoop. Press PREPARE FABRIC FOR
the cotton. Center the fabric in the EMBROIDERY
embroidery hoop. Alternate between D Set up the embroidery hoop. [Step 1
tightening the tension on the outer of General Instructions.]
hoop and pulling the sides of the fabric,
 our esource ort e
an ma e
Essential Online and Offline Resources for Artists and Crafters
-------------------------------- -----------------------------------------~
Magazines Books
I
I I
Inspiration, projects and ideas from top artists I
Imm erse yourself in your p assion for sewing
'I I
I
'I I
I
'I
I I
I
I I
I I
'I
I
I
I
I I
I I
I I
I
I
I
....
' '
I
I

'
I
I
I
I
I - I Am Cute Oress,es

I I

'
I
I
I

'
I
I
I
I
I
I
I
I I
I
I I
I I
I I
I I
I I
I I
I I
I I
I
I
I
'
I
I
I I
I
'
I
I
I
I I
I I I
I I I
I I I
~~ ·,, '

----------------~ --- -------- ------~- -------- -------· I

Video &;Television Online Stay connected with your com munity

I
I
I
I
I I I
I I
Techniques from talented, we/I-known instructors I
I
I
I
I
I
I
I
I
I
....,._,
~
__.._._.,
...,
,.
· ~c..... .
~
I. _• 0
-----·-- !14Wd(LJ.it.._
-
- --- -
=:. ,£''.J:
I
I

I
I
I
I
- ·--
-
~--

I DIY Surface I
I
I
I Design I
I
'
I
I
I
I
I I
I I
I I
I I
I I
I
I
I
I
sewdaily.com shop.sewdaily.com
I
I
I
'
I
I
I I
I I
I

_
I
I I

·--'.._-
I
I
I
I

'
I ---·- --·-
I
I

'
I
I
I
I
--·--
---- - -__
_.._
--
I
I ·-·~-­
I
I
I
I
I I
I
I
I
I
•
I
I
I
I
clothpaperscissors.com quiltingdaily.com
'~----------------------------------------------------~----------------------------------------------------4
I I

lnterweave's multi-media approach to sewing,

quilting, and mixed-media will keep you inspired with -~·b 01w
flu'"' 1 NTE1, EAVE.coM
books, magazines, television shows, DVDs, interactive online
communities, eBooks, digital downloads, eMags, and online
shopping experiences.
 how-to
Wool felt pieces are layered from large to
small. Allow room for the critter's name.
D Cut the Bandit Templates. [Step 2 of
General Instructions.)
- Silvery gray: body, legs, face strip,
ears, and tail
- Off-white: tail tip, face base piece
- Black: tail stripes and eye masks
- · Light tan: 4 leaves
EJ Refer to the photo for the
arrangement of the felt pieces. Layer
the felt pieces largest to smallest.
Center the design in the middle of the
hoop-remembering to leave roo.m for
the word bandit. Pin in place.
EMBROIDER+ APPLIQUE BANDIT
IJ Use 3 strands of black floss to:
- stitch a button to each eye mask
piece
- stitch the shank button for the nose
to the edge of the silvery- gray face
.
piece.
- make 3 backstitches to form mouth
on the white felt under the nose.
- highlight the inside of each ear wi th
3 vertical wedged- shaped straight
stitches.
- make a series of small stitches that
contour and delineate the front legs.
- make a series of small stitches that
connect the gray tail to wh ite tail tip .
B Use 3 strands of white floss to:
- · make 3 angled st itches along the top
of each black eye mask.
114
* stitch
- 1'
·- '
•~
- -
.·
After the embroidery is complete, applique
stitches will keep the critter in place.
- make 5 fan - shaped stitches across
the chest, varying the stitch length
with the longest stitch in the center.
0 Use 3 strands of silvery gray floss
to:
- make a row of elon gated vertical
stitches, varying the angles slightly
across the edges of the black tail
stripes.
D Use 3 strands of gold floss to:
- make a single stitch down the center
of each leaf and a couple of diagonal
stitches to suggest veins.
[J Switch to sewing need le and sewing
thread and make tiny applique stitches
around the outside edge of the felt
animal to the cotto n backing fabric.
[See Standard Hand Applique Stitch in
Sewing Basics.)
0 Stitch the word bandit. (Step 3 of
General Instructions.)
FINISH BANDIT
iE See Steps 4 and 5 of General
Instructions.
FOXY
FABRIC
- 1/ 3
yd gray print cotton (shown: Far
Far Away Il l by Heather Ross for
Kokkal.
- Wool felt: r usty brown, off- white,
and black
OTHER SUPPLIES
- Two V4" 2- hole buttons, tan
- One 1/4" toggle button, black
- 6-strand embroidery floss: black,
rusty brown, and white
PREPARE FABRIC FOR
EMBROIDERY
mSet up the embroidery hoop. [Step 1
of General Instructions.]
i8 Cut the Foxy Templates. [Step 2 of
- General Instructions.)
- Rusty/Brown: body and face pieces
- White: face and tail tip
- Black: socks
iEJRefer to the photo for the
arrangement of the felt pieces. Layer
the felt pieces largest to smallest.
Center the design in the middle of the
hoop- remember to leave room for the
word foxy. Pin in place.
EMBROIDER+ APPLIOUE FOXY
iII Use 3 strands of black floss to:
- stitch a button eye to the white felt
on eit her side of the rusty brown
snout.
- stitch the black button nose to th e
end of the snout.
- highlight the. inside of each ear with
3 wedge - shaped straight stitches.
iE Use 3 strands of ru sty brown floss
to:
- make 3 small backstitches to form a
mouth on white felt under the nose.
- make 3 fa n-shaped stitches t hat
span the connection of the black
sock to the rusty brown body.
- make a row of elongated stitches
that span t he border of the tail and
the white tail tip . Vary the length and
angle of the stitches.
iI1 Use 3 strands of white floss to:
- stitch a pair of angled whiskers on
either side of the nose and mouth.
- make several angled stitches that
alternate between the rusty brown
stitches that span the border of the
tai l and the wh ite tai l t ip.
Dl Switch to sewing needle and sewing
thread and make invisible appliqu e
stitches to attach the outside edge of
the animal to the cotton. [See Standard
Hand-Applique in Sewing Basics.]
))

Double-stacked buttons on deep plum
eyes give this owl a w ise look.
ID Stitch the word foxy. (Step 3 of
General Instructions.)
FINISH FOXY
ID See Steps 4 and 5 of General
Instructions.
HOOT
FABRIC
-
1
yd gold print fabric (shown: Mrs.
/3
March ·s Collection from Lec1enl
- Wool felt: off-white, lavender, deep
plum. yellow. orange
OTHER SUPPLIES
- Two V2" 2-hole buttons. gold
- Two lf4" 2-hole buttons. off-white
- 6-strand embroidery floss: deep
plum. off-white. gold . and black
PREPARE FABRIC FOR
EMBROIDERY
E1lJ Set up the embroidery hoop. (Step 1
of General Instructions.)
Ell Cut the Hoot Templates. (Step 2 of
General Instructions.)
- Off-white: body
- Lavender: head. wing pieces
- Deep plum: small head piece, wing
pieces, eyes. beak, and feet
- Yellow: branch
- Orange: 3 leaves
llB Refer to the photo for the
arrangement of the felt pieces. Layer
the felt pieces l argest to smallest.
how-to
Center the design in the middle of the
hoop-remember to leave room for the Embroidered
word hoot. Pin in place.
Octo-Clock
EMBROIDER+ APPLIQUE HOOT b_y STEFANIE BERGANINI
IE Stack a white button over the larger {from page 66}
gold button. Position these stacked
buttons over the center of a deep plum
eye circle. Use 3 strands of deep plum 12
floss to stitch the buttons in place. t
Repeat for the other eye.
flJ Continue using 3 strands of deep
I
plum floss to:
- stitch 3 rows or V-shaped stitches
I
across the center of the owl's chest •
- attach the tops of the deep plum feet 4
under the white base of the chest
- make 3 straight stitches in a wedge
pattern from each ear
- attach the folded beak between
Pretty + practical--<:raft store clockworks
the felt eyes using small applique
turn embroidery into a t ime piece.
stitches
E0 Use 3 strands or off-white floss to: FABRIC
- 18" square of medium-weight woven
- make a decorative running stitch
along the bottom edge of each fabric (shown: linen) or 14-count
lavender wing Aida cloth
- make a series of straight stitches - Optional: 6 yd of •;," wide fabric strips
that radiate outward from the eyes to wrap around embroidery hoop
to the lavender head (shown : teal linen)
fD Use 3 strands of gold floss to OTHER SUPPLIES
- make a single stitch down the center - Octo-Clock Embroidery Template
of each leaf and a cou ple diagonal - 14" embroidery hoop
stitches for veins
- 1/2 yd fusible fleece
lliJ Stitch the word hoot as described in
- 6-strand embroidery Hoss
Step 3 of General Instructions
- 2 skeins each: Color A-Teal:
FINISH HOOT Color 8-Burgundy
ID See Steps 4 and 5 of General - 1 skein. Color C-Gold
Instructions.
- Size 5 embroidery needle or needle
HEIDI BOYD is the c1uthor ofnian_y with an eye Large enough for
books-her latest is Stitched \Vhimsy. 6-strands of embroidery floss
Shere.centl_y launched \\'hi11isy Kits, tuhich - Fray Check
contain everything net•ded to niake _your own - Chalk pencil
felt creation. She is con1n1itted to n1akin9
- Clock kit (available at major craft
sophisticatt•d design easy and approaclzab/e.
stores)
Vzsit her at Heidibo_yd.blogspolconL
- Hot glue gun and glue sticks
FINISHED SIZE
14" diameter
NOTES
- Choose a fabr ic sturdy enoug h
to handle the weight of the clock
.. -· 115
sewda1ly com *
 how-to
•
•
• inside the eyes.
• EJ Also using Color A. fill in the eyes of
I EMBROIDER THE BUBBLES
j 0 Using Color C, outline each bubble
A medium·weight fabric wlll be sturdy
enough to hold the clockworks.
kit. but not so thick as to prevent
stretching in the embroidery hoop. If
you choose to hang the clock by the
clock kit instead of by the top or the
embroidery hoop, the fabric must
also be able to handle the weight of
the entire project.
- Embroidery floss is used with all
6-strands together.
- Use the inside edge of the
embroidery hoop to trace a circle
onto the fusible fleece. Set the
fleece aside until Step 14.
TRANSFER THE TEMPLATE
D Using the Octo-Clock Embroidery
Template, transfer all the embroidery
lines to your fabric using the cha lk
or mechanical pencil. If your fabric is
transparent enough, trace directly from
the Template. If not, tape the Template
to a window and center and tape your
fabric on top. Tip: Folding the pattern
in quarters and your fabric in quarters
will help you to position and transfer
the Embroidery Template accurately.
EMBROIDER THE OCTOPUS
For embroidery stitch instructions,
see Stitch Glossary in Sewing Basics.
To keep the back of your work as neat
as the front. see Embroidery Stitching
Tips sidebar.
D Cut an 18" length of embroidery
floss in Color A. Choose a spot
along the outline of the octopus and
us in g small. evenly s paced stitches,
backstitch around the entire outline
116
-·* st.tch
of the octopus. Starting with a new
thread, stitch the small curved lines
the octopus using a satin stitch.
D Using Color B. create French knots
for the tentacle suckers.
using a backstitch.
D Fill in each bubble with satin stitch ,
varying the direction of stitches for
each bubble .
EMBROIDER THE NUMBERS
U Using Color A. outline each number
using a backstitch.
El Using Color B and stitching
vertically, fill in each number with long
satin stitches.
FINISH THE CLOCK
ll Once the embroidery is finished,
remove the fabric from the hoop.
Gently rinse the fabric to remove any
visible chalk or pencil marks. Lay
the embroidery flat and allow to dry
thoroughly.
D!I Optional: If covering the embroidery
hoop with fabric, place a small dab of
hot glue on the outer part of the hoop
to on e side of the hoop hardware. Test
wrap the fabric diagonally-you want
to cover the hoop completely without
it becoming too bulky. When satisfied.
unwrap to your hot glue gun spot and
begin rewrapping the fabric around
the hoop, periodically securing with a
small dab of hot glue on the outside of
the hoop until it is completely covered .
mWhen the embroidery is dry, press,
then place it back into the embroidery
hoop. Center the design in the hoop
with the top of the hoop aligned over
the number 12. Gently pull around the
edges until the fabric is taut. Make
sure the pattern is evenly centered in
the hoop. Then tighten the hoop.
IE Leaving an even 1/," around the
edges, cut the excess fabric from the
back of the hoop . Fold the excess fabric
around to the back of the hoop and
carefully secure to the inside of the
inner hoop with hot glue.
iEl According to the manufacturer·s
directions. fuse the fleece circle to the
back of the embroidery in the hoop,
carefully using the tip of your iron to
fuse the fleece out to the edge of the
hoop. Use a ruler to find the center of
the clock and mark the location with a
tiny chalk mark.
CD Cut a small slit in the center and
insert the clockworks following the
manufacturer's directions. Add a
battery to your clock kit, set the correct
time, and hang the clock from the top
of the embroidery hoop.
STEFANIE BERGANINI is ihefonner
n1an11ging editor a/Stitch. She's a dabbler in
all areas ofthe textile world.fron1 sewing lo
knilling to weaving and beyond. Frer house is
fuU Lo overflowing withfab1ic,parn, books, two
active dogs, and one very fat cat.
 how-to

