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editor's note

,

NOT

so WHILE I AM WRITING THIS LE'ITER it's one of those gorgeous mid-September days that the Northeast is famous for. Leaves have not yet begun to tum and a S\vim in an ocean heated by a summer of sun is not out of the question. Last \vinter in the Northeast was tough, and from what I hearit \Vas the same for most of the country. Summer was much too fleeting, and temperatures are already threatening to drop next \veek. I have to face the reality that v.rinter will be back. But one of the things I do love about v.rinter is that it's prime sewing season. No beaches are calling my name or lazy days in my garden beckoning me, and that's \vhen I can really turn my attention to stitching to my heart's delight I really do feel like every issue of Stitch gets better and better, and I know it's because of the high-quality designers \Ve attract. I like to see Stitch as a home for nurturing the best talent our community has to offer, and I think that you v.rill agree that this issue is full of lovely projects just perfect for chilly days. From the various sections- Ne\ÂĽ Vintage, Pining for Patchwork, DIY Denim, Boudoir, and Edwardian Days- you will find a luscious brood that will ward off any \vinter blues. Twant to mention that we are aJso creating a whole ne\v host of se\vingvi.deos, and are releasing one per week via our companion site, CraftDaily.com, as well as on SewDaily.com. I'm very excited about the topics and talent, and encourage you to vi.sit these sites.

Happy stitching!

Werdx Editor, Stitch!SewDaily.com

check it out! For fu ll-size pattern downloads for select projects in this issue. on line extras. the Stitch blog, and to sign up for the Sew Daily free e-nev.1s letter. go to

sewdai/y.com 2 * stitch


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'60s-inspired dress page 49

FEATURES

14 handy helpers LIN DA TURNER GRIEPENTROG

18 avoiding denim blues LINDA TURNER GRIEPENTROG

20

luxurious lingerie

LIN DA TURNER GRIEPENTROG

24

book excerpt: quilter's applique workshop K EV IN KOSBAB

30

cheap and chic decor

LIN DA BLINN

36 anna maria horner studio LINDSEY MURRAY

36 DEPARTMENTS 2

editor's note

12

wish list

8

what's new+ cool

72

sewing basics

10

sew boutique

127

resources

sewing is good for you!

128

outtakes

LINZEE KU LL MCCRAY

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EDWARDIAN DAYS Explore your fe m inine side with these 4 fine and fancy projects . 'tit

nuno-felted skirt

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LAURA KEI TH

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peek-a-boo skirt KHRIS TA L JOUETT

neoclassic cami

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LAURA KEITH

ribbon skirt ELAI N E SCHMIDT

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NEW VINTAGE Give a nod to the past while embracing these 9 clever new ideas. 't8

mid mod mini tote

52

ROSE BECK

't9

LINDA LEE

'60s-inspired dress KATRIN VORBECK

so diamond chain bolster

53

MARNI W EAVER

51

embellished a-line skirt STEPHANIE BRACELIN

Sit

disco bag SARA CURTIS

KEVIN KOSBAB

so tablet folio

vintage vinyl snakeskin clutch

5S

scallop shift dress STEPHANIE BRACELI N

DIV DENIM

op art runner K EVIN KOSBAB • •

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PINING FOR PATCHWORK

Who doesn't love denim? Call it your own with these S groovy remakes . 56

denim jacket A MBER EDEN

Pick up your pieces to create these 6 scrap fabric projects. 57

denim love p illow MARCIA VAN OORT

60

arrowhead table runner

63

MARCIA VA N OORT

61

a simply mod purse log cabin patchwork purse

58

JENN RHOADS

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LINDA WEGLARZ

62

pieced felted scarf

LISA POLDERMAN

retro baby quilt

59

MALKA DUBRAWSKY

65

RUTH SINGER

slouchy crossbody bag rods & reels denim pillow HEID I EMMETT

glamorous patchwork parka

59

jeans placemats LINDA TU RN ER GRIEPENTROG

TI NA LEWIS •

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BOUDOIR Sit back and enjoy...after you've made one of these S comfy creations. 66

boudoir shorts

68 adult onesie TIN A LEWIS

69

KATRIN VORBECK

TARA MILLER

67

tangled up in blue quilt EMILY BRECLAW

stylin' k ids pjs

70

like-a-dream w rap jacket CH ERYL BUSH

s sewdaily.com

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I NTERWl:AVE

CREATING W ITH FABRIC

T HREAD

EDITOR .i.\rnbcr Eden ASSISTANT EDITOR Abby Kaufman TECHNICAL ASSISTANT EDITOR Eliane Pinto FREELANCE TECHNICAL EDITOR Bernie T<ulisek EDITORIAL INTERN Barbara Brown CONTRIBUTING EDITORS Susan Beal, Linda Turner Griepentrog,

Gretchen Hirsch, Kevin Kosbab, Linda Lee, Linzee Kull McCray ART DIRECTOR Larissa Davis PRODUCTION COORDINATOR Kate Binder PHOTOGRAPHY Jack Deutsch 14n/ess otherwise credited PHOTO STYLIST Natasha Senko HAIR Q MAKEUP Greg Clark n.LUSTRATION Aiu1 Swanson

Barbara Staszak bstaszak@interweave.com, 978 203 5460 ADVERTISING MANAGER Mary-Evelyn Dallon maryeveholder@comcast.net, 6r5 297 3639 AD TRAFFICKER Cari Ullom ONLINE MARKETING 'vVhitncy Dorband ADVERTISING MANAGER

Interweave Stitch (ISSN: 2160-6838 [print] and 2164-9375 [onlinc)l is published four tilnes per year by Interweave, a division of F+ \,V Media, Inc., 4868 Innovation Dr., Ft. Foll ins, CO, 805 25 5576. (970) 669 76 72. All contents of this issue of Interweave Stitch are copyrighted by F+W Media, lnc. 1or4. All rights reserved. Projects and infonnation are for inspiration and personal use only. Reproduction in whole or in part is prohibited, except by permission of Lhe publisher. Interweave Stitch does not recommend, approve, or endorse any of the advertisers, products, services, or views advertised in Interweave Stitch. Nor does Tntcrweavc SI itch evaluate the advertisers' clain1s in any way. You should, therefore, use your own judgment in evaluating the advertisers, products, services, and views advertised in Interweave Stitch. Subscription rate is $59.99/one year in the U.S., $68.99/one year in Canada, and S79.99/one year in inter national countries (surface delivery). U.S. funds only. Subscription services: STXcustserv@CDSfulfiUment. com, (866) 478-8856 U.S. and Canada, (760) 29r-r 531 international, P.O. Box 6338-r838, Harlan, IA 51537. For editorial inquiries, caU 978 203 5444 or email slitchsubmissions@interweave.com. Postmaster: Please send address changes to: Interweave Stitch, P.O. Box 6338-1 838, Harlan, IA 51537.

FOUNDER, CREATIVE DIRECTOR Linda Ligon VICE PRESIDENT, GROUP PUBLISHER Shahla Hebets VICE PRESIDENT, CONTENT Helen Gregory VICE PRESIDENT, MEDIA SALES Michele Crockett BOOKS EDITORIAL DIRECTOR Allison Korleski ECOMMERCE MARKETING DIRECTOR Evelyn Bridge DIRECTOR, MAGAZINE MARKETING Q FULFILLMENT Mark Fleetwood ONLINE CIRCULATION SPECIALIST Todi S1uith

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MEDLA. lNC.

CHAIRMAN &: CEO David Nussbaum CHIEF OPERATING OFFICER &: CFO James Ogle PRESIDENT Sara Domville CHIEF DIGITAL OFFICER Chad Phelps VICE PRESIDENT. ECOMMERCE Lucas Hilberl SENIOR VICE PRESIDENT, OPERATIONS Phil Graham VICE P RESIDENT, COMMUNICAT IONS Stacie Berger RETAILERS If you are interested in carrying this inagazine in your store, please call (866) 949-1 646 or email salcs@intcrwcavc.com.

6 * stitch

VISIT US ON THE WEB: sewdaily.co1n - interweave.com · fwcon11nunity.co1n


Best of

modern patchwork Patterns

{also in flannel}

on roa-..aloFLwetls Journey through the neighborhood along Ashton Road, where a new fabric collection awaits! Stomp through leaves, gaze at clouds, and smell the flowers - it's time to have fun and create!

TWNKI.ÂŁ STAR OOllJ_

NINEPATCH REARAANGED

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7 sewdaily.com

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sewing room Edito rs' picks for products, tools, boo ks + notions

whatts new + cool Stop cooking and s tart crafting with this delicious and modern take on a kitchen staple. FIBER ON A WHIM takes your grandmother's cheesecloth to a whole new level with these beautiful and handdyed colors. But beware; with names like "Kiwi," "Jalapeno," "Mulberry," and "Dulce de Leche," you may start craving calories while you create. fiberonawhim.com, $8.50.

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Your stitching creativity has never been easier with the SMARTER BY PFAFF 260C sewing machine. The computerized settings allow pedalfree stitching, control of needle settings to suit your sewing style and is easy to use. Smart, s leek and

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From teddy bears to travel cases, PRESENT PERFECT's collection of sewing projects appeals to the novice and seasoned sewist alike; helpful hints and suggestions for fabric reuse guides you through years of gift giving. sewdaily.com, $19.98

ROBERT KAUFMAN modernizes a wardrobe staple with a dizzying array of over SO denim fabrics; your old blue jeans will blush. robertkaufman.comlprices vary, starting at $1.50/yd.

~MAGIC .. PATTERM~ • to 6 oiffereat Style•! Sow 6 Patterll9"' 3 •

On November 8, some of the DIY industry's biggest names (Etsy, BurdaStyle, Joann Fabric, Singer, Husqvarna Vik ing and Pfaff) are coming together to host the "THE SEWING PARTY"-the world's first ever online-all-day DIY event. It will feature more than 30 interactive classes taught by the sewing and crafting industry's top bloggers and educational experts. Cost to participate is $40 and registrants w ill have access to all classes a full 90 days after the event itself. thesewingparty.com, $40

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Want a basic sewing primer that doubles as a more advanced • tutorial? THE MAGIC PATTEN BOOK by Amy Barickman does just that with the possibility of creating over 200 original and stylish designs. But, what's really magical about this book is the ease of navigating the patterns and instructions including fabric advice from a pro. amybarickman.com, $22.95 I I I

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â&#x20AC;˘ sewmgroom

sew

From inspiring people to hot trends, check out the news from around the sewing world .

SEWING IS GOOD FOR YOU! Studies show that . . sewing improves mental, physical health Text LINZEE KULL MCCRAY Sewists know the pleasures inherent in creating. There's the fun of choosing patterns and projects, the thrill of turning bits of cloth into something useful and beautifuL and the satisfaction that comes when sharing the completed item vvith friends and family. While those warm, fuzzy feelings bring us back to our sewing machines again and again, a spate of recent studies note that there's hard science behind those emotions, and that making things is good for our mental and physical health. Experts in neurology, psychiatry, social \vork, and occupational therapy have been exploring the ways that crafting is good for us. They cite the eye-hand coordination, concentration, and meclitative repetitiveness required for sewing, knitting, quilting, and other crafts as positive boosts to participants' physiology and psyche. The concept of "flow," described by psychologist Mihaly Csikszentrnihalyi as a time of total involvement and deep enjoyment, is familiar to those of us working away at a project when everything's going smoothly. But even \vhen a project provides challenges, sewists experience flow-the brain is able to process a limited number of things at a time, and learning a new technique or stitching a challenging project necessitates focus on the here and now, rather than worrying about the past or future. Linked to flow are crafting's repetitive processes. British sociologist Betsan CorkhilL\vho studied the therapeutic effects of knitting on more than 3,500 participants, notes that the skills learned v.rhile Se\ving and knitting are helpful in learning medita-

10 * stitch

tion, or even in attaining a meditative state. Meditation has been linked to lowering blood pressure and successfully coping with depression and anxiety. A 201 2 Mayo Clinic study found that people \vho engaged in crafting (including quilting) were less lil<ely to have cognitive impairments. Professor of psychiatry and neurology Yonas Geda suggests that crafting 1nay build cognitive reserves that help the brain stave off assaults by ''bad chemicals and bad proteins" that lead to problems like Alzheimer's and dementia. Because crafting requires the brain to simultaneously employ visual, verbal, and spatial cues, occupational therapist Sharon Gutman of Columbia University says it may keep our neural connections working quickly and efficiently. And a recent study at the University of Texas' Center for Vital Longevity found that

seniors who declicated 15 hours a week to learning the ne\1\T skills of photography and quilting had less memory loss than those who played games or socialized. Other studies have examined the effects of making things on mothers of premature babies, anorexic women, and the elderly: The results indicate that crafting soothes, relaxes, de-stresses, and works as an antidepressant for those who engage v.rith yarn and fabric. While some studies note that the satisfaction felt at completing a project can strengthen one's self-image, it's also true that the process of sewing has benefits. So stop beating yol1rself up over those UFOs and stop feeling guilty when you sit down at your se\ving machine. Taking time for stitching and learning new techniques, even if the results \vind up sitting in your closet, is its ov.rn reward.

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FABRICS {barkcloth}

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wishliat

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

:"? I Wear a bit of spring this winter with a necklace adorned with roses. Made with love from Italy, this 3D statement necklace is handcrafted from ceramic and glazed in a wintery white. Stone wear necklace, etsy.comlshopllofficina, $66.50

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I Enjoy a warm cup of tea in this

contemporary porcelain mug. With its unique shape and real gold handle, add a touch of wonder to your mornings. Coffee Mug, etsy.comlshop!ENDEsign, $35. I I I

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I What's a wishlist without

a diamond ring? This beautiful eternity diamond ring comes with a unique triangle shape 0 .25 carat trillion diamond. Available in both white and yellow 18k gold, it's made our hearts swoon. Diamond ring, etsy.com!shop/ARTEMER, $1,720.

3

I Display your favorite rings in this

precious bowl. Measuring approximately Li:1/2" in diameter, the s tark white porcelain is adorned with a 14k gold feather. Feather Ring Bowl, etsy.comlshoplredravenstudios, $56.

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••

STITCH STORY NO 830 :

How a costume revealed his true identity E-llen's g randson. Jake was full of personality at home. but painfu lly shy at the playground. Then 1nsp1rat1on struck. Using her Janome Skyline SS, Ellen stitched a custom cape that transformed him into "Super Jake" and all owed his bold spirit to shine through. Learn more about the new Skyline SS and how our sewing machines deliver more super powers for the money. Visit Janome.com

JANOME WHAT'S NEXT

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technique spotlight

Not all things that end up in your sewing room are designed with that purpose in mind, but

clever sewers have usurped

WINE RACK The compartments are perfect for storing . . sewing magazines, either rolled or flat, depending on t he opening shapes.

"stuff" from other rooms in the house and found a sewing room purpose. Here are some of our favorites: PLASTIC LIDS [think yogurt, cottage cheese, dips! S ure, they could go to the recycli ng bin , but they're great fo r us ing as circle te mplates and they com e in asso rted sizes. Label w ith the dia meter and you've got a ready- made set of templates.

WASHERS Large round meta l was he rs from the home im provem e nt s tore make great patte rn weights. Use them a u natura le, or cover them in fab ric.

BABY FOOD CONTAINERS Whethe r they're glass jars with screw-on lids or plas tic containers with snap-tops, these m ini storage units a re great for holding bu tto ns, beads, and othe r s ma ll fi ndi ngs.

DENTAL FLOSS

CHOPSTICKS A big help for stuffing small areas, like doll feet and hands, these handy tools are also good for turning corners and gently pushing t hem into sha pe. l(e

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Zigzag over this s tu rdy strand fo r easy gathering-jus t be careful not to catch the floss in yo ur s ti tc hing. It's a lso great fo r sewing on buttons on oute rwea r and othe r thi ngs that get a lot of wear.


ROLLING PIN

Not your average sewing room supplies

Move it from the kitchen, cover it with a towel, and you've got an instant seam roll for pressing. It fits in sleeves or pant legs with aplomb.

Text LINDA TURNER GRIEPENTROG

PAINTER'S TAPE This handy blue stuff is ideal for marking a seam allowance w ider than your needle plate markings-just peel and stick with no damage to your machine.

ADHESIVE LINT REMOVER Great for picking up loose threads on your project (after r ipping?) or around the room.

BED RISERS Place these under t he legs of your cutting ta ble to raise it to the proper height.

SHOULDER PADS Perfect to protect your hand and act as a m ini pressing mitt.

SOAP SLIVERS Recycle these for transferring pattern markings tha t wash out read ily.

DENTAL MIRROR Instead of standing on your head to thread the serger looper, use a small mirror w ith a long handle to see the threading path.

WALLPAPER ROLLER Got bulky seams that seam unruly? Roll over t hem with this tool to flatten and tame. Great for use with leather, faux leather, and heavy coatings. For even more control on wools, flood the area w ith steam before rolling - the roller pushes it into the fibers.

PLASTIC PLACEMATS Easily cut, these are ideal for adding stability to the bottom of a tote or purse. Trim to shape using kitchen shears or a craft knife, and slip between the lining and bag. Totally washable too!

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technique spotlight

MUG RACK/TREE This space-saving tool holds mu ltiple pai rs of scissors for easy access.

FISHING TACKLE BOX Got lots of machine accessories? A segmented plastic box will keep them organized and stick-on labels can identify them all for more frequent use.

TOOTHBRUSH The perfect size helps clean lint from the machine's feed dogs.

SHELF LINER If you 've ever chased your machine across the table, or stretched to reach the foot pedal on the hard- surface flooring, nevermore. Cut r ubberi zed shelf l iner to fit under either for a slide-free solution to the crawl. It grips and keeps things in place. Wha t's your favorite sewing room tool, not originally intended for use in tha t space?

LINDA TURNER GRIEPENTROG owns G

1Viz Creative Services in Bend, Oregon, where

she lives with her husband (a longarm quilter) and three dogs. She writes, edits, and designs for several companies in the sewing and quilting industry. She also leads fabric shopping tours to Hong .Kong for the American Sewing Guild. Contact her at g wizdesigns@aol.com.

SKEWERS Whether bamboo or metal, these can act like a "third hand" helping to feed fabric into the machine without puckers, and they're helpful for carefully poking out corners.

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how-to

SEWING WITH DENIM can be both fun and challenging, so don't sing the blues. Follow these easy steps for stitching success. And remember, today's denim isn't al\vays blue-there are myriad fashion colors as \vell.

TOOLS OF THE TRADE Start with sharp scissors or a ne\V rotary

cutter blade, as denim is dense and often heavier than most other fabrics you'll be sev.ring with. Starting v.rith the right tools v.rill insure clean cut edges. Use sturdy pins to hold seams together. On very heavy denim, consider clips instead, like Clover Wonder Clips to keep things in place, especially on multiple layers. (figure 1) A walking foot is helpful to keep heavy layers from shifting as you sew. Opt for a jeans/denim needle-the long tip and sharp point make it easier for the needle to penetrate the closely \voven fabric. A topstitch needle, v.rith a large eye, . U) is ideal for use with heavier threads. The Ill QI needle size should al\vays correlate to the Ol :g, denim weight. ~ Regular sev.ringthread works fine en c for seaming, but you'll want hea\rier QI ~ topstitching or jeans thread for a sho\vier Q; look. ..0 E PRE-TREATING ..0 ..,QI Denim will shrink, so pre-wash it at least tiIll once to allo'v for that before cutting. ' Washing also softens the fabric and helps E c v.rith any color transfer later. Wash it alone, QI o or with like colors, and dry in the dryer. Serge or zigzag all edges before you pre-wash the fabric to avoid a raveled mess.

!

The in-and-outs of working with this American classic Text LINDA TURNER GRIEPENTROG

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FRAY CHECKING No doubt about it, denim frays, and it can fray big time. The t\vill vveave makes it prone to raveling on any cut edge, even if you make a bias cut, so it's important to fi nish all seams and hem edges securely. Or, take advantage of this innate quality and showcase fri nged seams or edges, like on the Rods & Reel Denim Pillow (see page 59). Tf you plan to fri nge, stitch where


how-to

figure 1

you want the fringe to end using a small straight stitch or a close zigzag. It's a good idea to finish the edges on all denim pieces right after cutting to avoid excessive raveling during construction. Use a zigzag, overcast stitch or serging to encase the edges, even on seams that \vill be enclosed.

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SEAMING Reducing bulk is key when \VOrking with denim as multiple layers can be taxing to even the best of sewing machines. So remember to grade enclosed seams to different lengths, clip curves, and trim comers. Standard straight stitching is ideal for denim seaming. Sew, then press the prefinished seam allowances open. (figure 2) Serging also works well when seams vvill be pressed in one direction. (figure '3) On light- to medium-weight denims, press seams in one direction and topstitch v.rith a row of contrast stitching, a look that mimics ready-to wear detailing. (figure~) For a true Levi look, mal<e a real flatfelled seam. Sew the seam with \lVTong sides together and press the seam allowances in one direction. Trim the lo\ver seam allowance to about 1/ 4", then fold the edges of the upper seam allowance under and lay over the trimmed seam. Topstitch the folded edge in place. (figure S) TOPSTITCHING Wherever possible, topstitch denim seams to help keep them flat. This can be done with matching regular-weight sewing thread, or with heavier topstitching or buttonhole twist thread weights. Look for Coats Jeans Thread in colors that mimic ready-to \vear denim stitching- the bright Le\ri gold, t\visted blue denim colors or many fashion colors as well. For double stitching in one pass, use a twin needle-two size roo needles with 6 mm spacing sho\vcase topstitching thread v.rith aplomb. (figure 6)

Turning up a hem in denim is simplejust zigzag or serge the hem edge, and topstitch in place. But, if you have to go over perpendicular seams and you choose a turned-under hem option, like crossing the side seam of jeans, you can have eight or more thicknesses at the junction, \vreaking havoc with the feeding mechanisms on most machines as you go from two layers to eight. To help maintain even feeding, look for a Jean-a-ma-jig, a small plastic tool placed under the presser foot to ease the transition from low to high at the folded seamline. (figure 7) Place it under the back of the foot at the start of the climb, then \vhen the foot is level atop the denim lump, move it to the front of the foot to help \vith the descent. If you must, pound a thick seam crossing from the \1\l'Tong side \vith a hammer before stitching to help flatten it.

