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violet

celadon

shade twilight

midnight

mustard

curry ginger

olive fern

cherry

ocean

porcelain spring

royal

petal

caliente grass

espresso

neon

punch

fiesta

royal

powder

canary

chambray

navy

fog jet hibiscus coral

thistle

powder

charcoal

cherry

lilac

sapphire

espresso

fore st

bisque

zest

avocado

emerald

kelly

sky

wine

scarlet

parsley

peach

delft

turquoise

chestnut

burgundy

ruby

ivory ocean

paprika

lavender

•

mango

pansy

citrus

candy

cranberry

heather

chocolate

dove

breeze

azure

lime

orchid

pool

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editor's note

OF ALL THE SENSES THAT I PRIZE, VISION IS FOREMOST. I've al\vays been blessed with 20/20 eyesight, even if in recent years it's been getting a little hard to thread a needle without my pince-nez. I could not imagine a \VOrld devoid of color, and I infuse wild hues into every aspect of my life, from my ward.robe to my home to my sei,ving. Since my youngest days, I have dreamed and thought i11 vivid color. I may not remember my first day offifth grade, but ask me what color and style my dress \Vas that I \Vore that day: a Parisian-inspired red, \vhite, and blue shirtwaist frock from Lord & Taylor that I prized until an unfortunate laundry incident precipitated its untimely demise. I remember that dress like it ..vas yesterday, mourn its loss, and \vish I had a gro\vn·up version. CoJor is all around us this season, from nature to the runways, and this issue has taken a cue from both to bring you a magazine stuffed \vith projects in every vibrant tone imaginable. Even as we sent tills issue to press, my inouth was \vatering over the \.vide variety of hotly hued modem items that you can create for your closet and home, for family and friends.

I \Vant to let you know that we are hard at \Vork on the SewDaily.com shop. Along \vith Stitch patterns and excellent se...ving books, you can aJso find great kits and hard·to-locate notions. My vision is that the Sew Daily Shop becomes a one-stop destination for unusual sev..ring supplies, special Stitch project kits, and more. I

would love to kno\v \vhat tools and kits you would like

to see for sale. Write to me at aeden@intenveave.com. And as always...

Happy stitching!

amkrek Editor, Stitch!SewDaily.com

check it out! For full-size pattern downloads for select projects in this issue, online extras. the Stitch blog, and to sign up for the Sew Daily free e-newsletter. go to

sewdaily.com 2 • stitch


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New technology for sewing and quilting that leaves extra room for 1mag1nat on: The BERNINA 710 and 750 QE combine innovative ideas with lots of space. The extended freearm offers an extra-large work 11 ~~~~~:;~~;;....;-·----· surface for extensive sewing pro1ects. The fast and quiet B[RNINA 9 'l_ Hook sews high-precision stitches up to 9 mm in w dth And the bobbin ~ 1 has 80°/o more thread capacity than standard bobbins Plus. thanks to THE 7 SFRIFS the .ntegrated BERNINA Dua Feed. hard-to-manage and line fabr·cs can Vi'! TH be used seamlessly to acP1eve extraordinary resu lts T,1-f[ BfR/l//fV.A 9 .YOOfo:_

Learn more about the BERNINA 7 Series and download free patterns and nstructions for sewing proiects at bern1na com/7senes.

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red hot pants page 34

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FEATURES

22

22

material world: fun in the sun LINDA TURNER GR IEPENTROG

18 simply handmade: signature style LYNDA MAYNARD

14

shining the spotlight on rashida coleman-hale

LINZEE KULL MCCRAY

18 DEPARTMENTS 2

8 10

editor's note what's new+ cool sew boutique rediscovering the timeless rules of dress ABBY KAUFMAN

12

wish list

60

sewing basics

123

resources

128

sew inspired:

keeping tradition alive

HEATHER ROSS

EMILY KETTERER

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• ON THE COVER: HIBISCUS PILLOW, page 44

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HAWAIIAN IDYLL Evoke the islands with t hese 7 idyllic projects. 42

flirty, fun sarong

46

CARR IE BLOOMSTON

43

MICHELLE FREEDMAN

surf's up table runners

47

MARCIA VAN OORT

44

hawaiian vacation dress KATRIN VORBECK

hibiscus pillow

48

T INA L EWIS

45

shoreline throw quilt

island pleasures fabric art SHEILA COLLINS

cuffed bandeau TI NA L EWIS

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HOT HOT HOT

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Turn up t he h eat with these 8 sizzling projects. 34

KEVIN KOSBAB

MELANIE SMIT H

35

36

vibrant stripe clutch purse

39

HEATHER FRENCH

40

miami sunglasses tote

stripey beach bag

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BEREN E CAM PBELL

I

· SEASIDE BASICS

41 one hot grandma

baby qu ilt

V ICKI CHRISTENSEN

Warm days at the shore are reflected in these 6 summery projects.

MALKA DUBRAWSKY

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so sandcastle pillow cover

ON THE ROAD AGAIN

KEVIN KOSBAB

You'll want to stitch these 7 roadworthy projects before your

51

29

postcard pillow T INA LEWIS

woodie roadster bar towel

voile yoyo quilt

KRISJE D EAL

MELAN IE 8. MCFARLAND

32

32

CASEY YORK

33

super travel bag

52

53 54

beach creature wristlet LEE CHAPPE LL MONROE

summer travel set 'I

54

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seahorse dorothy bag HELEN DICKSON

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MALKA DUBRAWSKY

crop marks quilt TULA PINK

zipper pouch

RU TH SINGER

baja beach hoodie KAREN LEPAGE

NATA LIE HARDI N

30 patch'plique pillow 31

little girl seabird sundress TINA LEW IS

summer roadtrip . 28

page 54

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summer love cushion cover

summer cru sh quilt

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TINA LEWIS

KARRIE W INTER S

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sunset over rio mini quilt

38

red hot pants

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beach creature wrist let

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BOYS OF SUMMER These 4 sunny projects bring beach style

ss board shorts quilt

to your little one 's bedroom or war drobe . 56

little surfer board shorts T INA LEWIS

57

paddle away wall hanging

A LEXANDRA LEDGERWOOD

59

boys mandarin collar shirt MELANI E SM IT H

DANA BOLYARD

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11'11 I l:HWI: I.VI:

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•• EDITOR Amber Eden ASSISTANT EDITOR Abby Kaufman TECHNICAL ASSISTANT EDITOR Elianc Pinto FREELANCE TECHNICAL EDITOR Bernie Kulisek CONTRIBUTINC EDITORS Susan Beal, Linda Turner Griepentrog,

Gretchen Hirsch, Kevin Kosbab, Linda Lee, Linzee Kull McCr.ly ART DIRECTOR Larissa Davis DESIGNER Jocelin Damien PRODUCTION COORDINATOR Kate Binder PHOTOGRAPHY James Weber rmle>s 01!1envisecredited PHOTO STYLIST Natasha Senko HAIR B: MAKEUP Sokp ha! la Ban ll.LUSTRATION Ann $\Vanson ADVERTISING MANAGER Barb'1ra StaSZ'1k

bstas:z.ak@intcrwcavc.com, 978 203·5460 MEDIA SALES TEAM LEADER Diane Kocal

dkocal@interweave.com, 3I7-482-0I20 AD TRAITICKER Melissa Marie BrO\VIl ONLINE MARKETING Whitney Dorband

e

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Dive into a year's worth of basic and advanced level tips and mixed media art techniques for improving your pieces with the 2012 Cloth Paper Scissors CD Collection!

T~1Jerweavc Stitch

(TSSJI:: 2 r6o-68 38 [print) and 2 r 64-9375 [on line]) is published four times per year by Interweave, a division ofF1-\.V Media, Inc., 2or E. Founh St., Loveland, CO, 805 37-5655. (970) 669-7672. All contents of this issue of Interweave Stiuh are copyrighted by F+W Media, Inc. 2014. All rights reserved Projects ancl information are for inspiration and persona) use only. Reprodltction in whole or in part is prohibited, except by pern1ission of the publisher. Interweave Stitch does not recommend, approve, or endorse an}' of the advertisers, products, services. or views advertised in Interweave StiLCh. :'.l!or does Tnterwcaue Stitch eval uatc the advertiseio' claims in any way. You should. t'herefon.', use your O\Vn judgment in evaluating the advertisers, products, services, and views advertised in Interweave StiJch. Subscription rate is$ 59.99/one year in the U.S., $68.99/one year in Canada, and $79.99/one year in inter· na tional collI'llries (surface delivery). U.S. funds only. Subscript.ion services: srxcustserv@CDSfulfillrnenl corn. (866) 478·8856 U.S. and Canada, (760) 291-1531 international, P.O. Box 6 338-1818. Harlan, IA ')I 537. For editorial inquiries, call 97 8-203-5444 or em a.iistitchsubmissions@inten~·eave.com.Postrnaster: Please send address changes to: Tn te nveave Stitch, P.O. Box 6338-1838, Tlarlan, TA 5r 537.

FOUNDER, CREATIVE DDU!CTOR Linda Ligon VICE PRESIDCNT, GROUP PUBLISHCR ShahlaHebets VICE PRESIDENT. CONTENT Iielen Gregory VICE PRESIDENT. MEDIA SALES fulic Macdonald BOOKS EDITORIAL DIR£CTOR Allison Kor]eski ECOMMERCC MARKETING DIRECTOR Evelyn Bridge DIRECTOR, MAGAZINE MARKETING a FULFlLLMENT Mark Fleetwood ONLINE CIRCULATION SPECIALIST Jodi Sm1th

~media P•W M!DIA, LNC.

CHAIRMAN & CEO David Nussbaum CHIEF OPERATING OFFlCER & CFO J;imcs Ogle PRESIDENT Sara Domville CHIEF DIGIT AL OFFICER Chad Phelps VICE PRESIDENT, ECOMMERCE Lucas Hilbert SENIOR VlCE PRESIDENT, OPERATIONS Phil Graham VICE PRESIDENT, COMMUNICATIONS Stacie Berger

RETAILERS If you are interested in 'arrying this maga7i11e i11 )'our store,

please call (866) 949-r646 or en1ail sales@interweave.com.

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VISIT us ON THE

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There was a time when the idea of a home computer was a pipedream. Same with sergers, only clothing manufacturers had them. That is until Baby Lock got a little rebellious and put sergers into the hands of sewers everywhere. Soon after, beautifully finished edges emerged from home sewers nationwide. Baby Lock has kept t he serger revolution going. Only Baby Lock offers 5" to the right of t he needle, no tensions, threading with the push of a button, and freedom to thread in any order. And these days Baby Lock sergers do much more than finish edges. They're great for decorative techniques, quilting, and much more. If you wa nt state-of-the-art performance, there's only one name to trust. The name innovative sewers have trusted since the 60s - Baby Lock.

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• sew1ng1oom ·----··--·--·-·----··------·---·--··---~·-----·------··-----·-----·-·-----·-----·------··---·····---··----··----~··------·----·-·--··-·----··-··---··

Editors' picks for

products, tools, books + notions

whatts new + cool •

·-

Love q uilting a nd em broidery? It's a m arria ge Bernina bet on with its new BERNETTE CHICAGO SEWING MACHINE. The model

has more than 150 decorative and 20 quilting stitches, plus 100 builtin embroidery design s . Bemina, $1,399, mybemette.conJ/ chica90 .

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Take your quilting to the next level with QUILTER'S STENCIL MARKING SPRAY. Spray your stencil onto your project, quilt, and wash the spray away. It comes in blue for light fabrics and white for dark fabrics .June Tailor, Inc., $16, junetailor.con1

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Conjure campfires, s'mores, and tenting out in your next pr oject using fabric from Dear Stella's TAKE A HIKE COLLECTION . Choose from canoe s and arrows, bears and campfires, in quilting cot tons or flannels . Dear Stella, dearstelladesign.com.


• sewing roam

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From the Chandelier Swing Bag to the Miss Independent Bag, Sara Lawson has a carryall for all. BIG-CITY BAGS provides handbags of all different sizes, shapes, and styles, proving that handmade is where it's at. Martingale, $26. 99, shof)marti ngale.com.

Both functional and fun, the BABUSHKA EMBROIDERY SCISSORS are 43/a" to meet your snipping needs. The Babushkas come in blue, orange, red, purple, and orange. Or. choose the Happy Bunny (4 ..) or Buddy Bear (33/4") scissors, also in a variety of colors. Tacony, $r3 sel offour, sewingandcraftclub.com.

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Got baby fever? Make the softest and cuddliest projects for little ones with Shannon Fabrics' KOZY CUDDLE SOLIDS. Choose from a range of colors in patterns such as dimple, chevron, paisley, vine, pine, and ribbon. Shannon Fabrics, shannonfabrics.com.

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Take your damaged clothing to the next level by repairing or restoring it. In MEND & MAKE FABULOUS by Denise Wild, you'll learn how to keep your garments looking as good as new. Learn fashionable tactics for hemming, mending, coloring, and more. Interweave, $19. 99, inlerweaveslore.com.

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• sew1ng1oom

sew --------------------------------------

From inspiring people to hot

trends, check out the news from around the sewing world.

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Rediscovering the timeless rules of dress Author Linda Przybyszewski says dressing is a way to savor occasions in life Text ABBY KAUFMAN WHAT CAN A GROUP OF WOwIEN from the early to mid-19oos teach us about dress? A

Author Linda Przybyszewski is a history professor and dressmaker.

lot, says author Llnda Przybyszewski, a Notre Dame history professor and dressmaker. Tn her book, The Lost Art ofDress, Linda introduces readers to the "Dress Doctors,"

women who offered advice and >vrote books on dressing principles in the early part of the t\ventieth century. "They \11Janted everyone to dress beautifuJly, but efficiently," Linda says. "Dressing up is something you can take pleasure in." Linda ...vas inspired to write the book when she came across a 1954 college textbook, Cl()thes For Y()u, that explained how ideas from art composition can be applied to dress, and how to appropriately dress. Finding that book sent her on a mission to find similar books, and uncover the history of the women known as Dress Doctors_ The Dress Doctors' principles, Llnda says, are timeless. But in an era when style and clothing have taken a tum tO\vard casual, or revealing, \Vhat \vould the Dress Doctors think of the \vay\vornen dress in 2014? "They might be in shock," Linda says. "They \vould look around 'vvonder where everyone's clothes went." Linda says \vomen today are still intrigued byse\ving and creatingtheirownc1othes, even ifthey didn't learn ho\v to sew as a child or young adult. Reality TV shows, like Project Runvvay; are also inspiring younger people to

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be fashion designers and look at clothes in a clifferent \vay. UI do think the impulse to create and the i1npulse to m aster the material world is a very essential one to human beings," she says. "It's that they can invent things." People are also drawn to sewing and designing as a \vayto fi nd unique clothjng they 'vvon't necessarily see on the rack at a department store or mall, she says. "You can make it the exact \vay you want, to suit you, suit your body," she says. "I think dressmakers fee] sorry for someone who \vanders through the mall Jooking for 'vvhat is in th eir head that doesn't exist." For women \vho aren't into clothes or who don't pay much attention to how they dress, Linda suggests thinking of it not as an imposition, but as a way to savor the different occasions in life.

II•· \\ ,,,,,.,. \\ lou O n ,

At the same time, she says, don't go

overboard \vith clothing or color choices. "You don't want to be overwhelmed by your clothes," she says. ''Your clothes should not be more interesting than you." * For more information on the author and her book visit PROFESSORPSKl.COM


• sewing roam r----------------------- - ---------- - --------------------------------- - -- - ~1

, _________________________________ ,I

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Keeping tradition alive Work is underway to preserve the traditi onal arts and crafts of the Yanesha women of Peru Text EMILY KETTERER THE YANESHA COMMUNITY OF THE CENTRAL PERUVIAN AMAZON is battling to conserve its cultural identity, including th e production of native cottons and dye plants that make up their traditional crafts. Since October 2or2, 150 native bes (cotton in Yaneshalanguage) plants have been planted over 2,500 square meters in h opes of contin uing tradition. Currently, there are eight shades of bes including brown. beige, cream. pink, green, blue, black, and chestnut. "It is important for us to maintain the traditional arts and crafts of the Yanesha people which otherwise could be irretrievably lost," says Va1bina Miguel Toribio. "These traditions \Vere passed do\vn to us from our remote ancestors. This is a \vay of preserving identity." Facing deforestation, as \Vell as competition from cheaper synthetic products, the Center for Indigenous Cultures of Peru (CHIRAPAQ) has been championing many indigenous organizations in an effort to reclaim bes, and the region's heritage. "Through the creation of handicrafts, jn which they [Yanesh a] trace the iconographies inherited by their ancestors, they not only generate an income for their families, but also preserve nature and the traditional kno\vledge of their people," says Veronica Vargas of CHIRAPAQ. CHTR APAQ ensures the Yanesha are aware of their rights and supports trips to events to sell the worn en's work. One organization th.atCHfRAPAQ works closely with is The Muerell Forestry, Farming, and

Eco-Tourism Association.

·-I

Native bes, or cotton plants, are needed by the Yanesha women to make their crafts.

"We have started to rescue the naturally· tinted cotton by sowing the plants and then \Veaving the products ourselves," says Valbina, Muerell's president and founding member. For three years, Muerell members have come togeth er to share crafts, dan ce, and remember their ancestors. "It started as a group of four families to produce handcrafts such as necklaces and bracelets made \vi th seeds and cloth dyed with natural vegetable dyes," says Valbina. "V1le have gro\vn to include ten fam iJies. Men, \vomen, and childTen a11 participate." To this day, Valbina's family practices a nu\v rare ritual of teaching a young girl ho\11 to spin cotton. When a girl experiences her

first menstruation, she is sent to live alone in a hut for th ree months vvith only her moth er to tend to her. During the isolation, she practjces and perfects the art of spinning. At the end of the reclusion there is a graduation party of sorts.* EMILY KETTERER is a recent college

graduate ofMiami University with degrees in Journalism and Art History. She loves to learn and write about new things, while sharing her passion for traveling,fashion, and art with others. For more information on the Yanes ha community and their crafts, visit CHIRAPAQ.ORG.PE.

11 sewdaily.com •


wishlist

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I Add a rugged element to your

decor with this nautical rope towel ring. Braided with manila rope and hemp twine, the ring is finished with a marine varnish. With a 5" diameter, it's perfect to hold a hand towel. Nautical Rope Towel Ring, etsy.comlshop!TheLandlockedSailor, $ 60.

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I Serve your favorite seafood meal on this unique

octopus platter. Measuring 10" x 24", the plate displays two creatures of the sea with a painterly style sourced from antique artwork. Octopus Platter, etsy.com shop!TheMadP/atters, $24.

I

3 I This driftwood sailboat was crafted f ram wood found off the shores of Scotland. It has hand-sewn linen fabric sails attached with natural h emp string. Driftwood Sailboat, etsy.convshoplfheOliveTreeA telier, $ 25.

S I Pay homage to The Great Wave Off Kanagawa artwork by Hokusai. with this gnarly great wave doorstop. The waves are cut from six layers of painted birch plywood. Great Wave Doon;top, etsy.com/shop!CliveRoddy, $15-$25.

ila I Step out of the shower and onto a classic nautical bathmat fit for a sailor. Woven using a soft navy cotton rope, it is stylish and gentle on your feet. Nautical Bathmat, etsy.com/shop!KarensRopeWork, $96.

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Left: Ra e Hoekstra's p opular Washi dress stitched from Rashida's

Washi fa bric. Be low: Rashid a Colema n-Ha le.

The author and mother of three h as found her footing in the fabric design warld Text LINZEE KULL MCCRAY A LTFE FOCUSED ON SE\i\TTNG seems a perfect fit for Rashida Coleman-Hale, but it wasn't always an obvious choice. Though stitching skills thread through her family tree and she studied at Ne\v York's Fashion Institute of Technology (FIT), she struggled to find her •vay. "I \vent through a time \vhen I really didn't know wh at I \vanted to do," says Rashida, \V ho decided being a fashion designer was "too much se\ving," and instead \vorked a variety of jobs, including cocktail \vaitressing in a nightclub, and eventually as a freelance graphic designer. "I just couldn't find my footing and my purpose."

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Those career concerns are obviously a thing of the past. Today Rashida is the author of I Love Patchwork! and Zakka Style, and has designed fabric for Timeless Treasures (Cute-bots and \tVashi) and Cloud9 Fabrics (Tsu ru and Koi), and is currently collaborating with several designers on a line for RJR Fabrics. She works from h er Atlanta home, where slhe also rides herd over her three young children, whom she credits with altering her path. "I thought I'd just be a mommy," she says. "But when I got pregnant T\vanted to make cloth es for the baby. An~d I realized I actually did like it." Her daughter \vas an exceptionally good baby, and in Rashida's unanticipated spare t ime,

she started her popular blog, I heart linen, \vhich caught the eye of Tricia Waddell, former Stitch magazine editor. Waddell asked Rashida to create nvo projects for the magazine's premiere issue. Books and fabric design followed. "Having my daughter kicked everything off," Rashida says. This enhvining of family and se'vving should have felt familiar: Rashida's mother stitched her clothing ,vh en she was young, her grandmother sewed, and her grandfather was a tailor. On I heart linen, Rashida recounts sharing her se\ving projects with her grandfather. "He would inspect every single stitch and seam, making sure it \Vas up to his standards," she wntes. At the time, his encouragement to rip out anything less than perfect annoyed Rashida, but today she's grateful for his lessons. She's also appreciative of her non-traditional upbringing, \vhich enabled


ZakkaStyle

her to spend heryoungeryearsin Asia. Rashida's mom was a flight attendant \Vhen handbag designer Carlos Falchi sa\v her on a plane and told her, "You should be modeling in Japan!" Rashida lived \vith her grandparents . .vhile her mother got her bearings. then moved to Japan during her elementary school years. Though she returned to the U.S., she spent every summer \Vith her mother in Japan, all the \vay through college. "My favorite time of year vvas \vhen I got to go there," says Rashida. "The country in general, and Tokyo in particular, are such eye candy. There's inspiration for a creative mind every\vhere you look." Those travels inspired Rashida's love of zakka style. Defined simply as "many things," the Japanese term zakka in the DIY \Vorld typically denotes taking everyday things up a notch by ernbellishjn g their ordinariness \1.Tith stitching, e1nbroidery, and 1n ore. "I loved going to little zakka stores on my \Vay home from school," says Rashida. The

Top left: l ittle gir l dresses stitched from Rashida's Tsuru fabrics for Cloud9. Above: Rashida's books. Left: Change purses from her Koi f abric for Cloud9.

projects in her books-charming change purses, bins, and tote bags-reflect those visits. Japan also nurtured h er overall sense of design. "It's ingrained in me," she says. "I appreciate clean lines and designs that are simple, but still have high impact." While working on her Koi fabric line for Cl oud9, Rashida's mom reminded her of a garden she particularly loved. "My mom would be rehearsing for fashion shows held in a Tok yo ho tel and I'd go with her and they'd let me roam the hotel," she says. "There

\Vas a beautiful garden there and T'd take my sketch book and doodle. That memory definitely influenced Kai" Japan's influence on Rashida can be seen in the materials she uses, as \vell. She gleaned the idea of using what has become her signature fabric-linen-while perusing fapanese craft books. "Once Tv.Torked â&#x20AC;˘vith it I fell head over heels," she says. "I love the organic-ness of it, the ra\vness, the \ivay it's crispy and hard ...,vhen you get it and how soft and lovely it is "vhen you wash it. It's not really polished, it has an edge to it that contrasts well \vi th verys,1\Teet designs." Rashida's newest venture is a collaboration with designers 1Yielody Miller (who also lives in Rashida's neighborhood), Alexia Abegg, Kim Kight, and Sarah \Vatts.

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The five are joining forces \Vi th RfR Fabrics under the name Cotton +Steel to create individual collections that complement

one another. "\iVhen Melody suggested it I thought 'That's crazy enough to be good,"' says Rashida \vith a laugh. "We designed our projects individuaJly, then came together in Los Angeles and laid them all out. We picked out the good and scrapped the bad and tailored the colors and substrates so they'd work together. It's amazing because \.ve're all from different backgrounds, but the

juxtaposition of our styles really meshes." Hearing the excitement in Rashida's voice as she describes this new endeavor makes it hard to believe she once doubted a future in fabric. "I never imagined that what I learned at m and through graphic design would be so instrumental in \¥hat I do now," she says. "The skills I picked up, what I learned about the fashion industry, came together and came full circle. I love that it vvorked out this ' vay and I'm happy and grateful to do \Vhat l'm doing."*

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LINZEE KULL MCCRAY is a writer and

editor with afocus on textiles and crafts. She's a contributing editorfor Stitch and other publications. She loves to read, write, sew, and knit. Find her on Jnsta9ran1 and Twitter at @seamswrite.

16 • stitch

Top left: Rashida's pinwheel quilt fro m 2010 . Top right : Geranium dresses made w ith Rashida' s fab ric, designed by Made by Rae's Rae Hoekst ra. Above: Cotton +Steel is a fabric collab oration between Rashida , Melody Mi ller, Sarah Watson, Alexia A begg, and K im Kight (s hown clockwise from top left).


liver + S Pattern Designer

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OF I NNOVATIVE STITCHING

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SEPTEMBER 19 - 21 , 2014 HYATT GRAND CYPRESS • O RLANDO, F LORIDA

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Smocking • Embroidery • Machine Sewing • Fine Hand Sev,ring

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GUILT! HMIT! STITCH!™ August 14-16, 2014 Oregon Convention Center in beautiful Portland, Oregon Thursday-Saturday 10 am-6 pm Admission: $10 adults/$8 seniors & students/$25 Full Show Pass. Children 10 & under free.

International Quilt Festival-the premier quilting and fabric art show announces a brand new show for a new audience .. . Features Include: • • • • • • •

Lectures • "Street Style," a daily fashion show A "Community Garden" of fabric and needle-art flowers Make It University!" ' - Fun, fast-paced m ixed-media c lasses A fu ll sla te of c lasses across a variety of fiber and needle a rt disciplines Scores of vendors offering finished works of art and the raw materials to make them Open Studios'" - Watch a nd interact w ith four artists creating new works at the same time "Coming Up Roses" specia l exhibit of rose quilts • Specia l nighttime "Scrappy Hour" event

Whatever type of fiber a nd needle arts you like to create, admire, or want to learn about, QUILT! KlllT! STITCH!™will have it all! Join us for the debut show! Visit www.quilts.com for regularly updated details. FIND US ON FACEBOOK www.facebook.com/qulltfeslival

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FOLLOW US ON TWITTER www.twltter.com/qulllfesllval

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SEE US ON INSTAGRAM www.lnstagram.com/qulltfesllval

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WHETHER YOU CHOOSE SILK, SATIN, DENIM, OR CHAMBRAY, learn how to create a short-sleeved blouse with signature detailing. Creating a muslin test garment \vill allow you to play \Vith the details and ensure a perfect fit.

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FABRIC - Buy fabric according to the yardage requirements on the back of the pattern envelope. If you \vish to combine prints \vi th solids or stripes, you may \Vant to lay out your pattern pieces to determine fabric needs. - For my shirt, I opted to select three solid colors to incorporate into my yoke, or accent piece. I purchased 1/2 yard of each color so I would have enough to experiment with in designing the shirt. OTHER SUPPLIES - Shirt pattern 1/J yd lightweight cotton batiste - Nlatching thread - Other supplies as noted on the pattern envelope NOTES - I \vould strongly recommend making a muslin test garment. This will give you the opportunity to check for fit and allo"v you to play \vith design details. - You can dravv strips of various \vidths

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directly on the muslin yoke to see what you prefer. You may also decide ho\v long the accent color will extend on the front band. Play with your design to create what suits you. vVhen working \Vith the lace, begin by placing a layer of tissue paper on the cutting table. Lay the lace, single layer, on the paper, then the pattern. Cut through all thicknesses and hand baste the lace to the paper. Move each piece to the machine and staystitch each seam line \vith the paper on top. Remove the tissue and continue se\ving the shirt. Please don't skip this step. The assistance provided by the paper ensures 1nore control and no distortion. The sample is made \vith silk dupioni and a hint of lace.

BEFORE YOU BEGIN A bit of pattern work will customize the design, and v.rill create a playful fabric for the front and back yokes. Be sure to preshrink all fabrics. PATTERN WORK O Make copies of the Yoke Front, Yoke Back, and Sleeve pattern pieces. You v.rill also need a copy of the Front Band piece. f) Mark the actual stitching lines or seam lines on all copied pattern pieces. 0 Begin by overlapping the Yoke Front and

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Back, aligning the shoulder seam. O Add an epaulet to the Sleeve pattern that will be the length of the shoulder seam by 1112" v.ride. Mark new stitching lines in red. (figure 1)

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Next, place the Sleeve on the Yoke pieces, matching the shoulder place1nent. Draw a grain line on the Sleeve at the shoulder point, connecting to the shoulder seam. This helps position the sleeve properly. () No\v, trace the new "sleeve v.rith epaulet." Be sure to add seam allo\vances to the epaulet section and clearly mark the pivot points.

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Follow the cutting directions included in the pattern layout for cutting the remaining pieces from the Main fabric.

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PREPARE THE PIECES FOR SEWING Staystitch directly on the seam lines of the front and back neck, including the neck edge of the epaulet. ~ Reinforce the pivot point of the sleeve/ epaulet using tiny stitches. Pivot at the large dot where the shoulder seam meets the armhole seam.

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Close up of shoulder epaulet .

O Draw new cutting lines on the Yoke Back and Front yoke pieces. 0 For the Front Band, decide where you would like to create a seam to add the solid section to the print. C) DravJ the seamline. ~ Make an Upper Band piece and a Lo"ver Band piece, adding seam allowances.

PREPARING THE YOKES The sample uses three solid colors to create a striped "fabric" for the yoke pieces. This striped fabric \vill be made before the pattern pieces are cut out. G) Measure the pattern pieces to determine what size rectangles would meet the dimensional requirements. The sample Yoke Back requires an 18" x 9" rectangle, and each Yoke Front needs a 9" x 9" piece. Q) Cut pieces of lighnveight cotton batiste to the required dimensions; two Yoke Front and one Yoke Back on fold.

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wide strips of color. For the Yoke Back, it \vill need 24 strips total (18 .;. 3/4). There are three colors, so eight strips of each color \vill be needed. The strips \vill have 1/4" seam allo\vances, and will be cut 9" x 11/4" each. tD Each Yoke Front will need 12 strips per Yoke, or 24 total for both Yokes. 0 For all three Yoke pieces, cut 16 strips of each accent color, each measuring 9" x 11/4". 3/4"

SEW THE STRIPS TO THE BATISTE al Beginning at one end of the batiste rectangle, stitch the first color strip in place with a 1/4" seam. $ Add the next strip, right sides together, using a 1/4" seam. Press after each strip is added. G) Continue adding the strips, until the three Yoke pieces are complete.