EMBROIDERY STITCHING TIPS

You know that feeling \Vhen you open the closet door-and the six threads. From an 011tside edge, separate and grab the
everything is exactly where it should be? Even \Vhen the door number of threads you wish to use. Draw the threads apart in
isn't open, it's a good to know that everything is in its place. a wishbone motion, causing the threads to unwind from each
other. Repeat each time you need to remove threads from the
Making the back of your embroidery neat and tidy "vill give you
length you started.
a little bit of that same satisfaction- in addition to ensuring
that your stitches will not become loose or shadov.1 through on BEAUTIFUL STITCHES+ CLEAN FINISHING
the front of your work.
• Begin and end your stitches neatly. This both secures your
'fhese simple tips "vill get you stitching. threads and prevents long traveling stjtches from sho,ving
through on the front of your embroidery.
USING A HOOP
• For a knotted beginning, use a small overhand knot. Knot
Hooping your fabric gives you a smooth, even surface for your
the end of the floss and trin1 close to the knot. Eron1 the back of
stitching.
the fabric, draw the threaded need.le through the fabric to begin
• Use an embroidery hoop to securely hold the fabric taut Stitching. (figure 1)
while stitching. Start \Vith a piece of fabric about 2" larger than
• For an unknotted beginning, leave a 2- 3'' thread tail. J3ting
your finished project. This \\rill allow for the extra fabric needed
your thread up to the fxont of the fabric and take 2- 3 stitches
to load and stretch the unworked embroidered area into the
holding the thread tail against the back. Contin11e stitching
hoop for stitching.
with the thread. vVhen stitching is con1pleted, return to the
FLOSS TIPS thread tail, thread it through your needle and make an ending
loop in your stitch (described belov.1). Then weave the thread
Embroidery :{loss typically comes in a skein of SL'C-strands of
tail through a couple of stitches on the back of your embroidery.
floss twisted together. Many stitch patterns require less than the
Trim the end. (figure 2)
six-strands of floss.1nese tips "vill keep your floss fron1 tangling
as yo11 pull out the strands that you need. • To end your stitching, draw the thread to the back of the
work close to where the last stitch \Vas taken.. Pass the thread
• Keeping the paper wraps on the skein will prevent tangling.
under your last stitch, creating a loop, pass the thread through
To dispense floss, note that the skein is \Vound in a loop. Look
the loop and dra\v the thread up snugly creating an overhand
for the thread end that is on the outside of the looped floss.
knot around the last stitch. Trim close to the end of the thread
Pulling on this outside thread unwinds the floss ·evenly and
to prevent thread ta:ils from showing.
without tangles. Pull out the desired length of floss and cut.
If you use these tips co11sistently, your e.mbroidery "'ill be
• To separate floss into the number of strands that you need,
(nearly!) as beautiful on the back as on the front.
work fron1 the end you just cut off the skein. Fan the top of

figure 1
c;ut lin.e
figure 2 -
117
sewdaily.com *
 how-to

'''"'"~'''''"'''''''''''''''''''''''
Upcycled Denim
Messenger Bag
by BETZ WHITE
{from page 67}
The bag handle is denim backed with lining
fabric-or you could upcycle an old t ie.
FABRIC
- 1 pair of 5-pocket jeans
- yd of print cotton fabric for Lining
3/4
and appliques
OTHER SUPPLIES
- Hexagon Template, provided
- Fusible web
- Coordinating thread
- Jeans/denim machine needle and
hand-sewing needle
- Stiff brush and spray bottle
- Air- or water-soluble fabric marker
- Optional: belt or necktie for strap
NOTES
- · RST =right sides together
- WST =wrong sides together
FINISHED SIZE
The size of the bag will depend on
the size of the jeans used. Sample
measures 11" H x 18" Lx3" 0.
Interior pockets are edgestitched to the
lining before being sewn into the bag. It's
easy to add more pockets at t his time.
DECONSTRUCTJEANS
D Lay the jeans on a flat work surface.
Cut off both jean legs about 2" below
the crotch. [Set legs aside to be used
in Steps 10 and 15.l Cut open the
inseams and remove the bulky seam
allowances.
El Next, you'll notice that the curve
of the rise (below the fly) prevents the
front from lying flat. To resolve this,
cut along the curve of the rise, then
overlap the two sides until the front
lies flat. Top-stitch along t he cu rve next
to the flat -felled seam and continue
past the point and down the remaining
overlapping inseam. Repeat t his on the
seat of the j eans so that the back rise
lies flat and t he overlapping fabric is
secure.
EJ Even up the bottom edge by
marking a line with a ruler across the
"hips" of the jeans, perpend icular to
the center front [or the fly) of the jeans.
Cut along this edge, making the f ront
and back an even length.
CREATE LINING
0 Lay a double layer of lining fabric
on the work surface, wrong side up.
Place the denim bag-in - progress
front side up on top and trace the bag
shape with a pencil onto the wrong
side of the Lining fabric, adding an
extra 1/4" of fabric all around for
seam al lowance. Cut out the two
lining layers.
0 For an interior pocket, cut two
9" x 7" rectangles out of the lining
l
I
I
I
l
Measure 1 112"
to the left of
the corner and
stitch straight
across. Trim
away corner
fabric.
figure 1
fabric . Align the pocket pieces RST
and pin. Sew around the perimeter,
Leaving a 3" opening on the lower edge
for turning. Snip the seam allowance
corners. Turn the pocket right side
out through the opening, working out
the corners. Press, tucking in seam
allowances at the opening, which will
be sewn closed when edge stitching in
the next step.
[I Pin the sewn lining pocket to the
right side of one bag lining piece,
centered side to side and about 3"
down from t he top edge of the lining.
[The unstitched opening from turning
the pocket should be at the bottom
of the pocket.) Edgestitch the lining
pocket sides and bottom, leaving the
top open. Backstitch at the beginning
and end of your sewing to reinforce.
0 Pin both lining pieces together, right
sides facing, and sew around the sides
and bottom edges using a 1/4" seam
allowance. Add a box corner to the
Lining by alig ning the bottom seam with
the side seam at the corner, flattening
the corner into a point. Mark a Line
perpendicular to the bottom seam and
1 1/2" from the poi nt. Pin and sew along
this line. Trim excess and repeat with
the other Lining corner. (figure 1)

118
* stitch
 *
3 workshops and receive a
REGISTER for

FREE CREATE totebag

mixed· media retreat full of goodies; workshops 4
earns you the tote plus a
Designed for you by the artists behind CREATE apron!
Cloth Paper Scissors and Quilting Arts,
the CREATE Mixed-Media Retreats
offer a tempting array of workshops
to inspire your mixed-media art.
>>Bookmaking & Art Journaling
>> Printmaking & Surface Design
>>Mixed-Media Stitch
>> Collage & Assemblage
>>Mixed-Media Jewelry

Join us for
111ixed·m edla retreat

•
Sewmg Machine Sponsor: BERNINA'O
Supportlng Sponsors.

%.
XY ON
Ra p_~..r~_rnr
------
July 18-22 August 22-26
DoubleTree Somerset Hotel Wyndham Lisle-Chicago
Somerset , NJ Lisle, IL

-----------------------~-------~--- - ---------------------~------------------------ - ----------------~

I
I
,
I

Find complete details and register today at I

I
I

www.CreateMixedMediaRetreat.com •\ \
\
\
 how-to
The bag flap is stitched onto the back
waistband, then flipped over the top.
CONSTRUCT OUTER BAG
ll Turn denim bag - in - progress wrong
side out and lay flat. Tip: The side fold
on t he bag will typically be slightly
behind where the stitched side seams
of t he jeans are because jean fronts
are smaller than the backs. For this
bag, it is important to ignore the jean 's
stitched side seams and use the actual
side fold as your sewing guide. Pin
bottom opening together and sew with
a 1/4" seam allowance. Add a box corner
as shown in figure 1.
ASSEMBLE BAG
D With sewn li ning right side out and
denim bag wrong side out, place denim
bag inside lining WST. Fold top edge of
lining under and pin around the bottom
edge of the jean 's waistband. You may
need to trim excess lining away from
the top edge, especially in the front,
if the lining is too long. Be sure to
leave at least 1/2" to turn under. With
hand- sewing needle and thread,
slipstitch the lining to bag. Turn lined
bag right side out.
CREATE FLAP AND APPLIQUES
D'.iJ The flap is a trapezoid shape based
on the measurements of t he bag.
Place one of the denim pant legs from
Step 1 on your work surface. Cut open
the leg along what was the outside
seam , leaving the flat - felled inseam
intact. The in seam w ill provide an
interesting detail down the center of
the flap. The original hem of the jeans
120
··- ··--·····-·· -~---·
* stitch
Using a jeans or denim needle will help
w ith stitching through the thick layers.
w ill be the hem of the flap. Measure
the height of the bag . Mark the flap
w ith a pin to be the same length plus
1". Measure the width of the bag at
the bottom and also across the top.
Mark the flap with a pin to measure 2"
less than each of the measurements
at the top and the bottom. Draw a line
connecting the top and bottom marks .
True up the lines with a ruler and cut
out. Cut a second flap shape the same
dimensions out of lining fabric , adding
1/2" extra at the bottom edge for a
lining hem.
mTo create a frayed - edge decorative
appliq ue, use a motif from a print
fabric. Trace the mirror image of a
hexagon motif onto the paper side of
a piece of fusible web. Following the
manufacturer's instruction, fuse web
to the back of the motif. Cut out the
hexagon motif with an extra 1/4" margin
of unfused fabric .
ID To apply the applique, remove
paper backing and fuse to the
lower front area of the denim flap.
Topstitch around th e hexagon
motif, 1/4" from edge. Spray unfused
raw edges with water and brush
edges to fray. Add embroidery or
handstitching details if desired.
lE To construct f lap, place denim
flap and lining flap with RST and sew
around top and sides wit h a 1/4" seam
allowance, leaving bottom edge open.
Turn the flap right side out. Fold in
the raw edges of the flap. Press, pin,
and topstitch bottom edge, closing the
opening of the flap.
Ba With denim facing denim, pin
and topstitch the flap to the bag
back alo ng t he bottom edge of the
waistband. Sew another row of
stitching where the flap meets the top
edge of the waistband .
STRAP
IB To make a strap out of denim
and lining fabric, cut .a rectangle
measuring 3 1/4" wide by 45" long out of
lining fabric and the leftover jean leg.
[Piece the denim and lining fabric if
necessary.) Layer rectangles, RST, and
sew both long sides using a 1/4" seam
allowance . Tu r n right side out through
the short end open ing and press.
Finish t he ends by folding the raw
ends 1/4" inside the strap. Edgestitch
both long sides and short ends 1/s"
from the edge.
ID To attach strap to the bag, place
one end inside the waistband at
the side of the bag opening. Pin the
strap end, denim side facing. to the
bottom edge of the denim wa ist band.
Topstitch across the strap. Sew
another row of topstitching where
the strap meets the top edge of the
denim waistband. Repeat this step for
the other end of the strap at the other
side of the bag.
ID Upcycle a belt or necktie for the
strap of your bag- or even use the
strap from another bag. Remove any
buckles or unwanted hardware that
may be difficult to stitch through/
around. Place each end of the belt
inside the waistband edge and sew as
described above. Take care with heavy
materials: use a heavy- duty sewing
needle and sew slowly.
BETZ WHITE is a designer, green crafter,
and bestselling author ofWarm Fuzzies and
Sewing Green-books that encourage readers
to "stitch beautifully, tread lightly.'' Her Make
Neiv or Make Do patterns work with new or
repurposed fabrics. vVhen not designing, Betz
teaches workshops and is raising two crafty
boys. Visit her at BetzWhite.com.
 how-to

....
·--··--··········· -·········--·-··-·-·-·
.. ·,afore
by SIGRID ARNOTT
I
{from page 68}

No need to make b uttonholes-the shirt's

front placket becomes the p inafore's back.