TACKING Ready-made denim garments are often accented with bartacks sewn in contrasting thread. To make a bartack, at a pocket top, for example, set the machine for a very close zigzag stitch and sew six to eight times creating a dense bar. (figure 8) As an alternative, some machines offer a bartack setting.* LINDA TURNER GRIEPENTROG owns

G Wiz Creative Services in Bend, Oregon, where she lives with her husband (a longarm quilter) and three dogs. She writes, edits, and designsfor several companies in the sewing and quilting industry. She also leads fabric shopping tours to Hong Kong for the American Sewing Guild. Contact her at gwizdesigns@aol.com

figure 7

19 sewdaily.com

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technique spotlight

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Sewing know-how for these sumptuous fabrics ensures success. Text LINDA TURNER GRIEPENTROG

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The world of lingerie sewing is as varied as the women who wear it. There's the silky, sheer, luxurious and lace types, and there's the cotton l<nit, soft batiste and lycra types. It's safe to say that most lingerie fabrics are knit for a stretchy, form-fitting silhouette under outer garments or a flo'llring look on their own, depending on the garment. Common fabrics used in lingerie se\ving are tricot, satin-back crepes, sheers, and laces-all of which can be slippery as you try to cut and sew. Other fabrics, slike cotton knit and batiste, not quite so much. Many lingerie fabrics are wider than standard fare-so1ne tricots come 120" \vi de- making them a very economical choice for everything from panties to negligees. A yard of fabric that 'llride goes a long way to filling the undies dra\ver. In addition to the fabric options, there are numerous special notions available for lingerie se'llring. Look for underwires, pre-made straps, appliques and bows, and elastics. lVIany lingerie elastics have a plush back designed to be placed against the skin, not in a casing; others have a picot edge to sit above the garment edge.

CUTTING If you're \vorking 'llrith tricot, silkies or sheers, cutting requires care. Begin 'llrith sharp scissors, preferably with a serrated blade for easier cutting. A little painter's tape can help secure fabric to the cutting table for non-slip layouts, or you can cut things like sheers sand'llriched bet\veen t\VO layers of tissue for easier handling.

For pinning, use silk pins-they're long and thin and usually don't leave permanent holes in delicate fabrics. On tricot, sheers, and single knits that tend to curl, use pattern vveights to keep the pieces flat for cutting. To help manage the unrulies, spray them \vith starch or a starch alternative, such as Best Press, before cutting. It adds a bit of body making them easier to control.

TOOLS OF THE TRADE Choose a ballpoint needle for Se'llring 'llrith knits, and a universal needle for woven fabrics. Since most are light\veight, a size 70/1Ois a good place to start, working up for heavier fabrics. Lightweight threads are available

specifically for se'llring lingerie fabrics. Look for size 60 thread in several pastels. Using finer thread makes less rigid seams.

SEAMING Since most lingerie fabrics are knit of one sort or another, it's important to maintain the flexibility in se'llm seams. Serging is an ideal finish as it finishes edges and Se\vSthe seam in one pass, while maintaining some stretch in the seam for close fitting items. On stretch laces and sheers, narro\v the stitch \vidth for less show-through. If you don't have a serger, stitch seams with a narro\v, open zigzag stitchperhaps even t\VO next to each other, and slightly stretch the seam as you se\v. 21 sewdaily.com

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technique spotlight

figure 1

On \voven fabrics, such as satins, crepes or batiste, no special seaming is required and a small sharp needle is ideal. These too can be serged, or sewn with a standard straight stitch, and the edges finished >vith zigzagging or serging. Often woven fabrics are cut on the bias for lingerie garments so they have good draping. When sewing bias seams, be careful not to stretch the seam as you stitch, but allo\ÂĽ the fabric to feed on its own. For serged seams, use the differential feed to control stretching. Before hemming a bias-cut garment, allo\v it to hang overnight.

APPLIQUES Lace appliques are common embellishments on lingerie. Since lace doesn't ravel \ÂĽhen carefully cut, flower motifs are easy to create. Use a bit of temporary spray adhesive, like Sulky KK2000, and lightly spray the applique shape. Press it onto the fabric in the desired location and zigzag around the edges with matching or invisible thread. Using small sharp scissors, trim the fabric aV1ray under the lace motif.

22 * stitch

figure 2

EDGE FINISHING Lace often finishes the edge of many lingerie items and applying it is simplejust lap the finished lace edge over the fabric edge and stitch in place using a narro\v zigzag along the seam or hem line. The fabric under the lace can then be trimmed away or left in place. If lace isn't the edge finish of choice, narro\vly hem the edge using a 1/ 4" turnunder or serge the edge, tum up and stitch. A. serger rolled hem can also be used to finish edges. For a bit of fun, sew a shell-edge hem finish. Simply turn under the fabric edge 1/4" and lightly press. Set the machine for a blind hem stitch \Vith a wide width. Position the fabric so that the \vide portion of the stitch goes off the edge, pulling it into a small scallop. Adjust the stitch length to change the scallop length, and the tension to pull the fabric in more or less, depending on the desired look. This same tecl1nique can be used on the edge of tucks. (figure 1) Another edge finish for knit lingerie fabric is called lettuce edging. A narro\v hem can be turned under or the stitching

figure 3

can be done over the raw fabric edge. Set the machine for a close, narrow zigzag and sew over the edge while stretching the fabric as much as you can. When you release the edge, a ruffly lettuce edge ,..,;11 be appear. (figure 2) Often armholes and neckline edges are simply bound with a double layer of the same knit used in the lingerie garment itself. Your machine's decorative stitches also make beautiful edge finishes. Spray the fabric edge with temporary adhesive and place it over a piece of \vater-soluble stabilizer. SeVI' the decorative edge along the seamline, trim close to the stitching, and remove the stabilizer. (figure 3fk LINDA TURNER GRIEPENTROG owns

G Wiz Creative Services in Bend, Oregon, where she lives with her husband (a longarrn quilter) and three dogs. She writes, edits, and designsfor several companies in the sewing and quilting industry. She also leads fabric shopping tours to Hong Kong for the American Sewing Guild. Contact her at gwizdesigns@aol.com


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book excerpt

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book excerpt

APPLIQUE TECHNIQUE Invisible machine applique with bias strips

FINISHED SIZE 131/2"

PERHAPS IT ISN'T COINCIDENCE that both concrete and quilts come in blocl< form. I was intrigued by the way the separate blocks of concrete walls mal<e circle patterns when put together, just lil<e quilt blocks take on a new life when they interact with copies of themselves in a quilt top. Concrete sellers call the common breeze-blocl< design replicated in this runner Cordova, and since the concrete version is often used to build walls in and around gardens, it seemed only natural to use floral prints as the background fabric.

x

39 1/2" (34.5

x

100.5 cm]

MATERIALS yd (68.5 cm] off-white solid fabric for bias strips, sashing, and binding

3/4

12 squares, each 6" x 6" (15 x 15 cml. assorted prints for backgrounds 2/3

yd (61 cm] backing fabric

18" x 44" (45.5 x 112 cm] batting

TOOLS 1/2"

(1.3 cm] bias-tape maker

Cordova Block fattern (Downloadable Toolbox for prepared-edge applique Light box (optional]

25 sewdaily.com

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book excerpt

CHOOSING FABRIC Medium- to large-scale prints such as the florals used here demand a place of prominence and lose their effect if chopped up into tiny pieces. By placing them behind the bias strips, they retain their impact, drawing the eye through the bias-strip design in front of them . Landscape architects do this by alternately concealing and revealing glimpses of different settings beyond hedges, fences, or, appropriately enough, perforated concrete walls.

Cut the Fabric I

· From off-\vhite solid fabric, cut:

- 2 strips 4" (1Ocm) x v.ridth-of-fabric; sub-cut each 4" (1Ocm) strip into 1" (2.5 cm) wide bias strips. You'll need a total of 48 bias strips. (You sh ould be able to make a few extra bias strips, which are useful for testing your machine settings before sewing the actual blocks.) -

5 I-Iorizontal Sashings 11/2" x 121/2" (3.8 x 31.5 cm)

-

6 Vertical Sashings 11/i" x 6"

(3 .8 x 15 cm)

-

2 Long Borders 1" x 381/i" (2.5 x 98 cm)

-

2 Short Borders 1" x13 1h "

(2.5 x 34.5 cm).

right side up, aligning the edges with the solid square outline. (The dashed line indicates the seam line.) 4 · Positi on a bias strip on one of th e curved sections of the pattern. Starting from one end (leaving a bit of an overhang past the background fabric), glue-baste the bias strip to the background fabric. You'll need to curve the bias strip gradually to follow the pattern lines; the strip should extend a little past the opposite end, too. If the strip ripples instead of lying flat, gently press to relax it. Glue-baste the other 3 strips to the background square where indicated on the pattern. Repeat to make to a total of 12 blocks.

Applique the Bias Strips Prepare the Bias Strips Run each bias strip through the biastape maker to turn the edges under to make '12" (1.3 cm) wide finished strips. 2 •

3 · With a copy of the Cordova Block pattern right side up on a light box, place one of the 6" (15 cm) background squares

26 * stitch

5 · Sew along both curved edges of each bias strip \Vith a zigzag or blind-hem stitch using monofilament thread. 6 · Trim the excess bias strip length even with the background squares.


book excerpt

VARIATIONS Bias strips can easily be sewn by hand or topstitched in place. If you baste the strips securely, you could even try quilting them in place after building the quilt sandwich. Half of the table runner length-two by three

blocks-would be just right for a placemat, and when I taught this pattern at my local quilt guild, some of the members used four blocks as the front panel of a tote bag .

Assemble the Runner

1" x 13 112" (2.5 x 34.5 cm)

Note: Press all seam allowances to\vard the sashing and border strips to help m.ake them look like an extension of the applique.

6 x 6" (15 x 15 cm) 11

7 • Referring to the Assembly Diagram, arrange the blocks in 6 rows of 2 blocks each on a design wall or other flat work surface.

1112" x 12112" (3.8 x 31.5 cm)

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8 · Join the blocks from each row with a Vertical Sashing strip.

.....

9 ·Join adjacent rO\VS with a Horizontal Sashing strip. 10 ·

Pin and se"'' a Long Border strip to each long edge of the runner top and press. Sew a Short Border strip to each short edge of the runner top.

Quilt and Finish A table runner is a very manageable size to quilt on a domestic machine. After quilting straight lines do\vn the center of the sashing strips (to make the sashing look more like a border around each block), I S\vitched to free· motion and outlined all the off-white pieces. Taking a cue from the floral prints I used, I quilted a daisy shape in each block center and a quarter daisy in each of the bias-framed quarter circles. Baste the backing, batting, and runner top together. Quilt as desired. Trim the excess batting and backing and square the edges of the runner. I I •

Assembly Diagram

· From the remaining off-white solid fabric, cut 3 strips 2" (5 cm) x width of fabric for binding. Join the binding strips with diagonal seams and press in half \vrong sides together. Bind the runner. 12

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book excerpt

PREPARED-EDGE APPLIQUE AT A GLANCE #

TOOLBOX Freezer paper and/or bias-tape makers Spray starch or spray sizing and brush Iron Stiletto Basting glue Scissors Needles Thread Open-toe presser foot and/or narrowedge presser foot [for machine methods] PATTERNS AND TEMPLATES Use reversed pattern to trace shapes onto freezer paper. Use non-reversed pattern to arrange shapes on background. Templates have no seam allowances; add seam allowances when cutting fabric.

A Book Excerpt from The Quilter's Applique Workshop by Kevin Kosbab

28 * stitch


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feature

Cheap & Chic Live a greener lifestyle and beautify your home by upcycling your excess stuff into on-trend art and accessories. Remember when green was just another chip on the color wheel? The color of money and a healthy salad? Now green is a lifestyle choice.

Let me state up front that on the color spectrum of actually "going green" I am barely to lime. I am a mixed-media artist with a mission to hunt, gather, and hoard. How does one reconc ile th at with a yearning to live a more simple life and honor the environment? For my husband and me, the f irst st ep was to build a smaller home wi th a self-sustaining (almost) landscape. We do not have a grass lawn and envision a vegetable garden (1'11 get back to you later on that idea, but Barbara Kingsolver's book Animal, Vegetable, Miracle did get me thinking). My new stu dio is light and airy but scaled down in size, res ul ting in less room for my swag, my stuff, my stash. This has led to a shortness of breath, profuse sweating, and voices in my head w hispering, " Time is up, Missy!" The challenge was to use some of my collections in f unct ional ways such as home decor, set t hem free (give away, donate), or spend t he rest of my life perfecting an inventory system to manage and st ore my art materi als. I went w it h the first two options. These mixed -media home decor projects ill ustrate my new- I can barely utter th e word thriftiness. Out came a stockpile of natural linen fabric (old and not-so-old) for drapes, along w ith cherished embellishments like vintage buttons and notions. T he only purchase I made for any of the proj ects featured here is the sassy, oversized rickrack used in the drapes (shown on page 32).

30 * stitch

'

Inspired by the drapes in Tricia Guild's book Patterns, I mixed printed linen panels with plain ones. Currently there is a resurgence of pattern in fabric fo r home decor and, wonder of wonders, wallpaper is back w it h a w hole new att it ude. Perfect timing for mixed-media artists! Our collages, surface design t echn iques, and fab ric art can now claim vertical wall space looking fresh and fab ulous. Pillows made from burl ap sacks, seen in a t rendy home store, infl uenced t he concept for another


feature

project. They were pri nted w ith tex t and largescale num bers, an easy motif to d upl icate w ith the chunky foam alphabet stamps. Since all Roman numerals can be made with only seven letters, I took a qu ick look online to refresh my memory and pulled out t he necessary lett ers:

I, V, X, L, C, D, and M. For t he front of the pillows, I cobbled together leftover linen from the drapes, added scraps of fabric with tex t, then stamped, stenciled, and spattered the surface-familiar techniques t o all mixed-media artists. If you have ever made a col lage and can sew a fai rly straight line, you can make these pillows. There is nothing like spending an hour in one of th e Anthropologie stores to powe r up on inspiration fo r home-decor projects. ( I reali ze some people actually do go there to buy cloth es.) It was there I saw an entire wall of frames-all sizes and styles, made into a cohesive collection by painting them with white gesso. Although I am familiar with t his design concept , it was t he matte fin ish of the gesso that sent me home w ith a mission. I buy gesso by th e gallon (so crisp and fresh on ceilings!) and already had the req uisite collecti on of old f rames. Humming "Reduce, Reuse, Recycle" put me in th e rig ht frame of mind. Prom ising to "use what you already have," I cut up a previously made col lage: at 3' x 5' it was t oo large fo r my new, smaller room s. By laying the frames on top of the collage and moving and turning t hem in different directions, I was able to find a pleasing composition for each frame. It also helped that the existing gesso spattering on the collages related to th e frames. Now th at the st udio is looking rat her spiffy I am on my way to the garden. My flowers (grown from seed, I'm so proud!) are going to be my new art materials. Poppies. sunflowers, Bells of Ireland, and nasturti ums. Their organic shapes. tex tures, and geometry captivate me and offer endless possibilit ies for m ixed-media art. I press them, preserve them in the freezer, and slath er their pet als and leaves with color to make monopri nts.

framed collage wall art MATERIALS • Used pictu re frames • Sandpaper • Gesso, white and black • Paintbrus h • Gold en Artist Colors® Interference Gold paint • Ephemera includ ing book pages, hotel receipts, reco rd covers, and engineering drawings • Old too t hbrush • Foil pen. gold • Alphabet stamps, foam rubber, large • Large foa m architectural stamps • Ru bber stamps and ink pads • Acetate transparencies DIRECTIONS the frames 1. Sand t he frames and wipe them clean with a damp cloth. 2. Apply 2-3 coats of white gesso, sand ing lightly between coats. note: Gesso dries quickly. but be sure each coat is completely dry before applying the next one. 5. Apply Interference Gold paint t o th e frames, if desire d. Wipe gently with a cloth, leaving the pa int in th e ca rve d areas. the collage 1. Using your favorite techniq ues, cre ate a col lage with the ephemera, ru bber stamps, and acetate transpa re ncies.

31 sewdaily.com

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feature

2. Overstam p with large alphabet letters. For

3.

4.

5.

6.

Roman numerals, use the letters in as many combinations as you like. Apply black or white gesso to the large foam architectural stamps and press firmly onto the collage surface. Use an old toothbrush to splatter the collage surface with both black and white gesso. Add sparkle and depth by "fl icking" a gold foi l pen over t he fabric. Place the frames on your collage, moving them around until you f ind the desired composition for each. Mark, cut out, and f rame your pieces.

DIRECTIONS

1. Sew a plain and a patterned panel toge t her

2.

3. 4.

5.

along the long side (right sides facing), t hen press the seam open. Repeat with the second set of panels. Attach large buttons to the plain panel s with waxed linen thread . Hem the bottoms and tops of the panels using iron-on tape. Sew the cloth measuring tape across the bottom edge of the panels. Attach rickrack down t he center seam using a hot glue gun.

pillows MATERIALS

drapery panels MATERIALS

• • • • • •

V intage linen or purchased linen pa nels, 2 plain and 2 patterned ( I used previously purchased natural linen fab ric for my drapes -1 shown below.) Buttons Cloth measuring tape Waxed linen threa d Giant rickrack, 11/i" wide Iron-on hem t ape Hot glue gun and glue sticks

• • • • • • • • • • •

Linen fabric fo r pillow fronts Fabric for pillow backs Pillow forms Fabric paint, black and white ( I used Tulip® brand.) Stencil brush Stencils Large and small chipboard alphabet and punctua tion stencils Purchased fabric with a tex t design Cloth measu ring tape Buttons Foam stamps

DIRECTIONS

1. Cut the fabr ic for t he pillow f ront. I recom-

x

Look for DIY Holiday at stores and on shop.sewdaily.com.

32 ........................................... * stitch

mend cutting the fabric for the pil low f ront and back at least 1" larger t ha n the pillow form; t his allows for 1/2" seam allowances. 2. Holding t he stencil firmly in place, apply the fa bri c paint with a stencil brush and let it dry. 3. Apply fabri c paint to the foam stamps and press firm ly onto t he fa bric. 4. Sew fabric patches, measuring ta pe. or other embellishments to the fa bric. 5. Spatter the surface with paint, gesso, or gold foi l pen. note: The patchwork for t he front of the "and now" pillow was pieced together w ith the seam allowances showing on t he outside. 6. Sew the pillow f ront to the back, right sides together, leaving an opening for the pillow form . 7. Insert the pil low form and stitch t he opening closed either by hand or machine. For a list of inspirational decor books, check ou t

lnterweavestore.com/DIVHoliday.


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artist Q&A

from

~

An interview with Anna Maria Horner by LINDSEY MURRAY

36 * stitch


artist Q&A

Do you remember seeing Anna Maria Horner's newly built studio in the fall 201 r issue of Studios? The pristine v.,rhite surfaces and architectural details just waiting for her to move in? I had my doubts whether Anna Maria could improve this space by adding anythingit seemed perfect already! Fast forward a fe\v months, and I stand corrected. Once filled with Anna Nlaria's tools, fabrics, and supplies, the room truly came alive. Read on to find out how this room \vas decorated-or not intentionally decorated anyway- and became a haven not only for Anna Maria, but for her \vhole family.

Photos by Anna Maria Horner

LM: Now that you have settled into your space, are you still happy \Vith all the design decisions that you made? AMH: Yes, I really, really am. I still come in here most days and pinch myself. LM: Would you change anything? AMH: I don't know what it \VOuld be. I thought so long and hard about this space that I didn't go forward until I had it all figured out, so it's perfect, as is, for me. There are just a couple of details that I have yet to finish, like how to treat the bare-bones plank stairs leading up from the dov.rnstairs studio ...so far, they are \VOrking fine as they are, but I imagine I may paint them. LM: Ts there any design feature you love so much that you would recommend it to other people?

37 sewdaily.com

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artist Q&A

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AMH: Everyone works differently, so I feel that's the key thing to look at ho\v do you work? You will come across many beautiful spaces, but making one function th e \vay that you personally operate is th e only reason to custom build a space. We had nooks and crannies to deal with in this attic, but in the end, those spaces served me really well and provided lots of storage that I wouldn't h ave h ad in a standard room.

LM: The \vay you decorated your studio •

is gorgeous. Was it hard to let go of the pristine whiteness of the area? What made you choose the colors that you did?

AMH: The funny thing is that I don't feel as though I have decorated at all. Simply filling the shelves with materials and supplies did it for me. I kept most of the furnishings neutral, added a few pieces of salvaged wood for ledges and tabletops, and of course layered that with my own prints through pillo,vs and rugs. Those will probably change every time I design a new fabric line. The whole room is sort of like a sketch book that \vill get ne\v artwork from time to time. I do have a few special things near my work desk, including an embroidered family p ortrait th at I made in a college textiles class, a miniature quilt piece by my friend Alexia Abegg. and a Byzantine icon that my moth er gave me. These small additions mak e the space feel like home.

38 * stitch


artist Q&A

-

I LM: What is your favorite piece of

AMH: I am not sure I ever have to

furniture?

LM: You said that you r kids were always

make the suggestion, but they sort of h ave about every craftlart/sev.ring tool and supply right at th eir fingertips, so it comes as no surprise it's what they end up doing. They are certainly used to seeing me pick u p all sorts of projects, both for work and for leisure, so Tam sure that contributes to their interest. Simply limiting their TV and computer time to just the weekends means that there is free time that they have to come up v.rith something creative or othenvise do nothing but stare down boredom. It's a proven recipe here.

welcome into this space. Do they like spending time there?

LM: What is the first word that pops into

AMH: They all do a little bit of

your mind when you think of your new space? Why?