ASSEMBLE THE SHIRT ~ Follow pattern instructions for preparation of Shirt Front and Back. Stitch Yokes to garment sections. Q) Follow pattern instructions for attaching front bands. Stitch side seams. ~ Stitch underarm seam of sleeve. Ease stitch armhole edge of sleeve between notches and large dots near top of sleeve. ED Clip sleeve/epaulet to reinforced pivot point. G Stitch sleeve into armhole and shoulder, pivoting at large dot. (& Trim seam alIO\l\Tances. ED Edgestitch shoulder seam allowances to epaulet. ~ Finish the shirt follo\l\Ting the pattern directions.*

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SOURCES SHIRT PATIERN McCall's #6649.

LYNDA MAYNARD is a faculty nien1ber in

FRONT BAND ~ Stitch the Upper Front Band to the Lo\ver Front Band. Trim the seam allowances to 1/4" and press open.

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CUT OUT FABRIC ED From the striped Accent fabric, cut the Yoke pattern pieces. (figure 2)

a nun1ber offashion departments in the San Francisco Bay area college community. She has authored two books showcasing her expertise. Demystifying Fit, herfirst book in CD format, focuses on fitting techniques. Her latest book in hardcopy, The Dressmaker's Handbook of Couture Se\ving Techniques, explores innovative edgefinishes. She also teaches online classes, and at workshops nationwide.


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This enchanting collectlon of radiant neutrals ranges from Ivory to steel, with pearl-printed accents that add luster and Intrigue to every quilt

Look for these patterns + more in our new pattern store shop.quiltingdaily.com

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SUMMER rs THE IDEAL TIME to talze advantage of the sunshine to create colorful fabric accents. Sun printing is so easy, even lzids can do it. A sunny day is best for this process, though a cloudy one can work- the process just takes longer. Wind creates challenges for holding items in place, so choose a calm day for your artistic endeavors. Ideally, temperatures should be less than 90 degrees to give the paint time to react before drying completely.

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WHAT YOU NEED

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Sun printing will work on any natural-fiber fabric like cotton, silk, or linen. It will also work on blends \vi th up to 50 percent of synthetic fibers, though the colors will be less intense the higher the synthetic content. Fabrics with smooth surfaces produce the clearest image, though novelty 'Neaves work as \ÂĽell. In addition to yardage, you can also print on ready-made fabric items like t-shirts, scarves, tote bags. or aprons.

PREPARATION vVash and dry the fabric or fi nished ite1n you'll be painting to remove any finishes that might interfere "vith the paint action, and be sure not to use any fabric softeners during the process. Press the fabric to remove any\vrinkles. Or, purchase "prepared for dyeing" (also kno\vn as PFD) fabrics that are already finish-free. Totally cover your outside work area with plastic, and tape the covering in place to avoid having it blow around and ruin your masterpiece. Cover the foam or \Vood board with plastic and be sure it's taut around the piece to avoid wrinkles that will shov.1up in your work. Mount the fabric (or finished item) on the covered board and pin or tape in place. If you're painting something like a t-shirt or tote, slip a piece of cardboard or foam between the layers to avoid paint soakthrough.

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Selecting the right paint is key to success for your heliographic works of ar t. Pebeo Setacolor Transparent Paint is activated by the sun and com es in many colors and container sizes, from mul ti-jar assortments to larger single-color containers. (Other brands that work with this technique include Jacquard SolarFast and Lumi lnkodye; check labels for specific product instructions.) The paints work best on light-color backgrounds like white, cream, or pastels, and will stain both your skin and fingernails, so be sure to use protective gloves. Setacol or is water-based for easy cleanup, and ifs washable and dry-cleanable after heat-setting. In addition to the paint, you'll need some other supplies: a foam or wooden board for mounting the fabric during the printing process, painter's tape, a plastic drop cloth or trash bags to protec t the work surface, a spray bottle, a sponge or bristle brushes, small disposable containers to mix the paint, paper towel s, stra ight pins, scissor s, an apr on or old clothes, and latex or r ubber gloves. Sand, sa lt, and items to use as resists are optional.

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APPLICATION

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Make a plan before you begin painting the fabric, as the dampened fabric can dry out quickly, especially in hot, sunny weather. Shake or stir the paint before opening to evenly distribute the pigment. Paints can be applied directly from the jar to the fabric, or they can be diluted for less intense color. If you dilute the paints, use one to tvvo parts of water to one part paint, depending on the desired color. It's important to mix colors or dilute enough paint for an entire project at one time, as recreating the exact same mix isn't likely. Before applying the paint, spritz the fabric with water to dampen it thoroughly, though it shouldn't be dripping wet. Apply the paint to the fabric in the desired areas- overall or selectively. Remember that those areas v.rithout paint coverage will be the color of the base fabric, so if you \vant clouds, polka dots, or swirls, keep that in mind. For added texture, apply the paint with a natural sponge instead of a brush. For a lighter application, apply the paint using a small spray bottle. Colors can be blended during the application process and they'll naturally spread a little along the damp fabric, but it's a good idea to rinse the brush between colors to avoid unintentional blends. Colors \Vill be slightly lighter v.rhen they dry than they look on the damp fabric.

DESIGN DETAILS

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Fabric can be painted in design areas, or with allover color or patterning created with resists, which is where the real fun comes in. Once the fabric surface is painted, add in masks to create design areas. Any area covered with an object will show up in the base color or a lighter version of the paint color, as the exposed paint area develops color intensity in the sun. Those items used for masks should be flat so no sun can get through, but if they're not, a more shadowy effect \vill result as light seeps in around the sides. The latter happens \vhen items like flowers, greenery, or leaves are used.

Take a look around the house for resist items-safety pins, sink stoppers, \Vire racks, coins, buttons, scrap booking shapes, foam letters, silvenvare, hard\vare, tools, notions, paper doilies, wire, stencils, etc. all make great masks for the sun. With the exception of paper shapes and fabrics (which absorb color), the resist item won't be harmed in the painting process.


This sun print by Mary Copenhaver evokes an island fee l.

Photo courtesy of Mary Copenhaver, SunSalionalPrints.com

Finger-press the resist onto the damp fabric surface to create a pattern you like. Be \vary of using pins to hold things in place, as the shadow created by the pin shaft and/or head can also create a secondary pattern on the fabric. If you want to create stripes or other geometric shaped areas with hard edges, use painter's tape as a mask. It creates clear edges that are easily painted up to, 1naking straight lines on the finished piece. Apply the painter's tape before dampening the fabric for best adhesion. In addition to the items used as masks, create additional texture by using an overlay. Netting, lace, sheer patterned fabrics, screen, and mesh can be used to create an overall texture, either alone or in combination "vith the resist items. These layers can be used flat or folded or scrunched for even more interest.

TEXTURAL TACTICS If you simply want to color the fabric \vithout using any resists, create interest by folding, pleating, or scrunching it. Remember, the paint needs direct sun to work, so any area hidden from the rays will appear a different color than those areas exposed to the sun. For overall texture, consider adding salt or sand to the wet painted fabric. Both draw moisture (color), and the result is a mottled or speckled effect. Once you salt the fabric, spray it with water to encourage melting and color absorption.

Depending on the amount of paint and moisture used and the ambient temperature, the fabric will dry in anywhere from ten minutes to an hour. Scrunched and folded fabric requires a longer drying process than if the fabric is flat. To help prevent unplanned shadows, it's best to create your art mid-day when the sun is directly overhead. This creates clearer images than if the sun is coming from an angle. Be wary of shado\VS created by trees, etc., as they'll affect your \IV'Ork, perhaps unintentionally. If it's windy and you're afraid all your masks \Von't stay in place, add some small rocks on top of anything opaque, but if you place them over unmasked painted areas, they too will act as inasks creating patterning on your fabric.

UNVEILING When the paint is thoroughly dry, remove any masks, resists, and overlays (save for reuse) and take the fabric off the board. If

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you used salt or sand for texture, pour it into a container and save it for reuse. To beco1ne permanent, the paints must be heat-set. Use a household iron on the cotton or silk setting and press the wrong side of the fabric for five minutes, or place the fabric in a 300° oven for ten minutes. Rinse the project in cool water to remove excess pigment and hang to dry. *

SOURCES PAINTS AND SUPPLIES Dharma Trading

Company, dharmatrading.com SUN PRINTS Mary Copenhaver,

sunsat ional prints.com

LINDA TURNER GRIEPENTROG owns

G Wiz Creative Services in Bend, Oregon, where she lives with her husband (a fabric store n1anager, no less) and three dogs. She writes, edits, and designs for several companies and leads fabric shopping tours to Hong Kong- the next one leaves in December 20 r 4. Contact her at gwizdesigns@aolcom

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- - SALT SAVVY Look fo r vari ous types of salts to use with your sun printing ar t. Kosher salt, rock salt, sea salt , Epsom salts, Ice Melt, etc .. all have different cryst al sizes and configurations to create interesting effects. Larg er crystals create a starbur st effect as color is pulled toward th em,

DRYING TIME

while smaller crystals create a fi ner

When you've created your masterpiece, set the board aside in the direct sun to dry.

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FABRICS Diamonds Are Fo rever

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, You'll want to stitch these 7 roadworthy projects before your summer vacation.

postcard pillow In the style of the popular vintage

travel postcards, this pillo\V celebrates America's iconic Chicago-to-Santa Monica highway: Route 66. The perfect conversation piece for travel enthusiasts and restored Airstream trailers, the pillow is corded, machine appliqued, and finished with touches of hand embroidery. The cover zips off a custom pillow insert. DESIGNED BY Tina Lewis [project instructions on page 66]

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super travel bag This backpack was designed with summer and tra\rel in mind. Include a much-loved family vacation photo to remember back to past fun, and craft the bag out of upholstery-weight mattress ticking to make it functional without being too serious.

Sounds like a recipe for a perfect summer day. DESIGNED BY Malka Dubrawsky [project instructions on page 70]


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summer travel set A clever travel trio will make any trip easier, and more stylish. The drawstring bag has a divider inside, so your shoes won't rub together and get damaged. The coat hanger is great for storing special clothes, or for displaying a vintage dress. You can keep your dresses ship-shape in the roomy garment bag. DESIGNED BY Ruth Singer [project instructions on page 73]


Turn up the heat with these 8 sizzling projects.

red hot pants With a hip-hugging Jo,vered waistline and curved-seam side panels, these red hot pan ts are sure to tum heads! Pair them with a loose top and ballet flats for day, or strappy heels for a night out. Either way you'll be ready to paint the town red. DESIGNED BY Melanie Smith [project instructions on page 77)

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stripey beach bag This large bag is perfect for family trips to the beach. Make your own summery striped fabric using precut 2.5" strips. Choose any solid, stripe, or print fabric to create your unique and fun beach bag. Then, just add towels, sunscreen, and a good read. DESIGNED BY Vicki Christensen

[ project instructions on page 81)


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m1am1 sung lasses tqte At the beach or on the go, carry fashion with you this summer. Bright and over-sized, this canvas tote shows off an assortment of colorful sunglasses. A black base contrasts with the pink bag and the machine-appliqued sunglass frames have metallic lenses and rivet accents. DESIGNED BY Tina Lewis [project instructions on page 84)

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7 idyllic projects.

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Relax on this fun modem quilt and you are sure to get in a Maui frame of mind. The bold graphic design, inspired by the movement of the sea, is created using mirror image blocks and a fun piecing technique. Roll it up, take it to the beach, and enjoy the view. DESIGNED BY Michelle Freedman [project instruct io ns on page 93]

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, Warm days at the shore are reflected in these 6 summery

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sandcastle pillow cover Bring the beach indoors but leave the sand outside. Simple quilt-block shapes stack up in to a patchwork sandcastle that \Von't wash a\vay with the tide, and bright pops of color capture summerti¡m e cheer. DESIGNED BY Kevin Kosbab [ project instructions on page 99]


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This adorable seafoam sundress for little girls is smocked with a soaring black and white seabird, called a Tropic bird. The yoke with contrasting pin-dot piping ties at the shoulders and the dress has a traditional deep hem. Your little one will be in style at the seashore.

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baja beach hoodie Summer nights can be a bit ch illy after a day at the beach. Dont miss out on the bonfire; pack your Baja Beach Hoodie. Our version is a dropped-shoulder, loose-fitting hoodie made of a lightweight canvas, offering just enough warmth. Make it in a lightweight quilting cotton for daytime summer wear, or a heavy canvas to change with the seasons. DESIGNED BY Karen LePage [project instructions on page 103)


crop marks quilt Crop marks of all shapes and sizes decorate this fun quilt- perfect for the bedroom, or lo take to the beach. It has a pieced backing. adding extra intrigue. DESIGNED BY Tula Pink [project instructions on page 105]

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beach creature .,,. wristlet A little linen wristlet is perfect for a day at the beach or a night on the town. Simple hand embroidered seaside shapes show your love of the ocean, and are easy to stitch. This little purse goes together in a snap.

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DESIGNED BY Lee Chappell Monroe [project instructions on page 109]

seahorse dorothy bag This classy and cute seahorse bag is the perfect carryall for toiletries, small beach supplies, or kids' items. The bag is easy to make, and the seahorse appliques add a bit of \vhimsical detail. You'll have as much fun making it as using it. DESIGNED BY Helen Dickson [project instructions on page 111] '* stitch


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little surfer board shorts Surf's up! Li Ltle surfer wannabes will love looking like the big guys in these color-blocked board shorts, complete with authentic laced front tabs. Made of cotton-feel textured nylon, the shorts have a pocket on the side, a hook and loop fly, contrasl stitching, and an elastic-back waistband for a comfortable fit. DESIGNED BY Tina Lew is [project instructions on page 115]

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paddle away wall hanging What's better than hopping aboard a stand-up paddle board and spending a sunny day on the water? This whimsical, quil tcd wall hanging comes together with a bit of curved piecing, a few half-square triangles, and loads of personality. DESIGNED BY Dana Bolyard [project instructions on page 116]

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El VOILE YOYO QUILT by MELANIE B.

El ISLAND PLEASURES FABRIC

MCFARL.ANO Project photo on pag e 29; instructions

ART by SHEILA COLLINS Project photo on

on page 67.

page '8; instructions on page 97.

1J SEAHORSE DOROTHY BAG

I] SANDCASTLE PILLOW COVER by

I] MIAMI SUNGLASSES TOTE

by HELEN DICKSON Project photo on page 5': instr uctions on page 111.

KEVIN KOSBAB Proj ect photo on page 50;

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Project photo on page'': instructions on page 90.

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PATCH'PLIQUE PILLOW

11 BEACH CREATURE WRISTLET

[I PADDLE AWAY WALLHANGING

by CASEY YORK Project photo on pag e 30;

by LEE CHAPPELL MONROE Proj ect photo on

by DANA BOLYARD Project photo on page 57;

instructions on page 69.

page 54; instructions on page 109.

instructions on page 116.

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SEWING KIT The following items are essential for your sewing kit. Make sure you have these tools at hand before starting any of the projects:

0 ACRYLIC RULER This is a clear flat ruler, with a measuring grid at least 2" wide x 18" long. A rigid acrylic (quilter's) ruler should be used when \.vorking \vith a rotary cutter.

GETTING STARTED Basic tools, techniques, & terms you'll need for the projects in this issue.

0 SEAM RIPPER Handy for quickly ripping out stitches. 0 SPIKED TRACING WHEEL & COLORED TRACING PAPER Use these tools for tracing

patterns and markings onto your fabric.

0 STRAIGHT PINS & PINCUSHION Always keep lots of pins nearby.

0 WEIGHTS Pattern \Veights or small rocks are great for keeping fabric in place while drawing, pinning, and cutti11g.

0 CLOTH MEASURING TAPE Make sure it's at least 60" 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 work.

0 FABRIC MARKING PENS & PENCILS Available in several colors for use on light and dark fabrics; use them for tracil1g patterns and pattern markings onto your fabric.

0 HANDSEWING & EMBROIDERY NEEDLES Keep an assorh1ient 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 \V hen 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. Regular office paper may be used for templates that will fit.

0 PINKING SHEARS These scissors with notched teeth leave a zigzag edge on the cut cloth to prevent fraying.

0 SEAM GAUGE This small ruler with a movable slider is used for marking hems, checking seam allo\\rances, placing buttons, and more.

60 ····-· -- ........... * stit ch

* OPTIONAL ... but good to have. 0 FRENCH CURVE A template of metal, plastic, or wood that includes many curved edges for constructing smooth cuives.

0 NEEDLE THREADER 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 knj tting needle or chopstick can also be used.

0 ROTARY CUTTER & SELF-HEALING MAT Useful for cutti11g out fabric quickly. Al\vays use the mat to protect the blade and your \vork surface. (A rigid acrylic ruler should be used \vith 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 powdered) can simply be brushed away; 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 thumbs \\rill thank you. 0 ZIPPER FOOT This accessory foot for your machine has a narrow profile that can be positioned to sew close to the zipper teeth. Zipper feet are adjustable so the foot can be moved to either side of the needle.


PATTERN SYMBOLS & MARKINGS Here is a quick reference guide to the symbols and markings on the patterns. • DARTS Angled lines show where the

- - - • CUTTING LINES

' : stitching will be, and the dot shows I ,' you the position of the dart point (sigMultisize ' , patterns have naling the point, at the end of the dart, ,,'' different cutting / where your stitching should end). ,,'' lines for each ; ,,'' • ,' ,,'' size.

,• NOTCHES Notches are triangle, ,,' shaped symbols used for accurately , ,,' matching seams. Pieces to be joined will

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61

····--·····-·-··········-----········-· sewdaily.com

*


PATTERN INSERT GUIDE A

quick reference to the full-size patterns on the insert. EJAll pattern markings should be on the wrong side of the fabric unless otherwise noted. B Lay the pattern pieces on the fabric as close together as possible. Double-check that al1 pattern pieces cut "on the fold" are placed on the fold. O Make sure all pattern pieces are placed on the fabric with the grainline running parallel to the length,,rise grain unless a bias grainline is present or as othenvise noted. El Use weights to hold the pattern pieces dov.m and USC pins to secure the comers as needed. D Cut pieces slowly and carefully.

LAYOUT, MARKING + CUTTING GUIDELINES D The pattern insert features overlapping p'1tterns, so you may not want to cut patterns or templates directly from the insert. Instead, use pattern paper (or other paper such as newsprint) 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 Tf 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 la)rout or instructions.

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SEED STITCHES / SEEDING STITCH • Small straight stitches worked in clusters or scattered at random. Seed stitches can also be worked tightly together and all in the same direction to uniformly fill a space.

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STRAIGHT STITCH/ RUNNING STITCH .6.

STANDARD HANDAPPLIQUE STITCH .6.

Working from right to left, make a straight stitch by bringing the needle up and insert at 1, Ya-'/'" from the starting point. To make a line of running stitches la row of straight stitches worked one after the other], bring the needle up at 2 and repeat.

Cut a length of thread 12" - 18". Thread the newly cut end through the eye of the needle, pull this end through, and knot it. Use this technique to thread the needle and knot the thread to help keep the thread's "twist" intact and to reduce knotting. Beginning at the straightest edge of the applique and working from right to left, bring the needle up from the underside, throu gh the background fabric and the very edge of the applique at 1, catching only a few threads of the applique fabric. Pull the thread taut, then insert the needle into the background fabric at 2, as close as possible to 1. Bring the needle up through the background fabric at 3 , 'le" beyond 2. Continue in this manner, keeping the thread taut (do not pull it so tight that the fabric puckers) lo keep the stitching as invisible as possible.

SLIP STITCH • Working from right to left, join two pieces of fabric by taking a 'fi•-'I•" long stitch into the folded edge of one piece of fabric and 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 thread emerged from lhe previous stitch. Repeat by inserting the needle in to the first piece of fabric. The thread will be almost entirely hidden inside the folds of the fabrics.

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SQUARE KNOT • Working with two cords (or threads]. make a loop fro m the rig ht cord (pinch th e cords together at the base of the loop between thumb and forefinger]. then thread the left cord through the loop from bottom to top. Bring the left cord toward you and wrap it under and around the base of the righ t loop and then thread it through the loop from top to bottom. Pull the cords tight.

--UNEVEN SLIP STITCH / SLIP-STITCH HEMMING• SPLIT STITCH T ;

Working from left to r ight, bring the needle up at 1, insert at 2 , and bring the needle up near the right end of the previous stitch (between 1 and 2 , at 3 1. inserting the needle into the thread to split the thread in two. When you're working with mul tiple strands of thread, insert the needle between the strands.

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STEM STITCH .6. Working from left to right, bring the needle up at 1 an d inser t it 'h-'h" away at 2 (do not pull taut). Bring the needle up halfway between 1 and 2, at 3 . Keeping the needle above the loop just created, pull the stitch taut. Repeat by inserting the needle Va-'h" to the right and bring up at 2.

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After securing the thread 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 '14" long, in the fold, across from the stitch in the garment/ outer fabric. Continue, alternating between tiny stitches in the garment/outer fabric and longer stitches in the fold.

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I j WHIPSTITCH • Bring the needle up at 1, inser t at 2 , and bring up at 3. 2

63 ......................................... sewdaily.com

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FOLD BINDING T

CREATE BINDING

A. Double-fold Binding This option will create binding tha t is sim ilar to packaged double- fo ld bias tape/bind ing. Fold the strip in half lengthwise, with wrong sides together; press. Open up the fold and then fold each long edge toward the wrong side, so tha t the raw edges meet in the middle (1). Refold the binding along the existi ng cen ter crease. enclosing the raw edges (2 ). and press again. B. Double-layer Binding This option creates a double- thickness binding with only one fold. This binding is often favored by quilters. Fold the strip in half lengthwise with wrong sides together; press.

CUTTING STRAIGHT STRIPS Cut strips on the crosswise grain, from selvedge to selvedge, cutting to the width indicated in th e project instructions. Use a rotary cutter and straightedge to obtain a straight cut. Remove the selvedges and join the strips with diagonal seams.

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CUTTING BIAS STRIPS• Cut strips to the width indicated in the project instructions. Fold one cut end of the fabric to meet one selvedge, forming a fold at a 45 - degree angle to the selvedge. With the fabric placed on a sel f-healing mat, cut off the fold wi th a rotary cutter, using a straightedge as a guide to make a straigh t cut. With the stra ightedge and rotary cutter, cut strips to the appropriate w idth. Join the strips with diagonal seams.

BINDING WITH MITERED CORNERS T ..

If using double -layer binding {option 8 above) follow the alternate italicized instructions in parentheses wherever you see them.

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Open the binding and press 'h .. to the wrong side at one short end {refold the binding at the center crease and proceed). Starting w ith the folded-under end of the binding, place it near the ce nter of the first ed ge of the project to be bound, matching the raw edges, and pin in place. Begin sewing near the cen ter of one edge, along the first crease {at the appropriate distance from the raw edge), leaving several inches of the binding fabric free at the be ginning. Stop sewing 11, .. before reach ing the corner. backtack, and cut the th reads. Rotate the project 90 degrees to position it for sewing the next side. Fold the binding fa bric up, away from the proj ect, at a 45 -degree angle [l ),

I

then fold it back down along the proj ect raw edge [2 ). This forms a miter at the corner. Sti tch the second side, beginning at the project raw edge [2 ) and ending 114' from the next corner, as before. Con tinue as established until you have completed the last corn er. Continue stitch ing until you are a few inches from the beginning edge of the binding fabric. Overlap the pressed beginning edge of the binding by 'h" (or overlap more as necessary for security) and trim the workin g 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 then fold it over the project raw edges to the back. enclosing the raw edges {there ~ are no creases to worry about with option i 8). The folded edge of the binding strip should j ust cover the stitc hes visible on the proj ect back. Slip-stitch the binding in place, tucking in the corne rs to comp lete the m iters as you go [3 ).

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Download a PDF of our expanded sewing basics section at sewdaily.com today!

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DIAGONAL SEAMS FOR JOINING STRIPS• Lay two strips r ight sides together, at right angles. The area where the strips overlap forms a square. Sew diagonally across the square as shown above. Trim the excess fabric 'I i' away from the seam line and press the seam allowances open. Repeat to join all the strips, forming one long fabric band.

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u.---ft:Y.• SEAMS & HEMS French and flat -fell are sel f- finished seams that pro tect t he raw edges of the seam allowance from abrasion. Use a Hong Kong f inish or t r iple-stitched hem fo r unlined silk ga rm ents. For l ined ga rm ent s, finish seam allowances by pinkin g or use a zigzag stitch.

0 FRENCH SEAM

Pin the pieces w rong

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a 3/s"

straight seam. sides together and stitch Trim t he seam allowances to 1/s''. Fold t he fabric

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right sides together along the st itched seam and press. St itch along the original seamline [now

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1/ 4"

from the fold}. encasing the raw edges. Press

the seam to one side.

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0 FLAT-FELL SEAM Fold the seam allowance over t oward the right side on one piece and toward t he wrong side on the adjoining piece. Insert the folds into each other so that both pieces are facing right side up [see below, both raw edges are now encased and hidden). Edgesti tch along each fold to fi nish. [See a Web tutorial on sewing flat-fell seams at sewdaily. com .)

0 HONG KONG FINISH

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Using 1" -

w ide bias strips, place a bias strip r ig ht sides together w ith one seam allowance, raw edges aligned. Keeping the other seam allowance and garment fabric out of the way, sew wi th a 1/, " seam allowance. Press t he bias strip over the seam and then fo ld it over the seam allowance edge to the back [no need to turn under the raw edge of the bias strip; it w ill be left exposed on

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the underside of the seam allowance). Pin in place, then st itch in the ditch from the right side of the seam allowance to secure the underside of the binding in place. 3

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0 TRIPLE-STITCHED HEM Sti tch 1/ 4"

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from the raw edge, then press 3/,6" toward

the w rong side so t hat the line of sti tches runs near the edge of t he fold [1!16 Stitch 1/s" from 00

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t he folded edge, then tr im the raw edge close to

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this second stitch line. Roll the hem toward the wrong side t o enclose the raw edge [one row of once more directly over t he visible stit ch line.

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st itching will sti ll be visible). Finish by sti tching

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how-to

- Sun [Fl - Road [Gl - 3 3/, yd cording, -

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3/ 16"

yd paper-backed fusible webbing, 17"

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- 11;, yd lightweight fusible knit underlining for Backing, 20" - One 32 -oz. bag polyester fiberfill for Pillow Insert

Postcard Pillow by TINA LEWIS

{from page 28}

- One 18" zipper - Black, yellow, and white embroidery floss - Thread to match pillow, black thread for letter and Shadow appli ques, yellow thread to match Sun, brown thread to match Road

D From the Road fabric, cut:

- Zipper foot

- One Road [G]

- Mechanical pencil

D

- Paper or template plastic

- Optional: Light box

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DOWNLOAD THE FULL- SI ZE PATTERN FOR THIS PROJECT AT SEWDAILY.COM

FABRIC - Pillow: 5/s yd quilting cotton, 45" - Piping: 1/i yd quilting cotton, 45" - Shadow Appliques: quilting cotton , 45"

1/,

yd black

From the fusible web, cut the following pieces for the appliques: - One 3" x 6 1/2" for Route - One 8 1/i" x 13 1/2" for Route Shadow

FINISHED SIZE

- One 6" x 7" for 66 Shadow

11" x 20" x 2 1/2"

- One 3" x 3" for Sun

NOTES

- One 3 1/i" x 15 1/2" for Road

- Seam allowance is 1/2" unless otherwise noted .

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For the insert pillow, cut:

- Two Pillow Front/Back (A]

- Sew with right sides together unless otherwise noted.

- Two 3 1/2" x 31 5/s" for Side pieces

- Widely available novelty fabrics are ideal for the block letters. "Frame " the desired areas in the fabric to capture the look you want.

TRACE THE DESIGNS

CUT THE FABRIC

D From the Pillow fabric and from the

- Letters: Seven 3" x 6 1/2" fussy-cut pieces of novelty fabric

Backing , cut:

- Road Applique : One 3 1/2" x 15112" rectangle of quilting cotton

- One 43" x 3" piece for the Side

- Sun Applique: One 3" x 3" square of quilting cotton

Mark the centers along both sides of the Side piece and the Base pieces.

- Insert Pillow: 5/s yd quilting cotton, 45"

D

- Two Pillow Front/Back [Al - Two 21" x 2V2" pieces for the Base

ll Reverse the templates right side down and trace onto the paper side of their corresponding fusible web pieces.

n::J Fuse the paper web pieces to the Route and Route Shadow, 66 and 66 Shadow, Road , and Sun fabric pieces accord ing to the manufacturer's instructions. Cut out all the pieces and remove the paper backing.

mTrace "Greetings from," the sunrays, and "America 's Main Street" to the Pillow Front.

From the Piping fabric, cut :

- 130" of 11/i" wide bias strips

EMBROIDER THE PILLOW

OTHER SUPPLIES

B From the Shadow fabric, cut:

- Templates, downloadable:

- One Route Shadow (CJ

66 '* stitch

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- Pillow Front/Back (Al

- One 66 Shadow [El

- Route (Bl

0 From the fussy cut pieces, cut:

Place the pillow backing pieces on the wrong sides of the Pillow Front, Back, Side, and Base pieces and fuse into place according to the manufacturer's instructions.

- Route Shadow [CJ

- One Route (BJ

III On the Pillow Front, work "Greetings

- 66 [DJ

D From the Sun fabric, cut:

- 66 Shadow [El

- One Sun (Fl

from" and the sunrays in stem stitch with three strands of floss. Work "America 's Main Street" with a stem


how-to

------

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

11/4" from one end. Using a zipper foot, stitch next to the fold.

Voile Yoyo Quilt

Ell] Lap the folded edge of the

by MELANIE B. MCFARLAND

remaining piece over the zipper so the fold covers the previous stitching; pin. Using a zipper foot. stitch 1/z" from the fold. Whip the seam together from the ends of t he zipper to the edge of the fabric at both ends.

{from page 29}

~

COMPLETE THE PILLOW

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figure 1

stitch using two strands. Using one strand, work sun face details in stem stitch , eyes in satin stitch. and road stripe in progressively smaller running stitches. (See Sewing Basics]

STITCH THE APPLIQUES [D Position the Shadow pieces on the right side of the Pillow Front, using the pattern as a placement guide; fuse into place . Position the letters on top of the shadows. overlapping the top of the T on both sides; fuse into place.

ml

Using black thread, satin stitch the edges of the shadows and the letters.