The contrasting bib is f irst fused in place- PREPARATION

making It easier to accurately stitch curves. Cut sleeves off shirt, remove cuffs.
trim side seams. remove yoke and
(~ DOWNLOAD THE FUU.-SIZE collar.
J ._ PAlTERN FOR THIS PROJECT
AT INTERWEAVESTITCH.COM Unpick front pocket with a seam
figure l
ripper.
FABRIC Trace the Dress Templates in
- 1 man·s shirt. (I used a Men's Large desired size.
to make a Girrs 3T dress)
CUT OUT DRESS PIECES
- 6" x 6" piece of contrasting fabric for
The reclaimed sh irt center front will
bib accent
become the dress cen ter back. The
OTHER SUPPLIES shirt back will be the dress front.
- 5 Templates, provided (dress front/ The littl e cap sleeves use th e curve d
back, cap sleeves, bib, front and shirttail hem. If you do not have enough 0 \
back facings) fabric tor the full length of the dress,
an optional ruffle can be added to lhe
- 6 "x 6" piece of sheer to lightweight 0
bottom using fabric from the sleeves.
fusible interfacing (such as
Pellon 906F) Cut out Right Dress Back (fisur• l)
by centering the Dress Template over \
- Thread to match shirt for topstitching
- Three 5/a buttons
0
the line of shirt buttonholes (not the ' _, \
edge of the band). A shirt buttonhole ....
- Large safety pin should be about 5/a" below the Template ~

- Handsew1ng needle top. Pin. Cut out top, side, and bottom. '
- Fray Check B Cut out Left Dress Back by using
I
the back piece you just cut out as a
NOTES Template, flipped facedown over the
- Seam allowance is 1/2" unless I
other shirt side, buttoning the buttons
otherwise noted. otthe shirt. The line of buttons will be -T - - -

- The pattern pieces Ht snugly on the at the center line for one side of the
reclaimed shirt fabric. Lay out all of dress back. Pi n and cut out.
Hgura2
your pattern pieces before cu tting to D Cut out Dress Front by folding the
estimate the placement. sh irt back in hal f. Using th e same
- WS =wrong side Dress Template, pin on the center fold
>>
... .. . ... 121
sewdai]ycorr *
 how-to
line of the shirt back, leaving as much
extra shirt fabric as possible above the
pattern. Cut out the Dress Front.
D Cut out Front Facing by using the
Dress Facing Template. Lay the Front
Facing Template on the folded shirt back
above where the Dress Front was cut out.
Pin and cut the Front Facing Template as
shown in figure 2.
D Cut out 2 Sleeve Caps from the
~
-- curved hem on the shirttail. Place the
paper cap sleeve pattern on the curved
part of the shirttail and cut individually
as shown in figure 2.
D Cut out the Back Facing from a sleeve.
After removing the cu ff and side seams,
fold a sleeve in half lengthwise. Flip the
Back Facing Template upside down on
top of the sleeve as shown in figure 3.
figure '.3
IE Cut the contrasting Bib using any
lightweight woven fabric. Quilting
cotton is ideal. Also cut Bib interfacing .
'x' DI Optional Ruffle.If you want a ruffle,
'
I' you can make one from the remaining
sleeve or bib fabric. For the ruffle,
\ t he sleeve needs to be 11" wide at
I \
\ the bottom after the side seams are
f
I removed . Press sleeve flat. Avoiding
the button placket, cut four 21/2" strips
from the length of the sleeve . Square
up the ends.
ASSEMBLE DRESS
iEJ Make the Bib. Pin right side of
figure .fa bib fabric to the fusible side of the
interfacing [paper backing removed].
The sticky fusible side will be inside.
Sew around sides leaving top open.
(figure 'a) Clip curves and trim seam
allowance 1/4" from stitching line. Turn
to right side using fingers to gently
smooth the seam all the way open.
Working around the edge, roll the
interfacing and finger press under so it
doesn't show from the top .
IE Affix Bib to Dress Front. Find dress
front center and bib center by folding in
half and marking with pins. Center bib
exactly on center front and at the neck
edge. Pin . Begin to press with cool
iron, raise heat to high and care fully
0 fuse to the dress front by lifting and
pressing with the iron, removing pins
as needed.
figure S
122
* stitch
0 ll
,1
I
''
I
~
I
• I
1
I
)
I
I
l.
I \
I
' ~·
'
I
l
\
l
l '
figure&
IJil After the fused bib has cooled,
edgestitch the bib onto the dress.
IE Pindress fronts to backs at
shoulder seams with right sides facing.
Sew and press seams open.
ml The shirttail hemmed side is the
wrong side of the Cap Sleeve . With
right sides together, center sleeve
notch to shoulder seam and pin Cap
Sleeve to armhole , easing sleeve to fi t
curve. Make sure both sides look the
same and sew.
iEI Fin ish facing
bottoms and center
back by overstitching edge with a
narrow zigzag or trim with pinking
shears. Sew Facing Front to Facing
Backs at shoulder seams and press
seams open.
iD Turn facing inside out and place
over the dress so that right sides
are facing (figure S). Match shoulder
seams and pin around neck opening
and arm hole. At t he shoulders.
care fully roll up the cap sleeves so they
will not get caught in either seam. At
back opening, fold extra facing fabric
back to the WS aligning with the edge
of the button placket. Sew around
armholes and neck. Clip curves and
grade seams to 1/4". Press.
iE Turn right side out by attaching a
large safety pin to one lower back side
of dress and pushing it up between the
facing and dress at the shoulder. Reach
up under front facing and gently pull
the back through the shoulder to the
right side . Repeat on the other side.
Push the seam open with fingers or a
turning tool and press well.

01 I 0
I I
I I
I I
QI : ij
I~
0 not have quite enough usab le fabric.
figure 7
ED Sew sides. (figure 6) Align dress and
facing front to dress and facing back at
sides. Pin and sew. Press seam open.
Finish seams by serging or pinking.
ED Pin and then sew facing to dress at
back opening . (figure 7) On the button
side, edgestitch dress back to facing at
back edge. On r ight side of buttonhole
band, sew along existing topstitching
closest to outside edge. Then use a
seam ripper to cut a hole in the facing
underneath buttonholes. From the
back. trim around the slit. Apply Fray
Check to raw edges to prevent raveling .
Ill Button up the back. Pin the back
closed from the lowest button to skirt
bottom. Topstitch and secure the
buttonhole band to the button layer
by stitching over the existing shirt
topstitching.
ED If you are not using a ruffl e, hem by
tur ning up 1/4"'.
Press. Turn again and
press. Ease in extra fabric as needed.
Stitch .
EC! Optional Ruffle. For the ruffle, piece
together the four strips cut from the
sleeves into a loop about 40"' x 2 1/2".
The exact length is not important. but
the loop should be at least 11/2- 2 times
longer than the lower edge. Hem ruffle
as described in Step 23.
Em Change machine stitch length to
longest setting. Stitch 1/ 2"' from top
edge without backstitching. St itch
around again 1/4.. inside previous row
of stitching. Pull on bobbin thread
to gather the ruffle until it is slightly
smaller than the bottom of the dress.
Align the pins on the ruffle so they line
up with the dress sides, center front
A ruffl e can add lengt h if your shirt does
and center back . Even out gathers
and continue to pin the ruffle to dress
bottom. When the ruffle is evenly
pinned, change the machine stitch
length back to normal and carefully
sew the ruffle down by stitching right
between the gathering stitch lines.
IIJ Sew the 3 decorative buttons onto
the bib of the dress.
VARIATIONS
- Use shirt hem as dress hem, making
sure the length is the same at both
sides.
- Omit the cap sleeves.
- Design your own bib. Add
embroidery or patchwork using the
pattern as a template for size.
SIGRID ARNOTT writes about her
adventures refashioning, sewing, and enjoying
her analog life at analogme.typepad.corn.
Recyc led Shirt Blanket
by MISSY SHEPLER
{from page 69}
FABRIC
- 5 or 6 adult- sized shirts
- /a yd corduroy or other fabric for
5 qu ilting -weig ht cotton fabric with at
extra color and binding
- Flannel sheet (or 2 yd of flannel
fabric) for backing
OTHER SUPPLIES
- Thread
- Rotary cutter, rigid acrylic ruler,
self- healing cutting mat
- Optional: 45"' x 65"' cotton batting
- Optional: walking foot
FINISHED SIZE
43" x 60"'
how-to
Choose corduroy for extra color and t o
visually con nect the d ifferent shirt fabrics.
NOTES
- When selecting items for upcycling,
make sure that fabrics are unstained
and in good condition . Choose
fabrics of similar type and weight
to avoid problems with sewing and
laundering.
- Preshrink and press all reclaimed
fabrics and fabric yardage.
- Use a 1/4"' seam allowance unless
otherwise indicated.
- Press all seams open.
- Yardage is based on 45"' wide
least 40"' of useable width.
- For a lighter-weight blanket , omit
the batting.
TIPS
- Be creative! Include pockets or other
shirt detai ls into the cut strips.
- Working with different fabric types
and weights can be tricky. Pin
seams every few inches and place
more loosely woven or stretchy
fabrics against the feed dogs to
keep stretch to a minimum. Using a
walking foot can help to keep long
pieced- fabric strips aligned. })
123
sewdaily.com *
 how-to
Using a single pieced strip on the back will
give you two decorating options.
CUT THE FABRIC
Actual available ya r dage varies when
using reclaimed fabrics. Be flexible
and improvise as needed to cut enough
pieces to make six 7 1/2 x 60 1/2" finished
strips. If possible. arrange cut pieces
on a design wall or floor to help plan
the design. The sample blanket shown
features four, minimally pieced fabric
strips and 2 strips pieced from multiple
fabrics. The narrowest green pieces
measure 7 1/2" wide x 11/4" long.
D To make best use of reclaimed
fabric, cut shirt front and back panels
along side seams and yoke. Cut sleeves
along yoke, shoul der, and underarm
seams. Remove cuffs from sleeves.
Use a seam ripper to remove any tucks
or gathers. Press all pieces.
0 Use a rotary cutter and rul er to
square fabric edges along the grainline
and cut 71/2" wide strips. Referring to
the photo for inspiration, cut some of
the pieces again to make 7 1/2" wide
pieces of various lengths.
From the remaining reclaimed fabrics,
cut enough 71/2" pieces to make an
12.fa
* stitch
Including pockets, cuffs, and button plackets adds a touch of whimsy.
additional 66" long strip for the blanket
back.
From the corduroy yardage, cut:
- Six 21/4" x widt h-of- fab ric strips for
the binding
- One 71/2" strip, cut again into smaller
accent pieces
From the flannel sheet or yardage, cut:
- One 15" x 66" piece
- One 27" x 66" piece
PIECING THE BLANKET TOP
D Referring to the photo, sew the
7 1/2" wide pieces together to form six
strips, each measuring 71/2" x 60 1/2".
Topstitch pockets onto contrasting
strips and cover some pieced seams
with button plackets to add interest.
0 Sew the six strips together along
the long vertical seams to complete
the blanket top.
PIECING THE BLANKET BACK
D Sew the remaining 7 1/2"wide cut
pieces together to make one 7 1/2" x 66"
strip for the blanket back.
D Matching long raw edges, sew the
15" x 66" flannel strip to the left side
of the pieced strip. Sew the 27" x 66"
flannel strip to the opposite side of
the pieced strip to piece the blanket
backing . [See photo above left.)
ASSEMBLE THE BLANKET
D Place the blanket back right side
down on a flat su r face and center the
[optional) batting on top. Place the
blanket top right side up on top of the
batting. Pin baste the layers together.
Stitch through all layers in the pattern
of your choice.
D Trim off excess batting and backing
fabric so the edges of the blanket are
straight and the corners square. [Refer
to Create Binding in Sewing Basics
to prepare the cut binding strips for a
double-layer binding and to bind the
blanket with mitered corners.)
MISSY SHEPLER is the coauthor ofthe
Con1plete Idiot's Guide to Se\ving, available
on Amazon.com Whenever possible, Missy
combines her day job as a designer, author, and
illustrator with her love ofstitching by creating
projects, patterns, and illustrations for sewing
and quilting clients and publications. Visit her
at MissyStitches.com