AMH: I love the look of my stainless steel worktable. It's a sleek, modem break from all the painted wood surfaces. T found it th rough a restaurant supply place, and it's just a standard kitchen \Vorktable with a shelf u nderneath. While it's not as \vide as the counter \Ve use downstairs for cu tting, it works perfectly for my personal projects and has a great open shelf underneath for scrap bins.

everything up here; typically, it's hanging out, messing around \vith a needle and thread, or reading. Since school started they have been doing homework up h ere in the afternoons. Roman, our youngest, has a shelf or two devoted to some of h is favorite toys so h e feels just as at home in th is room as in any room in the h ouse.

first thing that greets me as I turn to walk in at th e top of the stairs every morning. Jeff and I very often have our coffee up h ere in the morning, so it's not just where I start my day, but we usually start it together here.

LM: Speaking of your kids, do you

LM: Can you descri be a typical day in

encourage them to craft, or do they naturally gravitate to it?

your studio?

AMH: Sunlight. The morn ing sun is the

• ~

;iilliiig

AMH: Once everyone else has left to start their day, my first stop is on the computer checking my inbox, my online shop, my blog, etc. My email inbox obviously serves as a to-do list, as I am continually working with my manufacturers, printers, and publishers on new projects and corresponding to fine tune collections. Pierrette is my assistant, and her desk is downstairs where she manages the online shop and helps out v.rith graph ics \vork for marketing materials and the website. We convene two or three times a day to discuss projects and plan: Sometimes that happens up h ere and sh e'll bring her laptop up for us to \vork side by side, or sometimes I'll sit dov.rnstairs for a while to go over various upcoming projects. Tf I'm sewing or working at the drafting table, I typically like to straighten up

39 sewdaily.com

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artist Q&A

my \Vork area first, othervvise I get antsy. So just keeping this place up to a certain degree takes up a good bit of my time. Because the children start filtering in after 3:00 or so, I try to save less focused work for the afternoon. They all make their way up here for a chat before they head to their snacks, homework, or playing outside. That's sort of my 90-minute warning bell before I \vrap up my day. I try hard to not be up here at all after that. But the reality is that every now and then I squeeze in another hour or two of work after the kids are in bed. Now that my main work space is upstairs and has a door that closes, it is much easier to walk away from my work and focus on "home time."

LM: You seem to do a little bit of everything when it comes to creating. Ts there one craft that you just couldn't live vvithout?

AMH: I think that hand\vork is nearest to my heart. ..there is such a free-form, fine art aspect to it that it speaks to the painter, drawer, and stitcher in me. There is also something about the simplicity of it that I find so provoking, especially \vhen you consider that some of the most elaborate work can come from just cloth, needle, and thread. It is such a personal expression.*

annan1ariahorner.com This article first appeared in Studios Winter 2011 .

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MOBILE PROJECT STORAGE


projects

What better season to turn your attention to the warmth of the sewing room than winter. Draw inspiration from one of our 31 stylish projects to fill these dark days with the brilliance of your creative stitching. Will you indulge your fancy with Edwardian Days or recycle your castaways with Pining for Patchwork? How about creating a new you with New Vintage or, for a touch of nostalgia, DIV Denim? Too tired to decide, then Boudoir is definitely for you!

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This is fiber art at its finest-a si!J< skirt embellished \vith nuno-felting

this oh-so-ey:e-catching hemline accent. instructions

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Tvlix a \vide varietY, of coorainating laces~ trims:'aho ribbons to create a richl'yj patterned tiered skirt.' PulJ:rrom your personal stash o~ treasures, adding a fe\v special ribbons to make the skirt uniguely: yours. Schmidt instructions


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circles and a piping accent n1ake this simP.le dress fun and flirty, \Vi th just â&#x20AC;˘ :-../orbeck

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diamond chain bolster Casuat hand-drawn lines were a hallmark of mid-century textile design, and the look is easily replicated with free-motion quilting. No expertise is required, since the wavering lines give the simple design its character. DESIGNED BY Kevin Kosbab [project instructions on page 91]

tablet folio Sew a fun and unique padded tablet holder! Instead of using a typical closure, this holder utilizes a fold-and-go system. In one quick gesture, the tablet slides into place. Slim in design, it fits nicely into a briefcase, backpack or purse. DESIGNED BY Marni Weaver [project instructions on page 93]


op art runner Inspired by Op Art, crisp graphics jumped off the gallery \Vall and into the late-r96os home through the \Vork of designers like Verner Panton. Bring it into your O\vn home \vith this runner, \Vhich adds applique to Drunkard's Path pieced units, creating a bold, striped wave design. DESIGNED BY Kevin Kosbab [project instructions on page 94]

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embellished a-line skirt

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This classic A-line skirt offers a modem t\vist, including a slightly dropped \Vaistline and a curved inset. Embellish the inset with coordinating fabri cs and embroidery floss, adding your own flair. Use the same fabric for the entire skirt, or add a contrasting fabric for the inset for yet a different look. DESIGNED BY Stephanie Bracelin [project instruct ions on page 97)


disco bag Show off your love of all things retro with a hand-embroidered disco bag. Sparkling metallic details and a n1odem shape add a touch of glam. With a roomy interior, double inside pocket, and magnetic snap closure, this faux leather bag is sure to be your new favorite for a night out! â&#x20AC;˘

pa, 9:]

DESIGNED BY Sara Curtis (proiect instructions on


scallop shift dress Reminiscent of women's clothes from the '6os and '70s, this little girl's shift features a button-front scallop placket opening, cut-on cap sleeves and

simple lines. Make it in a fun pastel print, or go bold for added impact. This dress is easy enough even for a beginner. DESIGNED BY Stephanie Bracelin [project instructions on page 99]

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Who doesn't love denim? Call it your own with these 5 groovy remakes

DENIM JACKET This stylish and trendy jacket proves that denim isn't just for dungarees. With the right accessories, this jacket's shawl collar, peplum waist and indigo blue color make a smooth transition from office to evening and from \vinter to spring. Add a pop of color with a bright lining. DESIGNED BY Amber Eden [project in struct ions o n page 101]


SLOUCHY CROSS BODY BAG Denim and leather make a fantastic mix-edgy, modem, and sturdy enough to withstand everyday use. And with denim now available in a number of fun colors, you can make one to match everything in your closet! DESIGNED BY Lisa Polderman [project instructions o n page 103]

-


RODS & REELS DENIM PILLOW Don't throw out those old jeans! Cut them up and restitch them in an updated way. Add your favorite fabric scraps using "sketch stitching" to create a unique piece of modem art in a pillow. This creative accent is easy to make and fun for guys or gals. DESIGNED BY Heidi Emmett [project instructions on page 104]

JEANS PLACEMATS Recycled jeans are ideal for placematsthey're sturdy and usually have interesting pocket details that make a fun holder for napkins and silverware on your casual table setting. Any jeans will work, but scour the thrift stores for large sizes so you have more fabric to work with. DESIGNED BY Linda Turner Griepentrog [project instructions on page 106]

59 ·~···-~·························

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Weglarz [project instructions

61 sewdaily.com

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purse This dramatic origami-style bag is based on a 194os vintage creation made from panels of soft leather. This silk version is updated with a log cabin patchwork style panel, heavily quilted to give a sumptuous texture.

DESIGNED BY Ruth Singer

ions on page noJ

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ed felted scarf Trailitional log cabin, rail fence, and stripe patchwork blocks sewn in felted \vools are teamed with exposed stitching techniques to create a vibrant scarf set to chase avvay the winter doldrums. Mix it up with the featured colors or create your own color scheme to please. DESIGNED BY Jenn Rhoads [project instructions on page 111] â&#x20AC;˘

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retro baby quilt Hidden secret? If you look closely at this colorful baby quilt, you1l see the incorporation of the letters M and X in the design. This simple-to-sew quilt is ideal for any child with its colorful triangle construction, giving it the look of houses with peaked rooflines. DESIGNED BY Malka Dubrawsky [project instructions on page 112]

64 * stitch


glamorous patchwork parka Velvet and a patchwork of brilliant silks tum a \varrn, utilitarian parka into a stunning evening jacket. Vivid silk lining turns back at the cuffs and makes a snapped flap over the zipper. Insulated with batting, the parka has a shaped hem, standing collar, and front pockets. DESIGNED BY Tina Lewis [project instructions on page 113]

65 sewdaily.com

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TANGLED UP IN THE BLUE QUILT by EMILY BRECLAW Project photo

DIAMOND CHAIN BOLSTER by KEVIN KOSBAB Project phot o on page

on page 67; instructions on page 117.

SO; instructions on page 91.

llTABLET FOLIO by MARNI

[I OP ART RUNNER

WEAVER Project p hoto on page SO;

by KEVIN KOSBAB Project photo on page S1;

instructions o n page 93.

instructions on page 94.


El LOG CABIN PATCHWORK PURSE

by RUTH SINGER Project photo

II VINTAGE VINYL SNAKESKIN CLUTCH by LINDA LEE Project photo on

on page 62; instructions on page 110.

page 52; instructions on p ag e 96.

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I] DISCO BAG by SARA CURTIS

SIMPLY MOD PURSE

by LYNN WEGLARZ Project photo on page 61; instructions on page 109.

Project photo on pag e 54; instruc tions on page 98.

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PATTERNS + TEMPLATES

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Perfect for snuggling in bed, these feminine wrap shorts feature a curved slit in the front to show just a bit of leg. Pair them with a tank top or camisole for sweet dreams. Look for a lightweight fabric for sleeping comfort. DESIGNED BY Tara Miller [project instructions on page 117)


tangled up in Give your bedroom a cool graphic makeover with this '6os inspired quilt. Large equilateral triangles are easy to cut and quick to piece. The asymmetrical enables you to change the look of the quilt by sim "ng it around. DESIGNED BY Emily Breclaw [project instructions on page 117]


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adult onesie Defy winter chills in an adorable, warm and cozy onesie-a modern big-kid version of a childhood favorite. Loose and comfy for lounging, it has contrasting zippers, ribbed cuffs, topstitching detail, three pockets, and a snuggly hood. DESIGNED BY Tina Lewis [project instructions on page 119]


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The Hol¡ w

sYo Love,

With 47 projects in all, you'll love all that this magazine has to offer, whether you are making gift tags from

Sew Festive, last minute sweet little pouches from Fast

+ Fab, a delightful sashiko pink from Embellish It, a free-motion stitched card from It's a Wrap, or an adorable shower curtain from Gift Giving. Stitch Modern Holiday 201 4 J 146 p ages I $14.991 Magazine I SRN: SG1400

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at

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, 71 sewdaily.com

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0 SEAM RIPPER Handy for quickly ripping out stitches.

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

0

0 ACRYLIC RULER This is a clear flat ruler, with a measuring grid at least 2" wide x r 8" long. A rigid acrylic (quilter's) ruler should be used when working with a rotary cutter. 0 CLOTH MEASURING TAPE Make sure it's at least 60" long.

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

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 Availablein several colors for use on light and dark fabrics; use them for tracing patterns and pattern markings onto your fabric. 0 HANDSEWING & EMBROIDERY NEEDLES Keep an assortment of sev-ring and embroidery needles in different sizes, from fine to sturdy.

0 IRON, IRONING BOARD & PRESS CLOTHS An iron is an essential tool when sewing. 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 \vith a movable slider is used for marking hems, checking seam allowances, placing buttons, and more.

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

SEWING KIT

0 CRAFT SCISSORS Use these for cutting out paper

72

GETTING STARTED

SPIKED TRACING WHEEL & COLORED TRACI NG PAPER Use these tools for tracing

patterns and markings onto your fabric.

0 WEIGHTS Pattern weights or small rocks are great for keeping fabric in place while drawing, pinning, and cutting.

* OPTIONAL ...

but good to have. 0 FRENCH CURVE A template of metal, plastic, or \vood that includes many curved edges for constructing smooth curves.

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 knitting needle or chopstick can also be used. 0 ROTARY CUTTER & SELF-HEALING MAT Useful for cutting out fabric quickly. Always use the mat to protect the blade and your \ÂĽOrk surface. (A rigid acrylic ruler should be used with these to make straight cuts). 0 TAILOR'S CHALK Available in triangular pieces, rollers, and pencils in various colors, tailor's chalk is useful for marking cloth. Some forms (such as powdered) can simply be brushed away; refer to manufacturer's instructions for recommended removal method. 0 TAILOR'S HAM A firm cushion used \Vhen pressing curved areas of garments to preserve the shape and prevent creases. 0 THIMBLE Your fingers and thumbs will thank you.

0 ZIPPER FOOT This accessory foot for your machine has a narrow profile that can be positioned to se\v close to the zipper teeth. Zipper feet are adjustable so the foot can be moved to either side of the needle.


*~ng

u;s PATTERN SYMBOLS & MARKINGS Here is a quick reference guide to the symbols and markings on the patterns. ,- - • CUTTING LINES

• DARTS Angled lines show where the

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* ~ng 148 PATTERN INSERT GUIDE A quick reference to the full-size patterns on the insert. EIAll pattern markings should be on the wrong side of the fabric unless otherwise noted. IJLay the pattern pieces on the fabric as close together as possible. Double-check that all patten1 pieces cut "on the fold" are placed on the fold. O l'v'lake sure all pattern pieces are placed on the fabric with the gTainline running parallel to the lengthwise grain unless a bias grainline is present or as otherwise noted. O Use weigh.ts to hold the patten1 pieces down and use pins to secure the corners as needed. O Cut pieces slowly and carefully.

LAYOUT, MARKING+ CUTTING GUIDELINES D The patten1 insert features overlapping patterns, so you n1ay 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 patten1 pieces you need from the insert and then cut out your traced pieces. Regular office paper may be used for small ten1plates that will fit. Tf necessary, use a light box or bright window for tracing. D if you are cutting pattern pieces on the fold or cutting two of the same pattern piece, fold the fabric in half, selvedge to selvedge, with right sides together or as indicated in the cutting layout or instructions.

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GLOSSARY OF SEWING TERMS + TECHNIQUES A quick reference to the technical sewing terms used throughout the project instructions. BACKTACK Stitching in reverse for a

short distance at the begi11ning and ending of a sea1n line to secure the stitches. Most inachines have a button or knob for this function (also called backstitch). BARTACK

Aline of reinforcement

stitching often placed at areas of stress on a garment. Bartacks are created with short zigzag stitches (by machine) or whipstitches (by hand). BASTING Long, loose stitches to hold

something in place temporarily. To baste by machine, use the longest straight-stitch length available on your machine. To baste by hand, use stitches at least '// long. Use a contrasting thread to make the stitches easier to spot for removal. BIAS The direction across a fabric that

is located at a 45-degree angle from the lengthwise or crosswise grain. The bias has high stretch and a very fluid drape. BIAS TAPE lVIade fro1n fabric strips cut

on a 45-degree angle to the straight grain, the bias cut creates an edging fabric that will stretch to enclose smooth or curved edges. You can buy bias tape ready-made or make your O\vn. CLIPPING Involves cutting tiny slits

or triangles into the seam allowance of curved edges so the seam will lie flat when turned right side out. Cut slits along concave curves and triangles (with points to¡ ward the seam line) along a convex curve. Be careful not to clip into the stitches. DART This stitched triangular fold is

used to give shape and for1n to the fabric to fit body curves. EASE/EASE IN When a pattern directs

to "ease" or "ease in," you are generally sewing a longer piece of fabric to a shorter piece or a curved piece to a straight piece. This creates shape in a gar1nent or object without pleats or gathers. To ease, match the ends or notches of the uneven section and pin together (or pin as instructed by the pattern). Continue to pin the

remaining fabric together, distributing the extra fullness evenly, but making sure that the seamlines match up as smoothly as possible (you will be smoothing the excess fullness away from the edge); don't be afraid to use a lot of pins. Stitch slo\vly, smoothing as necessary to ease the pieces together as evenly as possible, being careful not to catch tucks in the seam.

pattern. Pin at each n1ark. Grasp the bobbin threads from both lines of stitching at one end and pull gently. Work the gathers along the tluead until the entire piece is gathered and lies flat against the shorter fabric piece. Pull the bobbin threads from both ends to gather long pieces. Stitch the seam, then remove the gathering tlueads. GRADING SEAM ALLOWANCES The

process of trininiingseam allowances to

an existing seam line.

different widths to reduce bulk and allow the seam to lie flat. The seam allowance that will lie to the interior of the project is trimmed the most, leaving the seam allow¡ ance that will lie closer to the exterior of the project slightly wider.

FABRIC GRAIN The grain is created in

GRAINLINE A pattern marking showing

a woven fabric by the threads that travel lengthwise and crosswise.The lengthwise grain runs parallel to the selvedges; the cross\vise grain should always be perpendicular to the lengthwise threads. If the grains aren'.t completely straight and perpendicular, grasp the fabric at diagonally opposite corners and pull gently to restore the grain. In knit fabrics, the lengthwise grain runs along the wales (ribs), parallel to the selvedges, with the crosswise grain running along the courses (perpendicular to the wales).

the direction of the grain. Make sure the grainline marked on the pattern runs parallel to the lengthwise grain of your fabric, unless the grainline is specifically marked as crosswise or bias.

EDGESTITCH A row of topstitching placed very close ('/,6- '/s") to an edge or

FINGER-PRESS Pressing a fold or

crease with your fingers as opposed to . . usmg an iron. GATHERING STITCH (machine)

These are long stitches used to compress a length of fabric before sewing it to a shorter piece. To gather, set the machine for a long stitch length (3.<r4.o mm; use the shorter length for lighter-weight fabrics) and loosen the tension slightly. vVith the fabric right side up, sew on the seam line and again '4" from the seam line, within the seam allowance. Sometimes you will be instructed to place the first line of stitches Vs" from the seam line within the body of the garment so the stitches don't become tangled in the permanent seam line. Leave thread tails at each end and do not backtack. Pin the fabric to be gathered to the shorter piece right sides together, matching edges, centers, and pattern markings as directed in the

INTERFACING/INTERLINING

Material used to stabilize or reinforce fabrics. Fusible interfacing has an adhesive coating on one side that adheres to fabric v.rhen ironed. Interlining is an additional fabric layer between the shell and lining, used to change the garment drape or add structure or warmth. LINING The inner fabric of a garment

or bag, used to create a finished interior that covers the raw edges of the seams. MITER Joining a seam or fold at an angle

that bisects the project corner. rvfost common is a 45-degree angle, like a picture fra1ne, but shapes other than squares or rectangles will have miters with different angles. OVERCAST STITCH A machine stitch

that wraps around the fabric raw edge to finish edges and prevent raveling. Some sewing machines have several overcast stitch options; consult your sewing machine manual for information on stitch settings and the appropriate presser foot for the chosen stitch (often the standard presser foot can be used). A zigzag stitch can be used as an alternative to finish raw edges if your machine doesn't have an overcast-stitch function.

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* ~ng

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PINK To tri111 with pinking shears,

which cut the edge into a zigzag pattern to reduce fraying. PLACKET A placket is a finished gar-

ment opening, most often at the location of a garrnent closure. A placket can be finished by hemming or with binding or a facing. Plackets are often seen on sleeve vents (above the cuff) and are also used at neckline and waist edge openings, often in conjunction with buttons or other closures. PRESHRINK Many fabrics shrink when

washed; you need to wash, dry, and press all your fabric before you start to sew, following the suggested cleaning method marked on the fabric bolt. Don't skip this step! RIGHT SIDE (RS) The front side, or the

side that should be on the outside of a finished garm.ent. On a print fabric, the print will be stronger on the right side of the fabric. RIGHT SIDES TOGETHER The right

sides of two fabric layers should be facing each other. SATIN STITCH (MACHINE) This is

a smooth, completely filled column of zigzag stitches achieved by setting the stitch length to 0.2-0.4 mm. The length setting should be short enough for complete coverage but long enough to prevent bunching and thread buildup. SEAM ALLOWANCE The amount of

fabric between the raw edge and the sea111. SELVEDGE This is the tightly woven

border on the lengthwise edges of woven fabric and the finished lengthwise edges of knit fabric. SHELL The outer fabric of a garment or

bag (as opposed to the lining, which will be on the inside). SLIP BASTING A te1nporary slip

stitch used for basting in curved areas, or for matching plaids or stripes in

76 * stitch

preparation for sewing seams (it can also be used to baste zippers in place by hand). With a folded-under edge lying along the sea1n line, on top of a flat (unfolded) edge, take stitches about '/.," (6 mm) long, alternating between the folded edge and the flat edge. SQUARING UP After you have pieced

together a fabric block or section, check to n1ake sure the edges are straight and the measurements are correct. Use a rotary cutter and a rigid acrylic ruler to trim the block if necessary. Because you might tri1n off the backtacking on seams when you square up, 111achine stitch across any trimmed seams to secure. STAYSTITCHING A line of straight

stitching (through one layer of fabric), used to stabilize the fabric and prevent stretching or distortion. Staystitching is usually placed just inside the seam line, often at curved edges such as armholes. STITCH IN THE DITCH Press a previ-

ously sewn seam open or to one side. Lay the seamed fabric right side up under the presser foot and sew along the seamline "ditch." The stitches will fall between the two fabric pieces and disappear into the seam. TOPSTITCH Used to hold pieces :firm.ly

in place and/or to add a decorative effect,

a topstitch is simply a stitch that can be seen on the outside of the garment or piece. lo topstitch, make a line of stitching on the outside (right side) of the piece, usually a set distance from an existing seam. UNDERLINING Fabric used as a back-

ing for the shell of a garment to add structure and/or aid in shaping. It is also sometimes used to make a transparent fabric opaque. Underlinings are cut to the size and shape of each garment piece and the two are basted together and treated as one during construction.

TAILOR'S TACKS Used for transferring markings from a pattern to garment sections, these handy thread snippets are easily removed without damage. Take several loose stitches through the pattern and fabric layers leaving about a 1" loop of thread. After all symbols have been marked, separate the fabric layers and snip the thread between; carefully remove the pattern. A similar method is to take a small stitch, at the point to be marked, through all layers and leaving a tail of about 1". Take another small stitch, through all layers, directly over the previous stitch, leaving the thread loose to create about a 1" loop. When marks are all complete and the pattern paper has been removed, separate the fabric layers so that the thread loop is extended between the layers. Cut the threa ds, leaving a tailor¡s tack in each layer.