MAKE THE PIPING

mJoin together the bias strips in bias-cut 1/4 " seams; press open. Fold the strip over the cording. matching edges. Using a zipper foot, stitch close to the cording. Trim the piping seam to 1/2" as needed.

ill Pin the piping to the Pillow Front. clipping the piping seam allowances every 1/z" around the corners. Stitch, beginning 1/2" from the start of the piping and ending 1" from the joining at the other end. To smoothly join the ends, unpick the piping seam and cut the cord end to butt the cord start. Trim the piping fabric to 1/2" beyond the join, fold under the end 1/4" and stitch the remaining piping in place. (figure l)

III

Pin the remaining half of the piping to the pillow back and stitch in the same manner.

INSERT THE ZIPPER

III

Fold one long side of both Base pieces 3/4" to the wrong side; press. Pin the folded edge of one piece next to the zipper coil, so the zipper stops

Pin the Side to the completed Base at each end; stitch. making a loop. Pi n the Side/Base to the Pillow Front , matching centers top and bottom. and clipping the Side/Base seam allowances every 1/s" around the corners.

IE Using a zipper foot, stitch the Side/Base to the Pillow Front just inside the piping stitching.

EE! Stitch the Side/Base to the Pillow Back in the same manner. leaving the zipper open for turning. Turn pillow right side out; press.

MAKE THE PILLOW INSERT EIJ Join the ends of t he insert side pieces to make a loop. Stitch sides to the Insert Pillow Front and Back. matching the seams to the center top and center bottom points of the front and back and clipping the side seam allowances at the corners. Leave a 5" opening for turning. Turn right side out.

FABRIC - Yoyos: 8 yd tota l. assorted cotton voile fabric, 54" [for 520 yoyos) - Quilt top: 13/4 yd single print cotton voile printed fabric, 54" - Backing: 13/4 yd blue chambray cotton, 47" - Batting: 13/, yd white cotton flannel, 58"

OTHER SUPPLIES - Template, supplied on insert: - Yoyo (A]

Elli Stuff the pillow firmly with fiberfill.

- Heavyweight thread , button and ca rpet strength . [white for light co lors, black for dark)

Whip the opening closed . Slip the insert into the pillow cover and zip closed .

- Rayo n or Trilobal polyester thread. to contrast with quilt [shown: fuchsia]

FABRIC Robert Kaufman . Kona Cotton .

- Perle cotton in contrast color, for trim

in Lake. robertkaufman.com

- Glue stick

Exclusively Quilters, classiccottons. com

- Liquid seam sealant. such as Fray Check

SOURCES

INTERFACING Pellon. EK130 Easy- Knit.

805 Wonder- Under, pellonprojects.com FILL Fairfield. Poly- Fil,

fa i rfieldworld .com TINA LEWIS designs and sews in her studio

high in the n1ountains of Park City, Utah. Her quilts, clothing, and accessories for adults and children have been featured in numerous publications. Often detailed with hand-stitched needlework, her work has afresh classic look.

FINISHED SIZE 60" x 45"

NOTES - One yard of fabric will yield approximately 70 yoyos. Use many prints for a scrappy appearance. Half-yard pieces will have minimal waste, but less variety. Quarter-yard pieces will produce 5" blocks and 4" strips, which can be narrowly ))

67 sewdaily.com

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how-to

I

i --r

f ~Ir figure 3

figure 1

approximately 1/4" from qui l t edge, and a scant 3/a" in length . Stitch around entire edge, burying knots within qui l t sandwich.

seamed and cut into additional ci rcles for yoyos. - Alternately, purchase Clover Quick Yo-yo Maker in size extra la rge and follow instructions on package. -

El

1

/a" seams will not show on front of

yoyos. - Seam allowance is 1/a" for yoyos, and 1/2" for quilt assembly, un less otherwise noted . Backstitch all seams.

) figure 2

CUT THE FABRIC

D

From the Yoyo fabrics, cut:

- 520 Yoyo [Al Note: First cut assorted strips crosswise, selvedge to selvedge, 5" in height. Trim off selvedges. Crosscut into 5" x 5" squares. Place Yoyo [Al on top of 5" square and trace and cut the Yoyos. Set aside.

El From the Quilt Top fabric, cut : - One 61" x 46" rectangle

EJ From the Batting, cut : - One 61" x 46" rectangle

D

From the Backing fabric, cut:

- One 61" x 46" rectangle

MAKE THE YOYOS

D

Thread a handsewing needle with a double layer of heavy-duty t hread. Knot end securely. Finger press a scant 1/a" seam allowance around the Yoyo circle. Beginning anywhere on the circle, bring the thread up from the seam allowance side of the ci rcle. Take an approximate stitch length of 3/a" and bring the need le down again through the top of the yoyo. Continue around the circle, to the starting point, taking

68 '* stitch

~__.,,

one extra over lapping stitch . (figure 1) Pull thread taut to draw up gathers in Yoyo. Use a finger inserted in center of Yoyo to help draw gathers. When there is no hole in the center, take a few tacking stitches at center and knot to secure. Trim thread and repeat process for all Yoyos. (figure 2)

ASSEMBLE QUILT

D

Place Quilt Top panel on top of the Batting, wrong side of Top to r ight side of Batting. Baste layers together 1/4" from edge, along all four sides.

D

Place Backing on top of Top/Batting sandwich, with right sides together. Pin, match ing corners. St itch wit h a 1/2" seam allowance, pivoting at corners, and leaving a 5" opening on one side. Trim seam allowances to 1/4" and clip corners diagona lly. Turn right side out. Press, folding seam allowances of opening up into quilt. Handsew opening closed. Press quilt edges on the Backing side, taking care to not let the Backing roll to Qui lt Top.

ll Using contrasting

perle cotton embroidery thread, sew large stitches

Lay quilt with Quilt Top facing up. Arrange Yoyos in columns and rows â&#x20AC;˘ 26 for length and 20 for width. Move Yoyos into desired arrangement. Use a glue stick to temporarily hold the Yoyos in place. When the glue is dry, use sh iny rayon or decorative t hread to tack each Yoyo to the qui lt layers with a zigzag stitch set to widest width, and zero length. Tack in four places evenly around Yoyos. Where two Yoyos meet, a tacking stitch should hold both Yoyos. (figure 3) Tip: To save time, wait to trim threads until after all Yoyos are tacked down.

FINISH QUILT

mJ Trim any loose thread ends from Q~ilt Fron ~

and Back. Sec ure tacking stitches with Fray Check or other liquid seam sea lant.

SOURCES YO-YO MAKER Clover Quick Yo-yo Maker,

clover- usa.com GLUE Elmer's Disappearing Purple

School Glue Stick, elmers.com SEAM SEALANT Or itz, Fray Check, dritz.

com MELANIE B. MCFARLAND has a degree

in fashion design and has taught garn1ent construction, draping, pattern making, sewing, fashion show production, and many more courses for college students. Her work in the gam1ent industry includes time with Gap and Disney. She co-authored the quilting book, Out Of The Box With Easy Blocks. Visit her at MelanieMcFarlandQuilts.com.


how-to

Patch'plique Pillow

NOTE: Diagram shows right side of the pieced panel. Fuse applique template to the wrong side of the panel.

by CASEY YORK {from page 30}

figure 1

FABRIC - Charm Pack: Three mini -charm squa re packs of 40+ squa res each, or one charm pac k of 40+ squares for the Pillow Front and Back Swallow

D

- Solid : 3/4" yd solid fabric for the Front Swa llow and Pillow Back

- Two 18" x 18" squa res

From the Solid fabric, cut:

- One 18" x 18" squa re for the Pillow Back

El From the Interfac ing, cut: ASSEMBLE PILLOW FRONT PANEL

D

OTHER SUPPLIES - Templates, supplied on insert:

Stitch 2 112" squares into nine rows of nine squares each .

D

- Swa llow [A] - Web: 1 yd light double- sided paperbacked fusible web, 20"

Stitch each row to the next to make a nine- square by nine-square Pillow Front panel.

- Interfacing: 11/2 yd l ight-weight woven fusible interfacing , 20"

ASSEMBLE PATCHWORK PANEL

- One 18" invisible zipper

figure 1.

- Invisible thread (nylon or polyester] for stitchi ng appliques - One 18" square pillow insert - Zipper foot

- Optional: Two skeins 6-stranded embroide ry floss to match solid fabric; hand embroidery needle

FINISHED SIZE 18" x 18"

NOTES - All seams are noted.

1/ 4"

unless otherwise

CUT THE FABRIC

D

I

PREPARE APPLIQUES

D

Trace one Swallow [A] and one Swa llow [A) on reverse onto the paper backing of double-sided fu sible web; cut out, leaving a 1/4" margin outside of the traced lines.

D

Following t he manufacturer's instructions, fuse the Swallow to the wrong side of the solid fabric and the reverse Swa llow to the wrong side of the patchwork applique panel.

ll Using sharp scissors to avoid frayin g, carefully cut out each applique along th e t raced li nes. I

From the Charm Pack, cut :

- Each 5" square into four 2 squa res

[I Stitch 2112" squares as shown in

1/ 2"

FUSE APPLIQUES TO BACKGROUNDS

lllJ Remove the paper backing from the solid applique and center on r ig ht side

of the Pillow Front. When you are happy with placement, permanently fuse applique to the Pillow Front , following the manufacturer's instructions.

mCenter patchwork applique on the right side of the solid Pillow Back. Fuse, followin g the manufacturer's instructions. Turn the Pillow Back over so the applique is facin g down . Fuse applique to the Pillow Back.

STITCH APPLIQUES [El Thread sewing machine with invisible thread in the top needle and 1OOo/o white cotton thread in t he bobbin. Using a zigzag or bla nket stitch, carefully stitch around t he perimeter of each applique, making sure to catch the applique fabr ic with each stitch.

iII When you reach points or sha rp curves, stop with the needle down,

>> 69

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how-to

Super Travel Bag by MALKA DUBRAWSKY {from page 31 }

- To keep webbing from fraying, sligh tly scorch cut edge with m atch, before using.

CUT THE FABRIC

D

From the Main fabric cut:

- Two 81/2" x 2112" for Front Side - One 7'12" x 143/4" for Front Bottom - One 143/4" x 19 112" for Back - One 43/4" x 143/4" for Front Top

0

From the Lining fabric, cut:

- Two 143/4" x 19 1/2"

El

- Two 8" pieces

raise the presser foot, pivot your fabric, lower the presser foot, and continue sewing.

Leave rema in ing webbing as one long piece.

llJ If you wish, you can finish and protect the edges of the appliques with a hand -embroidered chain stitch. (See Sewing Basics) Use three strands of cotton embroidery floss and chain stitch along the edges of the appliques.

ASSEMBLE THE PILLOW COVER

IE Following the manufacturer's instructions, fuse one 18" x 18" interfacing square to the wrong side of t he Pillow Front, and the other interfacing square to the wrong side of the Pillow Back.

iI1 Install an invisible zipper along the lower edge of the pillow cover. (See Sewing Basics)

iEJ Pin Pillow Front and Back with right sides together. Making sure the zipper is unzipped , stitch around the perimeter using a 1/2" seam allowance.

IIJ Clip corners. Turn cover right side out through the zipper opening.

IIJ Insert 18" x

18" pillow form and zip

closed.

SOURCES FABRIC Moda, Color Me Happy collection

by V & Co., unitednotions.com. DOUBLE-SIDED FUSIBLE WEB Pellon , 805

Wonder-Under, pellonprojects.com. CASEY YORK is an avid quilter who has

released several applique patterns. She is currently working on a book scheduledfor release by Stash Books infall 20 14. Visit her at Casey-York.com, or studiolob log. wordpress. cont

70 '* stitch

From the nylon webbing, cut:

MAKE THE PHOTO INSERT

D

Layer freezer paper and 8 1/2" x 11" cotton fabric so the shiny side of the freezer paper makes contact with the fabric.

FABRIC 1/2

- Main: yd upholstery-weight fabric (sample uses mattress ticking) 112

- Lining: yd coordinating cotton print or solid - Wh ite cotton fabric measuring 8 1/2" x 11" for Insert - Cotton muslin measurin g about

12"x16"

OTHER SUPPLIES - Landscape-o riented photo enlarged to print to 8 1/2" x 11"

D

Using a cotton setting. iron freezer paper to fabric.

[I Place fabric with freezer pape r ironon in paper tray of printer. Tip: Make su re you know on which side of the paper t he printer will print.

D

Print image. Pee l freezer paper away from fabric.

[I Working on a flat surface. layer cotton muslin, wrong side facing up, battin g. and photo Insert, r ight side facing up.

ll

- 81/2" x 11" Freezer paper

Baste together using preferred method.

- Inkjet printer

ll!I

- Matches

Mach ine quilt layers together with lines spaced about 1/4"' apa rt, or as desired. Tri m edges flush to Insert.

- Fabric- sa fe marker

MAKE THE BAG FRONT

- 12" x 16" cotton batting

- 1 3/4" nylon webbing, 1"

mPin one 81/2" x 2 12" Front Side to

- Two strap adjusters, 1"

Insert piece, right sides together, along common 8 1/2 " edge.

- 4" elastic,

1

1/ 4"

i8 Stitch together. Press seam away

- One 3/4" button - Rotary cutter, self- healing mat, acrylic ruler

FINISHED SIZE 14 1/4" x 19 112"

iEJ Repeat Steps 11 -1 2 with second 8 1/2"

x 2 1/2" rectangle and opposite edge of photo piece. (figure 1)

llJ

NOTES - All seam allowances are

from photo.

1/ 4".

Pin 71/2" x 14 3/4" Front Top to bottom edge of photo piece, right sides together. (figure 2)


how-to

I

21h"

I

photo

8 1h"

photo

figure 1

\

photo figure 3

webbing

I

EE! Repeat Step 32 th ree more times to mark all four buttonholes.

EC

Machine stitch four buttonholes along m arked l ines, through both Main and Lining.

71h"

EEi Using a seam ripper, open up

â&#x20AC;˘ 2"

----

ED

Find and mark center of long webbing piece. Using coordinating thread, stitch a 1" buttonhole, parallel to long edge, at center. Open buttonhole.

I

I

-1~

figure 2

ml Stitch together. Press seam away

buttonholes.

figure"-

Eil Working with

one short webbing piece, thread th rough bottom of strap adjuster. Mach ine stitch in place.

from photo.

ml

Pin 43/4" x 143/4" Front Top to top edge of photo, right sides tog et her.

III Turn

ill Stitch together. Press seam away

MAKE AND ADD THE LINING

from photo.

bag right side out.

Ill Pin both Lining pieces, right sides

ED

Repeat Steps 36-37 with second short webbing piece.

ED Thread lo ng webbing piece t hrough

Pin one 8" x 1" webbing piece 3" from right bottom corner of bag front .

together, along side and bottom edges. Stitch, leaving an 8" gap unsewn in center of bottom edge for turning. Press seam open.

buttonholes along top of bag. Thread into strap adjuster to adjust strap length.

III

Pin second 8" x 1" webbing piece 3" from bottom left corner of bag fro nt.

ED

Repeat Steps 22- 25 to create squared bottom in Lining as in exterior.

llill

IE

IE Fold 4" elastic piece in half. Pin raw

SEW THE BAG

ID

Mach ine baste webbing pieces to bag front, making sure pieces face towa rd bag top. (figure 3 )

fll

Pin bag front to 14 3/4" x 19V2" Back, right sides together. Stitch together along sides and bottom . Press seam open.

III Working along

bottom right corner, align bottom and side seam to create a tria ng le at corn er.

IE

Measure and mark 2" from triangle peak. Draw pa rallel line 2" from tria ng le peak. (figure "-l

Ill

IE

Pin. Stitch along line.

Repeat Steps 22- 24 along left bottom corner.

edges at the center of the right side of th e Back. Machine baste in place. Note : Make sure loop of elastic is facing toward bag interior.

Elli Fit Main bag into Lining

so right

sides are facing.

Ell Pin top edges together, ma tchi ng side seams. Sew together. Press seam. Turn bag Lining into Main bag t hrough 8" gap in bottom of lining . Slipstitch lining gap closed.

FINISH THE BAG

EE Working along Bag Front, measure and mark a 11/4" l ine 11/2" from top and 3" from one side seam.

Position buttonhole in webbing midway between buttonholes along front of bag. Using a fa br ic- safe marker, mark button placement. Note: Buttonhole in webbing secures a button to front of bag and "locks" webbing in place for use as a backpack.

III

Using a handsewing need le and coordinating thread , sew bu tton in place. MALKA DUBRAWSKY sews, design, dyes,

and writes from her hon1e studio in Austin, Texas. She sells PDF patterns and other handn1ade goodies at stitchindye.etsy.com. Visit her at stitchindye.corn.

>> 71 sewdaily.com

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how-to

Woodie Roadster Bar Towel

by NATALIE HARDIN

by KRISJE DEAL

{from page 32}

Zipper Pouch

{from page 32}

CREATE IMAGE TRANSFER

B

Create t he image transfer using a digital image and iron-on transfer paper. Print the image onto the transfer paper and cut out the image.

B

Fold the Panel fabric in half lengthwise with wrong sides together. With the fold on the bottom and the opening at the top, place your tra nsfer on the fabric and iro n on according to the manufacturer's instructions.

r ight

sides together.

Ill Fold the top edge of one side

112"

toward the wrong side and press.

FABRIC - Panel:

1/3

yd cotton fabric

OTHER SUPPLIES

- Shell: One fat quarter of oilcloth or laminate fabric - Lining/Handle: 112 yd terry cloth

MAKE THE FABRIC PANEL

IJ Fold in half lengthwise with

FABRIC

OTHER SUPPLIES - One 14" zipper - Zipper foot

IJ Turn over and repea t for t he other

- Binder or Clover Wonder Clips

side .

- Quilting ruler at least 2" square

IJ Pin t he left and right short sides

FINISHED SIZE

- Store- bought bar towel

together and stitch, back stitching at both ends, creating a pocket.

- Iron-o n transfer paper

ll Turn right side out, pushing out the

NOTES

- Image to use for transfer

corners, and press.

- Matching thread

- All seam allowances are 112" unless otherwise noted.

ATTACH PANEL TO TOWEL

- Rotary cutter and ruler

l1 With

the Panel right side out, insert the bottom end of the bar towel into t he Panel, making sure t he corners and bottom edge of the towel meet the corners and bottom fold of the Panel. Pin along the top folded edge.

- Iron

FINISHED SIZE 18" x 15"

NOTES - All seam allowa nces are otherwise noted.

112"

unless

- Press all seams open.

ml Topstitch along the top edge 1/4" attachi ng the panel to the towel. Press.

SOURCES FABRIC Birch Fabrics, Camp Modern

CUT THE FABRIC

D

From the Panel fabric, cut:

- One 1O" x 16" rectangle. Note: The size of the fabric panel is dependent on the size of your bar towel and the im age you want to transfer. Adjust the dimensions if necessary.

72 '* stitch

collection by Jay- Cyn Designs, Faux Bois Minera l, birch fabrics.com. KRISJE DEAL has a fine art background

and loves all things creative. When she is not creating, she can be found teaching Kundalini Yoga in the Finger Lakes region ofNew York state. Visit her at graciejeancrafts.etsy.com.

3112" x 6"

x

71/2"

- If zipper is longer than finished piece, cut it down for easier construction. - It is helpful to use binder clips or Clover Wonder Clips when sewing with oil cloth or laminate fabric, rather than pins that can leave holes .

CUT THE FABRIC

D

From the Shell fabric, cut:

- One 19112" x 12" rectangle

B

From the Lining/Hand le fabric, cut:

- One 19112" x 12" rectangle for t he Shell Lining - Two 2 1/2" x 8 112" rectangles for Handles


how-to

------·-----------------

----

Summer Travel Set by RUTH SINGER {from page 33}

figure '.3

figure 1

bunch up. Be careful to move the fabric that is underneath as you stitch.

CONSTRUCT POUCH

ll Turn pouch inside out [Shell

l1/z"

figure 2

fold

SEW HANDLE

0 With rig ht sides toget her, stitch the two 2 112" x 8 1/ 2" Handles together along the two long sides.

Lining facing out). Unzip the zipper half way and lay tube flat with the zipper lying in the middle. (figure 2 ) Stitch using a regular sewing foot along the two short open edges. If you wish, you can zigzag stitch the seam.

SHOE BAG

ml Using a qui lter's ruler, measu re a

FABRIC

11/2 "

x 11/2" square from each corner. measuring from the seam and folded edge. Cut these out.

mPinch each corner so the seam that

- Main:

1/2

yd silk dupion i

- Lining : 1/2 yd cotton fabric

OTHER SUPPLIES - 1112 yd rickrack

1/e" from edge along both long sides. Set aside for now.

was sewn in Step 9 sits in the middle and a straight line across is created with the fabric. (figur e '.3) Stitch straight across these newly created edges.

ATTACH ZIPPER

IE Sandwich the Handle, made at

FINISHED SIZE

0 Place the Shell and Shell Lining

the beginning, in side the two corners tha t are located at the side where the zipper pu ll would be when the zi pper is closed. The edge of the Hand le should line up with the newly created edge, while the bulk of the Handle sits inside the project until turned right side out. If you wish, you can zigzag stitch the seam.

13"x 11 "

D Turn right side out and edgestitch

right sides together, sandwiching the zipper along one of the 12" sides w ith the zipper pu ll facing the Shell. Clip in place, and stitch using a zipper foot. [I Arrange fabric so the zipper is hanging to the left and both fabrics are to the right (now wrong sides together). While pulling the zipper away from the fabrics, edgestitch along the fabric. This prevents the fa bric from jamm ing up the zipper.

IJ Layer the fabrics and zipper the same way you did in Step 5. This time when you are layering your fabrics they will need to be folded as shown in figure 1. Stitch to attach the zipper along the other 12" side.

D

Open zipper and turn fabric so the Shell and Shell Lining are now wrong sides together. Close the zipper to have one big tube of fabric. Edgestitch on the other side of the zipper as you did in Step 6. Go slow as your fabric may

FINISHING

IE Flip pouch inside out from the zipper opening and poke out t he corners to create the boxy shape. Yo ur pouch is ready to fill.

SOURCES FABRIC Mada, Summersville by Lucie

Summers. unitednotions.com CLIPS

Clover, Wonder Clips, clover- usa.

com NATALIE HARDIN is a lifetime crafter and

sewer who teaches theyounger generation the joy ofhandmade through her small business, School ofCrafts. Visit her at schoolofcrafts.blogspot.cont

- 2 yd narrow ribbon, 1/s" - Fusible web scrap

NOTES - Seam allowances are 1h".

CUT THE FABRIC

D

From the Main fabric, cut:

- Two 12 1h" x 15" rectangles

fl

From the Lining fabric, cut:

- Three 12" x 14" rectangles

MAKE THE DIVIDED LINING

0 On one of the Lining pieces, fold and press a 1 1h " double hem, and topstitch down.

D

Sandwich this piece between the right sides of the other Lining pieces, so the unhemmed edge matches and the hemmed edge is 2" below th e top edge. (fig ure l) Stitch around the sides and bottom of the Lining .

D

Trim sea m allowances in ha lf and clip corners.

73

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how-to

OTHER SUPPLIES - Wooden coat hanger

- -

- 2 yd of strips of polyester quilt wadding, 4'" - 1 yd rickrack - Two small buttons - Pattern paper and marker

FINISHED SIZE Depends on hanger size. Sample is 17'" x 8'"

figure l

ASSEMBLE THE BAG ¡ Pin rickrack along seam allowance of sides and bottom edge of the Main bag. Baste and remove pins. Stitch along sides and bottom, pivoting at corners.

0

Place the two Main pieces right sides together and stitch the side and bottom seams leaving a 1/2'"-wide gap, 1'" down from the top edge.

ll Press the side seams open around the small gap and use a small amount of fusible webbing to keep them opened out flat. Turn top edge over by 3/ 4'". Turn right side out and press flat.

0 Press the top edge of the lining over 3/," .

Place the lining inside the Main bag, wrong sides facing, matching up the top folded edges. Topstitch around the folded edge of the bag. Stitch another line 3/s'" below, making sure you don't catch the divider.

Ull Using a tapestry needle, thread the narrow ribbon through the side opening gap to make a drawstring, in and out on the same side. Repeat on the other side to make a double drawstring. Knot the ends together.

COVERED HANGER FABRIC - Main: dupioni

1/4

yd or one fat quarter si lk

NOTES - To create the Hanger template, trace around your chosen hanger on paper. Add 5/s" along the top curved edge, and a 2" seam allowance for the bottom straight edge. Cut out template.

CUT THE FABRIC

B

From the Main fabric, cut :

- Two Hanger templates

CONSTRUCT THE HANGER

D Wrap the hanger in the strips of

* stitch

J~

wadding, stitching it to itself to fasten.

â&#x20AC;˘

El

Mark the seam line on the top curved edge, then pin rickrack to seam line starting 2'" above the straight edge of the Hanger. Baste in place.

D

Place the two Main pieces right sides together. Stitch from one corner to the center top, leaving a 3/s" gap for the hanger hook, then continue to stitch to the other corner.

D

Press the bottom straight hem 1" to the inside. Turn right sides out. Press flat. Sew buttons 3'" in from either corner along the curved edge.

DOWNLOAD THE FULL-SIZE PATTERN FOR THIS PROJECT AT SEWDAILY.COM

- Side Gusset (OJ - 30" zipper [or longer if required] -

1/2

yd medium r ickrack

- 1 yd jumbo rickrack

FINISHED SIZE NOTES - Seam allowances are 5/s" unless otherwise noted.

0 Slip onto the hanger and ease to fit.

- Choose a fabric that won't bleed dye onto your garments or make sure it is well washed first.

Topstitch the straight edge closed by ha nd or machine. Tip: You may fi nd a zipper foot useful to stitch close to the bottom edge of the hanger.

- Finish all raw edges with a zigzag stitch or using a serger on Back, Front, Bottom Gusset, and Side Gussets.

DRESS COVER

CUT THE FABRIC

FABRIC

D From the Main fabric, cut :

- Main: 2 yd silk dupioni

- Two Front (A)

OTHER SUPPLIES

- One Back [BJ. on fold

- Templates, downloadable:

- One Bottom Gusset [Cl

- Front (A)

- Two Side Gusset [DJ

- Back (Bl

- Two 8 1/2'" x 8 1/i'" squares for Pocket

- Bottom Gusset (CJ 7~

(j


how-to

, I

I

I

I

I

q I

I\ I

I

I \

'

I

'I I

1

'' '', _ ' ''

figure 2

MAKE THE POCKET

l1

Place one Pocket piece right side up. Pin, then baste, rickrack along seamline [5/a"] along sides and bottom edge. (figure 1) Fold top edge [without rickrack ] seam allowance to wrong side. (figure 2)

D Place both

Pocket pieces right sides together and pin. Stitch around sides and bottom edge, pivoting at corners and fastening firmly at start and end . Trim seam allowances by half and clip corners. Remove basting. Turn out, push out corners, press flat, and topstitch across top edge . Position the Pocket on left Front as shown on pattern. Topstitch in place along sides and bottom.

INSERT ZIPPER

D With Front pieces right sides together, stitch from top edge to upper mark. Stitch from lower edge to lower mark. Baste between marks. Press seam allowance open.

D

Place zipper with top edge on upper mark, ensuring zipper teeth are straight along the seam line. Pin, then baste in place . Stitch along each side of the zipper through all layers, from the Front. (figur e 3) You wi ll not need a zipper foot. Remove basting.

figure 3

0

11 I

1

11

:I

1I1

:I

11

'

I'

I

figure 1

I

"

l

I

ASSEMBLE COVER

D

Join Side Gusset to Bottom Gusset, r ight sides together. Join the narrow part of the gusset to the gusset marks on Front.

D

Stitch along side then pivot and fold at the corner. Continue around the bottom and make the same pivot and fold at the other corner and continue to the point. Press seam flat toward the Gusset.

11 Pin and baste rickrack along top curved edge, as in Step 2, between gusset marker points.

D

Partially unzip , then place front and back r ight sides together and match corners. Pin in place. Where gussets join, make su re the seam allowances don't get caught in the pinning and stitch ing. Start at the top where marked. Stitch around the cu rved edge, down the sides, and make folds at the corner as before, then continue to the top, finishing about 112" before where you started. Th is leaves a gap for the coat hanger hook to fit through.

Dil Turn out and press the edges neatly. On the inside, handstitch the seam allowances flat around the hanger hole. RUTH SINGER is a British textile artist

with a background working in niuseums. She has a long-standing love of traditional sewing techniques, which she applies to contemporary designs. She is the author offhe Se\ving Bible, Sew Eco, and Fabric Manipulation 150 Creative Se\\ring Techniques. Find out more at RuthSinger.con1.

75 sewdaily.com

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how-to

HOT HOT

...

!slightly belownatural waist) iY" s l9" 31%" M

IX -( XS

::c u Red Hot Pants

Wa1st

w N -en

..

L

~,lh

~l

38~"'

Hip

tat seat) 361/t" 381/t" 41" 1'4'' 48"

Shown Jn size XS

by MELANIE SMITH

{from page 34}

NOTES - All seam allowances are 112". Hem is 1". - Finished garment should sit just below natural waist in back and approximately 2" below navel in front. Pants are close fitting but shou ld have enough ease to enable sitting and bend ing over comfortably. - Serge or zigzag all raw edges. - Press all seams open unless otherwise indicated. - Finished garment should be hemmed to ankle.

s~ â&#x20AC;˘

DOWNLOAD THE FULL-SIZE PATTERN FOR THIS PROJECT AT SEWDAILY.COM

FABRIC - Main: Light- to medium-weight woven fabrics in cotton, linen, cotton/linen blends, and woven fabrics with up to 4°/o Lycra/spandex.

- Templates, downloadable: - Front (A] - Back(B] - Side Panel (CJ - Front Facing [OJ - Back Facing [El -

yd lightweight fusible interfaci ng [match weight to fabric]

1;4

- 7" invisible zipper in color to match fabric - Zipper foot - Thread to match fabric - Scissors or rotary cutter, and self- healing mat - Straight pins - Optional: Pattern weights

Stitch seam allowance on curves on Front, Back, and Side Panel pieces. Clip curves on all pieces. Serge or zigzag raw edges. Note: While it may be awkward to finish the clipped edges, it is easier to do it now tha n after t he seams are sewn.

[I Stitch a Front to a Back along the side seam and press.

0

Stitch each Front Facing to the Back Facing pieces along the side seam, matching notches. Press.

[J Stitch the center front seam of

- For best fit, make a muslin first and adjust pattern as necessary.