Retroactive Neck Wrap
by RACHEL GUEDON
{from page 70}
A soft flannel shirt makes a perfect lining.
r;·~ DOWNLOAD THE FULL-SIZE
.J ~~ PATTERN FOR THIS PROJECT
'W AT INTERWEAVESTITCH.COM
FABRIC
1/4- 1/3
- yd* of a slightly stiff fabric
for shell fabric, such as light- to
medium-weight woven twill pant or
skirt fabric or home decor fabric .
One pair of pants or a mid-length
skirt provides enough fabric for
shell (shown: blue -green]
- /3yd* of a soft fabric for lining,
1/ 4- 1
such as a woven shirt. One shirt
provides enough fab r ic for lining
[shown: houndstooth check)
* Extra fabric may be needed to match
plaids, stripes, or one-way design .
OTHER SUPPLIES
- Templates, provided
- Sewing thread to match fabrics
- Three 1/2" round shank buttons
- Erasable fabric marker or tai lor's
cha lk
- Point turner or similar tool
- Handsewing needle
- Tracing paper
- Optional: masking tape for marking
pattern pieces
Buttonholes are made by leaving small
spaces between individual placket pieces.
FINISHED SIZE
15" (16", 17", 18", 19") around neck
3 1/2- 4 1/2" high
NOTES
1/4"
- All seam allowances are unless
otherwise noted.
- For explanations of terms and
techniques, see Sewing Basics.
- Press all seams open unless
otherwise noted.
- Use the grainline marked on the
placket pattern pieces to help align
stripes.
- WS =wrong s ide.
- RST =right sides together.
CUT OUT FABRIC
D Trace a ll of t he pattern pieces.
Print or t race out an extra set of the
five Placket pattern pieces to use for
cutting out the lining.
0 If using upcycled clothing for the
fab ric, cut it apart along the main
seams. Cut off detailing [such as
pockets, waistbands, or cuffs) so that
you have flat fabric pieces on which to
lay out the pattern pieces. Also. note if
some of the areas of the clothing fabric
are worn and no longer usable.
E1 Pin all the pattern pieces on the
right side of shell fabric. Transfer
pattern markings to the wrong side of
the fabric . Run a basting thread along
the Pin Tuck Line.
D Cut out the 8 Shell pieces. Keep the
pattern pieces pinned to the Placket
how-to
sew I unsewn I sew
~---0 o-----
figure l
pieces or mark with tape labels to help
keep t rack of them.
D Pi n all the pattern pieces to the
lining fabric, but this time pin them
to the WS of the fabric, keeping the
right side of the pattern pieces facing
up. Transfer pattern markings to the
WS of the fabric. Do not transfer the
Pin Tuck Line to the Right Front Lining.
lJ Cut out the lining fabric pieces. Use
the extra set of Placket pattern pieces
for the lining and keep them pinned
on the tining fabric (or mark with tape
labels).
ASSEMBLE PLACKET
fJ Lay out all shell fabric placket
pieces right side up in a column in
order numerically with Placket 1 at the
top and Placket 5 at the bottom.
D RST, align the dots on the bottom
of Placket 1 with those on the top of
Placket 2.
D Start sewing from one end of the
seam, stitch until you get to the first
dot and then backtack. Do not sew t he
area between the two dots. Resume
stitching on the far s ide of the second
dot and continue to the end of the
seam . (figure l)
il!J Re peat Ste ps 8 and 9 for connecting
the top of Placket 3 to the bottom of
Placket 2 and for connecting the top of
Placket 4 to the bottom of Placket 3.
mAlign the top of Placket 5 with the
bottom of Placket 4. Sew the seam all
the way across without a gap in it.
iE Press seams open. This piece will
now be called the Shell Placket.
iEJ Follow Steps 7- 12 to assemble
lining placket. ))
125
sewdaily.com *
 ,

The Best of Quilting Arts • Book Cul·Up Couture • Book

Pokey Bolton Koko Yamase
Ce 1.brate th-< 1r!>t 10 ~ears of Quitting Arts ) c?vcr 3-1 cvtt1ng-edge, upeyc:e-focused clothing
Mc1g<Jz1nt with this or eat collection. r>atte1 ns using simote sewing techniques.
1101"107 ~$21.21 12SW03 ~ $16.96

Oulltlng Modern • Book Growing Up Sew liberated • Book

Jacquie Goring, Kat ie Pedersen Meg McElwee
enrn 1mprc v1sational techniques for graphic r 1r1d 18 lun patterns for gorgeous children's clothes
contem1:>0rary J~ t and quilted pro1ects and cre.-·•ve ac•1J1ty-focused designs
llCM03 ~$22. 91 lOSWO ~ $21.21

rmL1'B Slldio Inside the Creative StudJo • Book The Handbook of Couture Sewing Techniques • t3ook
Cat e Coulacos Prato Ill . Lynda Maynard
Crea·e "' " - "nd art st1c en·.nronmeni: with I t.. 1h IT' 1stel')' out of orofesslOfla sewing and
10eas and 1nsp1r1t ,n n a oest-o' como1 at1on. lin1s.h 119 technt0ues v1.<h ex~ gu1oance
llQl-106 ~$21.21 IOSW02 -~ $22.91

The Crafters Guide to Taking 6reat Photos • Book Sew Wlld • Book
Heidi Adnum Alisa Burke
t- ""L ·•- J .de to shoot ng oet<er photos. o. r r Se\VJ."9 ar.d m xed media with Burke's
V>'f1tten sper • , -.11th artists and cra~ers 1n mind nsp1ring proiects lncluoes a bonus I-hour DVD.

llRFOt ~ $21.21 nswo1 - ~ $22.91

How lo Sew Like aPro: Create, Construct, &Embellish

The Artful Bird • Book
Abigail Patner Glassenberg with Tricia Waddell • DVD
Moke charming, beoutirully detaited one-of-a-kind Tricia W addell
fabric- bird sculptures wilh many techniques. F xnlore ideas for personal1z1ng your work and
techniques to create a professional look.
OOMO·• - ~ $21.21
12SWOo - ~$16. 95

Simple Modem Sewing • Book Sewing Tlps + Tricis with Tricia Waddell a DVD
Tricia Waddell
Shufu To Selkatsu Sha
E rn .onsrrutt10r a'10 emoellrsnment
f) l t 1 31 r ng 25 fabulous. wearable
team aucs as well as fun oro,ects 'or
garirent!i 1row · 8 s mp.e patterns. personahz, 'Ori
11SW03 -~ $21.21 llSWOS - ~$16. 95

I Am Cute Dresses • Book Al>Pirel Sewing Basics with Uesl GJ'bson • DVD
Sat o Watanabe Liesl Gibson
t.n v 2:> i j 'Jt • se\vn dress designs that are G • ' r ; ~•eo fundarren•a garment sew ng
tlece1v1ng1y s " 1")1 t ,, ai·e and fun to wear tecnn qu-- r '11s •nsoiring workshop.

11SW02 - ~$19. 51 11SW07 ~$21.20

Shape Shape • Book Seams, Closures• Hems with Liesl Gibson • DVD
Nat suno Hlral wa Llosl Gib son
Gel 19 vars.:itlle qarments and accessories that con Learn how l o sew profess1onal-looking se"lm fln1sl1es,
he worn rnul\ iplo ways ror minimalist style. closures, and hems step-by-step in this fun DVD
12SWOJ. ~ $21.21 11SW08 • ~$21.20
Dyeing to Stitch: AComprehensive Guide to Creating Quilting Arts 2010 Collection CD • CD
Colorful Fabric Art • DVD Feat ures include colorful stash busting projects. tips
Candy Glendening for creating dimension, and rnore.
Have fun w ith dyeing techniques. explorations into color
theory, and "free-motion machine sketched" motifs. l10M20 - $1~6.99

l1QM32 - ~$16.95

DIV Surface Design: Printmaking Made Easy with Quilting Arts 2009 Collection CD • C.D
Everyday Objects • DVD This CD features sUtched gifts ideas, transforming
Leslie Tucker Jenison sketches into cloth, and more.
Discover hovv to create uniqve patterns and mar-ks 11QM19 - $1~6.99
on cloth and paper using a variety of post-consumer
objects.
11QM24 - ~$16.95

Print, Design, Compose: From Surface Design to Fa.bric Art • DVD ORDER FORM
Lynn Krawczyk
Create gorgeous hand-printed fabrics !'lnd learn how to Name _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
showcase these fabrics in your finished artwork.
Address ------------------~
11QM15 - ~$16.95
Ci ty _ _ _ _ _ _ _ _ _ _ _ State _ Zip _ _ _ __
E-mail _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ __
Design, Paint, &Stitch: Wholecloth Quilts
from Start.to Finish • DVD
Product Discounted
J 1.,1dy Coates Perez
Qty Product Title Code Price Each Total
Le.arn to create gorgeo_us art s:iuilts from the initial
design, to painting and quilting. t hrough the finishing
techniques.
l00M23 • ~$16.95

Adventures in Surface Design: Screen Printing &Beyond • DVD

Kerr Grabowski
Learn quick and accessible strategies for making marks
that speak to you, arid start expressing yourself in your
artwork,
10QM22 ~ $16.95

Master Machine Stitching: Thread Sketching Beyond

the Basics • DvD
Susan Brubaker Knapp
Discover ho1,v to add color, dimension, texture,
pattern, iine. and movement using thread. Subtota.I
10QM21 ~ $16.95 Shipping
(U.S. ftllds Only) TOTAL
Stitch 2008-2010 Collection CD • CD
This CD is loaded with projects and modern designs Order Total so- $25· SSO· $75.99· $100· SlSO· $200· $300
for the reader's vvardrobe, home,. accessories, and S24.99 ~9.99 $74.99 $99.99 $149:99 $199.99 ~299.99 and oyer.
gifts. USA' $4.95 $6.50 "$7.95 $10 .50 $12.95 $13.95 $15.00 $18.95
11SW09 ~ $25.49 Canada $9.00 $11.00 $13.00 $15.00 $17.00 $.19.00 $21.00 $23.00
lnternationa $11.00 $13.00 $15.00 $17.00 $19.00 $21.00 $23.00 $25.00

Studios 2010 Collection CD • CD Posted shipping rates apply to mail-in orders only.
Online rates may differ based on exact customer location.
This CD features unique storage tips and
organi,zational techniques for your studio.
Mail Your Order to: To SAVE an additional 5%
1TQM36 - ~$16.99
Interweave
Attn.: Orders
order online at
201 E. Fourth St reet
www.lnterweaveStore.com
2008·2009 Studios Collection • CD Loveland, CO 80537 Tliat~ 20% Off these ite1ns!
Features include beautlfui and functional spaces
of the everyday artist. as well as organizational tips.
Phorie Your Order to: Simply enter coupon code:
1.866.949.1646 StitchFA2012 at checkout
11QM35 • ~$25.49
Oiscounl prices good through Oclober 15, 2012

:.i Check or Money·Order Enclosed

Quilting Arts Gifts 2007-2010 Collection CD • CD
Charge my: O Visa ....I MasterCard .J American Express ..J Discover
Features include year-round inspirational must-do
gift and decor projects, fun and unrque wearables, Cre<lit Card No. __
and more!
Exp. Date _ _ _ _ _ Signature_ _ _ _ _ _ _ _ __
11QM29 - ~ $25.49
 ~-··-: J~~ .... "'::7 ... .. - -
....

sew
SEWING
~le AND Tr"-AA··. . ._
MATERIALS:

Free Guide to Sewing

I

Silk Fabric and Knit Fabric

sewing
made
modern.