UNDERSTITCHING A line of stitches

placed on a facing (or lining), very near the facing/gannent seam. Understitching is used to hold the seam allowances and facing together and to prevent the facing from rolling toward the outside of the garment. WRONG SIDE (WS) The wrong side

of the fabric is the underside, or the side that should be on the inside of a finished garment. On a print fabric, the print will be lighter or less obvious on the wrong side of the fabric.


STITCH GLOSSARY A quick reference to the handstitches used th roughout the project instructions.

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i! BLINDSTITCH/ BLIND-HEM STITCH A Used mainly for hemming fabrics where an inconspicuous hem is difficult to achieve (this stitch is also useful for securing binding on the wrong side). Fold the hem edge back about 1/J.". Take a small stitch in the garment, picking up only a few threads.

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BACKSTITCH A Working from ri ght to left, bri ng the needle up at 1 an d insert behind the starting poin t at 2. Bring the needle up at 3 , repeat by inserting at 1 and bringing the needle up al a point that is a stitch length beyond 3 .

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CHAIN STITCH A Working from top to bottom, bring the needle up and then reinsert at 1 to create a loop; do not pull the thread taut. Bring the needle back up at 2 , keep ing the needle above the loop and gently pulling the needle toward you to t ighten the loop flush to the fab r ic [l ea ve a littl e slack in the thread to keep the l oop round). Repeat by inserting the needle at 2 to form a loop and bringing the needle up at 3 . Tack the last loop down with a straight stitch.

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.: BASTING• Used to tempora rily hold layers together, a basting stitch is simply a long running stitch. Stitches should be about 1/•" long and evenly spaced.

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BLANKET STITCH A Working from left to right, bring the needle up at 1 and insert at 2 . Bring the needle back up at 3 and over the working thread. Repeat by making the next stitch in the same manner, keeping the spacing even.

BUTTONHOLE STITCH A Working from right to left and with the point of the needle toward you, bring the needle above the fabric edge al 1, loop the thread to the left, then down and to the right, inserting the needle from the wrong side at 2, keeping the loop of thread behind the needle at both the top and bottom . Pull the needle through, tighten ing the stitch so that the looped thread lies along the edge of the fabric. Do not tighten so much that the tops of the stitches pull together. When using the buttonhole stitch to finish a hand buttonhole, work the stitches so that they are very closely spaced.

COUCHING A Working from right to left, use one thread, known as the couching or working thread, to tack down one or more laid threads, known as the couched threads. Bring the working thread up at 1 and insert at 2 , over the laid threads to tack them down; repeat by inserting the needle at 3 . This stitch may also be worked from left to right, and the spacing between the couching threads may vary for different design effects.

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*~ng «18 11

LAZY DAISY STITCH • CROSS-STITCH• Working from r ight to left, bring the needle up at 1, insert at 2 , then bring the needle back up at 3 . Finish by inserting the needle at ~ ­ Repeat for the desired number of stitches.

FLY STITCH.&. 2

Working from top to bottom, bring the needle up at 1 and create a loop by reinserting at l ; do not pull the thread taut. Bring the needle back up at 2 , keeping the needle above the loop and pulling the needle toward you gently to tighten the loop so that it is flush with the fabric. Tac k the loop down by inserting the needle at 3 . Repeat for the desired number of stitches.

Working from left to right, bring the needl e up at 1 and insert at 2 , leaving the thread loose. Bring the needle back up at 3 , keeping the needl e above the thread an d pul ling the needle toward you gently to ti ghten the thread so that it is flush w i th the fabric. Tack the thread down by inser tin g t he needl e at 4 . Repeat for the desired number of stitches.

FRENCH KNOT• Bring the needle up at 1 and hold the thread taut above the fabric. Poin t the needle toward your lingers and move the needle in a circu lar motion to wrap the th read around the needle once or twice. Insert the needle near 1 and hold the thread taut near the knot as you pull the needle and thread th rough the knot and the fabric to complete.

OVERCAST STITCH •

ENDING UPT

Keeping your stitches at consistent depth and spacing, take a diagonal stitch by bringing the needle through the fabric at 1, wrapping the thread over the edge, and then bringing the needle through the fabric again at 2 , to the side of the previous stitch. The result is a diagonal stitch that wraps around the edge.

At the end of a line of permanent handstitching, take a small stitch and pull the needle and thread th rough the loop. Take another short backstitch and repeat Clip the thread ends close to the stitches. For basting or other temporary mar kings, make a single knot or simply leave a long thread end to allow for easy removal.

NOTE Another option is to ta ke a small stitch on the fabric's wrong side, wrap the thread around the needle several times, then pull the needle through to secure the knot close to the fabric surface.

FRENCH TACK T

PRICK STITCH/ PICK STITCH T

Take a small stitch in the garment and then take a small stitch in the lining or facing, directly across from the first stitch, leaving 1" to 2" of thread between the two. Take a few more small stitches in each spot to build up a thread spacer tha t is several threads th ick. Work a tight blanket stitch over the th read spacer [see Blanket Stitch).

Prick stitch is worked just like a backstitch, except that the stitches are spaced Ys" to 1/,.. on the r ight side [taking longer stitches on the wrong side]. When used for topstitching, Pick stitch is worked only through the t op layer of fabric so that the stitch is not seen on the interior or underlayer.

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SEED STITCHES /SEEDING STITCH T

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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 fi ll a space.

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STANDARD HANDAPPLIQUE STITCH .A Cut a length of thread 12"-18". Thread the newly cut end through the eye of the needle, pull th is 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 straigh test edge of the applique and work ing from right to left. bring the needle up from the underside, through the background fabric and th e 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 , 'Ii' beyond 2 . Continue in this manner, keeping the thread taut (do not pull it so tight that the fabric puckers) to keep the stitching as invisible as possible.

SLIP STITCH T Working from r ight to left, join two pieces of fabric by taking a %.-•;," long stitch into the folded edge of one piece of fabric and bringing the needle out. Insert the needle into the folded edge of the oth er piece of fabric, directly across from the point where the thread emerged from the previous stitch. Repeat by inserting the needle into the first piece of fabric. The th read will be almost entirely hidden inside the folds of the fabrics.

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Working with two cords (or threads]. make a loop from the right cord (pinch the cords together at the base of the loop between thu mb and forefinge r l, 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 right loop and then th read it throu gh the loop from top to bottom. Pull the cords tight.

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Working from left to right, bring the needle up at 1, insert at 2 , and bring the needle up near the rig ht end of the previous stitch (between 1 and 2 , at 31. inserting the needle into the thread to split the thread in two. When you're working with multiple strands of thread, insert the needle between the strands.

SQUARE KNOT T

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SPLIT STITCH T

Working from r ight to left, make a straight stitch by bringing the needle up and insert at l , 'h- 1/4" from the starting point. To make a line of running stitches (a row of straight sti tches worked one after the otherl, bring the needle up at 2 and repeat.

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STRAIGHT STITCH/ RUNNING STITCH .A

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STEM STITCH .A Working from left to right, bring the needle up at l and insert it 'la-V." away at 2 (do not pull taut). Bring the needle up halfway between l and 2, at 3 . Keeping the needle above the loop just created, pull the stitch taut. Repeat by inserting the needle Vs- 'h" to the right and bring up at 2 .

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UNEVEN SLIP STITCH / SLIP-STITCH HEMMING T 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 1/," long, in the fold, across from the stitch in the garment/ outer fabric. Continue, alterna ti ng between tiny stitches in the garment/outer fabric and longer stitches in the fold.

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WHIPSTITCH T I

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Bring the needle up at 1, insert at 2 , and bring up at 3.

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* ~ng 148 CREATE BINDING CUTTING STRAIGHT STRIPS Cut str ips on the crosswise grain, from selvedge to selvedge, cutting to the width indicated in the 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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FOLD BINDING 'Y

A. Double-fold Binding Thi s option will create binding that is similar to packaged double- fold bias tape/binding. Fold the strip in half lengthwise, with wrong sides together; press. Open up th e fold and then fold each long edge toward the wrong side, so that the raw edges meet in the m iddle (1). Refold the binding along the existing center crease, enclosing the raw edges (2 ). and press again.

CUTTING BIAS STRIPS A Cut strips to the width indicated in the project instructions. Fold one cut end of the fabric to meet one selvedge, form ing a fol d at a 45-degree angle to the selvedge. With the fabric placed on a self-healing mat, cut off the fold with a rotary cutter, using a straightedge as a guide to make a straight cut. With the straightedge and rotary cutter, cut strips to the appropriate width. Join the strips with diagonal seams.

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B. Double-layer Binding This option creates a double- th ickness bin ding with only one fo ld. This binding is often favored by quilter s. Fold the strip in hal f lengthwise with wrong sides together; press. l

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BINDING WITH MITERED CORNERS 'Y Ill> If using double-layer binding {option 8 above/ follow the alternate italicized instructions in parentheses wherever you see them.

then fold it back down along the proj ect raw edge (2 ). This fo r ms a m iter at the corner. Stitch the second side, beginning aft the project raw edge (2 ) and ending 1;4· rom the next corner, as before. Continue as established until you have completed the last corner. Continue stitching until you are a few inches from the beginning edge of the binding fabric. Overlap the pressed beginning edge of the binding by 112" (or overlap more as necessary fo r securi ty] and trim the working edge to fit. Finish sewin g 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 an d then fold it over the project raw edges to the back, enclosing the raw edges {there are no creases to worry about with option 8]. The folded edge of the binding strip should just cover the stitches visible on the project back. Slip-stitch the binding in place, tucking in the co r ners to complete the mi ters as you go (3 ).

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Open the binding and press 1h" to the wrong side at one short en d (refold the binding at the center crease and proceed/ . Starting with the folded- under end of the binding, place it near the center of the first edge of the project to be bound, matching the raw edges, and pin in place. Begin sewin g near the center of one edge, along the first crease fat the appropriate distance from the raw edge], leaving several inches of the binding fab ric free at the beginning. Stop sewing 1/4' before reaching the corner, backtack, and cut the threads. Rotate the project 90 degrees to position it for sewin g the next side. Fold the bin ding fa bric up, away from the project, at a 45-d egree angle (l l.

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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 A Lay two strips right sides together, at r ight angles. The area where the strips overlap forms a square. Sew diagonally across the square as shown above. Tr im the excess fabr ic 1/1." away from the seam line and press the seam allowances open. Repeat to join all the str ips, forming one long fabric band.

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*~ng 1118 SEWING+ PRESSING A CURVED SEAM

figure 1

When you first look at t\vO opposing curves (such as on a princess seam), you may think that there's no way they can fit together, but-surprise, surprise-they do. Joining a concave and convex curve takes a little know-ho\v for a smooth seam. Sew a line of stitching just inside the seamline on the concave curve and clip into the seam allowance every i/s" (1 cm), stopping short of the stitching a . (Use the pattern notches as a guide for the curved section and stitch between them.) Spread the curve apart and pin it right sides together\vith the convex section, matching the notches. Stitch the seam with the clipped side facing up, sev.ring just beyond the reinforcement stitching b. Press the seam open over a pressing ham (a stuffed hamlike shape) to avoid flattening the curve you just made. If needed, clip out some fullness on the convex side to make the seam lie flat c. ···········-·····················-··············-······································································································..··············································

tigure2

TIP Don't rem ember your high school geometry? Concave is a hollow inward curve (think of a cave) ; convex is an outer curve.

MAKING A YO-YO ID With a fabric inarking tool, trace your template onto the wrong side of the yo-yo fabric and cut along the traced line. Repeat to cut the desired number of yo-yo circles.

lEI With the wrong side of the yo-yo circle facing up, fold over 1/ , .. along the edge of your circle. With a handsewing needle and thread, sew a running stitch through both layers of fabric, about 1/16-1/a" from the edge. Nlake sure your thread is long enough to go around the perimeter of the circle with a bit to spare (figure 1). Note: The stitch length determines the size of the center opening in your finished yo-yo. Longer stitches make a more tightly gathered center, while shorter stitches will make the opening larger ("vhich is perfect if you intend to sew a button in the center).

II Gently pull your thread until the edges gather in the center (figure 2). Continue tightening until the center is tightly gathered. Make a couple of stitches to secure the gathers. then tie a knot.

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Ill Flatten the yo-yo with your hand to make it lie flat, with the gathered center on top.

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ID Repeat Steps 2-4 to make more yo-yos. 81 sewdaily.com *


* ~ng 148 r..

.,.....-ftr: SEAMS & HEMS

French and flat-fe ll are self-fi nis hed seams tha t protect the raw edges of the seam allowance fro m abrasion. Use a Hong Kon g fin ish or triple-stitched hem for un li ned silk garments. For lined ga rments, finish seam allowa nces by pinking or use a zigzag stitch.

0 FRENCH SEAM

Pin the pieces wrong s ides together and stitch a 3/a" straight seam. Trim the seam a llowances to 'la". Fold t he fabric right s ides together a long the stitc he d seam and press. Stitch along the original seamline (now 1/," from the fold}. encasing the raw edges. Press the seam to one s ide.

0

0 FLAT-FELL SEAM Fold the seam allowance over toward t he r ight s ide on o ne piece a nd toward the w ro ng s ide on the adjoini ng piece. Inse rt the folds into each ot he r so tha t both pieces are facing r ight s ide up (see below. both raw edges are now encased and h idden). Edgestitc h a long ea ch fo ld to finish. (See a Web tu torial on sewing flat-fell seams at sewdaily. com.)

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0 HONG KONG FINISH

Usi ng 1 "wide bias strips, place a bias stri p rig ht sides together with one seam a llowance, raw edges aligned. Keeping the other seam allowance a nd garment fabric out of the way, sew wit h a 1/," seam allowance. Press the bias s trip over the seam and then fold it over the seam a llowance edge to the back (no need to turn u nder the raw edge of the bias s tri p; it will be left exposed on the underside of the seam a llowance I. Pin in place, then s titch in the d itch from the rig ht side of the seam a llowance to secure the unders ide of the bindi ng in place.

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once mo re d irec tly over t he visible s ti tch line.

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1f," from the raw edge, then press 3/16¡¡ toward the wrong s ide so that the line of s titches ru ns near the edge of the fold (1/16"). Stitch 1/s" fro m the folded edge, t hen t ri m the raw edge c lose to this second stitch line. Roll the hem toward the wrong side to enclose the raw edge (one row of s ti tc hi ng will still be visible). Finish by stitching

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how-to

Angelina fiber, and/or metallic threads - 1 yd water- soluble stabilizer - Elastic ties,

1/4"

wide

- Hook-and -eye set

Nuno-felted skirt

- St retch velvet binding, your wa istline measu rement minus 3"

by LAURA KEITH

- Fabric-safe marker

{from page 44}

- Rolled hem foo t

- 1 yd thick clear vinyl

D

- Thick black felt tipped marker - 1 roll rubberi zed shelf liner - Spray bottle f illed w ith l iquid dish soap and wate r

- Overlay: 2 yd silk chiffon - Enough prewashed and pressed cotton muslin to cover the Border template

OTHER SUPPLIES

- Back Skirt [BJ - Front Border [CJ - Back Border [DJ

0

- Lace or net laund ry bag [the kind used for machine -washing delicate articles] - Pattern paper

11 Apply glue stick to the wrong

side of each motif and position it on the chiffon border fabric, allowing 1" of uncovered fabric w ith in the t raced edges.

FINISHED SIZE

Hip Length I0:: XS 36 1/z-37%". _ 231/i" c( $ . 38 /z- 39111~ 24"

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Apply glue on top of each watersoluble stabilizer motif.

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ll Lay down wisps of fibers and

M_ 401/z-42" 2416" L 43 1/z::45" 25" XL 47-49" 251/i" Shown insizeSmall

decorative threads on top of the motif. Top each motif with the wool fiber to ensure that the decorative threads and other elements will be encased in the interlocked wool fibe rs. When you have a pleasing design, you're ready to felt.

- Templates, downloadable: - Front Skirt [Al

Cover the Leaf [GJ outline with a piece of water-so luble stabilizer and trace the desired number of motifs for both the Front and Back onto the stabilizer. Cut out ea ch motif. Place the self liner on the table and cover w ith the vinyl template material. Lay the chiffon Border on top, matching the traced edges and having the fabric right side up.

- Glue stick or spray

- Main: 2 yd silk habotai

B

- Decorative threads

- Fabric- safe marker

FABRIC

- One 40" x WOF for Border

Trace the Front Border Template [El and Back Border Template [Fl onto folded pattern paper to make full pieces. With a fabric marking pen or chalk, trace the template pattern pieces onto the 40" chiffon cut fabric. With the felt tipped marker, trace the same pieces onto the clear vinyl.

- Size 60/8 needle

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Overlay fabric, cut:

PREPARE THE OVERLAY

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

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

El From the

Note: The remaining Overlay chiffon w ill be cut after felting .

- One invisible skirt zipper, 7"

(j~

- One Back Border [DJ on fold

NOTES - All seam allowances are otherwise noted.

1/2"

un less

FELT THE OVERLAY

ll Carefu lly place the muslin

fabric over the chiffon motifs w it hout displacing the fiber.

- Front Border Template [El

- Transfer all patte rn markings to the cut pieces.

- Back Border Template [Fl

- Zigzag or serge all raw edges.

- Leaf [G)

- Press all seams open unless otherwise noted.

mRemove the vinyl template.

- WOF =Width of fabric

[El Roll up the fabric/fib er/shelf liner

CUT THE FABRIC

IE Place the bundle

D

bag.

Note: The Bo rder template patterns are sized to allow for shrinkage in the felting process. - Wool fiber/roving [not Superwashl: Merino wool blended with silk or Tencel,

From the Main fabric, cut:

- One Front Skirt [A) on fold - One Back Skirt [BJ on fold - One Front Borde r [CJ on fold

IIlJ

Spray with soapy water.

bundle and tie it with the elastic t ies. in the laundry

DJ Run

the bag through a lukewarm wash cycle , followed by a lukewarm rinse cycle.

>> 83

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how-to

ASSEMBLE THE SKIRT

EE Slip the overlay over the underlay aligning the waistline edges and the overlay opening over the zipper. Baste the waistline edges together 3/s" from the edges.

ID

Encase the waistline edges in the foldover binding, stretching it to fit the skirt as you sew. Turn the binding ends under at the zipper opening and hand-stitch them to the inside binding .

11!1 Separate and remove the chiffon borders from the other items. Stretch the fabric when damp, and press with an iron on the wool setting.

CUT THE FELTED OVERLAY

ID

Fro m the felted Overlay fabric, cut:

- One Front Border (C) on fold - One Back Border (DJ on fold

ASSEMBLE THE UNDERLAY

Ill Stitch

the darts on the Front Skirt and Back Skirt pieces.

figure 1

ID To pstitch through both

fabric layers around the zipper opening.

Eill

Hand-stitch a hook and eye closure to the binding at the zipper opening top. LAURA KEITH lives in the Pacific

Northwest and has an apparel design degree and several years ofexperience designing garments for a sports apparel manufacturer. She designs swimsuits, produces sewing patterns, teaches sewing classes, and writes sewing articles.

figure 2

OTHER SUPPLIES Cami - Templates, downloadable: - Upper Back Bodice [AJ - Lower Back Bodice [BJ - Upper Front Bodice [CJ

III Following

the manufacturer's instructions, install the invisible zipper in the left side seam. Sew the left side seam below the zipper.

ID Sew the right side seam. llill Sew the Front and Back Borders

- Lower Front Bodice [DJ

Neoclassic Cami

3/4"

by LAURA KEITH

- 2 yd stretch lace,

{from page 45}

- 1 pair pre- made straps or - 11/4 yd satin ribbon,

1/2"

- Two sets of lingerie slides and . rings

together at the side seams.

Ell

Matching side seams, sew the bord er to the sk irt body, easing as needed around the curves.

-

1/3

yd satin ribbon, 1/ 4"

- Narrow hemmer foot

IE

- Fabric-safe marker

Press the border hem under 1/z". Fold the hem width in half and topstitch.

- Half slip:

1/2"

elastic to fit waist

FINISHED SIZE ASSEMBLE THE OVERLAY

IE

Assemble the skirt overlay following steps 17-19. II] Pin-mark 7 1/2" from the upper edge on the left side seam. Sew the side seam from the pin-mark to the lower edge. To finish opening edges, turn the seam allowance under 1/ 4" twice and topstitch.

Em Sew together the remainder of the overlay following steps 19-21.

IIl

Finish the border hem with a narrow rolled edge.

* ittteh

Chest I0: XS 32-33" c( s 34- 35"

s~ â&#x20AC;˘

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

:c

w

M 36-371/z" L 39-401/z" XL 421/z-441/i"

Cl)

Half slip: made to fit

u

-

N Shown insize Small

FABRIC - Main: 1/4 yd ylon tricot, stretch satin or knit fabric with at least 25°/o widthwise stretch, 54" - Contrast:

1/2

yd Nylon tricot, 54"

- Half slip:

1/2

yd Nylon tricot, 54"

Center Back 16Vi" 163/i" 17%" 173//' 181//'

NOTES - All seam allowances are 1/4", unless otherwise noted; no seam allowance on front and back upper bodice edge.


how-to

notches. Stitch, using a stre tch zigzag or overlock stitch.

- '

COMPLETE THE CAMISOLE BODY

D

Finish the hem as desired with a narrow rolled edge stitch as mentioned in the ··notes" section . figure 3

APPLY THE STRAPS [J Cut 3" of ribbon. Draw one end through a ring and fold it back on itself and, with a narrow zigzag stitch ,

topstitch both layers.

Ill Repeat step 8 for other strap ml Cut the remaining ribbon yardage figure le

- The sample was made with stretch satin bod ice and nylon tricot torso. - Lay out all pieces onto the fabric accord ing to the ""direction of greatest stretch·· arrow on the pattern pieces, so the stretch goes around the body. Refer to fabric layouts in the pattern. - Fo r lace applicat ion, use a narrow zigzag stitch.

- One Lower Front Bodice [OJ on fold

ASSEMBLE THE UPPER BODICE

EJ

Stitch the Upper Back Bodice to the Upper Front Bodice at the side seam . matching notches. Repeat with the other side.