Facing. You should now have one long facing piece in the following order: Back Facing, Front Facing, Back Facing. Press all seams open.

- Transfer all markings onto wrong side of fabric.

INSERT SIDE PANEL

CUT THE FABRIC

D

From the Main fabric, cut:

- Two Front (A] - Two Back (BJ

OTHER SUPPLIES

0

D

Using center notch and markings as a guide, pin a Side Panel to a Front and Back piece, easing curves together, pinning along entire seamline (center front hem, up and around curve, and back down to back hem].

- Two Side Panel [CJ

iil1 Stitch from hem to hem, being

- One Front Facing [0]

careful to keep the fabric smooth around the curve. Tip: When sewing the curve, stitch with the Side Panel on bottom, holding the fabric up as it feeds under t he presser foot. Go slowly and stop to smooth the fabric underneath often.

- Two Back Facing [E]

El From the Interfacing , cut: - One Front Facing [0] - Two Back Facing [El

SEW PANTS AND PREPARE FACING

D

Cut dart out of interfacing pieces and trim seam allowances at waist, side seam, and center. Fuse onto the wrong side of the facings according to manufacturer's instructions.

D

Stitch darts on all pattern pieces. Press darts on main pieces toward center front.

mRepeat for other leg. Press all seams.

INSERT INVISIBLE ZIPPER

IE With

right sides together, machine baste center back seam from waist to notch. Press, to mark the seamline.

IE

Remove basting stitches. You will use this line to align the zipper teeth when installing t he invisible zipper.

>> 77

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how-to

Ill Press the zipper teeth flat and

MELANIE SMITH is an engineer by

insert the invisible zipper fo llowing the manufacturer's instructions. Note: The zipper will be longer than you need. Stitch over the end of the coil by hand, with a straight stitch, or using a closely spaced zigzag stitch, 112" below the bottom end of the zipper opening. Cut off the excess zipper. Fin ish with a small piece of fabric if desired. D!J With right sides together, stitch remaining center back seam. You will need to use the zipper foot until you a re a couple inches beyond the zipper bottom, then switch to a regular foot and continue.

education but a sean1stress and designer at heart. She was taught how to sew by her greatgrandmother (a Cuban seamstress) at a very young age and hasn't stopped. After spending several years as a stay-at-hon1e mom, she recently decided to launch a custon1 sewing and design business. It was either that, or explode.

FINISH PANTS D!J With right sides together, stitch center front seam of pants. Press. mWith right sides together, pin Front and Back of pants matching crotch seam. Pin a long inseam of both legs. Stitch entire inseam from the bottom of one leg to the bottom of the other. Press. ID With zipper open and flat , pin facing to pants a long waistline with right sides together, aligning side seams, front seam, and darts. Stitch across wa istline, stitch ing slowly over the zipper teeth. Grade seam allowance by trimming facing seam to 1/4". II!l Place pants right side down, and press seam allowance up toward facing. Understitch seam a llowance to facing , starting and ending 1/2" away from zipper. EE Fold Facing back down over pants with right sides together. With a zipper foot, stitch carefully along the zipper teeth in the seam allowance, on each side. Clip the seam allowance, turn right side out, and press . Stitching by hand, tack facing to pants at side and front seams. BJ Fold and press 1/4" on each pant leg. Fold and press an additional 3/4" for the hem . Stitch by hand with an invisible stitch or by machine with a straight stitch. SOURCES FABRIC Robert Kaufman, Essex collection in Ruby, robertkaufman.com

78 '* stitch

Vibrant Stripe Clutch Purse by HEATHER FRENCH

{from page 35}

(j

J~ â&#x20AC;˘

DOWNLOAD THE FULL-SIZE PATTERN FOR THIS PROJECT AT SEWDAILY.COM

FABRIC - One cotton fat quarter in each of six coordinating colors [shown: light blue, white, turquoise, coral red, mustard yellow, orange] - Lining: 131/2" x 12" cotton fabric OTHER SUPPLIES - Template, downloadable : - Purse [A] - 13112" x 12" thick sew-in interfacing - X1 Metal frame, 7" long x 2" deep - Textile glue - Handsewing thread to match lining fabric FINISHED SIZE Approximately 91/2" long x 4" deep x 41/2" high NOTES - All seam a llowances are otherwise noted .

1/4"

unless

- Press all patchwork seams away from the lighter color fabric, especially wh ite as th is can show through. - Once constructed, your two outer fabric panels need to measure 14" x 9" each. Cotton is ideal; make sure all fabrics are of a sim ilar weight.

CUT THE FABRIC D From the light blue fabr ic, cut : - Two 2" x 9" rectangles El From the white fabric, cut: - Two 1" x 9" rectangles - Four 2" x 9" rectangles [two for Front panel, two for Back] - Two 41/2" x 9" rectangles B From the tu rquoise fab ric, cut: - Two 11/4" x 9" rectangles - Two 11/2" x 9" rectangles D From the coral red fabric, cut: - Two 2" x 9" rectangles - Two 3/4" x 9" rectangles Ill From the mustard yellow fabric, cut: - Two 13/4" x 9" rectangles IJ From the orange fabric , cut: - Two 3/4" x 9" rectangles D From the interfacin g, cut: - Two Purse [A] CONSTRUCTING THE BAG [I For the Front panel, assemble 11 patchwork stripes as shown or in desired order. Stitch right sides together, one at a time. Press seams fla t. Repeat with the remain ing 11 patchwork stripes for the Back panel. Each panel will measure 14" x 9". ll Place the Purse (Al template on top of the patchwork Front panel. Shift the template about 25 degrees to the right for a diagonal striped look. Cut. Repeat with the Back panel. mJ Pair each patchwork outer piece with a piece of interfacing. mPin the two interfaced outer panels right sides together. Stitch around the bottom edge between the two hinge marks. (figure 1)


how-to

Summer Crush Quilt

hinge ,

by KARRIE WINTERS

I

I I

{from page 36}

I

I I

I I

El

- Six 3 1/2" x WOF strips; subcut into three 3 1/2" x 22 1/2" strips, six 31/2" x 91/2" strips, and t hree 31/2" x 32 1/2" strips

D

I

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

D

,-----------------,

I

hinge

I

hinge

0

figure 2

FABRIC For each corner, open the fabric at 90 degrees so that both seams come together. Measure 2" in from the end of the seam and stitch across this edge at 90 degrees to the existing seams. Tip: to reduce bulk, make sure the seams lie in opposite directions or flat.

From FF4, cut:

- Six 3 1/z" x WOF str ips; subcut into three 3 1/2" x 32 1/z" strips, six 3 1/z" x 91/z" strips, and t hree 31/2" x 22 1/z" strips

I

III

From FF3, cut:

- Six 3 1/z" x WOF strips; subcut into six 3 1/z" x 271/2" strips, and six 3 1/z" x 91/z" strips

figure 1

I

From FF2. cut :

-

7/s

-

3/4

yd quilting cotton (label FF1 l

yd each of seven more quilting cottons [label FF2- FF8)

From FF5, cut:

- Six 3 1/2" x WOF strips; subcut into three 31/z" x 37 1/2" strips, six 3 1/2" x 91/2" strips, and three 3 1h" x 171/z" strips

IJ

From FF6, cut:

- Bind ing/Segments: 1 yd white quilting cotton

- Six 3 1/z" x WOF strips; subcut into three 3 1/z" x 32 1/2" strips, six 3 1/z" x 9 1/z" strips, and three 31/2" x 221/2" strips

- Backing : 5 yd coordinating fabric

II

OTHER SUPPLIES

From FF7, cut:

Repeat Steps 11 -1 2 for t he Lining fabrics, but leave a 3" gap on the bottom edge for tu rning.

- Batting for a full-sized qu ilt

- Six 31/2" x WOF strips; subcut into six 31/z" x 27 1/z" strips, and six 31/2" x 91/2" strips

FINISHED SIZE

ll

iII Pin the outer piece and the Lining

76" x 76"

- Six 31/2" x WOF strips; subcut into three 31/z" x 22 1/2" strips, six 31/2" x 91/2" strips, and three 31/2" x 32 1/z" st rips

lEl

piece, right sides together.

IE Stitch each side of the purse along the top edge between each hinge mark. (figure 2)

FINISH THE PURSE

ml Turn right side out through the gap in the Lining and press top edges flat. Note: Th is wi ll make it easier to insert into the frame.

ill Apply textile glue sparing ly to t he metal purse frame and gently push the purse into place. It's easier to do one side at a time.

lD

Handstitch the open ing in the Lining closed. HEATHER FRENCH is the designer behind

Heatherjean. She specializes in niaking and teaching bag-making as well as designing fabric. Her design style con1bines geon1etric shapes with mid-century, retro colors. All of herfabrics are hand printed in the United Kingdom. Visit her at heatherjean.co.uk

NOTES - All measurements are based on a 42" Width of Fabric (WOF). If th e WOF is less, more fabric may be req uired. - Stitch all seams with a 1/4" seam allowance. - Press seams toward the da rker fabric. - It is recommended to pin rows together to avoid shifting and unevenness. - FF= Fash ion Fabric

CUT THE FABRIC

D

From FF1. cut:

- Eight 31/2" x WOF strips; subcut into four 3 1/z" x 17 1/2" strips, eight 3 1/2" x 91/z" strips, and four 3 1/z" x 37 1/2" strips

From FF8, cut:

ll

From the white fabric, cut: - Eight 2 1/2" x WOF strips [Binding) - Seven 11/z" x WOF strips; subcut into seventy-five 11/2" x 3 1/2" rectangles [Segment)

ROW CONSTRUCTION Refer to the Piecing Diagram for construction guidance .

ll!I Construct an

FF1 row: With ri ght sides together, stitch the short edge of an FF1 17 1/2" x 31/2" strip to the long edge of a Segment. To that Segment, stitch an FF1 9 1/z" x 3 1/z" strip, then add another Segment, an FF1 9 1/2" x 31/2" strip , a Segment, and an FF1 371/2" x 31/2" strip. Repeat to create four units.

mConstruct an FF2 row: With right sides together, stitch an FF2

))

79 sewdaily.com

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how-to

ill Construct an

FF8 row: With right sides together, stitch an FF8 22 1/2" x 3 1/2" strip to the long edge of a Segment. To that Segment. stitch an FF8 9 112" x 3 112" str ip, a Segment, an FF8 91/i" x 3 112" strip, a Segment, and an FF8 321/2" x 31/2" strip. Repeat to create three units.

91/z" 11

11

91/i"

I

II

11

PIECE THE QUILT

ml To

11

FF4

911 t

22 112" 11

3112..I

FFS 31/z"I

371/z''

I

II

I 32 1/z"

II

FF6

9112"

17112"

91/z" 11

11

I

II

II

11

I

91/z"

91/z"

22112" 11

11

31/z"I

FF7 31/z"I

I

27112"

11

I 22 1/z"

FFB

II

91/z"

II

11

11

91/2"

91/z"

II

911z"

11

271/z"

I

I

11

II

FF3 row: With right sides together, stitch an FF3 27 112" x 3 112" st rip to the long edge of a Segment. To that Segment, stitch an FF3 9 112" x 3 112" strip, t hen add another Segment, an FF3 9 112" x 3 1/2" strip, a Segment, and an FF3 27 1/i" x 3 1/2" strip. Repeat to create three units.

IE Construct an

FF4 row: With righ t sides together, stitch an FF4 32 1/i" x 3 1/2" strip to the long edge of a Segment. To t hat Segment, stitch an FF4 9 1/i" x 3 112" stri p, t hen add another Segment, an FF4 9 112" x 31/2" strip, a Segment, and an FF4 22 1/2" x 3 1/2" str ip. Repeat to create three units.

80 '* stitch

Once all rows are stitched together, press all seams in the same direction.

fE Cut the Backing in half and stitch

Ill

Place the Backing wrong side up and layer the batting and Qu ilt Top, centered on the Backing. Qu ilt as desired. Trim excess fabric.

Piecing Diagram

ID Construct an

ml

along t he long edges to create a panel that is about 86" x 90".

32 1/z"

3112..I

22 112" x 3 1/2" st rip to the long edge of a Segment. To that Segment, stitch an FF2 91/2" x 3 112" strip, then add another Segment, an FF2 9 1/2" x 31/2" strip, a Segment, and an FF2 321/2" x 3 1/2" str ip. Repeat to create three un its.

stitch the rows together, start with an FF1 row, and with right sides together, stitch it to an FF2 row. Continue stitch ing the rows on in color orde~ FF3, FF4, FF5, FF6, FF7,and FF8. Repeat t he order two m ore times, and end with an FF 1 row at the bottom. Note : Pay special attention when stitching the rows together. The piece on t he left wi ll always be the first size fabric l isted for its respective color as seen in the Piecing Diagram. Example: For the FF1 row, the section on the left will be 17 1/2" long.

iII Construct an FF5 row: With

r ight

sides toget her, stitch an FF5 37 1/2" x 31/2" strip to the long edge of a Segment. To that Segment , stitch an FF5 91/2" x 31/2" strip, a Segment, an FF5 9 1/2" x 31/2" strip, a Segment, and an FF5 17112" x 3 112" strip. Repeat to create three units.

IE Construct an FF6 row: With

r ight

sides together, stitch an FF6 32 1/2" x 31/2" strip to the long edge of a Segment. To that Segment , stitch an FF6 91/2" x 31/2" strip, a Segment, an FF6 9 1/2" x 31/2" strip, a Segment, and an FF6 22 112" x 3 112" strip. Repeat to create three units.

iD Construct an FF7 row: With

EE Stitch

Binding strips together, press in half, wrong sides together. [See Sewing Basics] Machine stitch the Binding to the top of the quilt, matching raw edges. Fold the Binding to the back of the quilt and handstitch in place.

SOURCES FABRIC Art Ga llery Fabrics, Pure

Elements, in Snow, Blueberry Zest, Appletini, Cherry Li pg loss, Banana Cream, Fresh Water, Tile Blue, Coral Reef, and Quartz Pin k, a rtgalleryfabrics.com LONGARM QUILTING Darla Padilla

right

sides together, stitch an FF7 271/2" x 31/2" strip to the long edge of a Segment. To that Segment, stitch an FF7 9 1/2" x 31/2" strip, a Segment , an FF7 91/2" x 3 1/2" strip, a Segment, and an FF7 27 112" x 3 112" strip. Repeat to create three units.

KARRIE WINTERS has embraced her love

ofquilting for many years and has recently begun designing her own patterns and became the owner of the pattern con1pany, Freckled vVhimsy. Visit her at freckledwhimsy.com.


how-to

Stripey Beach Bag by VICKI CHRISTENSEN {from page 37}

- Two 20 7/s" x 20 7/a" squares. Note : Lining pieces are cut slightly sma ller than bag body pieces so they will fit better inside t he bag.

D

I I I Q) Cl .:.::l

sâ&#x20AC;˘ '13 l

From the Handles fabric, cut:

gi,

- Two 5" x 27" rectangles

D

From the interfacing, cut:

- Two 20 112" x 20 112" squa res

I

I

3¡I ~ ----------.:. - ~ '

- One 1O" x 8" rec tang le

ASSEMBLE OUTER BAG LAYER

I

'

I 3" ' " " / 1 3" cut here figure 1

D

FABRIC - Outer Bag Body/Pocket: fifteen precut 21/i" x 44" fabric strips - Bag Body/Handles: 1 yd light-colored canvas or cotton duck - Bag Lining: - Handles:

1/ 3

3/4

yd of quilting fabric

yd quilting -weight fabric

OTHER SUPPLIES - 11/2 yd medium-weight sew-in interfacing, 21" - All-purpose thread - Rotary cutter, mat, and ruler - Fabric-safe marker or pencil - Topstitching thread for handles and pocket, if desired

FINISHED SIZE

- Use 1/4" seam allowances to stitch the 21/2" strips together for the outer bag and the pocket. 1/2"

CUT THE FABRIC

D

From the Bag Body/Handles canvas fabric, cut: - Two 21" x 21" square for Bag Body - Two 5" x 27" rectangles for Handles From the Lining fabric, cut:

Trim the selvedges off the Bag Body fabric and cut the striped outer bag into two 21" -wide pieces. Note: Don't trim the top or bottom edge of the striped panel yet.

D

Line up t he bottom strip of the outer bag piece with the edge of the 21" x 21" canvas. Pin the two layers together at the bottom edge and press the two layers of fabric together. Note: Make su re the two layers of fabric are smooth and there are no wrinkles or ripples. Pin the other three edges.

D

Machine baste the two layers together to create a Front Pa nel, stitching 1/4" from the edges. Baste around all four edges. Trim the excess quilting fabric from the top edge of each panel so the striped fabric is even with the edge of the canvas.

NOTES

D

D

D

17" long [without handles) x 19 112" wide

- The bag is constructed with seam allowances.

Arrange eleven 21/2" strips of fabric in desired order. The very bottom strip will be on th e bottom of the bag and will not show when the bag is standing up. Stitch strips together along their entire 44" length with 1/4" seam allowances. This will make a striped panel approximately 221/2" x 44". Press seams in one direction.

fill

Repeat Steps 7-8 for the Back Panel.

mPin the Front and Back Panels right sides together, making sure the stripes from the precut strips line up. Stitch the sides and the bottom with a 1/2" seam allowance. Press the seams open.

i8 To

make square corners at the bottom of t he bag , mark a square 3" in from side and bottom edges. (figure 1) Cut the square out. Reinforce the seams that were just cut by machine sewing and backstitching over them.

~------

interfacing baste

______

I I I I I

,.J

figure 2

IE With the bag inside out, fold the bag corner so the bottom seam and side seam match up. Pin , and then stitch across the cut edges using a 1/2" seam allowance. Stitch a reinforcing seam 1/a" from the first seam, within t he seam allowance. Repeat on the other bottom corner.

ADD INTERFACING TO LINING Cfil Machine baste the interfacing to the Lin ing pieces,

1/4"

from the edge.

MAKE POCKET

ml Cut four 21/2" precut strips in half. They will be approximately 22" long. Using a 1/4" seam allowance, stitch together four half-width strips to create a striped panel for the Pocket about 8 1/2" tall. Press seams in one direction. Trim selvedges and cut Pocket piece 20" wide.

ID

Pin the 1O" x 8" interfacing piece onto one half of the wrong side of the Pocket panel. Machine baste interfacing to Pocket panel along the three outer edges, 1/4" from edge. (figure 2)

IE

Fold the Pocket in half with right sides together. The folded Pocket should be 8 112" x 1O" and th e interfacing will face out while you stitch it. Stitch around three sides using a 112" seam allowance, leaving a 4" opening in the center of the bottom seam to turn the }} pocket right side out .

81 sewdaily.com

*


how-to

iD Trim corners and then turn Pocket right side out. Press, making sure the edges of the turning opening are folded to the inside of the Pocket and lay smoothly.

aro und the top edge of the bag using 1/2" seam allowance. The main portion of the handles will be in between the two layers.

ID Turn bag right side out through the

- Mounta in: One fat eighth orange solid [shown: Carrot) - Water: One fat eighth dark pink solid [shown: Valentine}

iD Edgestitch top edge of Pocket , 1/s"

hole in the bottom seam of the Lining.

- Sail/Boat: 31/2" x 3 112" piece each of white and black solids

from top. Use topstitching thread if desired.

EI!] Sli pstitch the opening in lining shut . Place l ining inside bag and press top edge of Bag well.

- Towels: Nine small scraps [shown: Pomegranate and Red)

ATTACH POCKET TO LINING

ED Reinforce

Center Pocket on one piece of interfaced Lining fabric, wit h top edge of Pocket 4 1/2" down from top edge of Lining fabric. Pin Pocket in place.

hand les by sewing an X inside a square through all layers [Outer Bag, Handle, Lining].

lilJ Topstitch Pocket in place. Stitch

the top edge of the bag.

around sides and bottom of pocket, 1 /s" from edge . Reinforce top pocket corners by backstitching.

SOURCES

Eiil

ED Topstitch through all layers around

FINISH ASSEMBLING LINING

Kaufman, Kona Cotton , Summer ¡13 pa lette Roll- Up, robertkaufman.com

IE Stitch Lin ing sides and bottom

VICKI CHRISTENSEN started sewing at

1/2"

seam allowance. together using Leave an opening along the bottom seam about 6" long. Reinforce either side of this opening with backstitching.

FABRIC Robert

age six. She loves making quilts, especially scrappy ones, and sews other things too. Visit her at sewinspiredblog.com.

MAKE HANDLES

ED Layer one quilting fabr ic piece on

by KEVIN KOSBAB

top of one canvas piece, wit h right side of qui lting fabric facing up. Machine baste the two layers together along one long edge, 1/4" from edge.

{from page 38}

- Water (Bl - Sun (Cl - Sail (El - Boat [Fl - Statue (G) - Towels [H J - Umbrellas [I)

- Size 12 black perle cotton for Tree and Sail - Hand embroidery and sewing needles - Safety pins

FINISHED SIZE

fllJ Turn Outer Bag right side out.

171/4" x 21"

NOTES ('j~

J ._

DOWNLOAD THE FULL-SIZE PATTERN FOR THIS PROJECT AT SEWDAILY.COM

from top edge of Bag.

FABRIC

&I Turn Outer Bag inside out. Place

- Sky: 1 fat quarter solid pink [shown: Candy Pink)

'* stitch

- Mo untain [Al

- Strong , fine thread for appliques

ATTACH HANDLES

82

OTHER SUPPLIES

- 19" x 22" quilt Batting

lengt hwise, with wrong sides together, and press. Unfold and press long edges in to center fold. Press aga in. Pin the long edges of the Handle together. Topstitch 3/ 16" from the long edges of Handle. Repeat for second Handle.

r ight side out Lining in Outer Bag, lining up the side seams and top edges and pin. Stitch Outer Bag and Lining

- Umbrellas: scraps of coordinating floral print

- Tree Embroidery Guide

III Fold Handle piece in half

f1l Machine baste handles in place V4"

- Backing: 5/s yd or 19" x 22" so lid qui lting fabric

- City [DJ

Sunset Over Rio Mini Quilt

Mark the ends of the handles 1" from each raw edge. Place the outer edges of the handles 5 1/2" in from the sides. Pin handles so 1" of hand le sticks out beyond the top edge of the Outer Bag. Make sure the Handles aren't twisted .

- Bui ldings : 9" x 3 1/2" piece of coordinating bui ldings print

- Templates, downloadable:

fE Square the lin ing

cor ners the same way as for the outer bag [Steps 12- 13].

- City: One fat eighth red geomet ric print

- Sand/Sun: 1 fat quarter yellow solid (shown: Corn Yellow)

- The instructions are for needle-turn hand applique, but feel free to use your preferred method of hand or machine appli que. - If you prefer, use basting glue instead of pins to hold appliques in place. - Refer to the project photo for applique placement. Precise placement is not necessary.


how-to

c

CUT THE FABRIC Cut out each template piece about 1/, .. beyond the transferred lines.

B ~=' D

From the Pink fabric, cut: - One 18 1/2" x 12" Sky piece

El From the Yellow fabric,

I

cut:

- One 18 1/2" x 10 1/2" Sand piece

--==~t.,' ,'~s'""'"" I

,, , ,

- One Sun [C J

D

~A

I

From the Orange fabric, cut :

---

E

figure 1

- One Mountain [A]

D From the Dark Pi nk fabric, cut: - One Water [B J

11

From t he Red geometric print, cut:

- One City (DJ

D

From the White fabric, cut:

- One Sail [El. transfer embroidery guide line From the Black fabric, cut: - One Boat [Fl - One Statue [G] From the nine small scraps, cut: - Nine Towel s [HI

D

From the floral print scraps, cut:

- Seven Umbrellas [I] Note: the samp le uses circles fussy- cut fro m a flora l print to emu late th e design of beach umbrellas

IE If using a buildings print similar to the one in t he sampl e. cut a sectio n of one or two rows of buildings. about 3 1/2" hig h by 9" wide, again leaving a margin of 1/4" around the printed buildings. Alternatively, cut houses or other buildings out individually, or cut a geometric print freehand into rough house shapes, similar to the City piece.

APPLIQUE AND EMBROIDER Pin the Mountain applique right side up on the Sky piece, aligning the straight edge of the Mountain with th e bottom edge of the Sky. Slip the bottom edge of the Statue piece 1/4" under the peak of the Mountain and pin it to the Sky, making sure there wi ll be no gap when th e seam allowances are turned under. Pin the Water to the Sand, align in g the str aight edge of the Water wi th the right - hand edg e of the San d. Sweeping the seam allowances under up to the transferred line as you go, stitch the curved edges of t he

Statue, Mountain, and Water to their backgrounds with a standard hand -applique stitch. [See Sewing Basics] Note: The str aight edges will be caught in seams later, so you don"t need to sew them to the backgrounds.

EEJ Pin the Sun to the Sky where shown in the photo. Pin the Boat where shown (or as desired] on the Water, then pin the Sail just above the Boat. Scatter the Towel and Umbrella pieces on the lower shore of the Sand piece. placing smaller pieces nearer to the Water to suggest perspective. Place some of the outer pieces near or over the bottom edge of the Sand fabric. Note: The background will Later be trimmed down slightly.

IE Stitch all these applique pieces to the Sand an d Water, sta rting with the lowermost piece wherever multiple pieces are layered.

ID Wit h right sides together, stitch the 1/4"

Sky and Sand panels with a seam , sandwiching the stra ight edge of the Mountain. Press the seam allowances toward the Sand section.

E

Pin the City piece over the Sky/Sand seam. toward the right-hand edge. Pin the printed Buildings over the seam toward the left edge, placing their bottom edge lower than that of the City so the printed buildings appear closer to the viewer. "I] Stitch these appliques to the Sky/ Sand background, turning the buildings fa bric under to the edge of the printed motifs.

ii Embroider the line on

the Sail with perle cotton in a stem stitch. [See Sewing Basics] Transfer the Tree Embroidery template onto sever al places of t he quilt top, with the trunks starting in the Sa nd ; the sample uses

two palm trees to soften the transition between the printed buildings and City piece, and another stand of three trees in the middle distance between the Towels and Buildings. Tip: Alternatively, embroider the trees freehand. Embroider the trunks of the trees w ith a stem stitch and each frond with fern stitches. (See Sewing Basics]

QUILT AND FINISH

iD Trim th e Qu ilt Top to about 171/2" x 211/4" with t he seam between Sky and Sand about 11 1/i" from the top edge [this ensures square edges in case they've raveled wh ile working the appliques]. Center t he Backing fabric right side up on the Batting. then center the Quilt Top right side down on the Batting . Safety-pin the layers together. Stitch the layers together 1/4" inside the edge of the Quilt Top, leaving a gap of about 8" in the upper edge of the Sky section. Trim the excess Batting and Backing flush with the Quilt Top and clip the corners. Tu r n right side out through the opening and gently push out the cor ners. Press the edges, turning in the sea m allowances at the opening. Topstitch around the perim eter 1/ 16- 1/a" from t he edge to flatten the edges and close the opening.

83 ......•...•.......•.••......•.......... sewdaily.com

*


how-to

IE Quilt as desired. For the sample,

- 21/3 yd fu sible fabric backing, 20"

straight lines were quilted radiating out from the sun and programmed scallop stitches were quilted in the Water section to look like waves. Each applique shape was also outlined with free -motion quilting to give t hem dimension, with a few extra outlines of the shoreline.

- 1 yd paper- backed fusible web, 17" - 4" x 15" piece of ul tra- fi rm stabilizer - Tear-away stabilizer for applique - Clear polyester thread for the appliques - Eight 6 mm rivets - Eight 9.2 mm r ivets

SOURCES

- Sma ll, sharp scissors

FABRIC Robert Kaufman, Kena Cotton,

- Pencil

in Candy Pi nk, Corn Yellow, Carrot, Valentine, White , Black, Pomegranate, Red, robertkaufman.com

- Optional: Light box

FINISHED SIZE

KEVIN KOSBAB is a contributing editor to

15" x 17" x 4"

Stitch. He designs n1odern sewing and quilting projects for magazines and his own pattern line, Feed Dog Designs (jeeddog.net). His book The Quilter's Applique vVorkshop offers instruction for hand and machine techniques, fun quilted projects, and inspiration for exploring the possibilities ofappliqui.

NOTES

Miami Sunglasses Tote by TINA LEWIS

{from page 39}

IJ

- Seam allowance is otherwise noted .

1/2 "

unless

- Stitch with right sides together, unless otherwise noted . - Metallic fabrics can be used for the lenses if they can withsta nd the heat to fuse the web and the backing. Experiment with scraps, protecting the iron and ironing board with a press cloth and varying t he heat setting and fu sing time.

CUT THE FABRIC

D

From the Tote canvas, cut:

- Two 20" x 30" pieces for the Front/Front Self-Lining and the Back/Back Self-Lining .

El From the contrast canvas, cut: - One 1O" x 20 " piece for the Base - Two 51/2" x 20" pieces fo r the Base Lining - Two 2112" x 19" pieces for the Handles

El From the fusible web, cut: - Twenty 3" x 7" pieces

FABRIC - Tote: 1 yd canvas, 60"

ll

- Contrast:

- Two 20" x 30" pieces

1/2

yd canvas, 60"

- Frame : 1/ 4 yd cotton, or 3" x 7" rectangles, each in ten colors - Lenses: 1/4 yd cotton, or 3" x 7" rectangles, each in ten metallic fabric pieces

MAKE THE HANDLES

OTHER SUPPLIES - Templates, provided on insert - Sung lasses (A)

8.ta '* stitch

PREPARE AND FUSE THE APPLIQUES

I.I

For the wraparound Frames , trace Sunglasses (Al to include both th e frame and Lenses to the paper side of 10 fu sible web pieces . Trace only the len ses shapes to the remaining 10 fusible web pieces. Fuse the prepared web pieces to the wrong side of the Frame and Lenses fabric pieces according to the man ufacturer"s in structions. Using small, sharp scissors, cut out the Frames and Lenses along the drawn outer edges.

D

Remove the paper back from the Lenses, but not the Frames. Position the Lenses on the Frames, using the patter ns as a positioning guide. Fuse Lenses in place.

D

Remove the paper backing from the Frames. Using tear-away stabi lizer under th e Frames and clear thread in the top of the machine, applique the Lenses to the Frames with a small zigzag stitch [1.0 length, 2.0 width).

From the fabric backing, cut:

- One 1O" x 20" piece - Two 5112" x 20" pieces

0

Fold the Handle in half Lengthwise, bringing the folded edges together. Edgestitch the folds together, sta rting and stopping 21/4" from the ends. Repeat with the second Ha ndle and set Handles aside.

Fold the ends of the Handle 1/2 " to th e wrong side; press. Fold the Handle in half lengthwise; press to establish the center. Fold the long edges to the center; press.