ASSEMBLE SHELL
ltJ Place Shell Placket RST with the
Left Front Shell, aligning the notches
in the Shell Placket with the Left Front.
Sew pieces together.
IE Iron the seam allowance toward the
Left Front.
ID On the right side, topst itch along
the side seam of the Left Front piece to
keep the seam allowance in place.
iE On the Right Front shell piece, find
the Pin Tuck Line in the m iddle. Fold
the fabric RST along this line. Sew a
1/s" pin tuck along this line. Th is helps
form the crease where the neck wrap
folds over to reveal the lining.
iIJ Pin the Right Front piece RST with
t he Back along the right side seam .
Sew seam.
iIJ Pin the Left Front piece RST with
the Back along the left side seam. Sew
seam.
Eill
Press seams. Turn over and
topstitch along both sides of each
side seam. Clip seams where needed.
ASSEMBLE LINING
ED To assemble the lining, repeat
Steps 14- 16 and Step 18 with the lining
pieces.
III Pin theLeft Front lining RST with
the Back along the side seam . Sew
down half of the side seam, backtack,
and then baste the rest of the way with
a contrasting thread .
EE] Press seams. Turn over and
topstitch along both sides of each
seam, including where the seam is
basted. Clip seams where needed.
COMPLETE NECK WRAP
flJPin shell and lining RST, aligning
side seams and placket seams.
Em Sew the shell and the lining
together around the edge.
III Clip corners and trim seam
allowances where needed.
fB Find the basted seam in the lining
and remove the basting.
fl] Use the space in the lining seam
to turn the piece right side out. Use a
point tu r ner or similar tool to push out
the corners.
ID Slip-stitch the opening in the lin ing
closed.
Eill Topstitch all around the edge of the
neck wrap.
al Align the short seams and seam gaps
in the shell and lining placket. Topstitch
on both sides of these short seams. The
seam gaps are the buttonholes.
EE Find button markings on the Right
Front piece. Check that the locations
still line up with the holes in the
placket. Sew a button to each mark.
RACHEL GUEDON learned to sew early
on from her n1other and has been hooked
ever since. Together they get into crafting
adventures, such as sewing costun1es for both
horse and rider. Rachel and her husband live in
a 100-year-old house in Springfield, Oregon.
Zippy Bracelets
by SHEREE SCHLOTE
{from page 71}
This is t he p roject for those fun buttons
and b eads t hat you 've b een co llec ting .
FABRIC
- 20" x 1O" fabric to suit color pa lette .
Cotton r ecommended.
OTHER SUPPLIES
- Zippers with metal teeth to suit
project in length of the finished
bracelet. 12" required for each spiral
embellishment.
- 20" x 1O" piece of stiff interfacing
such as Fast2Fuse or Timtex
- Scrap pieces of netting , organza, or
lace
how-to
- Beads, buttons, craft wire, or other
embellishments
- Closures such as domed snaps,
sew-on snaps, hooks and eyes, or a
small hair elastic
- Fray Check
- Sewing machine with zipper foot
attachment
- Thread to suit project
- Utility scissors
FINISHED SIZE
- The cuff bracelet is 3" w ide and
the length is the circumference of
your wrist plus 1/2" [less for a snug
fit) plus 1/2" for closure when using
overlapping snap fastener s.
- The multiple- zipper bracelet is
1 3/," wide and the length is the
circumference of your wrist plus 1/2"
[less for a snug fit].
- The double bracelet is 11/2"
w ide and the lengt h is twice the
circumference of your wrist plus
1" [less for a snug fit].
INSTRUCTIONS FOR CUFF
BRACELET + DOUBLE BRACELET
CUT+SEW
0 Determine finished length to fit your
wrist and the w idth for the bracelet
that you have chosen to make. Add 1/2"
to each dimension [1/4" seam allowance
all around]. Cut two pieces of fabric
to this measurement. With right sides
together, sew along the two long sides
and one short end, leaving the other
short end open for turn ing. Turn fabric
right side out forming a pocket.
El Cut stiff interfacingto the finished
dimensions of pr oject [fr om Step 1].
Insert into the pocket. Turn open edges
under and stitch closed by hand or
machine.
EMBELLISH + FINISH
El Add lace, netting, or organza to
dress up you r bracelet. Cut these the
same finished dimensions as fabric
in cutting and sewing instructions
for Step 1. Wrap around bracelet and
handstitch into place on the back. Add
decorat ive stitches to the fron t of the
bracelet by hand or machine.
>>
129
sewdaily.com *
 how-to

-··
Patched Pocket Panel
by MARY WALTER
{from page 1i}

Bracelet closures can include snaps, hooks and eyes, or a hair t ie with a button.
D Cut zipper to finished length of your
bracelet using utility scissors. Separate
the two sides. Add Fray Check to the
zipper ends to prevent fraying. Stitch
using a zipper foot, one sing le side
length of zipper with teeth outward,
along each long edge of the bracelet.
0 Add beads, buttons, and wire
embellishments to suit your taste.
0 To add a zipper spiral, cut 12" length
of zipper. Use only one side. Hand
baste along edge opposite zipper teeth.
Tighten basting thread, gathering
fabric to ease material into a spiral. As
spiral is formed, add tacking stitches
to hold the spiral shape. When spiral
is complete, handsew through back of
bracelet. Add a decorative button or
bead in the spiral center.
D Handsew closure onto bracelet-
domed or handsewn snaps if ends
overlap, hook and eye if ends do not
overlap.
INSTRUCTIONS FOR
MULTIPLE-ZIPPER BRACELET
CUT+ SEW
D Cut three different zippers the
finished length of bracelet. Separate
into two sets of three zipper halves.
D Stack the zipper sides of one set
with all teeth oriented in the sarne
direction and sew together. Repeat
with second set-being careful to
keep in the same order. With zipper
teeth oriented to the outside, lay one
assembly over the other so that the
tape edge from the upper set touches
the inner row of zipper teeth on the
lower set . Sew together along inner
edges of zipper teeth.
Dll Measure length and width of zipper
assembly. Add 1·· to the length and 1/z"
to the width and cut fabric. Fold long
edges of the fabric under 1/1." on each
side so that the lining lies between
the two rows of zipper teeth on the
back of the bracelet. Center lining
lengthwise on bracelet and sew a long
inner edge of outer zipper teeth, with
other layers of teeth folded out of the
way. On short ends, double-fold the
extended lining edges over bracelet
front and handsew in place to hide the
raw edges of the zipper tape.
EMBELLISH + FINISH
m Embellish by sewing buttons
and beads down the center of the
bracelet.
IE Sew a small hair elastic to the
underside of one end to loop and a
button on the opposite side. Loop the
elastic over the button to wear.
SHEREE SCHLOTE is an award·t.vinning
quilter who has recently branched out into fiber
art. Jn addition to her own freeform projects,
she rerna.ins active in her local quilters' guild
and several diverse satellite groups to pique her
creativity.
By adding a hanging sleeve, you're set to
use a curtain rod to suspend the pockets.
FABRIC
- Nine 8" x 8"' cotton squares
3
- /, yd cotton fabric for backing and
hanging sleeve
OTHER SUPPLIES
- 9 pockets from formerly loved jeans
- 25"' square of batting
- Thread to match fabrics
- Denim or size 90/14 machine needle
- Rigid acrylic ruler, self-healing mat,
rotary cutter
Hanging hardware
- 1/2"' dowel cut to 21 1/2"
- Two 'IL" screw eyes
- 2 small nails or cup hooks
FINISHED SIZE
22 1/z" square
NOTES
- A variety of pockets will add interest
to your project. Make sure the
pockets aren't larger than 7" x 7"
to comfortably fit on the patchwork
squares.
- All seam allowances are 1/ ," .
CUT FABRIC
From backing fabric, cut the following :
- One 22 1/2" square
- Strip for hanging sleeve 10·· x 20 1/2"'

130
- * Stitch -
 how-to

fold

I- I
•
I
I
seam
'I
I I
fold
figure 2

- ----- ----- ---- I

I
I
I sleeve
I
I
Use a denim needle to st itch t hrough t he
heavy double-stitched lines of the pockets. I
I
I
I
I
pressed fold I
I
1J I
I
I
I
I I
I
I
I
I
I
I
'
I
figure '.3

tigura l
MACHINE APPLIQUE POCKETS
TO COTTON SQUARES
D Lay out the nine cotton squares and
place a denim pocket on each .
D For easy placement, press each
cotton square and pocket in half. Layer
a pocket onto a cotton square, lining
up the pressed folds, and placing the
pocket 1/ 2.. from bottom edge of the
cotton square. (figure 1) Pin pocket in
place.
B Sew each pocket to a cotton square
stitching on the sides and bottom,
following the double- stitched lines of
the pocket.
ASSEMBLE QUILT+ FINISHING
0 Arrange t he sewn pocket panels
into 3 rows of 3 squa res. Sew each row
together alternating the direction of
th e pressed sea ms to nest th e seams
where the squares meet. This is your
Patch ed Panel Top.
Ill Layer t he Patched Panel Top right
side up, the backing wrong side up,
and the batting on top. Pin the layers
together. Stitch the layers together
using a 1/," seam allowance, leaving a
4.. opening on the bottom for turning.
Trim excess batting.
D Clip corners, turn right side out and
press. Turn in open seam edges and
slip-stitch closed.
D Stitch in the ditch around each
pocket square.
PREPARE HANGING SLEEVE
D Hem the short ends of the hanging
sleeve-press up 1/, .. then another'/," .
Topstitch close to the fold.
D Fold long raw edges ot the sleeve
right sides together, press and stitch
using 1/, .. seam allowance. Turn sleeve
right side out and press, centering the
seam on the back. (tigura 2)
iii1 Pin sleeve to upper back edge
of wall hanging (seam side down).
centering and align ing a folded edge
of sleeve with the top of the patched
panel. Pin.
mOn the fron t of the patch ed panel,
edgestitch 1/4 " around the perimeter.
catch ing in the top fold of the sleeve.
IB Blindstitch the bottom side of the
sleeve edge and only the bottom fold of
the sleeve to the patched panel back.
(figure '.3)
lE Screw the,,,.. screw eyes into the
ends of the dowel.
ID Slide the prepared dowel into the
hanging sleeve. Place nails or cup
hooks on the wall or door where you
want to display your patched panel.
Align screw eyes with hangers and
hang.
MARY WALTER is a quilter, designer,
teache1; NOA quilt judge, and Stitch technical
editor. She enjoys creating new projecls to teach
and share with her students.
>>
1'31
sewdarly.com *
 how-to
Measuring Tape Tote
by LINDA TURNER GRIEPENTROG
{from page 73}
When weaving the tape measures, keep
each row tightly against the next row.
FABRIC
- 3/a yd of 45" wide muslin for backing
- 3/a yd of 45" wide cotton print for
lining [shown: aqua needle print)
OTHER SUPPLIES
- 10 assort ed tape measures, each at
least 60" long
- 1 yard of 3/a" wide grosgrain ribbon
[shown: yellow]
- 12" zipper
- 1/2" wooden spool
- 15" x 20" foam board
- Matching sewing thread
- Fabric glue
- Temporary spray adhesive
FINISHED SIZE
12" x 7"
NOTES
1/4".
- All seam allowances are
- Tape measures vary by width,
color, and length, so this is an
approximation based on what was
used in the featured bag.
- When you trim the tape measures,
save one metal end for the zipper
pull for Step 16.
- When arranging the tape measures.
position them randomly without
regard for directional readability.
132
.. ··········-···-~---·
* stitch
Grosgrain ribbon provides a sturdy base
for t he t ape measures and the zipper.
- Most tapes are double-sided. so use
both for variety.
- RST =right sides together
- WST =wrong sides together
CUT THE FABRIC
D Cut the following pieces as directed.
- From the muslin, cut 1 rectangle
13" x 16".
- From the lining. cut 1 rectangle
121/2" x 15".
WEAVE THE OUTER BAG
0 Pin the muslin rectangle corners to
the foam board.
l1 Lay 16" pieces of various tape
measures horizontally along the 16"
muslin rectangle side, abutting the
tape edges. Pin into the foam board to
hold the tape strips in place.
II When the muslin is covered. lift
the tapes and mist the muslin wit h
temporary spray adhesive.
0 Weave 13" assorted tape measure
pieces over and under the horizontal
tapes. Push each successive row
tightly up against the previous row. Be
sure to keep the weaving squared as
you progress. Pin each tape measure
end into the foam board.
IJ Continue weaving, pinning, and
squaring the woven tapes in place until
the entire piece of muslin is covered.
U Unpin one row end at a time and
use fabric glue to adhere all the tape
ends to the muslin. Repin into the foam
to hold the ends in place.
D When the glue is completely dry,
remove all pins. Mark and then st itch
a 121/2" x 15" rectangle over the woven
tapes.
D Trim the tapes just outside the
stitching line.
MAKE THE BAG
iI!J Apply theribbon to each side of the
zipper tape. stitching close to the inner
edge of the ribbon.
mCenter the zipper and overlap the
unsewn ribbon side 1/4" onto one tape
rectangle's 121/2" edge. Topstitch in
place close the outer ribbon edge.
Open the zipper and repeat for the
other side of the bag's upper edge.
1EJ With RST, fold the tape measure
rectangle in half, matching the upper
edges. Stitch both ends of the folded
rectang le. Turn the bag righ t side out.
LINE THE BAG
lE With RST, fold the lining rectangle in
half, matching the upper edges. Stitch
t he ends.
ill Press under 1/4" along the lining
upper edge.
IE With wrong sides together, slide the
lining into the bag and handstitch the
upper edge in place along the zipper
tape.
ID Cut a 6" length of ribbon and thread
both ends through the zipper pull and
the wooden spool hole. Clamp the
r ibbon ends together using one of the
tape measure metal ends. adding glue
if needed.
RESOURCES
- Fabri-Tac Glue : Beacon Adhesives,
beaconadhesives.com.
- KK2000 Temporary Spray Adhesive :
Sulky of America, su lky.com
LINDA TURNER GRIEPENTROG owns
G vViz Creative Services in Bend, Oregon,
where she lives with her husband and three
dogs. She writes, edits, and designs for several
con1panies and leads fabric shopping tours to
Hong Kong for the Arnerican Sewing Guild.
Contact her at gwizdesigns@aol.com.
 how-to

The Fascinator
by ALEX SUDALNIK A little handstitching will hold the hat
comb in place.
{from page 74}
- All seams v,. unless otherwise noted.
- Do not cut notches. Mark them with
chalk or fabric pencil.