APPLY THE LACE TO THE UPPER BODICE

D

- Lace application: Place the lace so the outer edge aligns with the fabr ic raw edge. Tape or pin in place. Sti.tch along the inner lace edge using a narrow zigzag. Carefully trim away the underlying fabric. - Mitered lace corner: Place the lace up to the point of the bra section and pin in place. Fold the lace to make a smoothly mitered point (figure 1). Pin the fold, and follow the directions for the basic application method. Topstitch the mitered corner with a narrow zigzag (figure 2). - Hem: Use a narrow hemmer foo t and a medium width zigzag.

CAMI CUT THE FABRIC

D

From the Main fabric , cut:

Stitch the lace to right Upper Front Bodice neckline, opening with a 1:1 ratio, m itering the lace at the first corner. Continu e along the r ight neckline to the strap point, holding the lace slightly stretched. Miter the lace at the point. Continue in th is manner around the side and back to the left st rap point, miter aga in, then finishi ng at the opposite side center front edge. Carefully trim away the excess underlying fabric. (figure 3) Overlap the lace edges at center front about 1/s" and • with match ing thread, and a zigzag stitch , sew through both layers. joining the center fronts of the Upper Fro nt Bodice. (figure le)

ASSEMBLE LOWER BODICE

D

Pin, then stitch side seams of the lower bodice pieces, using a stretch stitch .

- One Upper Back Bodice [A] on fold

ASSEMBLE UPPER BODICE TO THE TORSO

- Two Upper Front Bodice [CJ

[I Pin the upper bodice to the lower bodice with rig ht sides together, matching center fronts and side seam

Ill

From the Contrast tricot fabric, cut:

- One Lower Back Bodice [BJ on fold

1n half. Draw one end under the first slider loop, over the middle bar• and under the second slider loop and through the ring. Fold the ribbon back on itself and bring the ribbon over the bar, but under the ribbon [you may have to loosen the ri bbon on the top in order to fit the second ribbon section in.] Fold the end back on itself with wrong sides together, and stitch the ribbon end to the ribbon about 1/2 " to 3/4" f rom the slider.

mOn the straps, adjust the slider to about 3" from the ring, to allow room for future fitting of the straps on th e final garment . Stitch right strap with the end that has the sliders and ring to the back of the cam i, matching the ribbon end to the dot. Be sure to topstitch the strap to the fabric wit h a narrow zigzag and al so to the lace with a similar stitch, crosswise across the ribbon width.

IE Repeat step 11 for the other side. EEi Try on the camisole and, with safety pins, attach the strap ends to t.he neckline at the mitered point, to fit. Remove the ga rm ent and stitch the straps to the points in t he same manner as for the back straps.

ID Fold 4" of t he narrow ribbon into a bow and sew it to the center front with a bar tack.

BONUS HALF SLIP

ml

Draw a pattern: Add 9" to your hip m.easurement to dete rmin e the slip w idth. Determ ine the finished length and add 2". Draw a rectangle this size on the fabric.

>> SS sewdaily.com

*


how-to

ml Tu r n under each ve rt ica l edge 3/4".

-

Topstitch 1/2" from the fold through both layers using a three-step zigzag stitch.

OTHER SUPPLIES

- Two Front Waistband [Al

- Templates, down loadable:

[fl Finish the hem with a narrow

-

Front Waistband [A]

roll ed hem .

-

Back Waistband [Bl

D

lD Overlap the vert ical edges 2"

-

Front Overskirt [Cl

and pin together at the wa istline. If desired, topstitch the overlapped edges together from the waistline edge down 6".

-

Back Overskirt [0)

Baste the lace Underski rt and Lining pieces together around all edges and treat as one for construction.

-

Front Underskirt [El

11 Stitch

-

Back Underski rt (Fl

iIJ

Turn the waistline edge under 1" and topstitch 1/s" from t he fold. Topstitch anothe r row 3/4" from the fold, leaving a small opening for the elastic insertion .

yd heavyweight fusible interfacing

- 3 yd non -roll elast ic, -

Matching thread

-

Fabric-safe ma rker

1/2"

-

casing; adjust to fit and trim the extra length. Overlap the elastic ends and stitch. Stitch the casing opening closed.

FINISHED SIZE

c( XS

::c s

u

w

-en N

M L XL

Hip 42" 44" 461/1" 491/z" 531/z"

Length 20 1/i"

21" 211/z" 22" 22 1/z"

NOTES

by KHRISTAL JOUETT

- All seam allowances are 5/s" unless otherwise noted. -

Fi nish all exposed edges with a zigzag, overcast or serging stitch.

- Transfer all pattern markings.

CUT THE FABRIC

D

From the Overski rt fabric, cut:

- Two Front Waistband [Al

yd skirt- weight wool,

- Underskirt: 1 yd lace, 54"

j ASSEMBLE THE FRONT

I WAISTBAND

Iii Fuse

- Bias strips, 2"

IIil Pin, then stitch Front Waistband

fl

lining to Front Waistband Overskirt fabric, with right sides together. Stitch along curved edge of pieces. Trim and clip seam allowance. Fold righ t side out and press flat. Match ing notches at center front waist seam, overlap right Front waistband over left Front waistband; pin, then baste wa ist seam at overlap. Edgestitch through all

From each the Underskirt and Lining fabrics, cut: - Two Front Waistband [Al. lining only - One Back Wa istband [Bl. l ini ng on ly

- Overskirt: 54"

I

- Two Back Overskirt (OJ

- One Front Overskirt [CJ

1 1/2

to the Overskirt hem edges and along the curve of center fron t Overskirt. Trim and clip seam allowance. Hand- sti tch bias binding hem edge to skirt. Al ign center front edges of the Overskirt, at t he waistline. Hand-stitch together alo ng aligned edges for 1",starti ng at I edge of waist seam allowance .

interfacing to the wrong side of each front Over skirt fab ric Wa istband pieces, making sure to have a left and right Waistband [one pair).

- One Back Waistband (BJ

FABRIC

Press under the Underskirt hem 2 1/2" . Finish the edges and hand-stitch in place.

ll Sew the bias binding

Peek-a-boo Skirt

J~

D

Shown insize Small

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

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

seam from the upper edge to the vent dot. Baste from dot to hem edge. Clip corner of vent seam to, but not through dot. Press open the center back seam. Press ven t to the left i nside skirt. Topstitch top of vent, at diagonal, through all layers .. For Underskirt vent, stitch from waist seam to dot. Press seam open. Fold and press vent openi ng 5/s". Fol d 5/s" again . St itch along folded edge usi ng 1/2" topstitch.

Pressing tool s: ham, clapper

....a=

classes and workshops, written for various sewing magazines, and appeared as a guest expert on DIY TV and PBS programs about sewing. Her website LauraKeithDesigns.com features her line ofpatterns for home-sewing enthusiasts.

(j

[I Sew the Overskirt center back

- Safety pin or bodkin

IE Thread the elastic through the

{from page 46}

the front and side darts in both the Underskirt and Overskirt. Clip dart open to 1" fron t dart point. Press t he darts open. Press the side darts open.

1/4

-

LAURA KEITH has presented local sewing

* stitch

Interfac ing, cut :

SEW UNDERSKIRT AND OVERSKIRT

FINISH THE WAISTLINE

86

El From the

Lining: 1 yd polyester silky, 54"

- One Front Underskirt [El - One Back Underskirt (Fl


how-to

Ribbon Skirt by ELAINE SCHMIDT {from page 47}

figure 1

inside of front waistband

inside of front waistband

wrap lining side of fron t waistband over towards back waistband

stitch seam allowance

('~. DOWNLOAD THE FULL-SIZE

J., figure2

PATTERN FOR THIS PROJECT AT SEWDAILY.COM

FABRIC - Main: 23/4 yd quilting cotton , 45¡¡

OTHER SUPPLIES layers of curve, front waist seam to top of curve at center front, as seen in figure 1.

mPin, then stitch Back Waistband along the long edge. Press seam allowance towards l ining , then understitch seam allowance to l ining . Stitch back sk irt to Back Waistband along waist seam, leaving lining edge free. Press seam toward waistband.

iE

Using a bodkin, or safety pin, thread 1/2" elastic though waist casings. Stitch side seam ends closed, catching elastic ends. Repeat for all casings. [See pattern of Back Waistband for elast ic cut lengths).

ATTACH THE FRONT WAISTBAND

iEJ

Baste the Underskirt front to the Overskirt front at the waistline edges. Remove basting at center fron t waist seam of Front Waistband so that lining is fre e. With back and front waistbands together at side seams, pin right sides of Overskirt fabric together, then wrap l ining side of fron t over the top of the waistband, towards the inside of the waistband. Stitch

seam allowance th rough all layers. (figure 2)

III

Pull Front Wa istband towards center front. This will sandwich t he raw edges of the side seam inside the Front Waistband seam.

lE Waistband

is ready to attach to the skirt. Pin right side of waistband to right side of skirt, l eaving l ining free. Stitch. Press sea m allowances into the waistband . Cover seam with l ining . From the right side of the garment, stitch- in-the-ditch along the waist seam , be ing sure to catch the l ini ng on the inside of the waistband .

- Template, downloadable: - Front Yoke [A) - Back Yoke [BJ - Ribbons, laces, trims: - 8 1/2yd , 3/s"- 1/2" wide - 15 1/2 yd , 5/s"- 3/4" wide - 123/4 yd , 7/s"-1 " wide - 11 1/2yd , 1 1/2"- 2" wide - One zipper, 7" - Hook and eye - Matching threads

FINISHED SIZE

FINISH FRONT WAISTBAND Edgestitch along the curves of the front waistband to the crossover at center front.

I-

KHRISTAL JOUETT is a designer from

w

III

North Alabama. She holds a degree in electrical engineering, but has enjoyed clothing design from an early age. She has been an avid sewer/crafter since the age of r 2, and is inspired by a love ofvintage clothing.

~

4(

XS

:c sM u

-en N

L XL

YOKE !hip widthl 37" 391/i" 42" 45%" 49%"

Length 381/i" 381/i" 381/i" 381/i" 381/i"

Shownin size Small

NOTES - All seam allowances are 5/s", unless otherwise noted. - Twenty-two different kinds of ribbons and trims we re used to

>> 87

sewdaily.com

*


how-to

El Stitch Front Yoke Li ning to Back

make the featured ski r t. Select a combination of r ibbons in various w idths- jacqua rds, velvets, grosg rai ns, sheers, and metallicsalong with r ickrack, laces, and other trims.

Yoke Lining at side seams. matching notches . Turn in seam allowance of Lining lower edge and press, easing in fullness. Set Yoke Lining aside.

B

Select a 7/s" - 1" ribbon and a 1 1/2"- 2" ribbon for the vertical rows. Cut four 7 1/4" for size Small of each r ibbon. Evenly posit ion and sew two of each ribbon onto the Front Yoke, vertically. Evenly position and sew one of each ribbon vertically to each Back Yoke .

- To finish seams, zigzag raw edges of seam allowa nces and press open . - Stitch close to both fin ished edges of ribbons and laces. Sew rick rack down the center. - Label each piece with the Tier number and location to avoid mixups.

l1 Sew Yoke side seams. SEW TIER 2 [I Sew Tier 2-5 Back to the side of each corresponding Tier Fr ont.

CUT THE FABRIC

D

From the Main fabr ic. cut :

fJ

Positio n and sew rows of ribbon and trim to the tier. The featured skirt uses one row of 1/2", one row of 5/s". two rows of 7/s"- 1", and one row of 1 1/2" ribbons.

- Tier 1: Two Front Yoke (A) for Front and Lining - Tier 1: Two Back Yoke [BJ for Back and Lining - Tier 2: One 8 1/4" x 24" rectang l e [Front)

I

- Tier 2: Two 8 1/4" x 14" rectangles [Backs] - Tier 3: One 9 1/4" x 28" rectang le [Front) - Tier 3: Two 9 1/4" x 16 1/4" rectangles [Backs] - Tier 4: One 10 1/4" x 32 " rectangle [Front) - Tier 4: Two 10 1/4" x 18 1/2" rectangles [Backs) - Tie r 5: One 13 1/4" x 36" r ectang l e [Front) - Tier 5: Two 13 1/4" x 20 3/4" rectangles [Backs)

~

TIER 2 FRONT c( TIER 2BACK :C TIER 3 FRONT U TIER 3BACK W TIER4 FRONT N TIER 4BACK en TIER 5FRONT TIER 5BACK

M

L

XL

* stitch

SEW TIER 4

ll

Position and sew rows of ribbon and trim to the tier. The featured skirt uses one row of 3/s", one of 1/2", two of 5/s". one of 7/s", and two of 1 1/2" ribbons.

SEW TIER 5 D.1l Position and sew rows of ribbon and trim to the tier. Place the Last row of ribbon or trim 2 1/2" from the lower edge to allow for hemming. Sampl e skirt uses one row of 1/2", three rows of 5/s". two rows of 7/s". and two rows of 1 1/2" ribbons.

S

22%" 13%" 261/z" 151/z" 30%" 17%" 34" 19%"

24" 25 /i'' 271/i" 24%" 14" 14%" 155/s" 16%" 1 28" 29%" 3l3/t 34%" 16 1h" 171/a" 181/s" 19%" I ASSEMBLE THE SKIRT mOn the top edge of each Tier 2-5. 32" 34" 361h" 39" sew gathering stitches along the 181/z" 191/z" 205/s" 22" 1/4" away inside seam line. Stitch again 1 36" 38 /i" 4%" 433/t the seam allowance. Stop and start 20%" 21%" 231/s" 24%" 1

Notch cente r fronts on Front Yokes, Main and Lining.

88

and trim to the tier. The featured skirt uses one row of 3/s", one of 5/s", two of 3/4", two of 7/s", and one of 1 1/2" ribbons.

XS

SEW TIER 1

D

I SEW TIER 3 [J Position and sew rows of ribbon

stitches at the side seams. Mark center fron t of each tier.

III Gather stitches of tier 2 to fit the bottom of the Tier 1. Pin at the side seams and at the center fronts. Adj ust

gathers evenly. Stitch. Stitch again 1/4" inside the seam allowance. Trim the seam close to t he stitching and zigzag edges together. Press t he seam allowances toward Tier 1.

IE

In the same way, stitch Tier 3 to the lower edge of Tier 2, Tier 4 to the Lowe r edge of Tier 3, and Tier 5 to t he Lower edge of Tier 4.

ID Stitch the skirt center back seam, matching all tier seamlines . Stop stitch ing 8" from t he top edge.

IE

Pin Yoke Lining to Main Yoke at waist edge, match ing seams and center front notches. Stitch. Trim. Understitch close to the seam.

FINISH THE SKIRT

III Sew the zipper at the center back open ing, Leavi ng the l ining fr ee.

iE Turn the Yoke

Lining down, turning under the center back seam allowances along the zipper. Hand stitch the Yoke Lining to the zipper tape and over t he Tier 2 seam.

ID Sew the hook and eye to Back Yoke at the top of the zipper.

ml

Press up t he skirt Lower edge 2 1/4". Turn in the raw edge 1/4" and handstitch in place.

SOURCES FABRIC Seven Wonders, by David

Butler, Shal e; FreeSpirit Fabrics, freespi r itfa bric.com RIBBON Many are from David

Butler's Pa r son Gray Collection, rena issa ncerib bans.com

ELAINE SCHMIDT is a designer and

author who live in Long Valley, New Jersey. Her sewn, embroidered, and quilted projects have been featured in numerous publications. She is the author ofHow to Make roo Ribbon Embellishments andThe Complete Photo Guide to Ribbon Crafts.


how-to

-

Large darning or leather needle

- Spring clips

FINISHED SIZE 11" x 8" x 31/4"

NOTES - All seam allowances are 3/s" unless otherwise noted.

Mid Mod Mini Tote

CUT THE FABRIC

by ROSE BECK

D

{from page 48}

- Two Body [A]

From the Main fabric, cu t :

-

One Gusset [Bl on fold

fl

From the Lin ing fab ri c, cut:

- Two Body [A) -

One Gusset [Bl on fold

-

One 5 3/4" x 16" rectangle, for Pocket

El From the

Stabilize r, cut:

- Two Body [A) -

One Gusset [Bl on fold

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

FABRIC -

-

Main: 1/2 yd canvas, outdoor fabric, wool or other mid- to heavy-weight fabric Lining:

1/2

yd quilting cotton

- Accen t : Scraps of wool felt in coordinating colors

OTHER SUPPLIES - Templates, downloadable: - Body [AJ - Gusset [BJ - Appliques [CJ -

1/3

yd foam stabilizer, 58"

- One 5 3/4" x 8" rectangle heavyweight fusible interfacing -

18" purse handles with sew- on tabs

-

1/2

yard each of two colors rickrack,

1/4" - Six buttons,

1/2"

-

Fabric glue

-

Embroidery fl oss

-

Matching and contrasting threads

each Accent felt cut:

One App li ques [CJ

APPLIQUE AND EMBROIDER

11 Cut lengths of rickrack for the stems and position onto the Body Front using fabric glue, extending the stems to the lower bag edge. Remove flower Appliques and stitch each stem in place with a center line of stitching.

ll Position the flower Appliques on the Body Front right side as shown, covering the upper rickrack end. Glue Appliques in place and stitch all around each one using a blanket stitch or zigzag [see Sewing Basics). Using free-form stitching, stitch straight lines through the cen ter flower and out from other flower edges. Sew buttons to the center flower stitching l ines. Optional: Add flower Applique to the Body back if desired.

ASSEMBLE BAG

D

Baste the stabilizer to the wrong side of the Body Front, Back, and Gusset using a 1/4" seam allowance. Tri m the edges of the stabilizer very close to the basting to reduce seam bulk.

ll Attach

handles to the Body Front and Back using embroidery floss. Hand-stitch using a backstitch,

sewing through both the fabric and the stabilizer.

ll With

right sides together, pin one long edge of the Gusset to the Body Front curved edge, matching centers and upper edges. Stitch, easing the Gusset around the corners. Repeat with Body Back on the other long gusset edge. Turn the bag right side out.

MAKE POCKET AND LINING

iilJ

Following the manufacturer's instructions, apply the 5 3/4" x 8" Interfacing to one half of the Pocket . piece.

mFold the Pocket in half, r ight sides together, and press. Stitch around the Pocket raw edges using a 1/4" seam allowance, and leaving a 3" opening on one side for turning. Trim corners. Turn Pocket right side out. fold opening edges in, and press. Edgestitch the Pocket top.

iEJ

Place the Pocket on a Lining Body right side in desired position and pin. Edgestitch the Pocket sides and lower edges, securing the opening as you stitch.

iEJ

Stitch the Lining Body pieces to the Gusset as in step 9, but leave an 8" opening in one Lining lower seam for turning. Press seams open. Note: Do not turn Lining ri ght side out yet.

FINISH THE BAG

iIJ With the handles down and right sides together, place the Main bag inside the Lining, matching corner seams, and pin/clip in place. St itch together around the upper edge.

>> 89 sewdaily.com

*


how-to

ml Tu rn the bag rig ht side out, stitch the opening closed , and push the Lining into the bag. Press the upper edge.

11] Topst itch the upper bag edge

1/4"

from the edge, being careful to keep the handles out of the way as you stitch .

3/4

- 11/2 yd cotton piping cord , 3/ 16" - Fusib le web - Fabric -safe marker

to play with anything related to fiber. When she's not stashing fabric or yam, she likes to dream up designs for sewn and knitted accessories. Find her patterns and adventures at roseisarosepattems.com.

- Zipper foot

I MAKE PIPING I D Sew togethe r the bias strip ends

I I

FINISHED SIZE

....ii::

Bust Waist 24-25" c( XS 32-33" 26-27" ::c 34-35" u M 36-371/i" 28-29 1/i" 31-32 1/i" LI.I L 39-401/i" N XL 421/i-441/z" 341/i-361/i" en Center Back Length: 32 1/4" Shown insize Small

s

-

{from page 49}

- Apply fusible web to remaining accent fabric and cut applique circles. Note: Samp le shows 6", 3 1/2", and 2" circles.

- Matching threads

ROSE BECK is a multi-crafter who loves

by KATRIN VORBECK

From Piping/Applique fabric. cut:

- 11/ 2" bias strips, pieced to make about 11/2 yd piping.

- Invisible zipper, 20"

- Invisible zipper foot

'60s-inspired Dress

D

yd lightweight woven fusible interfacing . 36"

-

Hip 341/i-35 1/i" 361/1.-371/z" 381/1.-40" 41 1/z.-43" 45-47"

with diagona l seams. Fold the bias strip in half lengthwise, wrong sides together. Center the piping cord in the fold and using a zipper foot, stitch close to the cord.

[I Fuse interfacing to the wrong side of all facings.

II Serge or zigzag

all raw edges on sides, shoulder seams. and lining hemline.

ASSEMBLE THE BODICE

D

Sew darts on the Main and Lining pieces. Press darts downwards.

NOTES

D

- Extra fabric may be requ ired to match large designs.

1

With r ight sides togethe r, sew facing pieces to the coordinating Lining pieces. Stitch the Lining shoulder seams and right side seam only. Tr im shoulder seam. Note: Left hand side seam will be closed later.

- Press seams after every step.

I

IIll

- All seam allowances are 5/s" unless otherwise noted. - Hem allowance is 2" .

(j ) ~

1W

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

FABRIC - Main: 2 1/ 3 yd linen. 45" - Lining:

3/4

yd l ining fabric, 45" 1/2

- Pip ing/Appliqu e: yd contrasting fabric (shown: Kona Cotton solids, chartreuse)

OTHER SUPPLIES - Templates. downloadable: - Front (A) - Back (Bl - Front Facing (Cl - Back Facing [DJ - Front Sk irt (El - Back Skirt (Fl - Back Lining [G) - Front Lining [HJ

90 * stitch

Fuse the applique circles on the Front and sew around the edges using a zigzag or satin st itch.