STITCH THE APPLIQUES

llll

Fold the tote Front and Back in ha lf Lengthwise, wrong sides together to establish the top foldline; press. One side of each fold will be t he Front and Back and the other side will be the Front and Back Self- Lining.

mPosition the Sunglasses r ig ht sides up on the tote Front, with two rows of five sunglasses. Place the top row 21/2" from the foldline, the bottom


how-to

row 1" from the lower edge, and t he center of the nose bridge of each pair of Sunglasses 6 3/e" from th e side edges. Equally space the rema ining three Sunglasses in between the top and bottom of each row. Fuse the Sunglasses in place.

IE

Using clear thread in t he top of the machine, applique the Fra mes with a small zigzag stitch [1 .0 lengt h, 2.0 width).

ATTACH THE HANDLES

IIJ Layer the backing on the wrong side of the Front, Back, Base, and Base Lin ing pieces and fuse into place according to t he manufacturer's instructions.

[fJ Pin the Handles to the Front and Back, opening out the ends of the Handles flat, centeri ng them over each row of sunglasses, with the ends 2" from the fold. Edgestitch the Handles to the tote on three sides, starting and stopping V2" from the fold.

ATTACH THE BASE

ml

Pin th e Base to the Front at t he lowe r edge ; stitch. Press seam down and topstitch close to t he seam on the Base side. Pi n t he other side of the Base to the lower edge of the tote Back; stitch and topstitch as before.

ml

Pin a Base Lining to the lower edge of the Front Self-Lining and to t he lower edge of the Back Self- Lining; stitch and topstitch as before.

IE

Pin the Front Base Lining to the Back Base along t he center base seam. Stitch the seam 2 1/2" from either side, leaving an opening in the middle for turning. Press seam open, including the opening. [[] Fold the tote at the center of the Base and pin the side seams; stitch, taking care not to catch in the handles. Press the seams open and whip the seams open at the cross seams to stay in place.

ml

Box the base of the tote by bringing the side seams and the center of the base together. Ma r k a line perpendicular to the seam 2" from the point, so the line is 4" lo ng. Stitch across t he line. Trim off the corners 1/2 " from the seam and whip the seams

to t he sid e backi ng. Repeat to box the Base Lining, bringing the side seams and t he center base seams toget her and whipping the seams to th e base backing.

IE Pin the

ultra-firm stabilizer to the Base and whip to the backing all around.

COMPLETE THE TOTE

Bl Tu rn

the tote right side out through the Base Lining center opening . Slipstitch the opening closed. Push the tote lining down into the tote at the foldline . Press the tote, using a press cloth over the sunglasses.

fE Attach

rivets to the handles, centered 1/2 " and 11/2" from the bottom of each handle and to the sunglasses at the points indicated.

SOURCES COTTON DUCK, Jam es Thompson,

ja mesthom pson .com PELLON, Wonder-U nder, 808 Craft -Fuse,

S'111r.. â&#x20AC;˘

DOWNLOAD THE FULL-SIZE PATTERN FOR THIS PROJECT AT SEWDAILY.COM

FABRIC - Heart: 1/e yd, or fat quarters, quilting cotton in 20 assorted colors, solids or sma ll prints recommended - Background: 1112 yd linen or quilting cotton, 44"

OTHER SUPPLIES - Template, downloadable: - Tria ngle [A) - Tria ng le [Bl - Piece [Cl - Piece [DJ - Piece [El - Craft- size low- loft cotton batting - 90" of 1/4" pre- made piping with 112" seam allowance - 22" cut-able zipper

and Peltex, pellonprojects.com

- 20" x 20" pillow form

SUPERIOR THREADS, MonoPoly polyester

- Zipper foot

monofilament invisible thread, superiorthreads.com

- Optional: Piping foot; wooden seam roller for pressing triangle seams

BUCKLEGUY, nickel- plated brass rivets,

buckleguy.com

designs and sews in her studio high in the n1ountains ofPark City, Utah. Her clothing, quilts, and accessories for adults and children have been featured in numerous publications. Often detailed with hand-stitched needlework, her work has afresh classic look.

TINA LEWIS

Summer Love Cushion Cover by BERENE CAMPBELL {from page 40}

FINISHED SIZE 20" x 20"

NOTES - Seam allowance for piecing the front of the cushion is 1/4 ". - Seam allowance for assembling the cush ion is 1/2" . - You will have leftover scraps to play with layout options. - Use a slightly shorter than normal stitch length for piecing the triangles. - To prevent large lumps at the corners, press seams open. Do not use steam when pressing the triangles, as it makes the fabric stretch out of shape. - Use a wooden roller to press these corners down, if you have one . - Given t he intricate piecing of this pattern, accuracy is key to success when cutting triangles and maintaining seam allowances.

>> SS sewdaily.com

*


how-to

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

r---------D

D

Row Al

Row Bl 2

1

RowA2 Row3

Row4

excess piece of Eon the left side of section 3 down to 1/4" seam allowance. Now position the other Piece E right sides together on top of section 3, again with the top corner just past the corner of Row 3, and t he excess extending below.

I

Rows

I

3

Row6 Row7

I

I

I

Row8

E

E

section 1 and the right side of section 2 as guides to trim excess C/1/E and C/2/E to a 1;,.. seam allowance. Stitch both Piece 0 onto the left and right top corners. Press seams toward 0 pieces.

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

---------------.J

Placement Diagram

CUT THE FABRIC

D

- 2" x 12" strips; subcut into 88 Triangle [AJ

Stitch Triangle B to the right of section 1, and then section 2 to the other side of Triangle B. Press seam allowance toward Triangle B. Put aside for now.

[I From the Background fabric, cut:

D

D

From each of the 20 assorted colors, cut:

- One Triangle [BJ - One Piece [CJ - Two Piece (DI. one on reverse - Two Piece (El. one on reverse - One 8 1/2" x 21" Back Top Half - One 14 'h" x 21 Back Bottom Half

To make section 3, piece Rows 3 through 10 together, centered vertically, starting with stitching Row 3 to Row 4, and working your way down to the last triangle on Row 10. Take care to match your corners accurately.

ll Stitch 1/B/2 to section 3, lining up corners.

ll Stitch Piece C centered

- One 23" x 23" square

lengthwise along the top of Sections 1/B/2 . Press seam allowance toward section 3.

MAKE THE HEART

IE Position

El From the Batting, cut:

D

Using the Placement Diagram, arrange the Triangle As to form a heart.

0

Stitch the triangles in each horizontal row together and then lay them back in place on your design wall. Stitch rows A 1 to A2, and Bl to B2, carefully li ning up the triangle points.

86 '* stitch

mUse the angles on the left side of

one Piece E right side down lengthwise on the heart, lin ing it up with the right hand side of section 3. As seen in the Pl.a cement Diagram, note the top corner of Piece E should be ju st past the edge of the last triang le in Row 3, and the excess extend ing below the bottom tip of the heart. Stitch together and press seams toward Piece E. Trim the

QUILT THE FRONT

IE

Keep the oversized Front piece for now and baste t he batting onto the wrong side . Quilt as desired. The sample was quilted with diagonal lines creating diamonds inside the heart shape, 1/a" on either side of the seams. Then 1" parallel lines on the outside of the heart, echoing the heart shape.

iEJ Trim the Front panel down to 21" x 21 ". Put aside for now.

MAKE THE BACK PANEL

ID

Place the Back Bottom panel right side up. Place the zipper right side down on top of it, lining up the zipper edge with the top edge of the fabric panel, centering it horizontally so the edges of the zipper fall off each side. Stitch along this top edge with a zipper foot, backstitching at start and fin ish. Press t he seam allowance toward the fabric, and topstitch along this fold. Lay this piece right side up with the zipper at the top edge.

ID Take the Back Top fabric and fold the bottom edge over 1" toward the wrong side, and press. Note : This fold will hide your zipper on the back of the finished cush ion cover. Open up the


how-to

fold and lay this piece right side down onto the right side of the zipper. The edge 1" away from the fold should be aligned along t he edge of t he zipper. Make sure the left and right sides of the back panel pieces are aligned. Pin and stitch th e zipper in place. Do not press this seam open. but instead refo ld the fabric upward on the pressed line so the folded flap covers the zipper. Hand- baste these layers together with large diagonal stitches to keep everything aligned when assembl ing t he cushion cover.

One Hot Grandma Baby Quilt

on top of the Front. Hand- baste all around the edges. Use a piping foot or a zipper foot and stitch all around the cushion 1/2" in from the edge, butting up your seam to the piping cord.

DJ Trim the corners and

{from page 41 }

- Six Triangle [Al

â&#x20AC;˘

EJ

From the Pin k fabric, cut: From the Yellow fabric, cut:

- Twelve Triang le [A]

D From the Orange fabric, cut: - Eighteen Triangle [A)

D

From the Chartreuse fabric, cut:

- Twelve Triangle [A]

D

From the Black and White print fabric, cut: - Thirty-four Triangle [A) - Sixteen Triangle [BJ

IJ From the Bind ing fabric, bias cut: - 11/2 " x width of fabric strips

FABRIC If choosing prints, focus on prints that read primarily as solids. -

1/4

-

112

yd each red, pink, yellow, orange, and chartreuse soli d or print cotton , 44" yd black and white print cotton [shown : black and white gingham)

- 1 yd coordinating print or solid for Backing -

1/4

yd print for Binding

OTHER SUPPLIES - Templates, supplied on insert: - Triangle [A) - Triangle [Bl

remove all basting . Pinch the zipper handle through the fabric and open the zipper about 5". Turn the cushion cover right side out through the opening, and press.

- Cotto n Batting measuring about 40" x 40"

ID Insert pillow form .

- Rotary cutter, self-healing mat, clear acrylic ruler

SOURCES

- Six Triangle [Al

D

ml

Ill Place the Back panel right side down

D From the Red fabric, cut:

by MALKA DUBRAWSKY

ASSEMBLE THE CUSHION COVER Place the Front panel right side up. Baste the piping in place around t he entire Front panel with the edges of the piping seam allowance facing outward toward the cut edges of the fabric. Note: Bear in mind the seam allowance will be 112" so in case your piping's seam allowance is not 112". the space between the fabric edge and the piping cord should be 112". Position the piping start and finish centered at the bottom beneath the point of the heart. Cross the ends one over the other and extend them past the edge of the fabric; these will be stitched over and trimmed later.

CUT THE FABRIC

MAKING THE PATCHWORK FRONT [J Working with one Black and White Triangle A and one Black and Wh ite Triangle Band referring to figure 1, pin triangles, right sides together. Stitch together. Press seam.

ll

Referring to figure 1, pin next triangle to sewn pair, right sides together, along common edge. Stitch together. Press seam.

11!1 Referring to figure l for placement, continue pinning, stitching, and pressing triangles in top row.

mReferring to figure 1, pin, stitch , and press triangles in remain in g seven rows. You should have a total of eight rows of sewn triangles.

- Coordi nating thread - Salad or small dinner plate - Handsewing needle

FABRIC Art Gallery Fabrics, Pure

FINISHED SIZE

Elements. artgalleryfabrics.com

35" x 35"

SERENE CAMPBELL is a designer living

NOTES

in Vancouver, British Columbia, with her husband, two crafty kids, and their obstinate rabbit. She designs graphics, packaging, fabric, and sewing patterns. Visit her at happysewlucky.com, or on lnstagram, @happysewlucky.

- All seam allowances are 1/4". - Press seams open. - Orientatio n of Diagram A is left to right, top to bottom.

>> 87 sewdaily.com

*


how-to

figure l

FINISHING THE QUILT

Oil Starting with the top two rows, pin

QUILTING THE PATCHWORK

rows r ight sides together, matching seams. along common long edge. Stitch. Press seam open.

ml Working on a fla t surface, layer Backing fabric wrong side up, batting, and Patchwork Front right side up.

iEJ Pin th ird row to sewn pair. r ight

ID Baste using prefer red method.

sides together, match ing seams. along common long edge. Stitch. Press seam.

ifl Machine qu ilt as desired. The sample is free - motion mach ine qu ilted concentrically out from center.

IIJ Continue pinning, stitching, and

ID Trim layers flush.

to back side of qu ilt.

IE Using a salad or sma ll plate as

MALKA DUBRAWSKY sews, design, dyes,

a template and rotary cutter, round corners of quilt.

and writes from her home studio in Austin, Texas. She sells PDF patterns and other handmade goodies at stitchindye.etsy.coni. Visit her at stitchindye.com.

pressing rows to sewn section, one row at a time, until all rows are sewn together.

88 '* stitch

E!ll Using diagonal piecing , stitch Binding strips together. [See Sewing Basics)

fJJ Attach binding to Qu ilt Front. IE Clip Quilt Front curves at rounded edges.

fl] Turn binding under 1/4'' and handsew


how-to

D

Repeat Step 3 with the rema ining long edge and then both short ends. Press.

FINISHED SIZE 8 1/ 2" x 35 1/2" NOTE

CARRIE BLOOMSTON is fueled by

Flirty, Fun Sarong by CARRIE BLOOMSTON

gratitude and love. She is an artist, crafty n1an1a,fabric and sewing pattern designer, and blogger. Currently, Carrie is designing her second collection offabric for Windhan1 Fabrics and is working on a book project for Stash Books. Visit her at such-designs.com.

{from page 42}

Surf's Up Table Runners by MARCIA VAN OORT {from page 43}

- All seams are 1/4"unless otherwise noted.

CUT THE FABRIC

D

From the Main fabric, cut:

- Two Surfboa rd [A)

D

From the Batting, cut :

- One Surfboard (A]

PREPARING THE RUNNER TOP

El

Lay one Surfboard piece on top of pattern, transfer Hibiscus [BJ applique and stitch Lines onto fabric with air erase pen.

IJ With paper side up. lay fusible web on top of applique template for Hibiscus. With a pencil trace t hree Hibiscus [BJ flowers onto the paper side of the fusible web.

D

Fuse web to Accent fabric according to the manufacturer"s instructions .

[J Cut out one Hibiscus at a t ime using small sharp scissors. Peel off paper backing and position on Su rfboard top, matching pieces to markings. Press to fuse, being carefu l not to fuse past the Surfboard top. Repeat with rema ining two appliques. Trim excess flowers even with Surfboard edge.

FABRIC - 21/4 yd flowy fabric w ith soft drape and printing on bot h sides, such as toile, lawn , or even some batiks

OTHER SUPPLIES - Coord inating thread

FINISHED SIZE

(j~

J ·~

26" x 76"

DOWNLOAD THE FULL-SIZE PATTERN FOR THIS PROJECT AT SEWDAILY.COM

PREPARE THE FABRIC

D

Wash and iron fabric.

CUT THE FABRIC

D

From t he Sarong fabric, cut :

ASSEMBLE THE RUNNER

D

Layer in order: Surfboard Top, cotton Batting, Surfboa rd Back, r ight side up. Pin together.

D

HIBISCUS RUNNER

Stitch arou nd the Surfboa rd leaving bottom straight edge open.

FABRIC

D Trim

down front point seam allowance.

- One 271/2" x 77 112" rectang le

All fabrics are 44" wide quilting cottons.

CREATE THE SARONG

- Main:

El

- Accent : 1/6 yd turquoise fabric

turning the Surfboard, press j ust the backing seam allowance in toward the body of the Surfboard.

OTHER SUPPLIES

mTurn Surfboard right side out,

Lay the rectangle on the table. Starting on the long side, fold the edges under 3/a" with wrong sides touching, and press. Fold under 3/a" again. and press again. Note: Pinn ing may not be necessary as the fabric is soft and may hold the crease, but pin if needed. Edgestitch close to the folded edge, backstitching at beginning and end.

5/a

yd soft white fabric

- Templates, downloadable: - Surfboard (A]

making sure Batting is sandwiched between Top and Backing.

- Hibiscus [BJ

iI1

- 9" x 37" cotton Batting -

lllJ To aid in rolli ng the edge out after

1/4

yd fusible webbing

- Matching th read - Air erase pen

Roll out edge. press.

[El Turn in seam allowance on open end and slipstitch closed. (See Sewing Basics] Pin baste Surfboard before qu ilting )~ to hold Layers in place. 'I

i1J

89 sewdaily.com

*


how-to

QUILT THE RUNNER

mQuilt along stitch lines shown on pattern with thread to match Hibiscus appliques, stopping about 1/4" from fused appliques.

VINTAGE RUNNER FABRIC

ll Pin Surfboard [A]

- 23/4 yd cording, 1/s"

ASSEMBLE THE RUNNER

- 2" x 2" square heat -resistant template plastic

ll Following the Hibiscus Runner instructions, repeat Steps 7- 14 to assemble the Vintage Runner.

All fabrics are 44" wide qui lting cottons.

QUILT THE RUNNER

- Ma in: 5/s yd cream fabric

ml Quilt in the ditch on both sides of

- Accent A:

1/6

yd navy fabric

- Accent B: 1/s yd coral fabric

the navy strips using thread to match.

SOURCES FABRIC Michael Miller Fabrics, Cotton

OTHER SUPPLIES

Couture, michaelmillerfabrics.com

- 9" x 37" cotton Batting - Matching thread - Air erase pen

FINISHED SIZE 8 1/2" x 35 112"

- Dot [Bl - 25" x 25" square Batting

- 22" pillow form - Six buttons, 7/s" - Thread to match pillow - Thread to match applique - Applique needle - Hand-quilting needle - Mechanical pencil or washout marker - Zipper foot

- Templates, downloadable: - Surfboard [A]

- Flower [Al

to finish ed strip Top, centering pattern in the middle of t he coral strip. Tip: Fold pattern in half lengthwise along grainline to aid in centering pattern on coral strip. Cut.

MARCIA VAN OORT is afreelance

designer!sean1stress who lives with her husband on a farm down a quiet, country road in northwest Iowa. When designing, she enjoys merging a bit ofthe past with a bit ofthe present. See more at etsy.com!shopl . . . praznemuszng.

- Optional: Light box

FINISHED SIZE 22" x 22"

NOTES - Seam allowance is

- Stitch with right sides together unless otherwise noted.

NOTE

Hibiscus Pillow

- All seams are 1/4" unless otherwise noted.

by TINA LEWIS

CUT THE FABRIC

{from page 44}

D

From the Main fabric, cut:

- Four

21/4"

From the Main fabric. cut:

- One 25" x 25" square for the Pillow Front

CUT THE FABRIC

D

1/2" .

- Two 23" x 15 1/4" rec tangles for the Pillow Back

x 42" strips

- One Surfboard [A]

El From the Accent A fabric, cut:

- A total of 94" of 11/2" wide bias strips for t he Piping

- Four 3/4" x 42" strips

El

0

- One 1112" x 42" strip

- One 25" x 25" square for the Applique

0

0

From the Accent B fabric, cut: From the Batting, cut:

0

PREPARING RUNNER TOP Stitch cream strips to navy strips lengthwise , being careful not to stretch the navy strips. Press seams toward cream strips.

ll Stitch a cream/navy strip to a cream/navy strip lengthwise. Repeat to create a second set. Press seams toward cream strips. Refer to photo for color placement.

D

Stitch each one of the strip sets to each side of the coral strip lengthwise. Press seams toward th e coral.

90 '* stitch

From the Backing fabric, cut:

- One 25" x 25" square

- One Surfboard [A]

D

From the Contrast fabric, cut:

From the Contrast fabric, cut:

- Twenty-four Dot [Bl

FABRIC 13/4

- Main: yd quilting cotton for Pillow Front, Pillow Back, and Piping, 44" [shown: Chartreuse) - Contrast: 3/4 yd quilting cotton for Applique [shown: Tangerine) - Backing: 3/4 yd muslin or lightweight cotton

OTHER SUPPLIES - Templates, provided on insert:

D

From the Template Plastic, cut:

- One Dot [BJ

APPLIQUE THE PILLOW FRONT

ll

Fold the Pillow Front and Applique squares into quarters and lightly press the folds. The folds w ill be a positio ning guide.

D

Using a fi ne mechanical pencil or washout marker, trace the Flower [Al Applique desig n onto the fold ed


how-to

mReferring to th e pattern, position the Dots around the pistils and applique in place.

QUILT THE PILLOW TOP

ifJ Layer the appliqued

Pillow Front, Batting, and Backing; baste. Hand or mach ine qui lt as desired.

iEJ Trim the qui l ted

Pillow Front to

23" x 23" square.

PREPARE THE PILLOW BACK

iIJ Along a 23" side of a Pillow Back, fold 1112" to the wrong side; press. Fold 11/2" again; press. Edgestitch the hem in place. Repeat for the remaining Pillow Back.

applique fabric. Start in the upper left corner, positioning the center point of the design at the center intersection of the folds and the alignment lin es along the fabric folds. Turn the design over to get a mirror image and, in the same manner, trace the upper right corner. Then turn the design to mirror the top two quarters of the pillow on the lower half.

from the edge and 4" from each side with 3" in between. Work buttonholes at the marks perpendicular to the hem . Along the other hem, mark six correspond ing points 7/s" from th e edge and stitch buttons at the marks.

ll

ml Lap the back with butto nholes

Layer the Appliqu e on the Pillow Front, right sides up, matching the centers and the folds at the edges ; pin in place. Working within the lines of th e design, baste the Flower applique to the Pillow Front, staying 1/4" within the edges of the design and basting narrow passages and stems down the center. Remove the pins and, with small scissors, carefully tri m away the fabric around the design a ge nerous 1/s" from the drawn lines, making sure not to cut the pillow fabric. Note: Do not cut down narrow passages unti l they are ready to be appliqued, then cut down the center of the passages . Make tiny clips around inner curves and clip into inner corners.

ml Along on e hem, mark six points 3/s"

11/2" over the back with buttons and baste together along the side seam allowances. Button the buttons on each side and leave the rema ining unbuttoned for turning .

PREPARE THE PIPING

mJoin together the bias strips in

1/4 "

bias seams; [See Sewing Basics) press open. Fold the strip over the cording, matching edges. Using a zipper foot, stitch close to the cord ing. Trim the Piping seam evenly to 1/2".

ID With edges even , pin the Piping to

seam allowance at th e corners. Using a zipper foot, stitch beginning 1/2" from th e start of the Piping and ending 1" from the joining at the ot her end. To smoothly join the ends, unpick the Piping seam and cut the cord end to butt the cord start. Trim the Piping fabric to 1/i" beyond the joi n, fold t he end under 1/ 4", wrap the j oined cording, and complete stitch ing the Piping in place.

COMPLETE THE PILLOW

ml With edges even, pin the Pillow Back to th e Pillow Front. Using a zipper foot, stitch just inside previous piping, stitching arou nd the perimeter of the pi llow. Clip corners; turn and press.

fE Insert a 22" pillow form and button the back closed .

SOURCES Robert Kaufman , Kona Cotton, in Chartreuse and Tangerine, robertkaufman.com FABRIC

LONGARM QU ILTING Natalia

Bonner,

pieceandquilt.com TINA LEWIS designs and sews in her studio

high in the mountains ofPark City, Utah. Her quilts, clothing, and accessories for adults and children have been featured in nun1erous publications. Often detailed with hand-stitched needlework, her work has a fresh classic look.

Cuffed Bandeau by TIN A LEWIS {from page 45}

the Pillow Front, clipping the Pip ing

ll

Using a very fine needle and thread, needleturn applique the design to the Pillow Front. Remove t he basting; press.

ADD THE DOTS

DlJ Work a small running stitch around the edge of a Dot, center the form on the wrong side and draw up the gathers snuggly around the form. Press with the thread still attached. Release th e stitches enough to remove the form. Draw gathers back in place and tie off. Repeat for the remaining twenty-three Dots.

J.. ('~

DOWNLOAD THE FULL-SIZE PATTERN FOR THI S PROJECT AT SEWDAILY.COM

>> 91

sewdaily.com

*


how-to

FABRIC

fJ

- Bandeau: 1/3 yd of ten different colors quilting cotton, 45"

- Two Cuff [Cl. transferring all markings

- Cuff: 3/4 yd quilting cotton [shown: black]

D

- Two Lini ng Back [I)

- Lining:

- Two Lining Side Front (Jl

1/2

yd quilting cotton, 45"

From the Lining fabric, cut:

OTHER SUPPLIES

- One Lining Front IHI. on the fold.

- Templates, down loadable:

liJ From the interfacing, cut:

- Back [Al

- Two Back (A)

- Side Back [Bl

- Two Side Back [Bl

- Cuff [C)

- Two Cuffs (C)

- Lower Side Front [DJ

- Two Lower Side Front (DJ

- Upper Side Front !El

- Two Upper Side Front !El

- Lower Front [Fl

- Two Lower Front [Fl

- Upper Front [G)

- Two Upper Front {G)

- Li ning Front [HJ

- One Lining Front [H). on the fold

- Lining Back [I)

- Two Lining Back [I)

- Lining Side Front [J)

- Two Lining Side Front [J)

- Strap !Kl

- One Strap [Kl in half lengthwise.

3/4 yd

-

boning

ASSEMBLE THE BANDEAU

- 2 yd fusible kn it interfacing

D Fuse interfacing to the wrong side of

- Five buttons, 1h" to 5/s"

all corresponding Bandeau and Lining pieces, fusing the Strap interfacing to one side of each Strap.

....

2 a: 4 c( 6 ::c 8 u 10 L&J N ~2

-en

Bust 32" 33" 34" 35" 36" 37'h"

~4

39"

16

401h" 41'h"

~8

D

Pin right Back to right Side Back; stitch. Press seam open. In the same manner, join left Back pieces. Pin Upper Side Fronts to Lower Side Fronts. Stitch, notch outer curves; press seams open. Pin Upper Fronts to Lower Fronts, clipping inner curves. Baste on seamline; stitch. Notch outer curves and press seams open.

D Pin Side Backs to Side Fronts;

NOTES

stitch. Pin Side Fronts to Fronts; stitch. Pin Fronts together at center front; stitch. Press all seams open.

- Sea m allowance is 5/s".

ll Staystitch the upper and lower

- Stitch with right sides together unless otherwise noted.

edges of the Bandeau just inside the seam allowances.

- Lightweight knit interfacing is used as underlining on all pieces to add body.

CUT THE FABRIC

D From the ten Bandeau fabrics, cut: - Two of each pattern piece, A, B, D- G, in alternating colors, t ransferring all markings. - Two Strap (Kl

¡¡~

From the Cuff fabric, cut:

92 ....... _....___.

* stitc h

ADD THE BONING

D Cut boning pieces for the side seams and Side Back seams, with the boning a generous 1/a" away from the upper and lower edge seam lines. Cut boning for the center front seam from the lower edge to the cross seam.

iill Slipstitch boning to the seam allowances. [See Sewing Basics]

MAKE THE CUFFS

mFold Cuffs in half lengt hwise; pin

and stitch both ends. Trim seam; turn and press. Pin the edges together and baste just inside the seam line. [EJ Pin Cuffs to Bandeau between center Back and center Front, matching notches and side seams; baste.

MAKE THE STRAPS EE] Fold Straps in half lengthwise; pin. Stitch the long sides and the pointed end. Trim and grade seams; turn and press.

Ill With edges even. pin the Stra ps over the Cuffs between the points on the right and left Side Fronts of the Bandeau; baste.

LINE THE BANDEAU

ml Join Lining

Backs to Lining Side Fronts and Lin ing Side Fronts to Lin ing Front. Notch Lining Side Front at curve; press seams open. Staystitch lower edge just inside seamline.

DJ

Pin Lining to Bandeau at back and top edges, with edges even, matching sides and centers, and leaving lower edges open. Stitch, catching in Cuff and Straps. Grade seams. clip corners, and turn right side out.

iiJ Understitch the Lining by folding the Lining and seam allowances away from the Bandeau and, Lining side up, stitching close to the seam through all th icknesses. Stitch as far into the center back corners as possible.

DJ Press under the seam allowance on the lower edge of the Lining along the staystitching and slipstitch the lining to the folded edge of the Bandeau.


how-to

COMPLETE THE BANDEAU

OTHER SUPPLIES

Dl Work buttonholes on the

- 1 3/4 yd of batting, 60" . or a twi nsized package of batting

left Back. Stitch buttons to co rresponding points on the right Back.

SOURCES

- Six 2112" wide x WOF stri ps for Binding

D

- Bent-arm sa fety pins or qu ilt basting spray

FABRIC Michael Miller Fabrics, Cotton

- Fabric marking pencil or cha lk

Couture, michaelmi llerfabrics.com INTERFACING Pellon, EK130 Easy-Knit ,

- Rotary cutter, rigid acrylic r uler, and self- healing mat

pellon projects.com

-

BONING Oritz, Flexicurve Polyester

TINA LEWIS designs and sews in her studio

FINISHED SIZE

high in the mountains of Park City, Utah. Her quilts, clothing, and accessories for adults and children have been featured in numerous publications. Often detailed with hand-stitched needlework, her work has a fresh classic look.

48" x 57"

by MICHELLE FREEDMAN {from page 46}

El

From the green fabric, cut: - Fo ur 10 1/2" x WOF strips; subcut into fi ft een 101/2" x 101/2" squares - Two 10 1/4" x WOF strips; subcut into thirty 2" x 101/4" strips

foot and walking foot for sewing machine

- Matching thread

Shoreline Throw Quilt

- Two 101/2" x WOF strips; subcut into eight 10 112" x 101/2" squares - One 10 1/4" x WOF strips; subcut into sixteen 2" x 101/4" strips

1/4"

Bon ing , dritz.com

CUT AND PIECE THE BLOCKS

IJ

Draw a diagona l line from cor ner to corner on the wrong side of the fi fteen green squares.

NOTES - All seam allowances are otherwise noted.

1/4"

unless

1:1

Place the eight blue squares and eight green squares right sides together with the diagonal line facing up. Ill Stitch the pairs by sewing 1/4" in

- Press all sea ms open unless otherwise noted. - Use a machine stitch length of 2mm to 2.5mm and an 80/ 12 machine needle for piecing.

from the diagona l line. Do this on both sides of the line . (figure 1)

- Cut off selvedges before cutting the fab ric.

fJ Cut the squa res apart on the drawn line and press the half-square triangle seams open.

- The qu ilt blocks are made from half-square triangle units subcut and re-assembled into left and right blocks. Chain -piece the pieces within each block for faster assembly.

[I Place the seven tan squares and seven green squares r ight sides together with the diagonal line facing up.

ll

Repeat Steps 7- 8. At this point you will have sixteen sets of blue and green half- square triangles and fou rteen sets of tan and green ha lf squa re triangles. Tip: Because you will be making right and left blocks, do one stack at a time so t he pieces do not get m ixed up.

- Width of Fabric= WOF.