CUT+ STITCH FASCINATOR It all starts with an idea and a sketch.

D Using Template A, cut one
Fascinator from wool felt.
D Using Template B, cut one from
lining fabric. Transfer markings, set
aside until Step 13.
D With chalk or fabric pencil, transfer ,. I ,,
'
marks from Template A to wrong side ,I ,

of Fascinator felt piece.

D Mark"+" and "x" symbols onto back
Change your hat-change your mood. Try of Fascinator felt. From the front of
this trendy little hat in different fabrics. the Fascinator felt piece, sew running
stitch through"+" marks. Leave a 12"
FABRIC thread tail.
- 12" x 12" square medium -weight
D From back of Fascinator felt pattern
wool felt (for Fascinator) piece, sew a running stitch through the
- 5" x 5" square medium-weight wool "x " marks. Leave a 12" thread tail.
fel t (for Lining) E1 Draw up both basting threads from
the .. +" and "x" basting from Steps 4- 5.
OTHER SUPPLIES
Arrange pleats evenly. Knot basting
- Templates, provided
threads to secure.
- 4" buckram hat form [Hat forms are
available from millinery, bridal, and
D To begin shaping the hat, sew
both end Tabs together as shown
costume supply shops.)
on Template A using a 1/4" seam
- Thread to match allowance.
- Handsewing needle ll With doubled thread and a strong
- Chalk or fabric pencil knot, start from wrong side of the
- 9" velvet ribbon Fascinator and sew a running stitch 1/2"
from t he outer edge and between the
- Hat comb
tabs as indicated on Template A. Leave
FINISHED SIZE a 12" thread ta il.
4 1/2" x 7 1/z" ll Tighten running stitches from
Step 8- leaving room to insert the
NOTES buckram hat form. Adjust gathered
- SA = seam allowance edge evenly.
-- - - - -
Hat forms come in many shapes and sizes.
They enable the hat to keep its shape.
i1!J As shown on Template A, hand- tack
the A points together.
ATTACH FASCINATOR
TO HAT FORM
mDivide buckram hat form into
quarters. Place a small mark at each
quarter- 1/2" in from the edge. Align
marked notches on Fascinator with
marks on hat form.
[fJ Evenly pull up and ease the basted
outer edge of the Fascinator around
the hat form, using 1/2" SA. Secure the
end of the basting thread and tack the
Fascinator to the hat form being sure
to match the quarter marks. Be careful
not to let t he stitches go through to the
outside of the Fascinator fabric .
iEI Cut and center the Hat Lining
[Template B) under hat form.
Slip-stitch Lining to Fascinator.
133
sewdaily.com *
 how-to
For a more edgy look, try a safet y p in
instead of a bow.
iE Attach the hat comb using the
marks on Lining Ternplate as a guide.
ADD EMBELLISHMENT
ml Tie velvet cord into a bow. Stitch
to center of pleating on front. Style
options: replace bow with an oversized
safety pin for a more edgy style, add a
veil- or both.
ALEX SUDALNIK is a fashion and knitwear
designer living and working in Los Angeles.
Visit him at alexandersudalnik.com.
Slouchy Cashmere Hat
by SIGRID ARNOTT
{from page 75}
Using a ver y soft, drapey knit gives t his hat
its slouchy appeal.
FABRIC
- Look for a gently loved knit sweater
with a ribbed lower edge with a
12" minimum width, in cashmere,
lightweight merino, or a soft
blended knit.
13~
.. ----~·-·············
'if Stitch
NOTE : The ribbed edge must have at
least 20°/o stretch. To test your knit,
measure and mark a 5" horizontal
section. By gently stretching, the fabric
should expand to 6". If the fabric is less
flexible, add 1/2" seam allowance to the
hat pieces.
OTHER SUPPLIES
- Machine thread to match sweater
- Pins [preferably quilting size}
- Transparent tape
- Handsewing needle
- Embroidery floss
- Optional: Flower Template, provided
(for embellishment}
FINISHED SIZE
18" circumference x 6 1/2" high
NOTES
All seam allowances are 1/2".
CUT OUT FABRIC
0 Carefully cut off the side seams
from the sweater body up to the
armhole . Preserve the actual cut
seams for the hat ties.
El Cut a rectangle 11 1/2" x 71/2" from the
sweater front with the long edge along
the ribbing . Because the ribbing pulls
in. stretch and pin the lower edge of the
sweater to your ironing board to keep
it at the same width as the upper part
of the sweater while you cut. Follow a
vertical line of the knit stitches starting
at the ribbing to stay on track.
B Repeat Steps 1- 2 on the sweater
back, but cut the back rectangle
11 1/2" x 8 1/2" .
MARK +SEW PLEATS
IJ Mark three pleats on the hat front
by laying the ruler along the 7 1/2" side
of the rectangle with the zero mark at
the bottom of the ribbing.
l1 Place pins at 2", 3", 4 1/4". 5", 6 1/4",
and 7" marks. Repeat on opposite side.
0 On each side you should now have
six pins. With right sides together,
bring the second pin down to the top
of the first pin to form a pleat. Pin
securely. Repeat the process putting
the fourth pin over the third pin and
the top pin over the fifth pin. You will
Make t he flowers f rom other parts of the
sweater, or find a different knit for contrast.
have three pleats per side, make sure
you overlap and form the pleats in the
same direction on each side.
D Hand baste the pleats in place just
inside the 1/2" seam line . Repeat on the
opposite side.
ll Mark the hat back, placing four pins
at the 2", 3'', 4 1/4", and 5" marks. With
right sides together, form pleats by
matching pins one and two. then pins
three and four. Hand baste pleats in
place.
ASSEMBLE THE HAT
D On the right side of the hat front, pin
and mach ine sew the ties (from Step 1)
diagonally in the top corners. Line up
the short ends with the hat edge and
pin the ties to the center of hat to keep
them out of the seams.
IEI Pin Hat Front to Hat Back with
right s ides together and side pleats
matching. Sew s ide seams with 1/2"
seam allowance from bottom to top.
Make sure that pleats do not sh ift.
Then sew across t he hat top.
m Trim seams to 1/4" on both sides.
IE Turn right side out and make a bow
at the top with the hat ties. Adjust the
ties to fit.
MAKE EMBELLISHMENTS
Embellishments are optional. Leave
the hat plain or make these flowers.
[El Cut out the Flower Template and pin
it to the leftover scrap pieces from the
sweater or to a contrasting lightweight } )

fabric. Cut out at least three flowers-
or more as desired. Mark the stitching
lines indicated on the template for
gathering the flower centers.
iIJ Thread a needle and knot one end.
Along the marked stitching line, bring
the needle up through the back to the
front of the flower. Make a backstitch,
then hand baste in a circle as marked
on the template. Finish with the needle
on the back, and pull the basting
stitches tight to gather the flower.
Secure on the back with a backstitch.
iE Adjust the gathers and push the
center out to the front. Stitch an X over
the center of the flower if desired.
iI1 Sew the remaining flowers in the
same way.
OJ Add a flower to one side of the hat
front as desired by securely stitching
the center down. Arrange and stitch
down the remaining flowers with petals
slightly overlapping. When you are
happy with the flower arrangement,
securely tack them to the hat.
SIGRID ARNOTT writes about
her adventures in analog living and
building a handn1ade wardrobe at
analogn1e. typepad..coni.
Flowering Fleece
&: Felt Hat
by STEPHANIE SMITH
{from page 76}
The flowers and buttons add sparkle and
style-and also hold the hatband in place.
Simple embroidery stitches help define the
petal shapes and add a touch of texture.
FABRIC
- 1/3 yd fleece
- 12" x 18" wool felt in colors to
coordinate with fleece. Recommend
at least 4 colors . If using wool
felt from previous projects, the
minimum per flower is 6" x 12"
OTHER SUPPLIES
- Hat and Flower Templates, provided
- One glass/crystal button, 7/16"
- Two glass/crystal buttons, 9/16" shank
- Machine thread to coordinate with
fabrics
- Perle cotton in coordinating colors
for flower embroidery details
- Handsewing needle
- Embroidery needle
- Rotary cutter, acrylic ruler,
self- healing cutting mat
- Air- soluble marking pen
- Searn gauge
FINISHED SIZE
22" circumference
NOTES
- Templates create a hat with a 22"
circumference. To make a larger or
smaller hat. add or subtract 1/2" on
both sides of the Hat Template.
1;, ..
- All seams are unless otherwise
noted.
- Test your machine's tension when
using fleece- you may need to
loosen it. It also helps to increase
your regular stitch length slightly.
how-to
By enclosing the seam edges in a double
seam, your hat looks good inside and out.
- When stitching through three or
more layers of fleece, stitch slowly.
- Test air-soluble pen on scrap fabric
before using.
- RST = right sides together
CUT FABRIC
From Fleece
D Trace Hat Template. Pin to fleece
and cut four. Refer to the Templates
shank
and mark the dot that indicates the top
of the hat onto each piece.
D Cut one 5" x 25" rectangle for the
Hat Band.
From Wool Felt
El Trace templates for Large Flower,
Small Flower, and Leaf. Pin templates
to wrong side of felt and trace outlines
with air-soluble pen. Cut one Large
Flower and five Small Flowers in
desired colors. Cut one Leaf.
ASSEMBLE THE HAT BODY
D Pin two pieces of the Hat fleece
together. matching sides and dots at
the top. Pin or baste as necessary.
Stitch together. Tie and trim threads.
Aligning the dots at the top of the Hat,
repeat this step until all four pieces are
stitched together.
D Turn assembled hat inside out,
finger pressing seams to ensure
edges are well turned. The wrong
side of the hat will now be on the
outside. Stitch over inside out seams,
creating a double seam . Tie and
trim threads . Turn hat again, so that
135
sewdaily.com *
 how-to
the right side is now on the ou tside.
Finger press again to make sure hat
is fully turned .
ASSEMBLE+ ATTACH
THE HATBAND
D Stitch t he ends of the Hatband
together. Fold band in half
lengthwise.
D With the seam at t he back, pin
Hatband to base of hat, right sides and
raw edges together. Stitch. Tie and
trim threads. Trim ends of fleece fabric
if needed. Roll the Hatband up toward
the top of the hat, just covering the
seam.
ASSEMBLE THE FLOWERS
ll Embroider all flower and leaf
details [as shown on Templates) using
embroidery needle and coordinating
perle cotton.
Ill To make the larger center flower,
place and pin the Large Flower and
a Small Flower toget her. Handstitch
flowers together in the centers with
coordinating thread. Embroider
details on flowers as desired. Place
a 7/16" shan k button in center and
handstitch onto t he layered flowers.
Tie and trim thread ends. Handstitch
the leaf onto the back of the large
flower.
ml To make the smaller flowers. pin
two Small Flower pieces together.
Embroider details on flowers as
desired. Place 9/16" shank button in
center cind handstitch onto flower. Tie
and trim the thread ends. Repecit to
make a second small flower.
COMPLETE THE HAT
mWith coordinating thread, handstitch
all three flowers onto the hat, placing
as desired. Tie off and trim thread
ends.
STEPHANIE SMITH con1peted at the
county fair as a child with numerous arts
and craft projects. She loves to craft, sew,
and quilt and enjoys designing and creating
things for the honze and fan1ily. Stephanie has
been published by House of White Birches,
Quilter's vVorld, and Stitch magazine.
She lives in Michigan with her dog, cat, and
horses.
136
'if Stitch
---------- ------------ ------------------
Flapper-Inspired
Felt Hat
by APRIL MOFFATT
{from page 77}
Soft wool felt is an easy and versatile fabric
to work with-no f raying!
FABRIC
1/2 yd wool felt
- open.
- Scraps of wool felt in coordinating
colors for flower
OTHER SUPPLIES
- Hat and Flower Templates, provided
- Sewing t hread to match fabrics
- Press cloth
FINISHED SIZE
13"x16"
NOTES
- Press wool felt before cutting.
Always use a press cloth to prevent
scorching.
- All seams are 1/2" unless otherwise
noted.
- RST = right s ides together
CUT THE WOOL FELT
0 From wool felt, cut 2 each from the
three Hat Templates provided:
Hat Side, Hat Center [place on fold].
Hat Brim (place on fold)
0 From the colored wool felt scraps,
cut 1 each of the Flower Templates
provided. Also cut one 1" x 6" felt
rectangle (flower center). Mix and
The flower center is made by snipping the
folded edge of a small felt rectangle.
match the colors of the flower pieces
until you have your desired color
combinations.
MAKE THE HAT
D Pin the center seam on the 2 Hat
Center pieces, RST. Stitch. Press seam
D Pin Hat Sides to Hat Center sides,
matching the top center dot on both
sections. Baste. Try on hat and make
any adjustments to fit the hat. Once the
fit is acceptable , stitch the seams. Clip
seam on the curves just to the stitching
line. Press seams open.
MAKE+ ATTACH THE BRIM
D Stitch one of the Hat Brim pieces to
the ot her. [Do not stitch the other side
seam yet. ) Press seam open. Topstitch
1/a" on both sides of the seam. Trim
excess seam allowance.
D Match this finished seam to the
center front of the hat. With the second
brim seam still unstitched, pin the
brim in place, RST. Measure and mark
the location of the back brim seam
so that it will fit your hat size exactly.
Unpin enough of the brim so that you
can stitch the two ends of the hat brim
together. Topstitch, trim, and finish the
seam allowance as in Step 5.
D Finish pinning the brim around the
hat and stitch in place. Press the seam
a llowance of the brim toward the inside
of the hat.
>>