- Pretreat the fabrics and cord as the I I fini shed garment will be handled (wash, dry, and iron or dry clean ) to I With r ig ht sides together, stitch the avoid shrinkage after the garment Main shoulder seams and right side .1s sewn . seam. - Desired circle template . iEI With r ight sides facing, sew the

m

CUT THE FABRIC

D

From the Main linen, cut:

- One Front (A) on fold - One Back (Bl on fold - One Front Facing [CJ on fold - One Back Facing (0) on fold - One Front Skirt (El - One Back Skirt (Fl

0

From Lining, cut:

- Two Back Lining [GJ - One Front Li ning [HJ on fold

D

From fusible woven interfacing, cut: - One Front Facing [CJ on fold - One Back Facing (OJ on fold

I Lin ing to the Main dress around I neckline. Trim and clip the seam allowances. Carefully press seam allowances toward the facings. 1 Understitch fac ing/lining to the neckline seam allowances close to t he seamline. Tu rn the dress right side out and press the neckline again.

I

IE With the

right side of dress facing out, reach between the Lining and Main fab ric and hold onto the r ight front armhole seam allowances. Pu ll them through and with right sides together, sew th e armho le closed f rom the shoulder to the side seam. Trim and clip the seam allowances. Turn right side out aga in and press first half of the armhole. Repeat this


how-to

I

Diamond Chain Bolster by KEVIN KOSBAB {from page 50}

figure 1

I I I I I I I I I I

step with the back armhole and on the left side.

lII Sew the

invisible zipper in the left seam of the Main dress, shortening the zipper if needed. Stitch the remaining dress left side seam from the lower edge to t he zipper. Press seam allowances open.

iE

Fold left Lining seam allowances under and hand -stitch to the zipper tape .

ASSEMBLE THE SKIRT

iE Stitch the skirt center back seam.

FABRIC - Main: 1/2 yd solid cotton [shown: Ice Frappel - Accents: Four scraps of different solid cottons, 2 1/2" x 21/2" [shown: Flame, Candy Pink , Bahama Blue, and Torch] - Piping: 1/2 yd solid cotton (shown: Spruce) - One muslin rectangle, 20" x 24"

Finish seam allowance edges.

OTHER SUPPLIES

IE

Baste the piping to the upper skirt edge, with the cord towa r d the skirt .

- Template, included on insert:

FINISH THE DRESS

- 14" x 6" bolster pillow form

iD With

- 2 yd cotton piping cord, diameter

piping sandwiched between the layers, sew the upper edge of the skirt to the lower dress edge, matching center backs and distr ibuting the fullness even ly. Leave the Lining free. Press seam allowances toward the dress. Trim seam allowances and serge or zigzag raw edges together. Topstitch the seam.

iII fJll

Hand -stitch the skirt hem in place.

Loosely tack the Lin ing lower edge to the skirt attachment seam. KATRIN VORBECK,.from Germany, is

a passionate sewer, always learning and exploring. It's the small details and the simple design features that she loves most She's also into needlecrafts since her childhood - knitting and sewing are her ways to stay sane. Admittedly, she's afiberholic, bookworm, and a bad photographer. Visit her blog atfrauvau. blogspot.com

- Bolster End (A)

figu re 2

- Two 15" x 9" rectangles for Backgrounds - Two 3 1/4" x 23/4" rectangles for Detail Ends - Two 3 1/2" x 3 1/2" squares; sub -cut each twice diagonally to make eight quarter- square triangles. Note: You' ll use six. - Two 2" x 2" squares; sub- cut each once diagonally to make four halfsquare triangles

5/32"

- Batting, 20" x 24"

fl

- Coordinating thread for construction and quilt ing

- One 21/a" x 2 1/a" square

- Heavy cotton thread for detail quilting (shown: black 40- weight quilting t hread]

- Two 11/2" x WOF bias strips

PIECE THE DETAIL STRIP

- Da r ning or free - motion quilting foot

D

El

From each Contrast scrap, cut: From the Piping fabric, cut:

- WOF =Width of fabric

Place one half- square triangle on a Contrast square, centering the long edge of the t r iangle on one edge of the square, and sew together. Sew a quarter-square triangle to the opposite edge of the square as shown. (figure 1) Press the seam allowances toward the square. This unit w ill be at one end of the detail strip. Repeat this step to make another unit using the Contrast square for the other st rip end .

CUT THE FABRIC

11 Sew quarter-square triangles

D

t o opposite edges of the remaining Contrast squares, w ith t riangles

- Zipper or piping foot - Safety pins or qu ilt bast ing spray

FINISHED SIZE 14"x6"

NOTES - All seam allowances are otherwise noted.

1/4"

From the Main fabric, cut:

- Two Bolster End (A)

unless

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how-to

together, and use a zipper or piping foot to baste the layers of piping fabric together near t he cord [see Sewing Basics]. Cut the cove red cord length in half.

lliJ

Pin one of the piping lengths around the perimeter of a Bolster End piece, aligning the raw edges. The piping ends sho uld overlap by several inches where they meet. Using a zipper or piping foot, baste the piping to the Bolster End nea r the cord, sta rting several inches from the piping end. When you¡ re a few inches from the starting point, trim the pip ing ends to leave an overlap of about 1",undo th e stitching at the starting end, and fold under t he fabric at the starting end. Tr im the filler cords to abut and encase the join with the starting end fabric. Sew the joined section to the Bolster End near the cord. Repeat for the opposite end.

figure '3

facing in opposite directions as shown. (figure 2) Press the seam allowances toward the squares.

D

Trim the extending triangle corners flush with the squares. Referring to figure '3, sew the units from Steps 4 and 5 together, aligning adjacent seams [the squares will face an adjacent unit's triangle for sewing). Sew a quarter-square triangle to each remaining raw edge of the Contrast squares.

FINISH THE PILLOW

ID

Pin one of the piped bolster ends into one end of the pillow cover tube, right sides together and raw edges aligned . Use a zipper or piping foot to sew the laye rs togethe r very close to the piping cord . Repeat this step to sew the remaining bolster end into the opposite end of th e tube, then trim the seam allowances on both ends to reduce bulk.

D

Sew a Detail End to each short end of the pieced deta il strip. Press the seam allowances open.

ASSEMBLE THE PILLOW COVER

D

Sew a Background piece to each long edge of the detail strip. Press the seam allowances open.

IE Turn the

D

Layer the batting on the muslin and center the pillow cover right side up on top. Baste the layers together with safety pins or basting spray.

IE Using a darning or quilting foot and heavyweight contrasting thread, free -motion quilt a rough outli ne around the Contrast shapes, working in a figure-eight path to keep the l ine continuous. (figure le) Retrace the outline once or twice more, varying the exact position of the quilting lines for a sketch -like effect. NOTE: Use a walking foot if you prefer a less handdrawn loo k.

mUsing coordinati ng thread, quilt the Main fabric background as desired. The sample was quilted with large, casua l zigzags paralleling the pieced shapes. Leave an unquilted margin

92 ........................................... * stitch

of 5/s" at one of the short ends of the pillow cover. [fJ Trim away the excess batting and muslin so the quilted pillow cover measures 15" x 19 3/,". Trim 5/s" of the batting and muslin away where you left the unquilted margin, leaving the Main fabric intact; this will make it easier to sew the pillow closed after stuffing.

iEJ Bring the short ends of the pillow cover r ight sides together and sew with a 5/s" seam allowance for about 2" in from each side, leaving a gap in the middle for stuffing.

SEW PIPING TO THE ENDS

mJ Wrap a piping strip lengthwise around the pipi ng cord, wrong sides

pillow cover right side out through the seam opening , gently pushing out the piped edges. Insert the pillow form through the opening .

ID

Fold under the open 5/s" seam allowance and hand- stitch the opening closed.

SOURCE FABRIC Robert Kaufman, Kona Cotton

solids, robertkaufman .com KEVIN KOSBAB is a contributing editor to Stitch and has previously written on midcentury modem-inspired quilting for Modern

Patchwork. Author offhe Quilter's Applique Workshop (Interweave, 2014), he designs modem sewing and quilting projects for magazines and his own pattern line, Feed Dog Designs (feeddog.net).


how-to -------------------- ------------------ --

Tablet Folio

NOTES - All seam allowa nces are otherwise noted .

by MARNI WEAVER {from page SO}

1/2"

unless

- A 1/s¡¡ gap is placed between pieces to allow for folding . - Trim seam allowances from Interfacing and Fleece pieces.

CUT THE FABRIC

D

From the Main fabric, cut:

- One 13" x 19" rectangle

B

From the Lin ing fabric, cut:

- One 13" x 19" rectangle

B

From t he Accent A fabric, cut:

- Two Flap (A]

D

From t he Accent B fabric, cut:

- Two Inner Flap [Bl. two reverse

11 From t he ult ra- firm FABRIC

cut:

- Main: 1/2 yd or 1 fat quarter quilting cotton (shown: Yellow Trassle]

- One Flap [A)

- Lining : 1/2 yd or 1 fat quarter quilting cotton (shown: Coral Blomster] 1/4

- Accent A: yd or 1 fat quarter quilting cotton for Flap (shown: Yellow Bergen) - Accent B: 1/ 4 yd or 1 fat quarter quilting cotton for Inner Flap [shown: Coral Littl e Blomster]

- One Inner Flap (Bl. one reverse - Two 13" x 19" rectangles

D

Fro m t he fusible fleece. cut:

mTurn and fold t he seam allowances

on each fabric piece. Use a fabr ic glue stick to hold the seam all owance to the back s id e of the interfacing pieces. Turn and fold all straight edges a nd clip into all curved edges in 1" increments. Do NOT clip into the seam allowance. Turn and fold to backsid e. Hold in place with the fabric glue stick . Make sure all curves lie smooth. Press w ith an iron .

IE

Repeat step 11 for all pieces - both outside and lining, following these guidelines:

- On e In ner Flap (Bl. one reverse

Main/outside and lining fabric pieces: turn and fold all seam allowances.

- Two 13" x 19" rectangles

IE

FUSE THE FABRIC

D

For t he Flap and lining fabric pieces, only turn and fold the curved edge. For th e Inner Flap pieces, as well as lining fabric pi eces, turn and fold the 1/2" seam allowances. This is only t he cu rved seam allowance and the front seam allowance.

Lay the Main 13" x 19" rectangle piece right side facing down . Center the ultra -firm interfacing pieces onto th e fabric. Leave a 1/s" gap at the center front. All outside seam allowances are 1/2". Press in place.

TOPSTITCH PIECES

- Flap [A]

D Lay the Accent A Flap piece r ight

iD With wrong sides together, lay the

- Inner Flap [BJ

side facing down . Center the Flap Interfacing onto the wrong side of the fabric. Note: There should be 1/2 " seam allowance around the curve and 3/4" seam allowance at the flat side. Press in place. Repeat for the remaining Accent A Flap lin ing piece.

OTHER SUPPLIES - Templates, included on the insert:

- 1 yd si ngle- sided fus ible ultra-firm interfacing , such as Pellon Peltex

71 F -

inter facing,

TURN AND FOLD SEAM ALLOWANCES

1/2

yd fusible batting

- 1" hook-and - loop tape,

3/4"

w ide

- Matching thread - Fabric- safe marker - Fabric glue stick - Spring clips, such as Clover Wonder Clips - Rotary cutter, mat, and acrylic rule r

FINISHED SIZE Open: 22" x 11 7/s"; Closed : 93/s" x 11 7/8 "

D

Lay the Inner Flap piece righ t side facing down. Center the Inne r Fla p Interfacing onto th e fabri c. Note: There shou ld be 1/2" seam allowance around t he curve and front side. There should be 3/ 4" seam allowance at the bottom seam. Press in place. Repeat for the remaining Inner Flap pieces.

ml Fuse the respective fusible batting onto the Lining pieces in the same manner.

Flap pieces together, wrong sides facing each other. Match along t he curved edge. Pin or use clips to hold the edges in place . To pstitch the curved edge. Continue stitching along the outside edge of the interfacing straight edge, backstitch at t he beg inn ing and end ing of the seam.

ll'J With wrong sides together, lay two Inner Flap pieces together. Match the front edge and bottom seam allowance. Topstitch along t he curved edge and front seam. Continue stitching alo ng the bottom outside edge of the interfacing, backstitching at the beginning and ending of the seam.

ID

Repeat step 15 for the remain ing Inner Fla p pieces.

}}

93 sewdaily.com

*


how-to

ASSEMBLE THE FOLIO

IE

Lay t he Main rectangle piece righ t side facing down. Place the Lin ing rectangle piece r ight side facing up. There should be approximately 1/s" differe nce along ou tside edge. Match at the cen ter front seam. Clip to hold the left front side in place. Pin along center front seam/gap .

and Background pieces. The pieces used are equ ivalent to Sizzix's 4" finished Drunkard ¡s Pat h dies.

Op Art Runner by KEVIN KOSBAB {from page 51}

- Water- sol uble bast ing glue is a great alternative to pins for holding the applique pieces in place . - WOF =Wid th of fabric

CUT THE FABRIC

D

lD Insert Flap into t he righ t

hand side, li ning side up. Sandwich the Flap seam allowance between the Main/ outside and l ining pieces . Leave a 1/s"- 1/4" gap between flap inte r facing edge and the fol io front edge. Pin in place. Edgestitch with the flap down. backstitch ing at each end .

- Twelve Background (A) pieces

- Two 2" x WOF strips

D

El Trace the Center Curve. Half-

FABRIC -

FF1: Backg round/bind ing : 1/3 yd quilting cotton [shown: Cardinal)

-

Leave all Flaps lying outside the folio. Topstitch around the entire outside folio edge.

FF2: Drunkard 's Path wedges: quilting cotton [shown: Flame)

-

FF3: Curve cente r s: 1/4 yd quilting cotton [shown: Torch)

Ell Topstitch along the center fr ont/

-

Backi ng: 3/s yd quilting co tton

fE

1/4

yd

gap seam.

EE Tu r n and fold t he top and bottom Inner Flaps into the folio, aligning at the front edge. Topstitch flaps down at front edge.

OTHER SUPPLIES - Templates, on insert: -

- Wedge (Bl - Center Curve (CJ

IE

-

Half- Center Curve (0)

-

Inside Curve (El

Lay t he hook tape onto t he Flap l ining center, approximately 3/s" from the curved edge. Stitch in place. gap. Lay t he loop tape onto the folio back matching the placement to the Flap . Stitch i n place.

SOURCE FABRIC Windham Fabrics, Lotta

Jansdotter, Mormor collection, windhamfabrics.com

- Corner Curve (F] -

12" x 28" Batting

-

Freezer paper

- Spray starch and small brush - Clear monofilament thread - Coordinating thread for quilting and . . p1ec1ng - Safety pins or quilt basting spray

MARNI WEAVER is a self-proclaimed

FINISHED SIZE

sewing nerd. She studied fashion design at Ryerson University in Toronto, Canada and worked in the fashion industry in New York City. She now resides in Florida with her husband and son. She biogs about her sewing adventures at haberdashery.fun.com.

81/2" x 24 1/2"

9.ia ........................................... * stitch

Background (A)

ATTACH THE CLOSURE

Bil Fold the fol io at the cen ter front

From FF2 fabric, cut:

- Twelve Wedge (Bl pieces

lD Insert top and bottom

Inner Flaps. Sandwich the Inne r Flap seam allowances between the Main/outside and l ining pieces. The front seams should l ine up. Leave a 1/s"- 1/4" gap between flap interfacing edge and folio edge. Pin in place.

From FF1 fabric, cut:

-

D

Press the fr eeze r paper templates du ll-side up onto the wro ng side of t he fabrics l isted bel ow. Cut out the fabric roughly 1/4" beyond the template curved edges for seam allowances and flush w ith the stra ight edges (where seam allowances are incl uded). Brush spray starch onto the curved seam allowances and use the tip of a hot, dry iron to turn t he seam allowances to the wrong side, against the free zer pape r templa te. Clip the seam allowances if needed to wrap them snugly around the templates. Whe n cool, remove the templa te and reu se it to cut the next piece. Follow this process to cut: -

Five Center Cu rves (CJ f rom FF3

- Two Half- Center Curves (0) from FF3 -

Five Ins ide Curves (El from FF1

- Two Corner Curves (Fl from FF1

D

From the Back ing, cut :

- One 12" x 28" rectangle

NOTES - All seam allowances are otherwise noted.

Center Curve, Inside Curve, and Corner Cu rve templa tes onto the dull side of freezer paper, leaving at least 1/4" space between the tracings, then press the fr eezer paper onto a second piece of freezer paper, both dull sides up. Pee l the doubled free zer paper off you r ironing surface and cut out the templates on the traced l ines.

1/4"

unless

Instead of using templates, a die cu tter can be used to cut the Wedge

SEW DRUNKARD'S PATH UNITS [I Fold the Background and Wedge pieces in half and finger- press a crease at the center point. (figure l)


how-to

I

/ figure 1

tigure2

figure '3

figure~

figure 5

figure 6

figure 7

D

With right sides together. match the cent er points and pin. (figure 2) Line up the short straight edge of edge of the Background with the edge of the Wedge and pin. Repeat on t he other end. (figure 3)

D

Pin continuously along the curved edge, dividing the fullness evenly. (figure~) Sew the pieces together

,

along the pinned edge. (figure 5) Press the seam allowances toward the Wedge pieces. Make a total of twelve units.

IJ Sew ten

units into pairs that each form a half circle and press the seam allowances open. The remaining two units will be used at the end of one of t he rows.

APPLIQUE THE CENTER AND INSIDE CURVES

lllJ

Pin a Fab ric A Inside Cu rve piece and a Fabric C Center Curve piece centered on the seam of a pieced halfcircle unit, raw edges flush. (figure 6)

II

Using a short, narrow zigzag stitch and clear monofilament thread [with cotton thread to blend with the fabric

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how-to

in the bobbin). sew along all turnedunder edges of the Inside and Center Cu rve pieces to applique t hem to the pieced units. Make a tota l of ten.

Vintage Vinyl Snakeskin Clutch

in diameter, making felt - like pieces. Mix the colors of silk and roving for a more interesting look.

by LINDA LEE

D

iEI Pin a Fabric A Corner Curve and a

{from page 52}

Place the Flower [Al template onto each of the Accent fabric scraps and cut out eight flowers, four of each fabric.

Fabric C Half Center Curve to the two single pieced units and applique as in Step 11.

D

Stack one of each fabric flower together, fold in half and make a 1/s" snip in the center.

ASSEMBLE AND QUILT THE RUNNER

mArrange the units in two rows as

MAKE THE BAG

shown in figure 7 . Sew t he adjacent units w ithin each row toget her and press the seam allowances open. Pin the two rows together, matching seams and appliqued edges. and sew. Press the seam allowances open.

FABRIC

ID Layer the batting on the wrong side

- Main:

of the backing, then center the runner top righ t side up. Baste t he layers together w ith safety pins or basting sp ray.

- Accent: scr aps of wool felt and silk dupioni in four colors

third and away from the 1/2" zipper seam allowance, mark the flower placements as desired . Fold the Main at each placement dot and sn ip 1/s".

OTHER SUPPLIES

ml With the zipper facing down, sew

Im Quilt as desired . The sample was

- Template, included on insert:

D

Fold the 8 1/2" x 21" Main rectangle in half crosswise. At t he fold, cut out both corne r s 1/2" from the fold and 1" across.

D On one side of t he bag, in the upper 1/4

yd snakeskin vinyl

first qu ilted just t o t he side of each pieced or appliqued curve using matching thread, then these curves were echoed in threads a couple shades lighter tha n the fabrics t o give the colors an addit ional gl ow.

- Scraps of fusible interfacing

FINISHING

- Fou r metal brads,

ta

- Template plastic

Square up the r unner. t rimming away the excess batting and backing.

mSew t he 2" x WOF Fabric A strips togethe r w it h a diagonal seam, and bind the runner with a double- layer binding [see Sewing Basics].

SOURCE FABRIC Robert Kaufman Fabrics, Kona

- Flower [A] - One zipper, 9" - Wool roving, four col ors - Felting needle, brush tool, and mat

mWith right sides together, sew

1/4"

FINISHED SIZE

the side seams, keeping the seam allowances open at the top as you sew through the zipper ends. Trim the excess zipper tape length at the ends.

7 1/2" x 8 1/2" x 2"

iEI To form the

- Zipper foo t

NOTE - All seam allowances are otherwise noted.

Cotton Solids, robertkaufman.com

CUT THE FABRIC

KEVIN KOSBAB is a contributing editor

D

to Stitch . He designs modem sewing and quilting projects for magazines and his own pattern line, Feed Dog Designs (jeeddog. net). His bookThe Quilter's Applique Workshop (Interweave, 2014) offers instruction for hand and machine techniques, fun quilted projects, and inspiration for exploring the possibilities ofappliqui.

- One 81/2" x 21" rectang le

1/2"

unless

From the Main fabric, cut:

iEl Turn the

bag to the outside t hr ough the open zippe r.

IIJ

Flower [A) template onto the plastic and cut out.

El

LINDA LEE is the owner ofThe Sewing

MAKE THE FLOWERS

fJ Trace the

Fuse interfac ing to the wrong side of each scrap of Silk.

0

Shred chunks of wool roving and place on the r ig ht side of silk sect ions in approximately a 4" circle. Using the felting needle, brush tool, and the mat, punch the roving into the silk creating circl es about 3"

* stitch

boxed bottom, open the side seam allowance and align it with the bottom fold . Sew across the corner edges. Repeat for the second corner.

Poke a brad through two stacked Flowers and then t hrough the bag. On t he inside of the bag, flatten the brad stems to anchor the flower. Repeat for each Flower.

D

96

one side of the zipper to the right side of one sho rt Mai n edge. Repeat to sew the other side of the zipper to the re mai ning edge. Sew 1/2" from the Main fabric edges, moving the zipper pu ll out of the way to keep an even seam allowance. Open t he zipper at least halfway.

Workshop Pattern Collection, a group of patterns for fashionable garments using innovative sewing techniques. She travels the country teaching fine sewing and the art ofcombining beautiful fabrics and distinctive garment design. Visit her at sewingworkshop.com.


how-to

NOTES

Embellished P. Lin S ir

- All seam allowances are 5/s" unless otherwise noted.

by STEPHANIE BRACELIN {from page 53}

- Press all seams open, unless otherwise noted.

to the seam as possible. Press the Facing toward the inside of the skirt.