CUT THE FABRIC

D

From the Tan fabric, cut: - Two 10 1/2" x WOF strips; subcut into 10 1/i" x 10 1/2" squares. You will use

IE Stack eight of the blue/green sets

seven squares.

r ight side up with the blue facing left. Stack the remaining eight blue/green sets right side up with the blue facing righ t.

1/4

- One 10 x WOF strip; subcut into fourtee n 2" x 10 1/4" strips

FABRIC

â&#x20AC;˘

, ,, , .I

, ,, ,

All fabrics are 44" wide. - 11/2 yd tan print (shown: Tona l Mosaic in Tan)

, ,, ,

, ,, , , ,, ,

,, ,

, , , ,

- 1 yd blue print [shown: Tonal Li nes in Bluel

;

,, ,, ,, , ,

- 3 yd green print [shown: Chartreuse Texture) - Backing: 3 112 yd (shown : Reverse Scrib bles in Cream)

From the Blue fabric, cut:

;

figure 1

,, , ;

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;

, ,,

,

, ,, , ,, , , , , ,, , , ,, , , ,, ,, , , , ,, ,, , ,,

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;

;

>> 93 sewdaily.com

*


how-to

------ - - - - -

-

-

27

1/2" 21/4" 21/4" 2 1/4"

"

I

Z I s: I z I s: I z I "' S: I z J

21/4" 1fi"

figure 2

IZ I I Z I I Z I I ZI

1

I

I

mCut a strip

1/2"

wide off the bottom and top edge of the first block in the stack. Subcut the rest of the block into four strips 2 1/4" wide. Repeat on each block. (figure 2)

III

Rearrange the four 2 1/4" wide strips as shown and stitch together to form the center unit of each block. (figure 3) Press the seams open.

IE Stitch a 2" x

101/4" green strip to the top of the block. Stitch a 2" x 101/4" blue strip to the bottom of the block. (figure 3) Press seam allowances open. Repeat on each blue/green block.

ill Stack seven of the tan/green

sets right sides up with the tan facing left . Stack the rema ining seven tan/green sets right side up with the tan facing right. Repeat Steps 11 - 12 on each block.

I

I

figure3

III Stitch a 2" x 10 1/4" green strip to the top of the block. Stitch a 2" x 10 1/4" tan strip to the bottom of the block. Press seam allowances open. Repeat on each block.

ASSEMBLE THE QUILT TOP

ID On a design wall or large surface, ar range the t hirty blocks into the layout shown on the quilt top assembly diagram. (figure 4) Stitch the blocks together in rows and then stitch the rows together.

I

/ / i..

/

./

iE Cut the Backing fabr ic in half to yield two 1 3/4 yard lengths. Remove the selvedges and stitch the Backing Panels together along the long edge to make a piece that is approximately 56" x 84".

iD

Make a quilt sandwich. Place the quilt Back on a fla t surface, wrong side up. Smooth out any wrinkles and tape the four sides down, keeping the fabric taught, but not stretching it. Center the batting on the backing. Lay the quilt Top, centered , on top of the batting and backing. Start ing in t he center and working outwards, pin baste every 4" to 5" to secure, smoothing as you go. Quilt as desired. Note: Sample has a quilt design in rows that resemble Es and Ms for an island feel. (figure 5) iJJTrim any excess batting and backing fabric and bind using your preferred method. figure 4

'* stitch


how-to

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Press seams after every step. Pressing is mandatory.

-

Pretreat the fabrics as the finished garment will be cleaned (wash, dry, and iron or dry clean) to avoid shrinkage after the garment is sewn.

-

Midweight cottons work best for this dress.

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figure S

SOURCES FABRIC Windham Fabr ics, Mosaic by

Marcia Derse, in Tonal Mosaic, Tonal Lines, Chartruse Texture, and Rever se Scribbles, windhamfabrics.com MICHELLE FREEDMAN is an Oregon-

based designer and author with a passion for making quilts. Her work has been featured in a variety ofsewing and quilting publications. This is her sixth project for Stitch n1agazine. Michelle is a men1ber and past-president of the Portland Modem Quilt Guild. Visit her at designcamppdx.blogspot.coni.

- Accent: 3/4 yd contrasting fabric for belt and bias band/piping - Interfacing: 2 yd lightweight woven fusible interfacing, 20"

- You might want to consider adding a lining if you use lighter/sheer fabrics.

OTHER SUPPLIES - Templates, downloadable:

- Allow extra fabr ic to match plaids .

- Top Fr ont [Al

-

- Top Back [BJ - Top Back Interfacing (CJ - Side Back Interfacing [OJ

Pin pattern pieces to fabrics as shown in the cutting l ayout, transferring all pattern markings to the fabrics.

- Skirt Front [El

CUT THE FABRIC

- One Skirt Back [Fl

0

From the Main fabric, cut straight of gra in:

Hawaiian Vacation Dress

-

Button Band (G)

-

Front Neck Facing [HJ

by KATRIN VORBECK

-

Back Neck Facing [I]

- One Top Back [Bl. on fold

{from page 47}

-

Front Armhole Facing (J)

- One Skir t Front El. on fol d

-

Back Armhole Facing (Kl

- One Skirt Back [Fl. on fold

- Two Top Front (AJ

- One Invisible zipper, 12" long

- Two Button Band (G)

- Seven buttons. 112" diamete r

- Two Front Neck Facing (HJ - One Back Neck Facing [I ). on fold

- Matching thread

- Two Front Armhole Facing [J)

- Tailor's chalk or fabr ic- safe marker

- Two Back Armhole Facing [Kl

- Embroidery th r ead/embroidery design for your machine. Sample uses machine embroidery by

...ex

DOWNLOAD THE FULL-SIZE PATTERN FOR THIS PROJECT AT SEWDAILY.COM

FABRIC -

Ma in: 21/4 yd cotton fabric, 45"

!Bus~

Waist

c( XS 32-33" :c s 34-35" Z4-25" l6-27" u w IM 3o-3Ylh" lB-29\h" N IL 39-40\h" 31-321h" en 'Xl 42%-J+4Yt" 34V1-36Vt" Shown in size X·Small

-

D

From the interfacing, cut straight of grain:

flip 341/r-36~"

36'1r-37YI" 381/t-40" 41'11-43" 45-.47"

GeWter Bac.k length 38"

38%" 39~"

'O'lt" 41"

>> 9S sewdaily.com

*


how-to

- Two Top Front (A]

IIl With right sides facing and bias

- One Top Back Interfacing (Cl. on fold

band sandwiched between layers, stitch armhole facing to armhole. Cut corners of seam allowances where necessary in order to reduce bulk. Clip seam allowances around armhole and fold facings inside dress. Press in place. Repeat with other armhole facing.

- Two Side Back Interfacing [OJ - Two Button Band [GI - Two Front Neck Facing [HJ - One Back Neck Facing (I]. on fold - Two Front Armhole Facing (J ] - Two Back Arm hold Facing [K]

lil With right sides together, stitch

El From the Accent fabric, cut : - Two 4" strips straight of grain , from selvedge to selvedge. Stitch together and cut to the following length for Belt, with seam at center back: XS 65'', S - 70", M - 75", L - 80'', XL- 85". - Bias strips, 13/s" wide, to make a total of approximately 5 yd of bias band (generously measured]

PREPARE THE MATERIALS

0 Fold and very lightly press two yards of the prepared bias strips in half lengthwise, right side of fabric facing out (skip this step if you use ready- made bias band].

0 Apply fusible interfacing to wrong side of all Facings, Button Bands, and correspond ing Top pieces, following the manufacturer's instructions.

ll Serge or zigzag all raw edges alo ng side and shoulder seams, an d around the edges of the facings that will be visible inside the dress.

ASSEMBLE THE DRESS

II Stitch all darts closed. Press darts on the front flat and darts on the backside toward center back.

ll Close shoulder seams of Top pieces,

right side seam of Skirt closed. Press seam allowances open .

l:E With

go through the seam allowance of the waistline.

mWith right sides facing and bias band sandwiched between Button Band and Top, stitch Button Band to Front Top, starting at the seam allowance of the neckline and sewing all the way down through the seam allowance of waistline.

IE

Press Button Band toward center front, w ith seam allowances pointing toward button band. Fold Button Band lengthwise, right sides facing. Carefully stitch seam along neckline closed , beginning at the [remaining] seam allowance of the Button Band. Clip corner of seam allowance an d fold Button Band inside out.

iE On the wrong side of the top, fold remaining seam allowance of button band toward inside, barely covering the seamline. Press in place. Baste , if necessary.

ID Topstitch button band about

1/s"

Neck Facings, and Armhole Facings and press seam allowances open.

away from each edge. Begin and end at the seam allowance of the waist, pivoting at the corners.

D With right sides together, stitch

IIJ

Repeat Steps 11-14 with other Button Band.

Front Neck Facing to Top Front. Clip seam allowances and cut corners of seam allowances where necessary to reduce bulk. Fold Facing inside dress and press in place. Understitch Neck Facing.

and close about 5" of left side seam at underarm, following notches. Leave the remain ing sideseam unsewn and press seam allowances open.

iilJ Baste bias band to one side

[fJ Stitch side seams of armhole

of each Button Band [to left side of underlapping an d right si de of overlapping Button Band]. with raw edges aligning and bias band on top of Button Band. Make sure to start at the seam allowance of the neck li ne and

96 * stitch

ml Stitch right sideseam of top closed

facings closed. Press open. Baste folded bias band to seam allowance of armhole facings with raw edges aligning. Begin and end under the arm, where it is less visible.

right sides facing and aligning center front/center back and side seam(s]. stitch Skirt to Top, evenly distributing/gathering the fu llness of the skirt to the width of the waistline. Serge or topstitch all layers together to prevent them from fraying. Tip: If you want a very clean looking inside, you may also bias- bind the waistline seam allowances.

fII Stitch invisible zipper into open left side seam, between notches. Close remaining sideseam of skirt and press seam allowances open. Zigzag stitch across upper and lower end of zipper to fix them and give support to these areas.

fE With

right sides togeth er, st itch unfolded bias band to lower raw edge of Skirt, using a 1/4" - 1/2" sea m allowance. Fold bias band toward wrong side of Skirt to cover the raw edge. Press in place. From the right side, stitch in the ditch to ho ld bias band in place.

fE

Check buttonhole placement. Adjust, if necessary. Note: Remember that a button should sit at the widest part of your bust to prevent gaping . Stitch buttonholes in place. Stitch on buttons according to buttonholes.

III Fold fabric strip for Belt in half lengthwise. Press lightly. Fold raw edges toward center fold, like you would fold a bias band. Press. With right sides facing, stitch short ed ges closed. Clip corners of seam allowances and fold strip inside out aga in. Topstitch about 1/s" away from long edges, closing the strip.

IE Embellish the dress by adding the embroidery design of your choice to the ski rt.


how-to

SOURCES FABRIC Moda, Shades of Black by Me

and My Sister Designs, in Floral Min i Flowers Black; Bella Solids, Summer House Lime, un itednotions.com KATRIN VORBECK is a passionate sewer,

always learning and exploring. It's the small details and the simple design features she loves most. She has been into needle crafts since childhood.. Adn1ittedly, she is afiberholic, a bookworm, and a bad photographer. Visit her at frauvau.blogspot.com.

Island Pleasures Fabric Art

- Base: felt

1/2

yd, or one fat quarter, white

- 1 yd fusible adhesive [HeatnBond Lite) - Covered buttons: Two 7/a", two 11/a", one 11/i" - Fabric glue - Matching thread - Sewing needle size 10or12 - One 20" x 20" stretch canvas - Spray paint for the stretched artist canvas, in yellow - Paper - Three Flower [CJ

FINISHED SIZE - Painted stretched artist canvas is 20" x 20"

by SHEILA COLLINS {from page 48}

- The finished fabric art, including binding, measures 171/4" x 171/4"

NOTES - Apply fusible adhesive to fabrics following the manufacturer's instructions before cutting out pieces and shapes. - Felt can stretch with pressing and sewing. Square it up when you're done working on it. - Put a second piece of fabric between the button and the outside fabric. This keeps the metal from shining through the fabric.

FABRIC 1/4

- Ocean: yd, or one fat quarter, blue quilting cotton - Sky: 1/4 yd, or one fat quarter, blue quilting cotton - Sand: 1/a yd, or one fat eighth, quilting cotton 1/4

- Anthurium flowers come in a variety of colors. Feel free to choose a color that speaks to you. - To make the sand and flower fabrics more opaque, fu se them to white muslin before cutting out t he shape.

CUT THE FABRIC

- Flower Background: yd, or one fat eighth, quilting cotton

D

- Various scraps at least 9" x 9" for the Turtle, Air Bubbles, Surfboards, Flower, Flower Center, and Stems

D

- Binding: 1/4 yd, 44"

D

OTHER SUPPLIES

- One 21/4" x 1O" rectangle

- Templates, provided on insert:

D

- Turtle (AJ - Surfboards [BJ - Flower [CJ - Flower Center [OJ

From the Ocean fabric , cut:

- One 171/4" x 7 1/2" rec tangle From the Sky fabric, cut:

- One 7 1/i" x 1O" rectangle From the Sand fabric. cut:

From the Flower Background fabric, cut: - One 8 1/4" x 1O" rectangle

Ill From the various scraps, cut: - One Turtle (AJ - Three Surfboards [Bl

- Three Flower Center (DJ

IJ From the Stems fabric, cut: - One 41/ 4" x

1/4"

rectangle

- One 23/4" x 1/4" rectangle - One 1114" x 1/4" rectangle

IJ From the white felt, cut: - One 171/4" x 17 1/4" square, for Base

D

From the Binding fabric, cut:

- Enough 23/4" wide strips to make 75" of Binding

CONSTRUCT THE FABRIC ART

D Apply fusible adhesive to the wrong side of t he fabrics, followi ng the manufacturer's instructions.

IE

Remove the paper backing on pieces before fusing into place. Starting in the upper right corner, fuse the Sky rectangle to the white fel t. Tip: Add any decorative stitching that may enhance your design, such as cloud shapes or wavy lines.

mPlace and fuse the Surfboards on top of the Sky. Stitch around the edges with a small zigzag stitch.

IE

Position the Sand rectangle 1/4" over the bottom edge of the Sky, overlapping the base of the Surfboards. Fuse into place.

[EJ Stitch along the top edge of the Sand rectangle with a small zigzag stitch. Consider adding some decorative stitch ing in the sand, such as wavy lines.

ilJ

Position the Flower Background rectangle 1/4" over th e bottom of the Sand fabric. Fuse into place. Stitch

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how-to

felt, with a 1/4" overlap on t he Sky, Sand, and Flower Background. Fuse into place. Stitch along the right edge with a sma ll zigzag stitch .

ilJ Position and fuse the Turtle into place alo ng the bottom half of the Ocean. Stitch along the edges with a sma ll zigzag stitch.

IIJ Square up the edges of the white felt before sewing on the binding. Prepare and stitch the Binding, [See Sewing Basics) using 3/s" seam allowance, around t he edges.

along the top edge with a small zigzag stitch.

ml

Position and fu se t he Stems. Ru n a wide zigzag stitch down the centers of the stems. Position and fuse the Flowers and the Flower Centers into place. Stitch around the edges on the flowers with a small zigzag stitch .

IIJ Position the Ocean rectangle vertically on th e left side of the white

ED Apply glue to the canvas within th e paper boundaries, going for a good and even fill.

fE Position the fabric art within the boundaries and gently press onto the canvas.

fE Cover the buttons with Air Bubbles fabric following t he manufacturer's instructions. Position and glue the buttons above t he turtle, as shown.

SOURCES FABRIC ADHESIVE Heatn Bond Lite,

IIJ Paint the stretched artist canvas

thermowebonline.com

yellow, or the color of your choice. Let dry.

STRETCH CANVAS AND PAINT Michaels,

FE Before gluing the fabric art to the 11/4 "

x 20" painted canvas, cut four strips of paper and lightly tape them along all four edges of the canvas. Doing so will mark boundaries on the canvas, so you know where to position the fabric art.

michaels.com SHEILA COLLINS lives with her husband

in Sunnyvale, Calif. She has two daughters. Sheila channels her creativity into Sheila Collins Fabric Art, which combines her background in fashion design and graphic design, and love of sewing to produce art that is dimensional, bright, cheerful, and fun. Visit her at sheilacollins.us.

amazon J.ear11 ltulift11 .\'eeclle l..<t<:C!

98 '* stitch


how-to

_as1cs Sandcastle Pillow Cover by KEVIN KOSBAB

{from page 50}

FABRIC All fabrics are 45"-wide solid qui lting cottons. - Sandcastle: 1/4 yd in Ivory - Windows and Door: 1/4 yd in Honey - Background: 1/4 yd in Aqua - Binding and Flags: 1/4 yd in Regatta - Backing: 1/2 yd in Capri - Details: Various small scraps at least 5" x 5" of Flame , Lemon, Stratosphere. Azalea, Cardinal. and Pink - 20" x 20" piece of muslin OTHER SUPPLIES - Temp lates, provided on insert: - Turret Roof (A] - Turret Background [BJ - Flag (CJ - Round Window (0] - Ball [El - 20" x 20" qu ilt batting - 18" x 18" pillow form - Freezer paper

-

Spray starch and small brush Strong. fine thread for applique Safety pins or quilt-basting spray Walking foot for sewing mach ine

FINISHED SIZE 18" x 18"

NOTES - All seam allowances are 1/4" un less otherwise noted, and all seams are sewn right sides together unless otherwise noted. CUT THE FABRIC D From the Ivory cotton, cut : - Two 4 112" x 4 1/2" squares - Three 21/2" x 4 1/2" rectangles - Six 11/z" x 4 1/2" rectangles - Eight 21/2" x 11/2" rectangles - Six 2 112" x 2 1/2" squares - Eight 17/a" x 1 7/a" squares; subcut each on the diagonal to make 16 Sma ll Triangles - One 3 1/4" x 3 1/ 4" square; subcut the square on both diagonals to make four La rge Triangles D From the Honey cotton, cut: - One 4 112" x 4 1/z" square - Four 21/2" x 21/z" squares - One 4 112" x 2 112" rectang le D From the Flame cotton, cut: - Two 4 112" x 2 1/2" rectangles D From the Lemon cotton, cut: - Four 1 7/a" x 17/a" squares 1:1 From the Stratosphere cotton, cut : - Two 17/a" x 17/a" squares D From the Azalea cotton, cut: - One 4 112" x 4 112" square - Two Turret Roof [A] D From the Cardinal cotton. cut: - One 4 112" x 4 112" square D From the Aqua cotton. cut: - Two 4 112" x 41/2" squares - One 8 1/2" x 4 112" rectangle - Two 4 112" x 2 1/2" rectangles - Two 1112" x 181/2" strips - Four Turret Background [BJ D From the Capri cotton , cut:

- Two 121/2" x 181/2" Back Panels IE From the Regatta cotton, cut: - Two 2" x width of fabric Binding Strips

PIECE THE BLOCKS mStitch two 2112" x 11/2" Ivory rectangles to opposite edges of a 2 1/ 2" x 2 112" Honey square. Press the seam allowances toward the Honey piece . Repeat to create three more units. Stitch one of these units to each long edge of a 2 1/z" x 41/2" Ivory rectangle, then stitch a 11/2" x 4 112" Ivory rectangle to the opposite edge of the Ivory/Honey units to make an 8 112" x 4 112" Upper Window block. Stitch the remaining 11/z" x 4 1/2" Ivory rectangles to the long edges of the remaining two Ivory/Honey units to make two 4 1/2" x 4 112" Lower Window blocks. Press the seam allowances toward the Honey pieces. ml Using the 21/2" x 21/2" Ivory squares and 4 1/2" x 21/2" Honey and Flame rectangles, make three Flying Geese units as follows: Fold each Ivory square in half on the diagonal and lightly press to mark a diagonal line; open back up. Place an Ivory square right sides together with a rectangle, lining up raw edges. Note: The square will cover just over half of the rectangle. Stitch the square to the rectangle along the diagonal line, then trim the outer section to a 1/4" seam allowance. Open the pieces and press the seam allowances away from the Ivory piece. Place another Ivory square right sides together with the remain ing half of the rectangle, orienting the diagona l line so it intersects with the previous seam. then stitch, trim. and press as per the first square. Repeat to make two Flying Geese un its with Flame rectangles and one with Honey. [E] Place an Ivory Small Triangle on a Stratosphere 17/a" x 1 7/a" square, centering the long edge of the triang le on one edge of the square. Stitch together, then press the seam allowances toward the square. Stitch another Small Triangle to the opposite edge of the square. (figure 1) Press the seam allowances toward the square , then stitch triangles to the remaining ) )

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how-to

I I I

.... ... .. .

..

...: . ..

.• .... .. ..

I I I

figure 1

. .. .

.. . •. ..... •. .. • ... ••

...... ..•. . .. ... . .• ....• .. ...

figure 2 Assembly Diagram

I

figure 3

raw edges of the square to make a 21/2" x 21/2" Door Detai l block. Make a second Door Detail block using the remain ing Stratosphere square and fou r more Ivory Small Triangles. Ill Stitch an Ivory Small Triangle to one edge of each Lemon squa re. Stitch a Large Triangle to the opposite edge of each unit as shown in figure 2 , then press the seam a llowances towa rd the squares. Place two of these un its right sides together. squares facing La rge Triangles. the seams a ligned, and

100 '* stitch

Small Triang les pointing in opposite directions . Stitch the remaining two units together in the same way, then press the seam allowances to one s ide. Stitch one of the rema ining Small Triangles to each remaining raw edge of the squares to make two 21/2" x 4 1/2" Tower Detail blocks . IE Lightly press the 4 1/i" x 4 1/i" Aza lea and Cardinal squa res in ha lf on the diagonal and open back up. Place each on a 4 1/i" x 41/2" Aqua squa re and stitch each pair together along the diagonal line. Trim one side to 1/ 4" beyond the seam, then press open with seam allowances extend ing away from the Aqua pieces to make two 4 1/i" x 4 1/i" Ha lf-Square Triangles. Ill Aligning the long edges, stitch an Aqua Turret Background to an Azalea Turret Roof as shown in figure 3 . Press the seam allowances toward the Roof piece, then stitch another Turret Backg round to the remaining lon g edge of the Turret Roof to ma ke a 4 1/2" x 4 1/2"

Turret Peak bloc k. Repeat to make a second Tu rret Peak block.

ASSEMBLE THE PILLOW FRONT Refer to the Assembly Diagram thro ughout the following steps. Press the darker fabric seam allowances to one s ide, unless otherwise noted . Press Aqua seam allowances toward the sandcastle to help define the castle's edges. iil Stitch the two Half-Square triang le blocks together to form the Central Roof Peak. Stitch a Door Detail block to each short end of the Honey Flying Geese unit. Stitch the remaining 21/i" x 4 1/i" Ivory rectangles to opposite edges of th e 4 1/i" x 4 1/2" Honey square, then stitch this unit to the Door Detail/ Flying Geese section, match ing the Honey sections. Stitch the 8 1/2" x 41/2" Aqua rectangle to the long Aqua edge of the pieced Half- Square triangle un it. then stitch the opposite edge of the half-square triangles to a long edge of the Upper Window block. Stitch the


how-to

long raw edges of the Upper Window and Door Detail/Flying Geese sections together to make the cent ral section of the sandcastle.

DJ Stitch a

4 1h"

by TINA LEWIS

2 1h"

Aqua rectangle to the top edge of one Turret Peak block. Stitch the bottom of each Turret Peak to a 4 1/2" x 4 1/2" Ivory square, then stitch the Flame edge of a Flying Geese un it to the opposite edge of the square. Stitch a Tower Detail block to one edge of a Lower Window Block, then stitch this section to the bottom edge of the previous section [Turret Peak, square, and Flying Geese) to make a Tower. Repeat to make a second Tower. x

Little Girl Seabird Sundress

III Stitch a Tower column to each side of the central section. Stitch a 1 1h" x 18 112" Aqua strip to the outer side edge of each Tower, then press seam allowances toward the Towers.

APPLIQUE THE DETAILS

IE Trace the Round Window IOI.

Ball [El. and Flag (CJ templates onto the paper side of freezer paper. Press the freezer paper onto another sheet of freezer paper, both paper sides up. Peel the paper off your iron ing surface and cut out each shape on the traced lines. Make two Round Windows from Honey cotton, one Ba ll from Pink, and two Flags from Regatta using the following process: press the freezerpaper temp late paper side up onto the wrong side of the fabric, then cut the shape out leaving a fabric margin of about 1/4" beyond the template. Spray starch into the bottle's cap, allow foam to settle into liquid , and brush the liquid starch onto the fabric seam allowance around the freezer-paper shape. Working in short sections, wrap the seam allowance over the template edges and press dry with a hot iron. When cool, lift the seam allowance to peel the template away; the starch will retain the crisp edges.

Ill Pin a prepared Round Window piece to the center of each blank Tower square, pin the Ba ll just above the Central Roof Peak, and pin the Flags above the turret peaks. Stitch the appliques to the Background fabric using a standard hand -applique stitch. [See Sewing Basics]

{from page 51 }

;

...,.

QUILT THE PILLOW FRONT

-

EE Layer the Muslin, Batting, and Pi llow Front right sides up and safety-pin or spray baste.

Ill Quilt as desired. The sample was quilted using a walking foot to stitch in the ditch around the castle and its internal elements. then the windows and door were echo-quilted about 1/4" inside and outside the seams. The Aqua background was quilted all-over with a programmed serpentine stitch for a watery look.

s~

DOWNLOAD T HE FULL-SIZE PATTERN FOR THI S PROJ ECT AT SEWDAILY.COM

FINISH THE PILLOW COVER

flJ Press under 1/2" along one long edge of each Back Panel. then press under 1h" again. Topstitch each piece through all layers near the fold to secure the hems.

Elli Place the

Back Panels right sides up on the muslin side of the Pi llow Front, overlapping the hemmed edges in the center. Pin the layers together.

FABRIC - Main/Lining: 2 yd cotton or cotton/po lyester, 60" - Piping:

1/2

yd cotton, 45"

OTHER SUPPLIES - Templates, downloadable: - Yoke Front [A]

ID Join the Binding Strips with a

- Yoke Back [BJ

diagonal seam. then follow the Sewing Basics instructions for folding and sewing double-layered binding around the outer edges of the pillow cover.

- Skirt Back (CJ

Ill

Insert the pillow form through the hemmed opening.

- Skirt Front (DJ - 33/, yd cording, 2. 7mm -

h yd featherweight fusible

1

interfacing, 36"

SOURCES

- Embroidery floss as specified on the smocking plate

FABRIC Robert

- Zipper foot

Kaufman, Kena Cotton, robertkaufman.com

- #8 crewel needle for smocking

KEVIN KOSBAB is a contributing editor to

- Smocking pleater

Stitch. He designs modern sewing and quilting

- Washout ma r ker

projects for magazines and his own pattern line, Feed Dog Designs (feeddog.net). .His book The Quilter's Applique Workshop offers instruction for hand and machine techniques, jun quilted projects, and inspiration for exploring the possibilities ofappliqul

- Three

5/ 16"

buttons

NOTES - Seam allowance is 5/s". - Stitch with r ight sides together unless otherwise noted.

>>

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how-to

Rowl

t-

a:

Chest 20"

CB length 23Vi"

u

21" 22"

25" 26'/r"

23"

281A"

24"

30"

c( 2T :c 3T 4T w 5

-en

N 6

Row2

Row3

Shown in size 3T

CUT THE FABRIC

D

Stitch Count 2 2-2-2 4-2-2 4-2-2 4-2-2 2-5-6 8-8 8-10 3-2-11-4 -2 4-13-4 13-2-4 12-2-2 12-4-2 12-3-5-2 12-2-21 13-10 8-7

Row 4

From the Main/Lining fabric, cut:

- One Yoke Front [A] each, on fold - One Yoke Back [Bl each, on fold

Rows

- One Skirt Back [Cl each, on fold - One 42" x 23" piece for the Skirt Front

fl

Row6

From the Interfacing, cut:

- One Yoke Front - One Yoke Back

D

Row7

From the Piping fabric, cut:

i

center

- 134" of 1 1/2" wide bias strips Row8

MAKE THE PIPING

a Join togeth er the bias strips in

s

1/4"

seams; (See Sewing Basics] press open.

D Fold the bias over the cord ing with edges even and, using a zipper foot and a slightly longer stitch, stitch close to the cord ing. Trim the piping seam allowance to 5/a".

SMOCK THE FRONT

Row9

TROPICBIRD The design shown is worked over 150 pleats. The Tropicbird covers 42 pleats. Follow the diagram and stitch count for each row, noting the color changes. DMC floss: 310 black, Blanco white, co lor to match fabric for backsmocking.

D Pleat nine rows along the top of

Pleat 9 rows.

the 42" x 23" Skirt Front, with the first row 1/a" from the edge of the fabric. Unpick the pleating threads 25/a" from each side edge. Draw up the pleats to 83/," and tie off. Mark the center valley. Steam the pleats and let dry.

The bird is worked using four strands. Begin the bird w ith a down cable on Row 6, 18 pleats left of the center valley.

D

Outline stitch Row 1 on the right side as a holding row. Backsmock Rows 2, 3, 4, 5, 6, and 7. From Row 7 to Row 9, backsmock a curve. Start at Row 7 and stitch to Row 8 in 25 pleats, stitch to Row 9 in 25 pleats, stitch across Row 9 for 50 pleats, stitch to Row 8 in 25 pleats and stitch back to Row 7 in 25 pleats. Outline stitch across Row 8 within the curve. [J Referring to the Tropicbird smocking plate, stitch the bird and the dots accord ing to the diagram.

102 * stitch

D Work an outline stitch with 2 strands across Row 1 as a holding row. fl Backsmock across Rows 2, 3, 4, 5, 6, 7, 8, and 9.

0 Using four strands, work the eye with a French knot where shown. Work two straight stitches for the beak. One stitch, using three strands across two pleats, is worked in a pattern in the background . Stitches are worked on the half rows, with 1O pleats between them, and alternate in spacing from row to row. Begin in the center and work outwards, eliminating stitches that would touch t he bird.

Steam the pleats and remove th e guide threads.

D Align the top of the skirt template wit h t he Smocked Skirt Front and mark the curved edge on the skirt with a washout marker. Outline stitch 1/2"

from the line w ithin the smocked area. Trim the top of the Skirt Front along the marked line .