ll Topstitch 1/4" away from the seam
so that the seam allowance is stitched
up toward the top of the hat. Carefully
t rim excess seam allowance.
MAKE+ ATTACH THE FLOWER
D Using t he felt pieces for the flower,
layer Small Flower on top of the Large
Flower. To make the center of the
flower, press the 1" x 6" rectangle
lengthwise. Snip fo lded side every 1/4".
Do not cut all the way through to the
unfolded edges.
ml Roll the str ip up, securing every half
turn with needle and thread. Attach
(folded side up) to center of the flower.
mHandstitch the flower onto the hat.
APRIL MOFFATT comesfron1 a long line
ofsewing divas. Her grandn1other sewed her
way through the Great Depression, and her
industrious mother has sewn everything you
can imagine. April homeschools her children
and in herfree tin1e designs textiles. Visit her
website at aprilmoffattdesign.con1.
Mod Newsboy Hat
by JENN RHOADS
{from page 78}
Trying out a small project is an excellent
way to learn to match p laids.
FABRIC
- Main Body: 1/2 yd wool, heavyweight
cotton, or velvet. Extra fabric may be
needed to match plaid fabrics.
- Lining: 1/3 yd cotton. Qu ilting cottons
have interesting prints to contrast
with the outside of the hat.
I
I "
I
figure l
OTHER SUPPLIES
- Templates, supplied
- 1/4
yd mid- heavyweight, nonwoven,
fusible interfacing for hat bill
- 1/2 yd ribbon for embellishment
- 1 button
- Machine sewing thread to coordinate
with fabric
FINISHED SIZE
Hat circumference is 25". The center
back can be adjusted for other sizes.
NOTES
- Prewash fab r ics for a washable
finished project.
1/4"
- All seam allowances are
otherwise noted.
- RST =right sides together
CUT THE FABRIC
D Using the Templates provided, cut
6 Hat Body wedges in the main body
fabric and 6 in the lining fabric. If you
are not matching plaids, pieces can be
cut with the fabric doubled.
TIP: To quickly and accurately match
plaids or stripes, cut pieces one at a
time. After cutting the first wedge, lay
this piece on a section of the remaining
fabric so that the print or stripe
matches exactly. Cut. Repeat until all
six wedges are cut.
D Cut 2 Hat Bills from the main body
fabric. If using a plaid, match the Hat Bill
pieces with a wedge section [by matching
center notches and plaid pattern].
El Cut 2 Hat Bills from the interfacing.
SEW THE HAT BODY
D With RST, sew two Hat Body wedges
together. Clip seam allowance at the
curve, c lipping just to the stitched
seam line. Press the seam allowance
to the left, then edgestitch. Add
how-to
the next wedge, stitch, clip seam
allowance, press to the left, and
edgestitch. These th ree wedges
complete one half of the hat.
' ' )> '
TIP: If you are using a heavy fabric , you
' \
will need to trim some of the bulk from
the seam allowances at the narrow
center point- where the wedges meet.
(See Grading Seam Allowances in
Sewing Basics.)
D Repeat Step 4 to make the second
half of the hat.
D Line up the two halves, RST, being
careful to match your points. Pin, then
stitch. Clip the seam allowance, press to
the left, and edgestitch. Again , if you are
using a heavy fabric, you may have to
trim the seam allowances at the na rrow
point where all six wedges meet.
fJ To enhance the shape and improve
the fit, add tucks to the back three
wedges only. To do this, fold each of the
three wedges at the notch, RST. Stitch
a 1/4'" tapering seam for 1 1/2" toward
the top of the wedge. Backstitch at the
top and the bottom of each tuck. If you
need a smaller size, take a larger tuck
unless
in the center back wedge only.
ll Pre.ss theback tucks toward the
center. Edgestitch.
D Repeat Steps 4- 8 to make the
Lin ing. Match the size of the tucks in
the Lining to the size on the Hat Body.
SEW+ ATTACH THE HAT BILL
ml Following the manufacturer's
instructions, fuse interfacing to the
wrong side of both Hat Bills.
mWith RST, stitch the bill together
along the outside curve. Clip small
triangles out of the seam allowance,
clipping just to the stitched seam line.
(figure 1). Turn right side out.
iIJ To get a crisp front edge for the bill,
press carefully. Once pressed, topstitch
the front curve 1/4" from the edge . Add
a second line of topstitching 1/4" away
from the first stitched line.
iEl Baste the inside curve of the bill 1/s"
from the raw edges.
ilJ With RST, match the center notch on
the bill to the notch on the center front
wedge of the hat. Baste into place.
137
sewdaily.com *
 how-to

Don't be tempted to skip this little ribbon

detail. Easy to make, it adds girly charm.

Get creative with your lining. Prints and

stripes provide some inner style.

im With RST. pin the Main Body and the

Lining of the hat together, matching
wedge seams and back tucks. Pin in
place. Sew around the circumference
of t he hat , leaving a 3" opening on the
side for turning.
iD Turn right side out. Tuck the seam
allowance inside and handstitch the
opening closed. Press the bill over a
tailor's ham or tightly rolled towel to
create a slight curve.
iE Topst itch 1/4" around the perimeter
of the hat.
iil To make the ribbon embellishment.
start 4" away from one end of th e
ribbon, right side up. Loop once,
making sure both sides of the loop
show the right side of t he ribbon.
Make a small twist and loop again.
Check to see that only t he right side
of the ribbon is always showing. Make
another small twist and create the
third and last loop. The second tail
should point to the same side as your
starting tail. If not, twist it into place.
Stitch at the center to secure t he loops
and tails. Attach to the hat with a
button. Trim ribbon tails on a slant to
prevent fraying.
iIJ Wear and enjoy!
JENN RHOADS is a graduate of FIT and
has been a sewist as long as she can ren1en1ber.
vVhile designing and sewing clothing is her
passion, she is also a contemporary quilter and
creator ofall things sewable.
138
* stitch
RESOURCES
WHAT'S NEW + COOL WISHLIST CHERYL BUSH
PAGES 6,- 7 PAGE 22 sewcando.blogspot.com
ULTRA SHEER FUSIBLE INTERFACING AMIGURUMI FOX ROSEMARIE DEBOER
sewingworkshop.com etsy.com/shop/minibytes rdeboer@interweave.com

CHAKONER SPIKY MUGS AMBER EDEN

sewingworkshop.com etsy.com/shop/symmetricalpottery aeden@interweave.com

MARY ELLEN'S MADE BY HAND MODERN BIRD FEEDER LINDA TURNER GRIEPENTROG
maryellenproduct s.com etsy.com/shop/joepapendick gwizdesigns@aol.com

SEWLINE GLUE PEN & FABRIC PENCIL CERAMIC JAR WITH BIRD RACHEL GUEDON
sewlineproducts.com etsy.com/shop/DavisVachon stitchingint herain@gmail.com

CLOVER WONDER CLIPS RED HOT AND WILD GRETCHEN HIRSCH

clover-usa.com ORANGE BRACELET b logforbettersewing.com
etsy.com/shop/mydreamgarden JUNE MCCRARY JACOBS
SUNDAY MORNING QUILTS
stashbooks.com RECYCLED PAPER ROSES usajunedesigns@yahoo.com
etsy.com/shop/annemusingdesigns TINA LEWIS
MAKE IT SEW MODERN
martingale-pub.com tinalewisdesigns@gmail.com
MATERIAL WORLD
LESSONS FROM A SEWING CAFE: EMILY LI MANDRI
PAGES 26-30
nattypaint.com
SWEATSHOP PARIS THE BOTTOM LINE
andrewsmcmeel.com by Linda Turner Griepentrog SUSAN LIU
gwizdesigns@aol.com so-sue.blogspot.com
BROMLEY FABRIC COLLECTION
PAGES 34 ~38 APRIL MOFFATT
BY WESTMINSTER
westminsterfibers.com SEWING WITH KNITS aprilmoffattdesign.com
by Linda Lee
MADELEINE ROBERG
SEWING ROOM sewingworkshop.com
theprintedbolt.com
PAGES 1 0-1~
JENNIFER RODRIGUEZ
HOME EC WORKSHOP PROFILES allthingsbelle.com
homeecworkshop.com PAGES 31-32
MISSY SHEPLER
ARTIST PROFILE: VICKI JENSEN
WORKROOM SOCIAL vickijensen.com missystitches.com
workroom social.com
ART SUPPLIES: STEPHANIE SMITH
CRAFTY PLANET Pro Chemical & Dye stimm@andrews.edu
craftyplanet.com prochemical.com ALEX SUDALNIK
STITCH LAB New England Felting Supply alexsudalnik.com
st itch lab.biz felting supply.com
KATRIN VORBECK
GATHER HERE sew-mad.blogspot.com
PAGES 40-45
gatherhereonline.com
A STRAND OF THREAD: THE STORY MARY WALTER
CRAFTING HOPE BEHIND THE 200-YEAR EVOLUTION mwalter@interweave.com
crafthope.com OF COATS & CLARK
by Susan Beal, westcoastcra fty.com BETZ WHITE
LISA + LORI LUBBESMEYER Betz White.com
lubbesmeyer.com
PROJECT DESIGNERS JENNIFER WOLAK
blempgorf.blogspot.com
TECHNIQUE SPOTLIGHT LISA ANDERSON
PAGES 14 - 26 imalisawork.blogspot.com COREY YODER
littlemissshabby.com
DRAPING A BODICE SIGRID ARNOTT
by Grechen Hirsch analogme.typepad.com
b logforbettersewing.com SEW INSPIRED
STEFANIE BERGANINI PAGE144
stefanie.berganini(gigmail.com
UNEXPECTED INSPIRATION
HEIDI BOYD by Kevin Kosbab, feeddog.net
Heidi boyd. blogspo t.com

139
sewdaily.com *
 $Batiks Etcetera6'
Sew What Fal,rics

Batik Cotton
Batik Rayon
Kits & Packs
••
..-
Charms & Jellies
Batik! Batik!
Batik!