- Backstitch at the beginning and ending of all seams, excluding topstitching and understitch ing.

INSERT THE ZIPPER

CUT THE FABRIC From the Ma in fabric, cut : - One Front [Al - One Back !Bl - One Front Inset [CJ )

~ •

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

- One Fr ont Facing [OJ on fold - One Back Facing [El on fold From the Interfacing , cut:

FABRIC - Main:

1 3/a

yd quilting cotton, 45"

- Accent: Coordinating fabric scraps for Embellishment

OTHER SUPPLIES - Templates, downloadable: - Front [A) - Back [Bl - Front Inset [Cl - Front Facing [OJ

mUnderstitch the Facing as close

- Transfer all pattern markings to the fabric before sewing .

- To finish raw edges, serge, zigzag or pink.

(iS

Stitch the Facing to the skirt using a 1/4" seam allowance . Clip the curves and press seam allowances toward th e Facing . 1

- One Front Facing [0) on fold - One Back Facing [El on fold

ASSEMBLE THE FACINGS Fuse the Interfacing to the Front Facing and Back Facing following the manufacturer's directions.

Insert th e zipper in the left side seam of the skirt, following t he manufacturer's instructions.

FINISH THE SKIRT

IE

Fold the top of the zipper ends so that they are hidden under the facing when it's folded down. Hand-stitch the facing down on both sides of the upper zipper, fold ing under the edge al ong the zippe r tapes. Sew a hook and loop to the top of the skirt opening, above the zipper. · Stitch in the ditch of the skirt right side seam to tack the fa cing in place. · Press up the 3/4" skirt hem, finish the raw edge, and sew in place.

EMBELLISH THE INSET

ll Trace thirteen circles, or desired

Stitch th e Front Facing and Back Facing right sides together at the left side seam. Finish the lower Facing raw edge with a zigzag or serg ing .

shapes, onto the fusible web pape r backing; trim just outside the lines . Adhere the fusible web pieces to the wrong sides of the Accent fabric scraps. Trim th e shapes along the drawn circles.

DARTS

tD Arrange the shapes on the

Stitch darts. Press darts toward the center front and center bac k.

Front Inset as desired and fuse them in place, following the manufacturer's instructions.

- Paper- back fusible web

ASSEMBLE THE FRONT INSET

ml

- Coordinating threads

Stitch th e Front Inset to the Front, matching notches and making sure to maintain the curve.

- Back Facing [El -

5/a

yd fusible interfacing, 20"

- One zippe r, 7"

- Hook-and -eye set - Hand sewing needle

- Optional: Embroidery floss FINISHED SIZE ~ ~

Drop Waist

1/i-281/z" XS(2J4) 27 c( 1 Sl6/8) 29 /2-301/z''. :c u M(10/ 12J 32-331/t' w l(14/16) 35 1/2-37" N Xl(18}20) 391/i-41Y.z" en Showniosize Small 16-8]

-

Center Back

18" 181/i" 19" 191/1" 20"

Clip the curved Front Inset seam allowances and press towa rd the inset; finish the raw edge of the curved seam . Hand-stitch an even run ning stitch, just inside the seam, using six strands of embroidery floss, catching the seam allowances as you sew [see Sewing Basics).

ATTACH THE FACING Stitch th e skirt right side seam.

Using three strands of embroidery floss, sew a backstitch around the circle edges [see Sewing Basics).

SOURCES FABRIC Cloud9 Fabrics, Shape of

Spring collection by Eloise Renouf, Spring Sampler in Petal Pink; Shape of Spring collection by Eloise Renouf, Spring Scrapbook in Petal Pink; cloud9fabrics.com INTERFACING Pellon 911 FF Fusible

Featherweig ht and Pellon 805 Wonder-Under; pellonprojects.com EMBROIDERYTHREADS OMC , Cotton

Embroidery Floss; dmc- usa.com

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how-to

STEPHANIE BRACELIN is an Iowa-based

opening

I

'

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

web/graphic designer and seamstress, who loves all things design. She began sewing when she was six, making clothes for her dolls, and now she sews and wears a lot ofher own clothing. When she's not designing or sewing, Stephanie's probably spending time with her daughter being crafty or teaching her something new. Visit her at s-renee.com.

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

I

I

opening

I

I

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

~-----------------------------------------~----------------------!II I I

Disco Bag by SARA CURTIS {from page 54} ~-----------------------------------------~----------------------~

fold

figure l

1

NOTES - All seam allowances are otherwise noted .

1/2"

unless

- Preshrink and press lining fabr ic before use. - Choose your bag fabric ca refully. Upholstery-weight vinyl is not suitable for th is proj ect, as it's too stiff.

FABRIC - Main: 1 yd faux leather - Lining: 1 yd quilting cotton - Accent: 6" x 6" square metallic fabric

OTHER SUPPLIES - Template, provided on insert : - Bag Front/Back [A) - Circle Applique (BJ -

1/2

yd medium-weight fusible interfac ing

- One mag netic snap set ,

1/ 2"

- Meta llic embroidery floss (1 skein each: gold , silver] - Hand emb roide ry need le

- Test the faux leather for marker removal before use. - To help with even feed ing if you don't have a non-stick presser foot, place Magic tape on the underside of a regular presser foot. - When cutting from t he Mai n and Lining fabrics, cut right side up and single layer.

CUT THE FABRIC

D

From the Ma in fabric, cu t :

- Matching thread

- Two Bag Front/Back [Al. printed side up

- Fabric- safe marker

fJ

- Glue stick - Spri ng clips - Optional: Non -stick presse r foot

FINISHED SIZE 18" circular bag

98 ........................................... * stitch

- Do not place you r iron direc tly on the r ig ht side of any faux leather. The vinyl will melt. You may be able to press faux leather with a warm iro n and a sturdy press cloth , but always test a scrap first.

From the Lini ng fab r ic, righ t side up and single laye r, cut : - Two Bag Front/Back [Al. printed side down - Two 12" x 12" squa res, for Pocket

El

From the Accent fabric, cut:

- One Ci rcle Applique (BJ

D

From the Interfacing, cut:

- One 12" x 12" square - Two 2" x 2" squares ,

APPLIQUE THE BAG

D

Place the Circle Appliq ue piece on a Bag Front refe rr ing to inner dashed li nes for placement. Use a glue stick to lightly attach the Circle App lique to the Bag Front. Zigzag around the Circle Applique outer edge.

EMBROIDER THE BAG

ll Transfer the stitching line markings to the Ma in fabric r ight side using the fabric - safe marker.

D Thread the emb roidery needle wit h m etallic floss and embro ider along the marked lines with a runn ing stitch [see Sewing Basics]. Begin with gold on the smallest circle and alternate with silver goi ng outwa rd. Sample stitches are 3/a" long with 1/4" spaci ng.

STITCH THE EXTERIOR

ll

Place the Bag Front and Bag Back pieces right sides together, matching notches. Stitch along the rounded edge between the notches, backstitc hing at each end. Trim and clip t he seam allowance along the stitched edge. Turn r ight side out.

SEW THE POCKET AND LINING

ll

Following the manufact urer's instr uctions, fuse t he 12" x 12" inte rfacing to one Pocket square . Place the Pocket squares ri ght sides together and stitch around the edges,


how-to

leaving a 3" opening on one side for turning.

IE Trim the Pocket corners diagonally and tu r n right side out . Press the Pocket, turning in the opening seam allowances. Topstitch opposite Pocket edges, closing the opening with t he stitching. St itch another line 1/ 4" from the fi rst.

mFold one topstitched edge toward 1 1/2"

the opposite edge, leaving between the two edges. Press in place.

SARA CURTIS is a wife, homeschooling

mother of6, and enjoys sewing and design ofall kinds. After years ofcreating sewing patterns for her personal use, she ventured into digital sewing pattern design. Sara also dabbles in fabric design and textile printing. Look for her patterns and design work at radianthomestudio.com.

Scallop Shift Dress by STEPHANIE BRACELIN {from page 55}

FINISHED SIZE

I-

Chest

0: 2T 201/i" <(

:c

u

3T 21"

4l 22" Ill 5 .. 23" N 6 24"

-

Center Back

20" 21" ..2.2" 23" 24"

ti> Sh.ownin size 6

NOTES - All seam allowances are otherwise noted.

iE Align t he top Pocket corn ers

1/2"

unless

with the markings on one half of the Lin ing. Topstitch the Pocket to the Lining along both sides and lower edge, backstitching at each end. Topstitch a li ne f rom the l ower edge to the Pocket top creating a 7" and a 4" section. (figure 1)

- Press all seams open unless otherwise ind icated.

IE

- Transfer all pattern markings to the fabric and interfacing.

- Backstitch at the beginn ing and ending of all seams. - To finish raw edges, serge, zigzag or pink.

Place the Lining pieces r ight sides t ogether, matching notches . Stitch along t he rounded lower edge, between the notches, leaving a 4" gap for turning, and backstitching at each end. Notch the seam allowances, t urn right side out, and press if you can.

CUT THE FABRIC

D

- One Dress Back (A] on fold - One Tab Dress Front [BJ

ID

Following the manufacturer's inst ructions, attach t he mag net ic snaps halves on each side of t he l ining at the large dot markings. Use a 2" x 2" square of fusible interfacing as reinforcement behind each snap half on the wrong side.

ASSEMBLE THE BAG

IE

Place the Lining and bag r ight sides together, aligning t he ha ndle sections and side seams. Use spring clips to hold the fabrics in place. Stitch around the entire bag upper edge, includ ing the ha ndle sections. Trim the seam allowances around t he handle ends, and notch along all curved seam lines.

- One Scallop Dress Front [Cl r~

~~

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

- One Tab Front Facing [OJ - One Scallop Front Facing [El - One Back Facing [H J on fold

fl

FABRIC - Ma in: 1 1/s yd qu il ting cotton, 45"

OTHER SUPPLIES - Templates, downloadable:

- One Scallop Interfacing [Fl - One Tab Interfacing (G) - One square, 1" x 1"

PREPARATION

- Tab Front Dress (BJ

B

Fuse interfacing to t he Tab Front and Scallop Front Facings following manufacturer's directions.

- Tab Front Facing (OJ

Ill Sew a gathering stitch a scant 1/2"

- Scallop Front Facing (El

along the Dress Back shoulder seams (see Sewing Basics).

- Scallop Interfacing [F]

bag right side out through the lining opening and gently push out the handle sections. Press edges if you can . Topstitch along the top edge and around the hand l es with one cont inuous line of stitch ing.

- Four buttons,

Ill

- One snap

-

From the Interfacing, cut :

- Dress Back (Al - Scallop Front Dress [CJ

ml Turn the

Hand -stitch the lining opening closed. Tie a square knot w ith the handle sections to finish the bag.

From the Main fabric, cut:

- Tab Interfacing [G]

SEW THE SHOUDLERS

- Back Facing (HJ

IJ Sew the Tab Front

1/3

yd lightweight fusible inte rfacing,

20" 1/2"

- Matching thread

Faci ng and Scallop Front Faci ng at the shoulde r seams.

SEW THE DRESS

D

Sew the Dress Front and Dress Back together at t he shoulde rs, easing the back onto t he front.

}}

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how-to

ATTACH THE FACINGS

ll

Pin the facings to the dress at the neck, tab and scallop, matching shoulder seams and dot.

D Sew from the

bottom of the tab/ scallop placket dot aro und t he neckline to the bottom of the other side of the placket dot using a 1/4" seam allowance. Sew slowly arou nd the scallops to mai ntain a smooth cu rve. On the scallop side of the placket reduce the stitch length 1/2" before reaching each dot, pivot after passing the dot. take one st itch, and pivot again, working on the next curve sewing 1/2" and lengthening stitch length to the regular length.

iE Clip t he inside points between the scallops and all cu rves along the neckline and placket.

up and out of the way. Sew the dress front seam.

mUnderstitch the seam as far as

Eill Tack down the tab and scallop

possible, excluding the scallops.

facing lower edges by hand.

IE Pin the armholes

right sides together, matching shou lder seams and dots.

iE To finish the armholes/sleeves, sew from dot to dot using a 1/4" seam allowance . Clip curves and corners. Understitch the seams.

DJ Reach

through the shoulder from the back and pull the hem of the dress fron t through. Repeat on ot her shoulder.

IE Push the tab and scallop edges out, making the seams lie flat. Press the neckline, placket, sleeves and unde rarms.

ID Pin the side seams,

matching the underarm seam. Sew through the facing and dress. Press the seam allowances open. Repeat for the other side .

[fl Pin the armhole fac ings down, matching the side seams. Stitch in t he ditch the length of the facing or hand tack in place.

FRONT SEAM AND PLACKET

ilJ

At the bottom of the placket. clip the corner to the dot where the stitches end for the facing attachment.

ilJ Pin the

dress front seam below the placket, keeping t he facing pieces

100 ........................................... * stitch

HEM

Ell

Press up the 3/4" hem , finish the raw edge. and sew in place.

SEW THE SNAP

lE

Hand -stitch the snap halves at t he markings.

BUTTONS AND BUTTONHOLES

IE Sew the

buttonholes at the markings and cut open. Sew buttons on t he dress front in the corresponding location.

SOURCES FABRIC Art Gallery Fabrics, Arizona

collection by April Rhodes, Tr iangle Tokens/ARZ-554; artgalleryfabrics. com NOTIONS La Mode Buttons. Style 48188,

button lovers.com; Pellon: 911 FF Fusible Featherweight Interfacing, pellonp rojects.com STEPHANIE BRACELIN is an Iowa-

based web/graphic designer and seamstress, who loves all things design. She began sewing when she was six, making clothes for her dolls, and now she sews and wears a lot ofher own clothing. When she's not designing or sewing, Stephanie's probably spending time with her daughter being crafty or teaching her something new. Visit her at s-renee.com


how-to

FINISHED SIZE

t-

a:

< J: u w

-en N

Center Back Chest XS 231/1" 32"-33" s 23%" 34"- 35" 112" M 24" 36"-37 .. L 2.41/z" .39":-401/i.'. ... XL 24%" 42 112"-441/2" ShQwoin _size SmaU '

'

figure 1

n1

~

Denim Jacket

I I I

I I I

I I

I I

I

I

by AMBER EDEN

NOTES

{from page 56}

- All seam allowances are 5/s" unless otherwise noted.

figure 2

- Sew with right sides together unless ot herwise noted.

ll On each Front laye r, stitch the

- Finish seam allowances and edges by serging, zigzagging, or binding.

CUT THE FABRICS

D

From the Main fabric, cut:

- One Peplum Back [El on fold

D Stitch the Front and Back shoulder seams, stopp ing at the neck dot. Pivot at the dot and stitch along the back neck seam, creating the undercollar. Pivot at the second dot and finish sewing the other shoulder seam.

- Two Front Facing [Fl

ADD THE SLEEVES

- One Back Neck Facing [G) on fold

Ql] Stitch the Sleeve to the ar mhole â&#x20AC;˘ matchi ng notches. Clip seam allowance approximately every 1/2". Press seam allowances toward the jacket bodice. Repeat fo r the second sleeve.

- Two Bod ice Front [A) - Two Bodice Back [Bl - Two Sleeve [CJ - Two Peplum Front [DJ

(j~

J~

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

El From the

Interfacing, cut:

- Two Front Fac ing [Fl

FABRICS

- One Back Neck Facing [G) on fold

- Main: 21/4 yd denim fabric, 54"

B

- Lining:

3/4

yd lin ing fabric, 45"

OTHER SUPPLIES - Templates, downloadable: - Bodice Front (A] - Bodice Back [BJ - Sleeve (C J - Peplum Front [OJ

- Two Front Lining [HJ - One Back Lining (I] on fold

PREPARE THE FACINGS

ll Apply fusible

interfacing to each Front Fac ing and Back Neck Faci ng following the ma nufacturer's inst ructions

ASSEMBLE THE JACKET

- Front Facing (Fl

1:1 To create center back box pleats,

- Back Neck Facing (G]

fold and press the pl eats following the fold lines on the pattern (figure 1). Edgestitch eac h side of t he pleat fold at the neck edge for 11/2" and at the waist edge for 2" as shown in figure 2.

- Back Lining [I] -

From the Lin ing fabric, cut:

- Peplum Back !El

- Front Lining [HJ 7/s

yd lightweight fusible interfacing,

20" - Three buttons

corner of the shoulder/neck seam for 1" on either side of the dot using small stitches. Clip diagonally to, but not through, the dot to help when pivoting.

ll Stitch

the back neck darts and press toward center.

D

Stitch the Fronts togethe r at the center back collar edge.

mStitch the side/underarm sleeve seams, starting at the waist edge and ending at sleeve hem edge. Finish the seam allowance edges, then press open.

PEPLUM CONSTRUCTION lE Pin, then stitch Peplum Front and Peplum Back at the side seam. Clean finish the seam by fol ding the seam allowance unde r on each side of t he seam, then pressing. From the right side of the garment, edgestitch [1/16") on each side of the seam, being sure to catch the folded seam allowance edges on w rong side of Peplum. iEJ Fold the center front edges under 1/2". then 5/s", creating a narrow hem. Topstitch 1/2" from the folded edge. Repeat to finish the lower Peplum hem.

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how-to

I I I I

I I I

r 1 I

I I

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

I I I

Denim Love Pillow by MARCIA VAN OORT

I

I

I

I I

I

{from page 57}

I

figure :3

IE On the

Peplum Back, fold and press all pleats to create box pleats, starting

at center back and working your way toward the center front.

IE On the pleat undersides, edgestitch the folded edges (figure :3). The Pe plum should have one center back pleat, fo ur side back pleats, and four side front pleats. Edgestitch each pleat fold 2" down from the waist edge. Steampress all pleats to make crisp, clean edges.

ID Stitch the Pep lu m to the

Main bodice along the waist seam . Clip the seam allowance every 1/ 2". Press the seam toward the bodice.

ASSEMBLE THE FACINGS AND LINING

mStitch the corner of the Back

Facing/Front Facing shoulder/neck seam for 1" either side of the dot using small stitches. Clip diagonally to, but not through, the dot to help with pivoting.

ID Stitch the facing shoulder seams, stopping at the neck dot. Pivot at the dot, and stitch along the back neck seam. Pivot at dot and finish sewing the other shoulder seam creating the upper collar/facing.

III Stitch the

Lining shoulder and side seams . Press the seams open. Stitch the waist pleats and press toward the centers.

IE Stitch the

Lining to the Facing s, matching shou lder seams and center back notches. Press the seam toward the lining.

fJJ With

right sides together, stitch th e Lining/Collar/Facing to t he Lin ing bodice, matching shoulder seams and center back notches. Turn right side out and press the seam allowances flat. Before fin ishing the Lining waist seam, reach up inside the garment and

10 2 ........................................... * stitch

('j

stitch the collar/facing attachments seams together.

J~

"W

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

COMPLETE THE JACKET

FABRIC

!ETurn under the Li ning waist seam

- Main: denim shirt or skirt with button/band closure

allowances 5/s" . Whip-stitch the lining to the bodice, covering the waist seam allowances [see Sewing Basics]. Turn the armhole Li ning seam allowances under 5/s", clipping approximately every 1/2" to flatten. Whip- stitch the Lining armhole to the bodice armhole, covering the armhole seam allowances. IE Mark button and buttonholes, as ind icated on the pattern. Stitch buttonholes on the right front, and sew buttons to the l eft front as marked. AMBER EDEN is the Editor ofStitch.

- Contrast: 1/3 yd lig htweig ht cotton denim or one 1O" x 20" rectangle from shirt, skirt or jeans

OTHER SUPPLIES - Templates, downloadable: - Pillow Front/Back [A) - Matching thread - Fabric-safe marker - 16" square pillow form

FINISHED SIZE 15"x15" NOTE - All seam allowances are otherwise noted.

1/2"

unless

CUT THE FABRIC

D

From the Main fabric, cut:

- One Pillow Front [A) - One Pillow Back [Al. w ith button band closed and buttons centered

D

From the Cont rast fabric, cut :

- Bias strips, 1/2" wide, to measure 200" in length

PREPARE THE FRONT AND BACK

B

Zigzag or serge the pillow edges.


how-to

Slouchy Crossbody Bag by LISA POLDERMAN {from page 58}

NOTES - All seam allowances are othe rwise noted.

1/2"

unless

- When the instructions call for topstitching, use topstitchi ng th read in t he needle and match ing all- purpose thread in the bobbin. Topstitch with a slightly longer stitch length (3.5 to 4mm] to make topstitching more visible. - Use an edgestitch foot and/or

adjust need le positioning for accu rate topstitch i ng.

0

Using the fab r ic-safe ma r ker and the Pillow Front/Back (A). transfer the word "love" to the Pillow Front.

- Use binder clips to secure l eather, as pins will leave holes.

MAKE THE CHENILLE

- Transfer all markings to the cut fabric pieces.

Ill Square the ends of the

CUT THE FABRIC

Contrast denim strips. Stack th ree bias strips of differing le ngt hs and stitch along the lengthwise center. As one strip ends, add in another strip, abutting ends and always maintaining three strips in the stack. Make a finished strip 1/2" x 60".

APPLY THE CHENILLE

D

Center and pin the cheni lle strip over the lette r markings following the directional arrows. Cut the chen ille strip at the dots and start aga in at the

X.

fJ

Stitch the center of the chenille strip starting and stopping as necessary and backstitching to hold ends in place.

J.. (l

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

D

From the Main den im , cut:

- Two Lining (A] - Two Center Panel [CJ - Two 2" x 2 1/2" rectangles for Loop

FABRIC - Main: 1 yd denim, 54" - Contrast: 30 " x 30" lightwe ight leather

OTHER SUPPLIES - Templates, downloadable: - Lining (Al

- One 6"

x

8"rectang le for Pocket

- One 8" x 9" rectang le for Pocket

El

From the Contrast leat her, cut :

- Two Top Panel [BJ - Two Bottom Panel [DJ - Two 11/2" x 50"- 60" strips, piecing as needed

- Top Panel [BJ - Center Panel [CJ

SEW THE POCKET

El

mInsert the pillow form through the

- Leather or denim machine need l es

Place the 7" zipper r ight side up (tab left] on the table and open zipper halfway. Place t he longe r Pocket piece on the upper zipper tape edge with right sides together and raw edges aligned. Pin in place . Sew the edge of the fabric/zippe r tape using a 1/4" seam allowance, moving the zipper pull as needed to continue st itching. Press the fabric away from the zipper. Topstitch 1/s" from the fold to keep the fabric flat. Repeat for the shorter Pocket piece.

button opening.