ASSEMBLE THE YOKES

D!I

Laye r the interfacing on the wrong side of the Yoke Front and Back and


how-to

PICTURE SMOCKING TIPS

Baja Beach Hoodie

Picture smocking is smocking that stacks cable stitches to create solid areas. Prepare the thread by stripping and re -assem bling the threads . Starching and ironing the threads achieves beautiful stacking. Backsmock using a stem or cable st itch , using 1 or 2 strands and pick ing up only a few threads of fab r ic. Untwist the thread oft en. Take a deeper bite of fabric when stacking - 2/3 to 3/4 of the pleat. Stitch with even tension and with

fuse according to the manufacturer's instructions.

mPin the Yoke Front to the Yoke Back at the side seams; stitch. Press seams open. Repeat for the Yoke Lining.

IE Pin the piping to the Yoke neckline edge, beginning at a side seam and clipping the piping at the curves. Using a zipper foot, stitch beginn ing 1/2" from the start of the piping and end ing 1" from the joining at the other end. To smoothly join the ends, unpick the pi pin g seam and cut the cord to butt the cord start. Trim the piping fabric to 1/2" beyond the join, fold under the end 1/ 4", wrap the joined cord ing, and complete stitching the piping in place.

[EJ Pin piping to the yoke skirt edge, beginning at a side seam. Stitch and join piping as before. Trim all piping seam allowances to 1/e". [IJ With edges even , pin the Yoke Lining to the Yoke, matching side seams and center fronts and backs. Using a zipper foot, stitch ju st inside piping stitching. Trim seams to 1/4'', clip seams around inside curves, and notch seams around outside curves. Turn right si de out. Baste close to piping and press.

COMPLETE THE DRESS

IE

Pin the Skirt Front and Skirt Back side seams together; sti tch in French seams. [See Sewin g Basics]

by KAREN LEPAGE {from page 52}

the need l e always parallel to the pleating threads.

ID Gather the Skirt Back between the dots on the seamline and 1/4" inside the seamline.

(j ~

J ·~ •

DOWNLOA D THE FULL-SIZE PATTERN FOR THIS PROJECT AT SEWDAILY.COM

lE

Pin the Skirt to the Yoke, matching side seams, center fronts and backs, and drawing up the gathers to fit between the back Yoke dots. Clip th e inner curves of the Skirt front and of the Yoke front; baste. Using a zipper foot, stitch just inside the previous piping stitch ing. Stitch again.

al Tu rn under the Yoke Lining at the sea mline; press. Pin the lining to cover the yoke seam and slipstitch in place, enclosing all the seams.

III Sew three

buttons to the center

FABRIC - Main : 2 yd lightweight cotton canvas, quilting cotton, linen, or chambray, 45" - Contrast : 3/4 yd of a different lightweight cotton canvas, qu ilti ng cotton , li nen, or chambray, 45"

OTHER SUPPLIES - Templates, downloadable: - Front [A]

Front Yoke.

- Back [BJ

rE Fold the hemline edge 1/4" to the

- Sleeve [CJ

wrong side; press. Fold up the hem 4" or as desired and pin, easing in the back skirt hem; press. Hem the dress with a slipstitch.

- Hood [OJ - Pocket [El - Front Facing (Fl - Back Facing [G)

SOURCES FABRIC Farmhouse Fabrics, Imperial

Broadcloth in cotton, and German Interfacing in cotton batiste, farmhousefabrics.com TINA LEWIS designs and sews in her studio

high in the n1ountains ofPark City, Utah. Her quilts, clothing, and accessories for adults and children have been featured in numerous publications. Often detailed with hand-stitched needlework, her work has a fresh classic look.

- Coordinating thread - Fabric-safe marker

...a:

Chest

:c s

45"

c( XS 43"

u w N en

-

CB Lellgth 24" 24'/t" 2s" lS'h"

M /i'/1/t" L 50~" XL 6S1h" l~" Sho\lll'l ln size Small

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how-to

especially useful when sewing with more loosely woven fabric, such as cotton canvas, because it takes some of the burden from the shoulder/sleeve seam, making it less likely to fray or pull over many washings and wear.

ASSEMBLE THE FACINGS

ll With right sides together, stitch the Front Facing to t he Back Facing at shoulders. Press seam allowa nces open. Note: Th ere is no need to finish t hese seam allowances, as t hey will be enclosed.

D

Clip a 112" slit at the center front marking to assist in Hood placement.

NOTES - All seam allowances are 112" unless otherwise noted.

CUT THE FABRIC

D

From the Main fabric, cut:

- One Front [A]. on fold - One Back [Bl. on fold - Two Sleeve [Cl - Two Hood [DJ

fJ

From the Contrast fabric, cut:

- Two Hood [DJ - One Pocket [El. on fold - One Front Facing [Fl. on fold - One Back Facing [GJ on fold

El Press a crease to mark the center front and center back of the Fac ings, Sleeves, and the Front and Back. Or, mark each center front and center back with a fabric- safe marker.

MAKE THE BODY

D With right sides together, stitch the Front to the Back at the shoulders. Press seam allowances toward the Back and topstitch 1/4" from the seam. Clip a 1/2" slit at the center front marking to assist in hood attachment step.

Ill With right sides together, pin a Sleeve to an arm open ing, matching the center of the Sleeve to the shoulder seam. Continue pinning sparingly out to each underarm . Stitch. Clip the seam allowances at the curves and press away from the Sleeve. Topstitch 1/4" away from the seam. Repeat for the remain ing Sleeve. Note: Topstitch ing the seam allowances to the body of the garment is

IO.ta '* stitch

ASSEMBLE AND ATTACH THE HOOD

ll With right sides together, pin each Main Hood piece together. Stitch along the back seam . Press seam allowances open an d use a wide three-step zigzag to topstitch down the center of the seam to hold seam allowances open. Tip: Alternately, clip each seam allowance at the curviest part and topstitch each side 1/4" away from the seam along the entire seam, from the front of the Hood to t he neck edge. Repeat for th e Contrast Hood.

11 Match the

Contrast Hood at the neck edge to the main Body piece , with the right side of the Hood facing the wrong side of the body pieces. Begin by pinning the center back Hood seam to your center back marking on the Body. Then pin around each side to the front, ending at the slit you cut to mark center front. Stitch in place. Press seam allowances open and clip. Note: the seam will wind up on the r ight side of the body, which feels a bit awkward, but will be fini shed by the Facing s. Tur n the entire Body wrong sides out.

iilJ Repeat this process to attach the Main Hood to the Contrast Facings at the neck opening, but pin right sides together. Note: this seam will have seam allowances on the wrong side of the fabric, as is usual. Turn the facing/hood assembly wrong sides out.

ATTACH THE FACING

mFi nish the outer edge of the Facing

using a serger with a 6mm wide stitch , or using the longest stitch avai lable

on your machine, stitch arou nd t he outer edge of the Facing 1/4" from the raw edges. Resume your normal stitch lengt h. Press under using the stitching line as a guide and a lot of steam to form a sharp crease. Note: Th is will be the finished edge of t he Facing.

iEI Slide t he Facing/Hood assembly on top of the main Body, with Hoods right sides together. Note: Facings will be right sides to wrong sides of the body.

IIJ

Match the Hood seams to one another at the center seam, and at the clipped marking at the center front neckline. Pin the Hoods together at the front edge, beginning at the Hood seam, and ending at the center fro nt neckline clipped marks. Align and pin at shou lder seams and neckli ne/Hood seams. Pin the Facing flat aga inst the front of the Body to keep Facing in place.

iD

Measure up 3 112" from t he basted or marked fin ished edge of the Facing bottom and place a pin directly across the center front crease to m ark the finished bottom of the front opening . Note: Be su re to pin t hrough the Front body panel as well.

ml Using a fabric-safe marker, draw a line 1" away from the center front crease from the necklin e seam allowance angled to the pin ned point. Repeat for the other side of the crease . This will be yo ur stitch ing lin e. (figure 1)

ml

Beginning at the Hood center/top, stitch the Hoods together, usi ng a 1/ 4" seam allowance. Follow your marked stitching lines once you pass the neckli ne/hood seam. Once you reach the pin at t he center front Facing/ Body crease, pivot the garment and stitch along the othe r marked stitching line . Continue stitching t he Hoods together using a 1/4" seam allowance once you pass the neckline seam on the othe r side .

ill With a very sharp shears, cut through the center front crease up to the pivot point, but not through the stitching. Press the Hood seam allowances open to assist in turning. Turn, so Hood s have wrong sides together, and the Facing lays flat against t he ma in Body.


how-to

Crop Marks Quilt by TULA PINK {from page 53} ', •

',

'\

'

--

31/2"

'' '.... ---

figure 1

•I ' • I'

WI

--

'

-. . +

- ....--

IPfllfnlr

I

'I '\

••

---------1

"r·

•• •• ' •• •• • • •

• •

FABRIC - Print: Fourteen fat quarters printed fabric - Backgrou nd/Sash ing: 3 112 yd cream fabric

figure 2

- Borders:

ml

Increase stitch length to 3.0-3.5. Topstitch all the way arou nd Hood and neck opening. 1/a"' away from finished edge. (figure 2)

[[J Pin Facing in place so cen ter front creases are aligned and shoulder seam notch on the Facing are in line with the main body shoulder sea ms. Topstitch 1/a"' away from fold ed edge of Facing. Tip: Double- sided wash -away tape may be preferable to pinning to keep the facing in place while stitching. Resume your normal stitch length .

FINISH THE HOODIE

IE Increase your stitch

length to 3.0-3.5 for topstitching. Turn a sleeve hem edge 1/ 4"' to the wrong side and press, then turn under another 1"' and press again. Topstitch in place along the folded edge. Repeat for other sleeve.

fIJ Turn body hem edge under 1/4"' and

fJll Turn and press angled sides of Pocket

1/2 "'

to the wrong side. Topstitch.

EE Turn and press top and bottom of Pocket raw edges 112"' to the wrong side. Pin to Body Front as indicated on pattern piece. Edgestitch along creased edge of top, backstitch ing at each end to secure. Repeat for bottom of Pocket.

CLOSE THE SIDE SEAMS

fE Turn t he hoodie so you can alig n Sleeve and side seams righ t sides together. Pi n at underarm. Stitch from Sleeve hem edge to Main Body hem edge in one pass. Finish seam as desired. Repeat for other side.

3/4

yd aq ua fabric

-

1;,

yd orange/pink print

- 11/4 yd pink tonal print -

1/2

yd olive/tea l print

- Backing: - 23/4 yd lime green solid - 2 1/ 4 yd tea l wood- grain print

press. then tu r n under another 1"' and press again . Topstitch in place along the folded edge.

OTHER SUPPLIES

SOURCES

- Optional: Machine foot with

FABRIC Cloud 9 Fabrics, Koi Canvas by

ATTACH THE FRONT POCKET

-

- Full/Double size Batting, 81"' x 96"' - Rotary Cutter, mat, and acrylic ru ler guide

starch alter native

Rashida Co leman- Hale, cloud9fabr ics.com

FINISHED SIZE

FABRIC-SAFE MARKER Pilot, FriXion

Appro ximately 74"' x 84"'

Erasable Gel Pen Set, pilotpen.us

NOTES

KAREN LEPAGE is a gentle-living,

- Use accurate construction.

hard-rocking, yoga-practicing, veggie-eating, sewing and art teacher. She co-hosts Southeast Michigan Crafty Meetups every nionth, designs sewing patterns, teaches sewing classes, volunteers in the Ann Arbor and Detroit crafty con1n1unities, and makes bespoke garn1ents. She n1akes sewing patterns for One Girl Circus andfor Monaluna, and is co-author ofSe,ving for Boys.

1/4"'

1/4"'

seams in all

- Press seams open after each step. - Stitch r ig ht sides together un less otherwise noted. - Cutting measurements are based on 44"' wide fabric. - For the quilt back, it is important that the cross is off center. Whi le quilting a quilt top you cannot see the backin g to make sure that it is

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how-to

centered. If you try to center it and it is off by a small margin it wi ll look like a mistake. By placing the ma in element noticeably off center then wherever it lands on the finished qui lt will look intentional.

B

From the Pink Tonal fabric, cut :

- One 21/2" x 32 1/2" strip - One 21/2" x 381/2" st rip - One 2 1/2" x 101/2" rectangle - One 4 1/2" x 301/2" strip

- WOF =Width of Fabric.

- One 4 1/2" x 101/2" rectangle

CUT THE FABRIC

- One 4 1/2" x 51/z" rectangle

Label all pieces as you cut them.

- Nine 21/4" x WOF strips, for the Binding

D

From each of the fourteen fat quarters, cut : - One 8 1/z" x 41/2" rectangle [Block Al - Two 4 1/2" x 21/z" rectangles [Block Al - One 8 1/z" x 21/2" rectangle [Block Bl 21/2"

x - Two [Block Bl

/z" rectangles

31

II From

the Olive/Teal fabric, cut:

- One 4 1/2" x 34 1/2" strip - One 4 /2" x 201/2" st rip 1

- One 4 1/2 " x 6 1/2" rectangle - One 21/2" x 36 1/2" st rip - Fourteen 21/2" x 61/z" rectangles

U

From the Lime Green fabric, cut:

- One 741/2" x 10 1/2" strip

- One 8 1/z" x 11/2" rectangle [Block Cl

- One 171/2" x 451/2" strip

- Two 11/2" x 4" rectangles [Block Cl

- Four 15 1/2" x 15 1/z" squares

- One 51/2" x 22" rectangle [Quilt Back)

El From the Teal wood-gra in fabric, cut:

0

From the Cream fabric, cut:

- Four 21/z" x WOF strips; subcut into fifty- six 21/2" x 2 1/z" squares (Block Al

- One 71/2" x 45 1/2" strip

- One 741/2" x 29 1/z" rectangle

MAKE BLOCK A

- Five 3 1/z" x WO F strips; subcut into fifty -six 31/z" x 3 1/z" squares (Block Bl - Six 4" x WOF strips; subcut into fifty-six 4" x 4" squares [Block Cl

square to the right side of t he 41/2" x 2 1/2" Print rectangle.

- Two 72 1/2" x 21/2" strips

ll!J Repeat Step 9 to create a second

- Two 8 1/z" x 37" rectangles; subcut into th irty- five 8 1/2" x 2 1/z" rectangles, for Short Sashing Strips

unit.

- Fifteen 2 1/2 x 61/2" rectangles (Border)

D

From the Aqua Star fabric, cut:

- One 4 1/z" x 40 1/2" str ip

figure 2

l'I To create a unit, stitch one 21/2" x 21/2" Cream square to the left side of one 4 1/2" x 2 1/z" Print rectangle. Stitch a second 2 1/2" x 21/2" Cream

- Eight 58 1/2" x 21/2" strips, for Long Sashing Strips

figure 1

mStitch a un it to the top of an 8 1/2" x 4 1/2" rectangle in a matching print.

IS Stitch the remaining unit to the bottom of the 81/2" x 4 1/z" Print rectangle from Step 11. (figure 1)

EE Repeat Steps 9- 12 to make a total of fourteen Block A, using the fourteen differen t fat quarter Print colors.

figure3

DJ

- One 2 /z" x 28 /2" stri p

MAKE BLOCKB

Stitch a unit to t he top of an 8 1/z" x 2 1/z" rectang le in a matching Pr int.

Ill To create a unit, stitch one

- Two 41/2" x 101/2" rectangles

31/2" x 31/2" Cream square to the left side of one 2 1/2" x 3 1/z" Print rectangle. Stitch a second 3 1/2" x 31/2" Cream

II Stitch the remaining

- One 4 1/z" x 351/2" strip - One 4 1/z" x 301/2" strip 1

1

- One 6 1/z" x 101/2" rectangle

D From the Orange/Pink fabr ic, cut: - One 2 1/z" x 401/2" str ip

square to the right side of t he 21/2" x 3 1/2" Print rectangle.

- One 2 1/z" x 22 1/2" strip

111 Repeat Step 14 to create a second

- One 2 1/z" x 6 1/2" recta ngle

unit.

106 '* stitch

unit to the

bottom of the matching 81/2" x 21/2" Print rectangle from Step 16. (figure 2)

III

Repeat Steps 14- 17 to ma ke a total of fourteen Block B, using the fourteen different fat quarter colors.


how-to I

I

MAKE BLOCK C

.

N

>

(

ASSEMBLE QUILT TOP I] To create a row, stitch a Block A to a Cream Short Sashing Strip, along a long edge. Stitch a Block 8 to the opposite lo ng edge of th e Short Sashing Strip. Continue to create a row of Block A/Block B/Block C/ Block A/ Block B/ Block C with a Short Sashing Strip between each Block. -" Referring to Assembly Diagram I, create six additional rows of altern atin g Blocks and Short Sashing Strips. · · Stitc h a Long Sashing Strip to the top of the first row you crea ted, along the Long edges. Continue to stitch all rows together with Long Sashing Strips between each row, and ending with a Long Sashing Strip at the bottom. fl Stitch a 2 1/2 " x 72 1/2" Cream strip to both sides of the Qu ilt Top.

Aseembly Diagram l

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

11

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

I

11

I

I

I

I

I

I

I

1

I

~:

To create a unit, stitch one 4" x 4" Cream square to th e left side of one 1 1/2" x 4" Print rectangle. Stitch a second 4" x 4" Cream square to the right side of the 1 1/2" x 4" Pri nt rectang le. IE Repeat Step 19 to create a second un it. Stitch a un it to the top of the matching 81/2" x 1 1/2" Print recta ngle . Ea Stitch the rema ining unit to th e bottom of the matching 8 1/2" x 11/2 " Print rectangle from Step 21. (figure 3) Repeat Steps 19-22 to make a tota l of fourteen Block C, using the fourteen different fat quarter colors.

I

CREATE BORDERS Border 1 Stitch the long edge of a 2 1/2" x 6 1/2" Cream recta ngle to the long edge of a 2 1/2" x 6 1/2 " Olive/Teal recta ngle to make a un it. Repeat to make fou rteen total un its. Stitch th e units togeth er to create a strip of alternating colors. Stitch the one remain ing Cream 22/1" x 6 1/2" rectangle to the last Olive/Teal rectangle in the chai n. To that Cream rectangle, stitch the Long edge of th e 4 1/2" x 6 1/2 " Olive/ Teal rectangle. At the opposite end of the border strip. stitch the short end of

Aseembly Diagram 2

107

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how-to

the strip by stitching the short end of a 21/i" x 221/2" Ora nge/Pink rectangle. Border 5

EE Stitch the short edge of the 4 112" x 40 112" Aqua Star rectang le to the s hort edge of the 4 1/2" x 10112" Pi nk To nal rectangle. Fin ish the strip by stitching the short end of the 4 112" x 20 112" Olive/Teal to the opposite short edge of the Pink Tonal rectangle. Border 6

Em Stitch the short edge of the 4 112" x 35 112" Aqua Star rectang le to the short edge of the 41/2" x 51/2" Pi nk Tonal rectang le. Finish the strip by stitch ing the short end of the 41/2" x 301/2" Aqua Sta r rectangle to the opposite short edge of the Pink Tonal rectangle. Border 7

BJ Stitch the short edge of the 41/2" x 34 1/2" Olive/Teal to the short edge of one 4 112" x 101/2" Aqua Star rectangle. Stitch the opposite short edge of the Aq ua Star rectangle to the short edge of the 41/2" x 301/2" Pink To nal rectangle. Finish the border by stitch ing the opposite short end of the Pink Tonal rectangle to the short edge of the second 4 1/2" x 10 1/2" Aqua Star rectang le.

the 6 112" x 10 1/2" Aqua Star rectangle to the long edge of the Cream rectangle. Border 2

III Stitch the short edge of a 21/2" x 36 1/2" Olive/Teal to the s hort edge of a 2 1/2" x 32 1/2" Pink tonal print rectangle. Border 3 ElJ Stitch the short edge of the 21/2" x 281/2" Aqua Star rectangle to the short edge of th e 2112" x 40 112" Orange/Pink rectangle. Border 4

Ell Stitch the short edge of the 2112" x 38 112" Pink Tonal rectangle to the short edge of a 2112" x 61/2" Orange/Pink rectangle. To the opposite short end of that rectangle, stitch the short end of a 2112" x 10 112" Pink Tonal rectangle. Finish

108 '* stitch

ADD BORDERS E! Stitch the long edge of Border 1 to the left side of the Quilt Top. Referri ng to Assembly Diagram 2, conti nue add ing the Borders to the Quilt Top s ides in the order they are nu mbered. MAKE THE QUILT BACK !J Using a 1/a" seam a llowance, stitch each of the fourteen 51/2" x 22" Pri nt rectang les end to end along the short edge, a lternating Prints as desired. The strip will measure approximately 304" long. DJ From the strip completed in Step 36, make the following continuous cuts: - Three 201/2" x 5 1/2" strips - Three 50 1/2" x 5 1/2" strips - Three 20 112" x 5 1/2" strips El Stitch the first three cuts made in Step 37 a long the 201/2" edge. The piece will now measure 20 112" x 15 1/2" .


how-to

ED Stitch th e next three cuts along the 50 1/2" edge. The piece will now measure 50 1/2" x 15112".

This will now be referred to as the Large Cross.

Ci1 Stitch the Lime 71/2" x 45 112"

SOURCES FABRIC FreeSpirit Fabric, Fox Field

collection by Tula Pink, freespiritfabric. com

El:] Stitch the remaining three cuts along the 201/2" edge. The piece will now m easu re 201/2" x 151/2" .

recta ng le to th e right side of the Large Cross.

LONGARM QUILTING Angela Walters.

CD Stitch the Lime 17 1/2" x 451/2"

quiltingismytherapy.com

aJ To create a unit, stitch a Lime

rectang le to the left side of t he Large Cross.

TULA PINK is an An1erican textile designer,

15112" x 151/2" squa re to the left side of the 201/2" x 15 112" strip piece. Stitch a Lime 151/2" x 151/2" square to the right of the 20 1/2" x 15 1/2" strip piece. E1\l Repeat Step 41 to create a second unit.

mReferring to the Quilt Back Assembly Diagram, stitch a unit to the top of the 50 112" x 15112" strip piece.

al Stitch the remaining unit to the bottom of the 501/2" x 151/2" strip piece.

aJ Stitch the 74 12" x 10 1

1/2"

rectang le to

the top of the Large Cross.

ED Stitch the Teal 74 1/2"

29 112" rectangle to the bottom of the Large Cross. x

FINISHING THE QUILT

al Layer the Quilt Top, Batting , and

quilter, author, and illustrator. Tula has designed hundreds offabrics that have been sold worldwide along with her two best selling craft books Quilts From the House of Tula Pink andTula Pink's City Sampler, 100 Modem Quilt Blocks. Tula conies from the "n1ore is niore" school ofdesign where there is never enough space and always room for that one last thing. Visit her at tulapink.coni.

Backing, and quilt as desired.

lllD Bind the fin ished quilt with your preferred met hod. (See Sewing Basics)

Beach Creature Wristlet by LEE CHAPPELL MONROE {from page 54}

2

-:)

FABRIC - Case: 1/4 yd neutral linen or lin en blend, 44" - Wristlet Strap: 21/2 x 18" qui lting cotton - Inset Windows: one fat eigth neutral qu ilt ing cotton - Lin ing:

1/4

yard quilting cotton, 44"

OTHER SUPPLIES - Templates, provided on insert: - Coral [A) - Urchin [BJ - Jellyfish [Cl -

Quilt Back Assembly Diagram

1/4

yd fusible fleece

- 9" Nylon zipper

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*


how-to

PIECE THE INSET

ll Using a 1/4" seam, stitch the

-

3/4"

El From the Fusible Fleece, cut:

Rectang le ring

- Coordinating thread [li ning)

- One 7 1/2" x 5 112" rectangle

- Embroidery floss [lime, teal, and blue)

- One 71/2" x 4" recta ngle - One 7 1/2" x 11h" rectangle

mStitch the 71/2" x 1" piece to the top of the emb roidery design panel.

EMBROIDER THE DESIGNS

- Zipper foot

D

Center and mark the Coral [A), Urchin [Bl. and Jellyfish [Cl designs onto the Inset Window fabric at least 1" apart.

FINISHED SIZE 6 1/4" x 4 1/4", excluding wristlet

NOTES - All seam allowances are otherwise noted.

5/s"

unless

- Press seams away from th e embroidery designs un less otherwise noted . - Follow manufacturer's instructions for fusible.

CUT THE FABRIC

D

From the Case fabric, cut:

- One 7 1/2" x 11/2" rectangle - Two 5" x 1" rectangle for the Zipper Tab - One 7 1/2" x 1" rec tangle - Two

3/4" x

2" rectangles

- Two 11/2" x 2" rectangles - One 7 1/2" x 2" rec tangle - One 7 1/2" x 51/2" rectangle for the Back

D

From the Lining fabri c, cut:

- One

7 1/2"

x

5 1/2"

rectangle

- One 7 1/2" x 4" rec tangle - One 7 1/2" x 11/2" rectangle

'* stitch

IE Stitch

the 11/2" x 2" pieces to the outer edges of the embroidery design panel.

- Fabric-safe marker

110

Inset Windows right sides toget her with the 3/4" x 2" pieces between the embroidery Windows. Press seams to embroidery.

D

Thread three strands of blue embroidery floss onto the embroidery needle and stitch the Coral design using a chain stitch.

lJ Thread three strand s of lime embroidery floss onto the embroidery needle and stitch the Urchin design using a backstitch for the outer edge. French knots for the dots, and the stem stitch for the inner oval and lines. (See Sewing Basics)

D

Thread three strands of teal embroidery floss onto the embroidery needle and stitch the Jellyfish design usi ng the stem stitch for the top outer outline of the body, chain stitch for the bottom outer line of the body, and backstitch for the body details. Thread two strands and stitch using the stem stitch for the tentacles. (See Sewing Basics)

ll From the embroidered Inset Window fabric, cut three 2" x 2" squares, leaving 1;,¡¡ around the embroidery designs.

II1 Stitch the 71/2" x 2" piece to the bottom of the embroidery design panel.

ASSEMBLE THE ZIPPER COVER

iEl

Fold t he two 5" x 1" Zipper Tabs in half, then fold the edges into the fold as you would fold binding. (See Sewing Basics) Press.

IIJ Cut the zipper to 71/2". Cut off the zipper end. but be careful not to cut off the zipper pull. Place a Zipper Tab over each end of the zipper and topstitch in place. Be carefu l to align the zipper teeth on the open end .

ASSEMBLE THE WRISTLET

il1

Fold the 18" x 2 1/2" rectang le in half lengthwise, then fold the edges into the fold as you would fold binding. Fold in half again and press. Cut off 2 1/2". Topstitch along both long edges of the 21/2" piece.

iiiJ

Place the rectangle ring on the 151/2" piece. Unfold the ends sligh tly and place right sides together with the raw edges of the short edges aligned. Stitch 1/4" seam along the short edge to create a circle. Refold ends and press. Topstitch along both long edges.

ill Tighten

the Wristlet around the rectangle ring and topstitch the ring in place.


how-to

ASSEMBLE THE CASE

LEE CHAPPELL MONROE is a pattern

- 6" x 6" square piece of Bondaweb

ill Fuse the fleece to the wrong side of

designer and quilting instructor who biogs about her sewing, quilting, and teaching adventures at n?aychappe/l.com. She resides in beautiful North Carolina.

- Coordinating thread for machine sewing

1

the pieced inset, 7 /2" x 11/2" and 7 1/2" x 51/2" Case fabric pieces.

iil Topstitch above and below the

- Sticky tape

pieced Inset panel.

IE

Place the zipper and the top edge of the pieced inset right sides together. Using a zipper foot, attach the zipper. Stitch 1/s" from the edge of the zipper. You will need to slide the zipper pull out of the way.

- Clear acrylic ruler

by HELEN DICKSON

FINISHED SIZE 5 1h" x 8 112"

{from page 54}

NOTES

Seahorse Dorothy Bag

-All seam allowances are

1/4".

- Use two strands of floss throughout.

Ill

Place the 71/2" x 4" Lining right sides together with the pieced Inset. Note: The zipper will be between the two pieces. Stitch along the same stitch line attaching th e Lining.

CUT THE FABRIC

D

From each of the Main and Lining fabrics, cut: - One 17" x 19" rectangle

EE Topstitch along the right side of the

- One Bag Bottom (DJ

pieced Inset next to the zipper.

D Trace the Seahorses [AJ onto the

IE Repeat Steps 19-21 with the

paper side of the Bondaweb. Cut around shapes and iron onto the wrong side of the floral fabric square. Cut out the Seahorses.

71/2" x 1 1/2" Case fabric and Lining. III Place the 7 1/2" x 5 1/2" Lining right side up on the fusible fleece side of the 71/2" x 51/2" Case Back. Baste 1/s" from the edge.

B Repeat Step 2 for tracing and adhering the Tummies [BJ. Cut the Tumm ies [BJ from the fabric scraps and position them on the Seahorses· bodies as shown.

III Loop the 21/2 " wristlet piece through the rectang le ring. Lay the raw edges of this piece along the raw edge of th e case front even with the zipper. Baste in place 1/s" from the edge.

FABRIC - Main : One fat quarter medium-weight cotton

0

Repeat to cut and adhere Heart (CJ from the pink felt.

- Lin ing: One fat quarter quilting-weight cotton

ASSEMBLE SEAHORSE APPLIQUE

FINISHING THE CASE

- Seahorse: 5" x 5" square floral fabric

D Take the rectangle of exterior fabric

Ill Lay the Back piece right sides

- Tummies: Tiny scraps of floral fabric

together with the Front piece. The Lining should be showing on both sides. Trim to ensure the pieces are the same size.

- Heart: Pink felt scrap

IIl

Unzip the zipper.

IE Stitch down the sides from top to bottom. Stitch across the top and bottom in the same direction. This will push any excess in the same direction.

Ill Trim the corners. Elli Trim the seams to 3/s". Overcast the raw edges with coordinating thread . Turn the Case right side out. Press.

SOURCES FABRIC Robert Kaufm an, Essex Yarn

OTHER SUPPLIES

Peel off the paper backing and position Seahorses less than 112" either side of the center crease and 1 1/2 up from the bottom edge. Make sure they are vertical, then press firmly with a hot iron to adhere.

- Seahorses (AJ - Tummies (BJ - Heart (CJ - Bag Botton (DJ - Stranded cotton embroidery floss to match the floral fabric used for the seahorse bodies, and a darker shade of the same color. Also pink, blue, and black.