Exquisite hand dyed etnbl'Oldery silks. nbbons, fabncs

felling fibres, embellishn1ents & designs
111f O(rtl It! Jr tn 111 . <:OITI ,ltl
retro/ modern fabri cs + yarn
www.shopcraftypla net.com
www. atlks.com Trade enquiries welcorne
2833 Joluuon St NE, MlMeapoll •
lot 211 4171 l•l• l7t JU '591
-•••1-StrNIWy\hftlll.,YA1012

bright f11&r cs
local & unique
potrerns

~ M'llk ~~
~~+Creati\cMinds
E>ctr.Ck>rd~ ~
Sari+ Japr.cec + AbOrlt}nal + ~ itag:

"Threads, Yams, Mbc.-a

1Cntalwlum +wire mesh+~
Paints, °!P.itnb
Ste 1vart Gill+ TAP+ .shile faintst&.a

Designs for Machine Embroidery

WWW .c.om
check Uie. fur OUl'Work.hop calendar. houra www.mollymine.com
l"aO
-····* stitch
 UNIQUE
PATTERNS
FOR
FIRST QUI.T SHOP IN NORTH FLORIDA
OFF 1-71 exit 427, east on US 90, right at
CREATIVE
Domlnos P•••• In the PURPLE building SEWING

·- ·-·-
JANOME #270 - Metro Middy Blouse

See our timeless patterns adapted from

vintage fashion and ethnic coslurnc
at WW\v.folkwear.co111

r--~~~~~~~~~~~~ ..
MIBTYFOS!•
.• ~-.-$-i

,.-=:-
...__ _,-
___:- -x
t.
. -..
-- .z

• JANOME &
INNOVA TM LONG ARM
Over 4000 bolts of fabrics,
notions, threads, books,
embellishments, fiber art
supplies, art supplies & much
more! Education on the road
& at the store. EASYGLIDE Tools
& EDIEBARB DESIGNS born here!

L ll lCINAL DCSIGN r 131l l( ~

Kl: DAS. M

:
••
f
i
•

• •• t'1• ••Wa•• 2puds.liutdol'tlttth11foolp. http:llfabdcartsbog.com

~lfd1•1.,.tf 1r widt . . . . . SllOllg. soft. barbie@fabdcartshgg.com
•1•1 ;llltff 11llllt's1at•1otof~~.i
Barbie Swanson, Owner
•
. . ¢ 11 frill It 1111 is IOI just for worbig saul
1111. •,.. m1• IF ,,aj1 ell Slit. but fl ah1MI lftd W llG.
••1fl's1ca•1sllittf rd whllout ndfts DI >tdt1eJ..
(386) 755-0179 • •

1111•• ,nla1 flt q11i111fS and Mft lo lllllt 158 SW Domino Way, lake City, FL 32025
,..,,,. 1111w1111y CD1Mnitf1t1y HCt sntly fusible. Wholesale Inquiries Invited
'9111g 11111 llMf been hsler ormort fun.
ALSO SEE SISTER SITE:
Available In quUtlnl a.ni:t fllll'lo etoNis a.nd onllo,e. qui ltkitsandmoreatfas.com
www.mistyfUse.com • • •
-UIUIA

l'al
sewdarly com *
 ACCESSORIES & SUPPLIES
WWW. SOFTFABRIC PIIOTOS.COM r + pp lies Michael Miller

is your best resoun. e for ink JCl printing on c: Unique Stitching \\.'\vw.michaelminerfabrics.com
fabric. Do il yourself or \\e'll do it for you.
Supplies, books. patterns, and more. (303)
........0 \\'\\'\\ un1qucst1tching.com.au
cecile@uniquesticching.com.au
(212) 704-0774

* * •
716-9240.
tJ A trcJsure trove of hJnd dyed Dear Stella
C1J
e fabric, fiber, & silks.
.. ~ ....
\\'\\'\\·.dearstelladesign.com
(855) 475-9173
E
hat's 0
fJ
Pink Chalk Fabrics
\V\'{\\'. pin kc ha lkfabrics.com
*
Free Spirit Fabric
* *
W\V\\t.freespiritfabric.com
Missing? ..Q
QJ
(888) 894-0658
Fabric J nd patterns for 111odctn (866) 907-_3.305

~
scwists. . ~ i
Your shop should nil
Brother International Corp.

be listed here! ....

s:: Moda Fabrics
\\\V\\•.unitednotions.com
\V\\rw.brother.com
(800) 4-A-BROTHER

~ * • •
For more info con tact Q,)
rn
(800) 527-9447
.. . Bernina of America
\V\\"\v.beminausacom
Barbara Staszak at Timeless Treasures
\\'\V\v.ttfabrics.com
(212) 226-1400

• • • Coats &: Clark

or eQuilter.com \V\\"\v.CoatsandClark.com
\V\\'\\.cquilter.com (800) 648-1479
bstaszak@intet'\veave.co1n (877) 322-7423

r
~ Once Around-Mil/ Valley Grey's Fabric and Notions-Boston

..
0
CJ
\V'\\.'\v.onccaround.com
The felting. stamping, embroidery, fabric-painting,
W\\ \v.greysfabric.com

Ca.refully curated se\ving shop in Boston's So\\'a art

QJ \.\'reath-maldng. embossing. scrapbooking, decoup· district selling fine fabrics for apparel, quilting. and

·=
'1:S
age, candlc·crJfting. bookbinding. glitter, se,ving,
knitting and more ... ARTS & CIL'\ITS STORE.
home, plus Pfaff mJ.chines!
450 Harrison 1\ ve. *'6 3 (617) 338-GREY C-t-739)
352 ~tiller Ave. (415) 389-1667
Ile a
0
.r.:Ul StitchCraft-Boci1 Raton
l\1ake Jt Sew-Chnnlu1ss~n
"'\\"\\.makeitse,,-mn.com
\V\V\v.sti1chcraf1boca.blogspotcom Come \'isit our bright, \velcoming shop featuring
tll]
....c: Top-quality fabrics. patterns, notions for the mod
em, traditional, and art quilter, and sewer. Email
c.ontemporJ.ry quilting fabrics, fine fashion fabrics.
and Bemina se,ving machine sales and service.

~ stitchcraftboca@gmai l.com. 600 Market St.. Ste. T 1o (952) 767-0701

QJ 399 S. Fcdcr;il Hwy. (56 1) 447-4 r47
UJ

142
ADVERTISER INDEX
A F M
Artistic Artifacts 140 Fabric Art Shop 141 Michael Miller Fabrics 7
Fabric Indulgence & Art Supply 141 Mistyfuse 141
B Fat Quarter Shop 39 Meda Fabrics BC
Batiks Etcetera
.
140 Folkwear 141 MollyMine.com 140
Bernina' 3 FreeSl?iritFabric.com 23 Monaluna.com 31
13rother International Corp. IBC
I N
c Interweave 113 New England Felting Supply 31
Cfoth Paper Scissors CREATE 119 Interweave Books/
C_oats & Clark Inc;. 1 Quilting Modern 87 s
Colour Streams 140 Interweave Books/ SewDaily.com E-patterns 107
Craftside 79 Sew Liberated 143 Sewing Workshop, The 79
Craftsy 21 lflterw~ave .Cat~IQ~ 126-127 Shiisa Quilts 140
Crafty Pranet 140 St.itch Freemium 128
K St!tchiQ PostJ. Th~ 140
D Kelly Folsom Digital Art Studio 141 Sulky of America 39
Dear Stella 13
L T
E La Todera 6 Therm 0 Web Adhesives 79
.e Quifter 46 Timeless Treasures IF.C
Eucalan Inc. 31

-·-·· .. .. .... . .....1~'3

... .... .... - ....
sewdaily.com *

sew inspired
, nex
A modern quilter
discovers useful
information from the
most unlikely sources.
Essay KEVIN KOSBAB
FOR OBVIOUS REASONS, I've never had
much personal need to study dressn1aking.
So I never got the on-the-job training many
sewists get by starting with a simple circle
skirt and working their way through more
complicated gam1ents. Instead, working as
a freelance eclitor has fortuitously brought
several Se\ving and dressmaking books
across my desk. I learned a lot of sewing
tricks by having to read carefully through all
the instructions, even if I \Vasn't sure when
T'd use them myself.
More importantly, though, Tdiscovered
the value of digging through books outside
\vhat I'd be naturally interested in. I'1n
mainly a quilter and home-dee sewer, but
those dressmah.ing books taught me things
like how to shape with darts-I just used
them to shape a stuffed ottoman rather
than a dress. The cleanest, easiest finish for
a pillo\vcase is a French seam, but quilting
alone wouldn't have taught n1e that.
Venturing out into different techniques
is only part of the story. 'vVe're fortunate
these days to have publishers offering plenty
of sewing and craft books with a fresh and
current aesthetic, but sometimes the most
inspirational ideas can come from sources
that are superficially less appealing- or even
do\vnright tacky. The craft section of my local
public library seems to have almost entirely
been purchased in the early nineties, before
the \Vords "modem" and "sewing" ever spent
much time together. But braving t he dated
photography and country-cutesy subject
n1atter has revealed the books' hidden secrets.
* stitch
••
'vVhen I \vanted to make a trapunto
pillow for Stitch, all the reference books
used dimensional \Nreaths and hearts for
their examples- not motifs I was itching to
employ in my own projects. Looking past
that, though, the instructions \Vere solid
enough to teach the methods I needed to
execute trapunto using an updated, abstract
motif. Hearts are also a frequent sample
design for machine applique instructions,
but whether I'm feeling an1orous or not, I
can still get a refresher on "''here I need to
pivot. No bead embroidery book T've opened
has sho\vn me a project I want to inake
for myself, but \Vhen I need to se'v a bead
to a quilt, that's "vhere I'll turn to figure
out \vhat thread, needle, and stitch to use.
And \vhile l'1n there, I might see seed beads
se\vn on top of buttons in a way T'd never
thought of. Tmight turn up n1y nose at the
teddy-bear project \vhere that technique
is demonstrated, but \vl10 kno\VS vvhen
that will be exactly the effect I need for an
entirely different design? I'm convinced
the key to a healthy continuing education
in craft is separating the techniques
themselves from the conventionalized
subjects.
For the same reason, while I'd happily
join if a modem quilt guild chapter opened in
my to\\rn, I wouldn't cancel my membership
PHOTOS BY KEVIN KOSBAB
in my "traditional" quilt guild. tvly quilts
may be quite different from what most of the
other n1embers are stitching, but I've been
inspired by their work nonetheless. They've
saved me from many an impending deadline
by teaching n1e tricks to speed up binding.
As someone \vho started quilting \\rith solid
fabrics and high-contrast prints, they've
helped shO\V me that more subtle prir1ts have
an in1portant place, too. And I'd have never
thought of using silk for applique \Vithout
n1y quilting friends demonstrating it, and
no>v I'm hoarding dupionis \vith the best
of them. The fact that our preferred palettes
differ only nleans \Ve aren't competing for
fabric.
It's the very difference in our perspectives
that gets my brain working in directions T
\vouldn't have thought of othenvise. Sure,
there's a lot to gain from friends whose tastes
are si1nilar to our O\vn and books that n1atch
our personal styles, but nothing expands
the horizons in unpredictable ways better
than. keeping open to less like-minded
perspectives.
KEVIN KOSBAB is afreelance writer, editor,
and pattern designer. He designs rnodern sewing
projects for n1agazines and his own pattern line-
Feed Dog Designs [feeddog.net]. He is currently
working on his first quilting hookfor Interweave.
 d Machine
Feature-Pacc kreeative stuff!.d
t Your sewlnQ. eml:lf0'
StrU nway Limited Edition rdal:lle pr\CeS.• J
Wiitl a ProJ~t Run-end teatures a\ atto \ s 7.polnl \eed
you can en1~ n1Q automatic outtonno;!,_t RunwaY 5234
o1 nui\t-\O st\cnes.? oo i\ w\\t'I \tie Pro,.,....
n mOfe
run~ eve _......ttt1 _
20~ 2 \f Go\d awoi"' .'\ - - ~
LB-680()PAW l - ....
- ·

..

FOR ALL SEWING FANATICS

PRW C<r.toot mat m. • 51rong l.Jst\'on .w1m:nt

TO FIND AN AUTHORlZED BROTHER INNOV-fS DEALER NEAR YOU,

at your side VISIT THE HOME SEWING PAGES AT WWW.BROTHER.COM OR CALL 1.800.4.A.BROTHER.

lr'::a
Like us on Facebook You ~ Subscrbe to us on YouTube Follow us on Twitter
. . facebook.corrvbrothersews ~ youtube.oonvbrothersews twitter.combrothersews
• •