Dyed collection, robertkaufman.com Anchor Embroidery Floss, westminsterfibers.com

- 18" rickrack braid

FLOSS

D

- Template, provided on insert:

- 1 112 yd cord for drawstrings, piping cord

1/,",

and fold it in half vertically (with the two short sides together!. Press the crease lightly to mark the center of the piece.

or

IJ With your temporary fabric marker, draw in lines for the seahorses· back fins and eyes. Draw a slightly curved line for the girl Seahorse's eye. [Optional: you can make both seahorses' eyes open if you prefer]

ll

Using matching cotton floss. secure the edges of the Seahorses' bod ies with small straight stitches

- Temporary fabric marker pen

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how-to

lII Secure the edges of the heart in short stitches worked at right angles to the edge of the applique shape using pink floss.

iE Erase temporary fabric marker lines and press your work lightly on the reverse.

MAKE THE BAG [D Using a fabric-safe marker, draw two parallel li nes 112 .. apart with the top one 2 .. down from the top edge of the Main fabric. Mark positions of vertical slots for the cord centrally between these two lin es and 4 .. from either side of the center of your fabric . Th e slots should measure very slightly less than 1/ 2 .. long. Stitch the slots as buttonholes, either using the bu t tonhole feature on your machine or by hand. Cut the slots open when the buttonhole stitching is complete.

iil With

(See Sewing Bas ics] worked at right angles to the edges of the applique shapes. Stitch around the Tummies in the same way, using pink floss for the girl and blue for the boy seahorse.

lJ Stitch lines for their back fins using a backstitch and darker floss.

iilJ Give the girl a blushing cheek with a couple of small straight stitches in pink floss. Her closed eye is worked in backstitch using black floss and the boy¡s eye is a small French knot. also in black floss.

mWork French knots on the points of the spines along head, back, and tail, in blu e floss for the boy and pink for the girl.

112 '* stitch

right sides together, join th e two short edges of the Main fabric. Pin the Main Bag Bottom at the bottom edge of the created tube. Tip: Use plenty of pins, or baste the base into place, otherwise the circle may stretch and/or distort as you sew. Machine stitch and clip seam, being careful not to cut your stitches.

ID

Place t he bag exte rior inside th e lining with right sides together and stitch around the top of the bag 1/ , .. from th e top edge . Turn bag right right side out through the opening and topstitch the gap closed. Remove the basting thread securing the rickrack braid if any is visible. Push the lining down inside the bag and press into place. Press the bag side seam open.

iIJ

Machine stitch all the way around the bag twice, along the two marked parallel lines from Step 14. through both the lining and exterior fabrics. This will form th e channel for the cord. Erase the temporary marker lines.

IE Cut the cord

into two equal pieces and wrap sticky tape around one end of each piece. Using the sticky-taped end to work your cord through, thread the cord through the stitched channel. starting and finishing each piece on opposite sides of the bag. Trim the cord to the desired length, knot, and fray the ends to form a tassel.

SOURCES FABRIC Cath Kidston, cathkidston.co.uk

Susie Watson. susiewatsondesigns. co.uk

lJ] Turn the bag exterior right side out. Position rickrack braid along t he top edge of the exterior. aligning the top points of the braid with the top edge of the bag. Baste into place: this will stop the bra id from slipping when you join the interior and exterior pieces together.

mWith right sides together, join the short edges of the Lining fabric. leaving a 2 112 .. gap for turn ing. Repeat Step 16 to insert Lining Bag Bottom.

HELEN DICKSON is an English designer

who loves to create patterns that are lively, interesting, andfresh that she hopes will inspire others to pick up needle and thread and start creating themselves. Visit her at bustleandsew.com.


Deborah Fi•her

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how-to

BOYSO summer Little Surfer Board Shorts by TINA LEWIS

{from page 56}

-

1/4

yd fusible knit interfacing, 20"

-

113

yd elastic, 1" [2T-3T]

-

113

yd elastic, 11/ 2" (4T- 6]

- 1 yd nylon cording, 4mm - Four 5/32" eyelets and application tool - Th ree 3/4" hook and loop tape squares

...

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4T

5 6

Finished Waist 18" 19" 20" 21" 22"

- Shorts: 5/s yd textured nylon for shorts, 60" [shown: yellow] - Stripe: 3/s yd contrasting fabric [shown: black]

- For casua l wear, the shorts can also be made of cotton or microfiber fabrics .

Transfer all markings from pattern pieces.

8

From the Shorts fabric, cut:

- One Left Front (AJ - One Right Front [BJ - Two Back (CJ - Two Waist Tab [DJ

OTHER SUPPLIES

D

- Templates, downloadable:

- Two Front Stripe [F]

From the Stripe fabr ic, cut :

- Left Front [AJ

- Two Back Stripe [GJ

- Right Front [B J

D

- Waist Tab [DJ - Tab Interfacing [El - Front Stripe (Fl

From the Side Panel/Pocket fabric, cut: - Two Side Panel [HJ - One Pocket Flap [IJ - One Pocket (Kl

- Back Stripe [GI

D

- Side Panel [H J

- Two Tab Interfacing [E]

- Pocket Flap [IJ

- One Flap Interfacing [JJ

- Flap Interfacing [JJ

IJ Pin a Side Panel to a Front Str ipe

ADD THE POCKET

- Side Panel/Pocket: 1/3 yd contrasting fabric [shown: light blue]

- Back (CJ

Back at the side seam, matching notches; stitch from the waist to the dot. Repeat for the left side.

- Sew with right sides together unless otherwise noted.

CUT THE FABRIC FABRIC

a Pin the Right Front to the Right

- Hem allowance is 3/4"

- Seam allowance is 5/s" unless otherwise noted.

DOWNLOAD THE FULL-SIZE J F.A,. PATTERN FOR THIS PROJECT â&#x20AC;˘ AT SEWDAILY.COM

¡ Pin the Right Front Stripe to the Right Front, matching notches ; stitch. Repeat for the Left Front and for the Right and Left Back Stripes. Flatfe ll the seams away from the stripes . (See Sewing Basics]

and Back Stripe, matching dots, and stitch from the lower edges to t he dot. Trim the point of the Side Panel. Flatfell the back seam away from the Stripe. Flatfell the side seam towa rd the back and the front seam away from the stripe. Repeat for the remaining Side Panel and Stripe pieces.

Showninsize 6

NOTES

('j~

waist, with t he top and side edges even . Fuse into place following the manufacturer's inst ructions. Repeat for the Left Front piece.

From the Interfacing. cut:

- Two Waistband Interfacing [L]

- Pocket (Kl

ASSEMBLE THE SHORTS

- Wa istband Interfacing [L]

11 Position the Waistband Interfacing on the wrong side of t he Right Front

D

Take the Flap Interfacing , center on the wrong side of the Pocket Flap, and fuse in place. Position the hook side of hook and loop square, centered , and stitch in place. Fold Pocket Flap in ha lf and stitch bot h ends. Trim, turn, and press. Edgestitch the three closed sides of the Pocket Flap and stitch again 1/4" from the edge stitching .

II!J Turn the top edge of the Pocket 1/4" to the wrong side; press. Fold the top of the Pocket to the right side along the fold li ne . Stitch both sides of the Pocket from the foldline to the lower edge. Turn the hem right side out. Press the side seams to the wrong side along the stitching . Edgestitch the Pocket hem. Stitch t he loop side square on t he Pocket, centered on the Pocket hem foldback, through all layers.

mPin Pocket into posit ion on right Side Panel of shorts. matching dots; edgestitch both sides in place . Stitch again 1/4" from first stitching. Baste the lower edge of the Pocket to t he lower edge of the Side Panel.

lfJ Position Pocket Flap seamline on stitching line above Pocket, matching notches; stitch. Trim seam to a scant 1/4", press Pocket Flap over the seam and stitch 1/ 4" from seam, enclosing the seam.

llS sewdaily.com

*


how-to

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turn, and press. Edgestitch the t hree closed sides of the tabs.

- Background: 11/3 yd white quilting cotton, 42"

I

fl Insert two eyelets at the indicated

- Backing: 11/2 yd quilting cotton, 42"

II

points on each tab.

- Binding: 42"

0

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T

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--------- -.

I I I I

figure 1

COMPLETE THE FLY

II Pin the inseams of the Right Front and Right Back together; stitch . Flatfell the seam toward the back. Repeat for the left inseam.

II Pin t he seamline of a tab to the stitching line on the right front waistband; stitch. Trim seam to a scant 1/4", press the tab over the seam, and stitch 1/4" from the seam, enclosing the seam. (figure 1) Repeat for the left side.

1/3

yd yellow quilting cotton,

OTHER SUPPLIES - Template, supplied on insert: - Template

!Al

- Template [BJ

COMPLETE THE SHORTS

- 43" x 50" piece of batting

II Stitch hook and loop tape to the

Ill Fold the lower edge of the right leg

- White thread for piecing and quilting

right and left sides of t he fly and Waistband where indicated. Finish the edge of the right and left underlaps by serging or zigzagging. Fold fly along foldlines to the wrong side; press.

1/4" 1/2"

1111 With one leg inside of another, pin left side to right side along cente r seam from back waist to the dot below the fly; stitch. Trim the seam to 3/a". Finish the seam and the angle of the underlap by serg in g or zigzagging.

and tie.

ID Topstitch both lines of the left fly from the top edge to the angle.

COMPLETE THE WAISTBAND

I& Turn the top edge

1/4"

to the wrong side; baste and press. Fold the basted edge to the wrong side along the foldline to make t he Waistband; press. Edgestitch alo ng the entire foldline.

: Edgestich the lower edge of the Waistband along the back from side seam to side seam, forming a casing. Cut elastic 1O" for size 6. (9 " for 5, 8 1/z" for 4T, 8" for 3T, 7 1/2" for 2Tl. Using a safety pin, draw elastic t hrough the back casing. with the ends extending 1/z" beyond the side seams. Stitch along the side seams through all layers, securing the elastic.

to the wrong side; press. Fold again and edgestitch the hem in place. stitching across the Pocket. Repeat for t he left leg .

FINISHED SIZE

l!D Lace the cord ing through

35" x 41 1/2"

the eyelets

SOURCES TEXTURED NYLON FABRIC Rockywoods,

rockywoods.com INTERFACING Pellon EK 130 Ea sy- Knit,

pello nprojects.com TINA LEWIS designs and sews in her studio

high in the mountains ofPark City, Utah. Her quilts, clothing, and accessories for adults and children have been featured in nun1erous publications. Often detailed with hand-stitched needlework, her work has a fresh classic look.

Paddle Away Wall Hanging by DANA BOLYARD {from page 57}

the right and left fronts, edgestitch the lower edge of the waistband from the side seams to the center front edges. Topstitch both lines of t he lower angle of the fly through all layers and across the fly as ind icated .

1/4"

unless

- Yardage requirements are for unwashed fabrics. If you choose to prewash fabrics before making this project, increase yardage amounts to account for fabric shrinkage during washing.

CUT THE FABRIC

D

From the solid colored charm packs, cut: - One Template (A) from each of six colors - Six 5" x 5" squares in six various colors - Twenty- seven 4" x 4" squares; subcut ten 4" x 4" colored squares into 1" x 4" strips (Note: Th is will yield 40 strips and you will only use 30. The extra will assure variety in color placement in your final layout) From the Background fabric, cut:

- Forty- eight 4" x 4" squares - Six 5"x 5" squa res - One 4" x 28 1/z" strip - Two 4" x 25" strips - One 171/2" x 35" rectangle

fE Take the Waist Tab Interfacing,

'* stitch

- All seam allowances are otherwise noted .

- Six Template [BJ

MAKE THE WAIST TABS

116

NOTES

El

IJ On

center on the wrong side of the tabs. and fuse in place. Fold the tabs in half and stitch both sides. Trim the seams,

- Yellow thread to match binding fabric

El FABRIC - Main: two charm packs in 12 various solid color fabrics

From the Binding fabric, cut:

- Four 21/2" x 42" strips


how-to

LONGARM QUILTING Russ

Adams, th ebackporchq u i lters.com. DANA BOLYARD is the author ojlmagine Quilts: 11 Patterns From Everyday Inspirations being released in July 2014. You

'

can find out n1ore about her and her quilting at oldredbarnco.blogspot.com

Board Shorts Quilt by ALEXANDRA LEDGERWOOD {from page 58}

figure l

PIECING THE QUILT TOP

D

Fold a Template (A] and a Template [BJ fabric piece in half to find the center of each curved edge. Pin the pieces with right sides together, matching the centers. Match and pin the pieces at each end of the curved edge. Continue to pin around the curve, easing the fabrics to fit. ( figure l )

1:1 Stitch around

iEJ Trim these thirty units to 4"

x 4" making sure to cut the white fabric edge and not the colored.

ASSEMBLE THE ROWS

ID Lay out three paddles as shown

the curve. Press t he seam allowance toward Template [BJ.

being mindful of color arrangement.

IJ Repeat Steps 4-5 to make six units. Q Draw a diagonal line from corner

Press th e seam allowances in alternate directions from row to row.

to corner on the wrong side of the six white 5" x 5" squares.

Dl Stitch the 4"

ll With r ight sides tog ether, pin a marked white 5" x 5" square to a colored 5" x 5" square. Stitch 1/4 " from both sides of the drawn line.

D Repeat Steps 7- 8 for each of the six marked white squares.

IIlJ

Cut along the drawn diagonal line to create two half-square triangle units. Press the seam allowances away from the white. Trim the unit to 4" x 4" being mindful to keep the diagonal seam at a 45 degree angle. Note: You will have 12 half-square triangle units when you only need six but the extra will allow for flexibility in desired color placement.

mUsing the 1" x 4" strips of colored fabric, pin one strip along the edge of one 4" x 4" white square, right sides togeth er. Stitch 1/4" from the edge. Press the seam allowance away from the white.

lm Repeat Step 11 to make thirty total units.

III Pin and stitch the rows together. x 28 1/2" white strip

to the left side of the pieced paddle panel, with right sides together. Press the seam allowance toward the added white strip.

mStitch the 4" x 25" white strips

FABRIC - Main: 11/4 yd each of seven solids, 44" [shown: Carrot, School Bu s, Sunny, Lemon, Pond, Capri, and Delft] - Backing: 5 1/3 yd quilting cotton, 44" - Binding: 213 yd qu ilting cotton, 44"

to the top and bottom of the pieced paddle panel, with right sides together. Press the seam allowances toward the added white strip.

OTHER SUPPLIES

IIJ Stitch the 17 1h" x 35" white

FINISHED SIZE

rectangle to the right side of the pieced paddle panel. Press the seam allowance toward the added rectangle.

70" x 87 1/2""

NOTES

FINISHING THE QUILT

- Press seams as you go.

III

Layer the backing, batting, and quilt top. Baste the layers together.

fE

- Twin-size batting

- All seams allowances are

1/," .

- Stitch with right sides together unless otherwise noted.

Quilt as desired. Trim quilt to

35"

x

41 1h".

flJ Use the 2 1h" x 42" strips to bind the quilt.

SOURCES Robert Kaufman, Kona Cotton, in Snow and Breakers ; and Spot On Wide in Tangerine, robertkaufman.com FABRIC

CUT THE FABRIC

D From each of the seven Main fabrics, cut: - Twenty-fou r 3" x 9 1/4" strips - Six 8" x 91/4" rectangles

El

From the Binding fabric, cut:

- Eight 21/2" x Width of Fabri c strips

>>

117 ......•...•.......•.••......•.......... sewdaily.com

*


how-to

figure l

CREATE THE BLOCKS

B

To create one half of a block, select one 8" x 9 1/4" rectangle and two 3" x 9 1/4" strips of a single color, as well as two 3" x 9 1/4" strips of another color.

figure 2

figure '.3

D

-

Stitch together the 3" x 9 1/4" str ips, alternating colors. (figure l)

D

I

-

91/4"

Stitch the 8" x rectangle to the unit created in Step 4, so the same color does not touch. (figure 2)

D

Repeat with the remaining fabrics to create 42 units.

'

'

D

Stitch the units into pairs to create the blocks, by selecting two units and stitching them together along the 18" edge, with the larger rectangles at opposite ends. Be mindful of match ing the seams in the center of the block.

!

---

--

'

- -

(figure '.3)

.,

ll

Repeat with the rema ining units to create a total of 21 blocks.

ASSEMBLE THE QUILT TOP

ll Arrange the blocks as desired in a 4 x 5 grid. Avoid having the same color next to itself to preserve the striped effect. Note: You will have one extra block, wh ich gives you a little flexibility as you decide on the block layout.

ll!I

Stitch four blocks together to create a row.

mStitch together the five rows to

'

complete the Qu ilt Front. (figure la) '

COMPLETE THE QUILT

iD Layer the Quilt Front, batting, and !I

Backing. Baste the layers together, and quilt as desired. Trim Quilt to 70" x 871/2".

IE 118 '* stitch

..

.

Bind the qu ilt. [See Sewing Basics)

figure la


how-to

FABRIC - Main: 5/8 yd light to med iu m weight woven fabrics in cotton, cotton blends, linen , and linen blends, 60" - Contrast: 5/8 yd each of a contrast and a solid fabric, 60"

SOURCES FABRIC Robert Kaufman, Kona Cotton, in Carrot, School Bus, Sunny, Lemon, Pond, Capri, and Delft, robertkaufman.com LONGARM QUILTING Tia Curtis, tiacurtisquilts.blogspot.com ALEXANDRA LEDGERWOOD'S

patterns have been published in Stitch and other publications. She enjoys sewing with scraps, in1provisation, and visiting the beach, howeverfar it n1ay be from her hon1e in the Kansas City suburbs. Visit her at teaginnydesigns.blogspotcon1.

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

Boys Mandarin Collar Shirt

by MELANIE SMITH {from page 59}

OTHER SUPPLIES - Templates, downloadable: - Sleeve (A) - Side Front (Bl - Collar (Cl - Front Panel [DJ - Back Panel !El - Facing !Fl - Snap Placement Guide [G) - 5/8 yd lightweight fusible interfacing, 22¡¡ (match weight to fab ricl - Matching thread - Six 1/4" to 1/2" diameter snaps of your choice (sew in, snap fasteners, colored snaps, etc. ) - Scissors or rotary cutter, and self-healing mat - Straight pins - Optional: Pattern weights

...a:

c( 12ir

:c 3l u 4l w 5 Z3" N 6 24'' en Shown insize 6

-

("... DOWNLOAD THE FULL-SIZE J . . PATTERN FOR THIS PROJECT AT SEWDAILY.COM

1Gfl'es't ZO" 21" Z2"

finishe4 CB Length 1

l6" 16'h'' 17" 171/l" 18"

NOTES - All seam allowances are 'h"; sleeve and shirt hems are 1". - Finished garment has a loose fit. - Serge or zigzag all raw edges. - Press all seams open unless serging seams or otherwise indicated. - For best fit, make a muslin first and adjust pattern as necessary. - Transfer all markings onto wrong side of fabric. CUT THE FABRIC D From the Main fabric, cut:

- Two Sleeve (A) - Two Side Front [Bl - Two Collar (Cl fJ From the Contrast fabric, cut: - Two Front Panel (DJ - One Back Panel (El. on fold El From the Interfacing, cut: - Two Facing (Fl - One Collar [Cl. on fold

ASSEMBLE SHIRT D According to the manufacturer's instructions, fuse interfacing onto the wrong side of the Front Panel pieces, where indicated on the pattern along the foldline. D Serge or zigzag all raw edges. IJ With right s ides together and notches aligned, stitch a Front Panel to Side Front. Press. Repeat with . . . rema1n1ng pieces. IJ With right s ides together, stitch Fronts to Back at shou lder seams. Press. ll With right s ides together, pin Sleeves into armholes, aligning sleeve notch with shoulder seam, easing curves together. Stitch and press. D With right sides together, pin Front to Back at side seam and Sleeve underarm seam, matching underarm seam. Stitch entire length of sleeve underarm and side seams. Press. ATTACH COLLAR ll!I Fuse interfacing to wrong side of a Collar. With right sides together, pin Collar pieces together. Stitch together on all but the notched side along the neck edg e. Trim seam allowances to 1/4". Clip where necessary on curves. Turn right side out and press. Pin Collar to shirt with outer Collar against the right side of the shirt, notches aligned with shoulder seams and center back neck. With right sides together, fold Facings on foldlin e over pinned Collar and shirt. Repin all layers together. iEI Stitch across neckline through all layers. Between back neck notches, shoulder seam to shoulder seam only, grade seam allowances by trimm ing shirt seam and outer Collar seam to ) )

m

119 sewdaily.com

*


how-to

Fold inner Collar seam allowance 1/1." encasing graded allowances. Press. 1/1.".

iEJ Clip Facing corners and turn Facings right side out. Press with Collar up and seam allowances down, ensuring the clipped Collar seams remain encased. Press center front seams as well. Topstitch back neck of shirt from shoulder seam to shoulder seam 1/8" from collar seam, stitch ing down the encased seams.

FINISH SHIRT D'il With shirt inside-out, fold Sleeve hem up 1/1." and then 3/1." again. Press and stitch close to top of hem.

IE At bottom edge of Front, fold

Facing to shirt, right sides together, and stitch across facing horizontally 1" from bottom edge. Trim hem on facing and repeat for the other side.

ID Attach snaps accord ing to the manufacturer's instructions.

SOURCES FABRIC Mic hael Miller Fabrics, Cotton

IIJ Press shirt hem up 1;,¡-, Turn Facings

Couture, michaelmillerfabrics.com

right side out and press hem up 3/1.". St itch hem. Sew Facings to front with wrong sides together from shoulder seam to hem stitch line, following outer edge of facing.

Timeless Treasures, Tonga, Hokusai's Waves in Scuba, ttafabrics.com

IE Using Snap Placement Guide [G] for the appropriate size, mark snap locations on the inside of the left shirt front and outside of the r ight sh irt fron t.

MELANIE SMITH is an engineer by

education but a sean'!Stress and designer at heart She was taught to sew by her greatgrandmother (a Cuban searnstress) at a very young age and hasn't stopped. After spending several years as a stay-at-home moni, she recently decided to launch a custom sewing and design business. It was either that, or explode.

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make this pretty

BUTTON TOTE! PAG£59

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NATURE INSPIRED

DESIGNS ARCTIC DUVET COVER ANIMAL SILHOUE I I ES " OWL ROOM DIVIDE ...._..

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RESOURCES WHAT'S NEW + COOL

FEATURES

PAGE 8 BERNETTE CHIC AGO SEW ING MACHINE mybernette.com/chicago

ARTIST PROFILE: RASHIDA COLEMAN- HALE PAGE 14 LINZEE KULL MCCRAY lnstagram and Twitter at @seamswrite

TAKE A HIKE COLLECTION dearstelladesign.com QUILTER'S STENCIL MARKING SPRAY junetailor.com BABUSHKA EMBROIDERY SCISSORS sewingandcraftclub.com KOZY CUDDLE SOLIDS shannonfabrics.com QUILTERS DREAM FUSION quiltersdream batting.com

SEW BOUTIQUE PAGES 10 REDISCOV ERING THE TIMELESS RULES OF DRESS professorpski.com

SIMPLY HANDMADE: SIGNATURE STY LE PAGE 18 LYNDA MAYNARD lyndam aynard design.com MATERIAL WORLD: FUN IN THE SUN PAGE 22 LINDA TURNER GRIEPENTROG gwizdesigns@aol.com

SEW INSPIRED PAGE 128 HEATHER ROSS hea t herross.squarespace.com

MICHELLE FREEDMAN Designcamppdx.blogspo t.com HEATHER FRENCH Heatherjean.co.uk NATALIE HARDIN schoolo fcrafts.blogspot.com KEVIN KOSBAB feeddog. net ALE XANDRA LEDGERWOOD Teaginnydesigns.b logsp ot.com KAREN LEPAGE onegirlc ircus.com TINA LEWIS t inalewisd esigns@gmail.com MELANIE MCFARLAND MelanieMcFarlandQuilts.com

PROJECT DESIGNERS DANA BOLYARD Old redb arnco.blogspot.com

LEE CHAPPELL MONROE Maychappell.com

KEEPING TRADITION ALIVE ch irapaq.org.pe

CARRIE BLOOMSTON such-desig ns.com

TULA PINK Tulapink.com

WISH LIST

BERENE CAMPBELL Happysewlucky.com

RUTH SINGER ruthsinge r.com

VICKI CHRISTENSEN Sewinspiredb log.com

MELANIE SMITH sim p lyseamed.wordpress.com

SHEILA COLLINS Sheilacollins.us

MARCIA VAN OORT Et sy.com/ shop/prairi emusing

KRISJE DEAL graciejeancrafts.et sy.com

KATRIN VORBECK Frauvau.blogspot.com

HELEN D ICKSON Bust leandsew.com

KARRIE WINTERS Freckledwhimsy.com

MALKA DUBRAWSKY St itchindye.com

CASEY YORK Casey-York.com

PAGE 12 ROPE TOWEL RING etsy.com/ shop/Theland lockedSailor

OCTOPUS PLATTER etsy.com shop/TheMadPlatters HANDMADE SAILBOAT et sy.com/shop/TheOlive TreeAtelier OCEAN PLAIT BATH MAT et sy.com/ shop/KarensRopeWork GREAT WAVE DOORSTOP etsy.com/shop/CliveRoddy

123 sewdaily.com

*


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Stit ch Craft-Boca Raton

(617) 338-GREY (4739)

Top-quality fabrics, patterns, notions for the modem, traditional, and art quilter. Email stitchcraftboca@gmail.com. 399 S. Federal H\vy. (561) 447-4147

ADVERTISER INDEX b BabyLock

7

Batiks Etc.

124

3

Bernina

Cloth Paper Scissors CD Collection Cloud 9 Fabrics

49

C&T Publishing

26

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See our timeless patterns adapted from vintage fashion and ethnic costume at WW\v.folkwear.com

Martha Pullen Event Martingale & Co.

124

Folkwear

125

Michael Miller Fabrics

C3

Moda Fabrics

C4

Modern Patchwork ePatterns

21

Monaluna.com

13

Piecework Digital issues

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Interweave Books/Mend & Make

76

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Interweave Books/Sew Fun

113

Renaissance Ribbons Robert Kaufman Fabrics

Interweave Books/ Sewing Solutions

120

Interweave online store

122

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98

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Love Sewing DVD

13

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Juki America, Inc.

127

17

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124 21

5 Smocking Arts Guild

17

Stitch Digital issues

121

Stitchin Post

124

Studios magazine

114

t Timeless Treasures Traveling Together Inc.

C2 124

125

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PAT{Tl:~~Suv Build your confidence on a sewing machine. • Learn a variety of stitches and seam finishes. • Prevent your machine from jamming and your thread from bunching up. • Get pro tips while you build a solid sewing foundation and sew two projects from start to finish.

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heirloom sewing classes for all ages and skill levels! Come for the classes. Stay for the fun. The School of Art Fashion is your chance to express your inner love of sewing. No matter what skill level you bring to class, you'll go home with newfound confidence, cherished memories and the knowledge to create new fashions for years to come! • • • •

Learn new techniques from experienced sewing instructors. Pick from a variety of adult sewing classes that fit any schedule-and any budget. Introduce future generations to sewing at the Kids' and Teen Schools Connect with others that share your same passion for sewing, including enthusiastic beginners and talented advanced sewists. NEW: Marketplace featuring vendors of sewing machines, patterns, tools and morel

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sew inspired

This excerpt from a chapter in Heather Ross's new book, How TO CATCH A F ROG, details how the author got her start in the children's clothing business. By HEATHER ROSS

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I WENT TO AWCALART STORE AND PICKED OUT EIGHT COLORS from their assortment of high quality art markers. There was a buttery yellovv, a warm orange, a grass green, a hot, hot pink, a deep reddish brown, a sky blue, a peachy pink, and a pale, pale aqua. Using onJy these colors and a stack of thick drav.ring paper, I designed six prints. Then, using a San Francisco phone book, I called every screen printer in the Bay Area until I found one who vvas v.rilling to make a set of screens for me and another \Vho would print my fabric. It would be 'vveeks before I would have sample fabric, so I started \vorking on so1ne very basic dresses, using plain cotton and muslin. I made a simple tie-top dress, based entirely on the one that my mother had brought me back from France, tucked into a box of cigarettes; a pair of pants; a dress; a blouse inspired by the perfectly proportioned pieces in the Oilily catalog; and a fe"v other simple little things. \Vhen my fabric came back, I had a friend who had worked in fashion in Los Angeles help me make the patterns, and then another friend, a seasoned seamstress, make some sa1nples. I had my very first collection. I kne"v that I \vanted to introduce 1ny line in Ne"v York, at the biggest kid's clothing trade show, but a booth would cost me just over four thousand dollars. My father had given me another car, a hand-me-down Ford Explorer, which 'vvas still worth about ten thousand dollars. I took t he title to a local economic

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development corporation and borrowed money against it, and I bought a booth space and roundtrip airline tickets and booked a hotel. I hired a photographer to take some pictures of little girls 'vvearing my clothes, including a little girl in a sundress m.ade from my apple print, sitting on a giant red beanbag, v.rith tousled blond hair and rosy cheeks. I had blo\vups of these made, three feet square and mounted on foam core, and I punched holes in the corners so that I could hang them on the walls of my simple booth.

Heather Ross grew up in Vermont and now calls New York City h ome.

I made up a name-Munki :tvlunki-over lunch at a Chinese restaurant, where Thad been accidentally given t'vvo paper placemats v.rith the Chinese astrological signs on them. Where they overlapped, I could see t\VO monkeys next to each other and thought the name sounded S'vveet in repeat. The first day of the show \Vas a blur. We had never been to a trade show before, so \Ve didn't know whether \Ve were busy or not, and '"e didn't know, at least at first, if our . . expenence was unique. Someone sat dov.rn to write an order, then someone else, then suddenly, all eight chairs were fi lled, and then there were more customers standing in line. It wasn't until I ran to the bathroom that I sa\v that nobody else had a line. There was finally a break near the end of the day, so I took a calculator and added up the numbers. I had to do it twice before Tbelieved it. I had, on 1ny lap, almost fifty thousand dollars in orders.* HEATHER ROSS is an illustrator, sewer,

fabric designer, and blogger. She is the author ofSTC Craft titles vVeekend Se\ving, and Heather Ross Prints and the illustrator of several children's books. Herfabric lines are sold throughout the U.S. and abroad.


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fabrics • pre-cuts • patterns

Memo's quirky Japanese style and retro-modern vibe shines bright in this whimsical collection. Avant-Garden is in full bloom with poppin' poppies and cheerful cherries, so pack a picnic and let your imagination run wild! A variety of these fanciful prints are also available in our 70 °/o cotton, 30°/o linen blend which will work wonderfully with Memo's LINEN MOCHI DOTS and NEW LINEN MOCHI SOLIDS.

Available at your favorite quilt, fashion or spetialty retailer summer 201 4 .

fil e E ll modafabrics.com

Interweave stitch magazine summer 2014  
Interweave stitch magazine summer 2014  
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