- Small binde r clips

0

ASSEMBLE THE PILLOW

- Bottom Panel [DJ - One metal handbag zipper, 12"

[J With right sides togethe r, stitch the

- One metal or synthetic coil zipper, 7"

Pillow Front to the Pillow Back.

- One metal slider/double loop, 1 1/2"

D Turn the pillow right side out . iilJ Wash the pillow cover and dry it in

- Two swivel bol t snaps, 11/2"

the dryer to fluff the chenille. Do not wash wit h anything else, as lint wi ll accumulate.

MARCIA VAN OORT is a freelance

designer and seamstress who enjoys merging a bit ofthe past with a bit ofthe present. See more ofher work at etsy.comlshop/ prairiemusing and at prairiemusing.com.

- Two 0 - r ings,

3/4"

- Matching threads - Contrast ing topstitchi ng thread

FINISHED SIZE

Open the zipper halfway. Place Pocket pieces r ight sides togethe r with lower edges aligned (zipper will now be offset]. Sew around three sides. Finish the edges. Clip corners, turn, and press.

14" x 14" x 4" (excluding strap]

Ill

- Zipper foot

- Optional: Walk ing foo t, edgestitch foot

Position Poc ket in the center of one Lining panel piece, 7" from the lower '\.'\. edge. Edgestitch in place . II

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how-to

SEW THE STRAPS AND LOOPS

ASSEMBLE THE BAG LINING/ CORNERS

IJ

If necessary, piece leather stri ps togethe r. Pin straps wrong sides together and topstitch both long edges, 1/a" from edge .

iE

Pin bag Lining r ight sides together. Sew around three sides of the bag . Press seams open.

iI1 Fold lower corner of the bag Lining

IJ Fold

2" x 21/2" Ma in Loop in half with wrong sides together so that it is 1" wide and 21/2" long. Press. Fold raw edges to the center and press again. Topstitch 1/a" from folded edges of loop.

Rods Reels Denim Pillow

ll

Machine baste gu idelines 1/4" from the top and bottom edges of both Center Panel denim pieces. Place Bottom Panel leather piece on the den im with the w rong side of the leather facing the right side of the denim . and the raw edge of the leather j ust covering the basted gu ideline; secure w ith binder clips.

ATTACH THE LINING

iD

Place the Li ning inside t he outer bag, wrong sides together. Line up the top edge of the Lining with the line drawn on the leather. Carefully pin [parallel to t op edge of denim , 1/4" away from edge) or hold carefully in place.

D Topstitch 1/a" from the

raw edge of the leather to attach it to the denim.

DlJ

mPlace an 0 - ring on the loop and fol d t he loop in half. Baste in place at marking using a 1/4" seam allowance. Repeat for the second loop.

iD

Fold the leather over the Lining along the line. Use binder clips to hold layers together.

fE Topstitch around upper edge of the bag, 1/4" from the fold , stitching I carefully over the thick side seams.

lO<t ........................................... * stitch

- Reels: 1/a yd each, 5- 10 different woven stripe fab rics - Rods: 1/a yd coord inating woven stripe

OTHER SUPPLIES

I

- Polyeste r stuffing, 1 lb

llJ Clip the swivel bolt snaps onto the

I 0 - rings.

fE

- Liquid stabilizer [such as Terial Magic)

IE Take the ot her end of the st rap and

- Hand sewing needle

feed it through the left loop. Thread this end of the strap through the slider.

- Darn ing foo t

Feed t he end of t he strap t hrough the right loop. Try the bag on and adjust the strap length; topstitch the end in place and cut off any excess length.

I SOURCES

I

- Thread to match denim

Place the strap on the table, wrong side up. Feed t he strap t hrough the center portion of the slider and fold it back. Topstitch in place, 1/a" from raw edge.

fil

iEJ Place the completed front and bag

bottom of the bag , sewing carefully over the loop and cross seam allowance t hickness. Fi nger- press seams open.

- Main: One pair of old jeans

- Batting: 7/a yd , 1"- 11/2 " thick

r ight side up on a table. Place t he top edge of one complete bag piece so that the raw edge of the leather is 1/a" to 1/4" from the zipper teet h, w ith the wrong side of the leat her facing the r ight side of the zipper tape. The top edge of the bag will extend approximately 11/2 " beyond the zipper stops on both ends. Topstitch 1/a" from the raw edge of t he leather to attach the bag to the zipper. Repeat with the second side.

ilJ Sew around sides and

FABRIC

I ATTACH THE STRAP

IE Lay t he metal handbag zipper

sides of outer bag righ t sides together and clip in place, matching leather seams.

and enthusiastic fabric ogler. She started sewing at the age of40, emboldened by learning that Julia Child learned to cook at 39. Lisa dreams of opening her own sewing school andfabric shop once all ofher children are in school. Currently, she creates custom-made clothing and accessoriesfor local women and sells patterns on Etsy. Visit her at poldapop.com

so that it forms a triangle, matching the side seam with the bottom seam. Pin through seams to hold in place. Measure approximately 21/4" from triangle point to where the bottom of the & triangle is 4" across. Draw a line across I the corner. Stitch. Trim excess fabric. I by HEIDI EMMETT IE Repeat Step 16 with the second : {from page 59} Lining corner and both outer bag corners.

ASSEMBLE THE OUTER BAG

Repeat to attach leather Top Panel piece to the Center Panel Denim piece . Repeat for the second side of the outer bag. Draw a l ine 2" down from the Top Panel leather edge wrong side [use light pencil or fabric marker).

LISA POLDERMAN is a teacher; blogger;

FABRIC lndygo Junction, Crossroads

Denim by Amy Barickman, indygoju ncti on.com HARDWARE Buckleguy.com.

- Temporary basting glue

- Jeans need l e

FINISHED SIZE 14"x26"

NOTES - All seam allowances are otherwise noted .

1/4"

unless

- To minimize f raying on the embellishment fabrics, spray with liquid stabilizer before cutting. - WOF =Wid th of fabric - Look for the largest size jeans you can find to harvest more denim; a men's size 34 will make one pillow.


how-to

ATTACH THE POCKET

D

Pin t he den im pocket in place on the Pillow Back. Topstitch the side and lower edges.

ADD THE RODS & REELS

iilJ

Place circle stacks on the Pillow Front, two to th ree layers deep, with the largest circle on the bottom, and alternating stripe directions.

mAdd t he rods betwee n the reels, trimm ing to tuck under the reel stacks by 1/2". Pin the reel centers and glue- baste the rods and reels in place.

IE

Edgestitch both sides of the rods down and t hen card iac st itch the rods.

IE Sketch stitch all the reel stacks in place .

iD Trim the Pillow Front and

- Wash and dry t he jeans before cutting to soften. - Cardiac stitching: Start straight stitch ing at an angle on the rod top, stitch off the edge, then, in reverse and stitch backwards just about the same distance or more. Always angle the stitch to mimic heart r hyt hms on an EEG mach ine. - Sketch stitching: Set the machine for free-motion stitching [consult your owner's manual), use the darning foot, and begin sewing from the center of the ci rcle stack outward in a spiraling motion. making the spiral larger as the stitch ing moves al ong. Stitch close to the outer edges of each fabric layer. Place your hands on eithe r side of the presser foot and aim for a light touch with moderate foot control speed. Practice on a scrap circle [glued down] and piece of denim until you feel comfortable.

CUT THE FABRIC

D

From the Main jean fabric:

- Cut close to all leg seams to preserve as much denim as possible. - Cut out one back pocket just beyond the edge. Cut away the jean fabric from the pocket back.

- Cut out as many den im pieces as possible 2 1/2"-6 1/2" wide and 15" long on the fabric grain. Cut out many different widths, as this makes a more interesting look. [shown : front has six pieces and the back eight)

D

From the Reel fabric, cut:

- Five 11/2"- 3 1/2" ci rcl es from each stripe

D

From the Rod fabric, cut:

Pi llow Back pieces to 141/2 " x 26 1/2". With right sides together, stitch the two pieces together leaving one short side open. Turn t he pillow righ t side out .

MAKE THE PILLOW FORM

i8

Fol d the batt ing in half to make a 14 1/2" x 27" rectangle. Using a 1/2" seam allowance, stitch three sides together, l eavi ng one short end open. Turn r ight side out.

III Stuff the

pillow form with the fiberfi ll, using the entire bag. Handstitch t he open end closed.

- Two 1 1/s" x WOF st r ips

FINISH THE PILLOW

D From the Batting, cut:

ill Stuff t he pillow and hand - stitch the

- One 27"

opening closed .

x

29" rec tangle

PIECE THE DENIM

SOURCES

0

Lay out varying widths of denim strips for the Pillow Front and Back to make two rectang les roughly 15" x 30" .

FABRIC Westminster, Kaffe Fassett

[I Sew the strips wrong sides together. Double check that each pieced rectangle is at least 26 1/2" across-if not, add anot her den im stri p. Press the seams open.

STABILI ZER Terial Magic, terialarts.com

D

From the right side, zigzag down t he center of each seam.

D

Use a pin or seam ripper point to fray the edges of the joining seam allowances.

Stripes, westminsterfabrics .com GLUE Roxan ne Glue- Baste-It ,

colon ialneedle.com

HEIDI EMMETT loves designing and

creating accessories, clothing, or wall quiltsit's "Art on The Wall, Art to Wear!" Visit her blog at designsbyheidi.wordpress.com and see her clothing patterns on Craftsy.coml HeidiEmmett.

>> 105 sewdaily.com

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how-to

PREPARE PLACEMAT FRONT

Jeans Placemats

D

by LINDA TURNER GRIEPENTROG {from page 59}

Draw a line down the pocket vertical center. Measu re out the maximum distance the jeans allow and draw a line parallel to the pocket center on each side. Trim off any back yoke seam parallel to t he upper pocket edge and draw a line parallel to the upper pocket edge about 3" below the pocket. Cut the pocket block from the jeans back.

1:1 Using scrap denim from

FABRIC [for two placemats] - Main: One pair of jeans with back pockets - Lining:

2/3

yd quilting cotton

OTHER SUPPLIES -

7/s

yd medium -weight fus ible interfacing, 22 "

- Den im sewing machine needle - Removable fabric marker

FINISHED SIZE

I ASSEMBLE THE PLACEMAT I [I Fuse interfacing to the placemat I front wrong side, following the manufacturer's instructions .

D

With right sides together. sew lin ing to the placemat front, leaving a 4" opening in the lower edg e for turning .

18" wide x 13 1/2" high

NOTES - All seam allowances are otherwise noted.

1/ 4"

unless

ll Trim the seam allowance corners

- Look for la rge size jeans so you'll have more fabric to work with.

diagonally, turn the placemat r ight side out and press the edges. Hand stitch the opening closed .

- Wash and press jeans before beginn ing construction.

El Topstitch 1/4" from the outside edges.

- The pocket can be placed on the left or r ight side of th e m at.

iilJ

CUT THE FABRIC

LINDA TURNER GRIEPENTROG owns G Wiz Creative Services in Bend, Oregon,

D

From the Main jea n fabric:

- Sepa rate the back from the front by cutting down the side seams and leg insea ms. Cut along the center back seam.

D From the Lining

fabric, cut:

- Two 14" x 18 1/2" rectangles

El From the Interfac ing, cut: - Two 14" x 181/2" rectangles

10 6 ........................................... * stitch

the leg areas, cut and piece around the pocket block to make the placemat front; piece above the pocket, not below it, and to either or both sides as needed. Note: Do n't worry about denim grain lines as most pockets are not placed on straight of grain. Each placemat piecing may be different depend ing on pocket size and location, but create a seamed piece at least 19" wide and 15" tall. Seam the denim and press seams open; topstitch to flatte n. Cut a 14" x 18 1/2" rectangle for the placemat I front.

Repeat to make second placemat.

where she lives with her husband (a longarm quilter) and three dogs. She writes, edits, and designs for several companies and leads fabric shopping tours to Hong Kong. Contact her at gwizdesigns@aol.com.

Re:ro Mod Farm Pllow

l t

l

1 I

I

l f


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Sew Gifts for All of Life's Celebrations Betz White offers a new collection of sewing projects for you to stitch and give to those you love. From birthdays, holidays, showers, or just because, you will find gifts for every occasion. Projects include cuddly toys for babies and toddlers, clever bags and accessories for women and men, and beautiful items for the modern home.

I

Present Perfect

223 pages $26. 99 I Paperback SRN: 14SW02

Order your copy now at

www .interweavestore.com/sewing • I

•I

or by calling 866-949-1646

r'M"·----.. . .-----.. . .----..

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:I

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-- ------.--------- ---.-.-.----...-----~-~

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107 sewdaily.com *

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how-to

1n1n for a c war

CUT THE FABRIC

D

From the Main Ombre fabric, cut:

- Four 3 1/2" x WOF strips

El From

the Backg round fabric, cut:

- Three 3 1/2" x WOF st rips

PREPARE THE TRIANGLES

El From

each 3 1/2" Om bre stri p, cut nineteen triangles using the 60° ru ler angle.

Arrowhead Table Runner

D

From the 3 1/2" Background strips, cut forty -fou r triang les usi ng the 60° ruler ang le. Note: There will be extra triangles. Set rema ining fabric aside for Backing.

by MARCIA VAN OORT {from page 60}

ml Trim the backing and batting even

D

- Background: cotton

yd white quilting

OTHER SUPPLIES - Cotton batting, 18" x 30" - Five thread colors from da r k to light to match graduated colors in Ombre fabric - Fabric-safe marker

ll Alternating direction and beginning and end ing with a White t r iangle, sew togethe r four medium li ght Om bre and five White triangles. Press seams. Make two sets.

FINISHED SIZE

and end ing with an Om bre triang le, sew together five light Ombre and four White triangles. Press seams. Make two sets.

NOTES - All seam allowances are otherwise noted.

1/4"

unless

- Press all seam s towa rd the darke r fabric. - WOF=width of fabric - Stitch r ight sides toget her unless otherwise noted.

* stitch

[J Alternating direction and beginning and end ing with an Om bre tr iang le, sew together five medium Omb re and four White triangles. Press sea m s. Make two sets.

ml Alte rnating direc t ion and beg inni ng

16" x

108

Alte rnating direc t ion and beginni ng and end ing w ith a White triangle, sew together four medium dark Ombre and five Wh ite tria ngles. Press seams. Make two sets.

- Rule r w ith 60° angle li ne

27 1/2"

iE

IJ Alte rnating direct ion and beginni ng and end ing with an Ombre triang le, stitch together five dark Ombre and four White triangles. Press seams. Make two sets.

1/2

batti ng and pin together. Stitch around outside edge a sca nt 1/4" pivoti ng at the poi nts. This stitching will be a guide for stitching the backing.

ASSEMBLE THE PATCHWORK TOP

groups; dark, med ium dark, medium, medium light, and light.

- Main: 1 yd Ombre quilting cotton

iEJ Lay the pieced top, right side up, on

Lay the back ing right sides together wit h the pieced top, batt ing side up; pin. Stitch the edges together using the previous stitching l ine as a gu ide around the poi nts. Leave a 4"- 5" opening on one end for turning.

Ill Separa te the triang les into five color

FABRIC

ASSEMBLE THE RUNNER

mLay out the rows following the runner photo, with dark Ombre on the ou ter edges worki ng toward the light Ombre in t he center. Sew t he rows togethe r, align ing triangle points and bases. Press the seams toward the Ombre triangles and the center seam open.

with patchwork top . Trim and clip corners.

Im To aid in rolling the edge out after turning, press just the backing seam allowance toward the body of the run ner.

iIJ

Turn the runner right side out, pull out edges and press.

ill

Hand-stitch the opening closed.

QUILT THE RUNNER

DJ Mark the quilting lines th rough the triang le points along the runner length.

ml

Using the da r kest th read, stitch the two outside quilting lines, continue working toward the center with the next lighter color thread endi ng w it h the center qu il ting l ine bei ng t he lightest color t hread.

IE

Pull thread tails to the back, knot and bury the thread ta ils in back ing .

SOURCE FABRIC Ombre, Simply Color by

Vanessa Christenso n of V and Co., modafabrics.com MARCIA VAN OORT is afreelance

designer and seamstress who enjoys merging a bit ofthe past with a bit ofthe present. See her work at etsy.comlshoplprairiemusing or . prazrzemuszng.com.


how-to -------------------- ------------------ --

A Simply Mod Purse by LYNN WEGLARZ {from page 61}

r--

-

- Two 2" x 7" rectangles

0

From Li ning fabric:

- Two 10 3/4" x 12 1/4" recta ngles - Two 5" circles

-

STITCHING THE CIRCLE POCKETS

B

FABRIC - Main: 3/s yd home decor-weight cotton - Contrast:

1/ 3

yd quilting cotton

- Lining: 3/s yd quilting cotton

OTHER SUPPLIES - Templates, provided on insert: - Flap [A] - Handle Cut-out [BJ - Two metal zippers, 5" - One pair circular purse handles, 6" - One magnetic purse closure, -

3/4"

yd heavy-weight fusible interfacing

- Rotary cutter, mat, and acrylic ruler - Zipper foot, blind hem foot - Optional: Water- soluble basting tape

FINISHED SIZE 11" x 1O" [excluding handle]

NOTES

CUT THE FABRIC

D

From the Main fabric, cut:

- One Purse Flap [A] - Two 6" x 12 1/4" rectangles - Two 5" circles

D

From Contrast fabric, cut:

- One Purse Flap [A] - Four 5 1/2" x 61/2" rectangles - Six 3" x 3" squares

Following manufacturer"s directions, fuse heavy interfacing to the wrong side of each Contrast rectangle. Center the zippered circles on two of the 51/2" x 61/2" rectangles (the 61/2" side will be the length]. Using a short ened blind hem stitch , sew around the zippered circles, leaving a small space at the zippers. With the zipper pulls facing each other, join the short rectangle sides. Join the same size rectangles for the purse back.

unless

handle loops, fold two opposite edges of the 3" x 3" square to the wrong side and press. Press the two folded edges together, enclosing the raw edges. Repeat for remaining five loops. With one loop, wrap the purse handle and pin to the bag front 1/2" from top edge, repeat for opposite side and pin another loop to the lower circle center. Baste in place. Repeat for the purse back.

FINISHING

iill

Right sides together, stitch lining curve to the purse front and purse back curves, moving the handles as needed to access the seamline. Clip the seam and turn the lining to the insides; press. With right sides together, stitch the purse sides and bottom; leave lining free.

mBox the purse bottom corners by matching the bottom seam to the side seam to create a small triangle. From the triangle point measu re in 1" and stitch across, perpend icu lar to the seams. Repeat for other corner. Press. Tu rn right side out.

iIJ

Following the manufacturer"s instructions, attach one part of magnetic clasp to the Ma in fabric flap at the pattern marking. Rig ht sides together stitch the Main fabr ic flap to the Contrast flap, leaving the straight top edge open; clip curves. Turn right side out and press. Baste the flap to the purse back, centeri ng it over the sea m and having the Contrast fabric to the rig ht side of purse back.

Right sides together, stitch the lining side seams. On the bottom seam, turn 1/4" to wrong side on each side. Press. Stitch close to edge. Box the lining corners following Step 11. Push the lining into the bag . Using a 2" x 7" binding piece, press 1/4" seam to wrong along one long side. Repeat with remain ing piece. Right sides together and raw edges matching, stitch the bind ing piece to the upper edge of the purse. Repeat for other side. Press and fold bind ing to wrong side of purse and tuck in the ends. Hand-stitch the turned under edges in place.

ASSEMBLE THE BAG

SOURCE

D

FABRIC Amy Butler Fabrics, Belle Line,

ll

- Matching thread

1/4"

1:1

MAKE THE PURSE FLAP

1/3

- All sea m allowances are otherwise noted.

Cut the Main fabric 5" circles in half. With right sides together, stitch a 5" zipper to each half of circle straight edge. Repeat for second circle pocket. With right sides together and making sure the zipper is partially open, stitch the Lining circles to zippered circle around the edges. Note: Trim the Lining if necessary to match the zipper circle; clip curves. Turn right side out. Turn under each straight edge and hand -stitch to the zipper tape.

ll To make the

Center the Handle Cut- Out (BJ pattern over the Main fabric recta ngles and cut along the dotted li ne on each piece . Repeat for the Lining. Right sides together, stitch the 121/4" edge of the Main fabric to the top edge of the l owe r purse fron t. Repeat for the purse back, sewing the Flap between . Press.

ll Center the opposite

half of the magnetic clasp on the upper purse fron t at the marking.

Coriander Pi ne, amybutlerdesig n.com LYNN WEGLARZ is the author ofthe book

I Can Sew, in addition to writing for Sew Ne'll'S, Quilter's World, Se'llring Savvy, and is also a contributing author to many sewing books. She also teaches adults and kids how to sew in Portland, Oregon. When she's not busy sewing, she can befound in her garden with her cats and husband.

109 sewdaily.com

*


how-to

mSa ndwich the Handle batting in

Log Cabin Patchwork Purse

between the 5" x 12" Silk rectangles. Baste in place around the edges. Trace the Hand l e Template [A) onto the silk. Free- motion qu ilt wit hin the I template lines.

4

by RUTH SINGER {from page 62}

s

I

I

I

3

I

2 I

II I

figure l

SEW PATCHWORK BLOCK

D

Referr ing to figure l for assembly, st itch squares 1 and 2 together.

D

FABRIC -

112

yd silk dupioni, 60"

OTHER SUPPLIES - Template, included on the insert: - Handle [A)

- 3/a yd lightweight cotton batting, 60" - Match ing thread

I

I D Sew rectangle 4 to the upper edge of 1/2/3. I I D Stitch rec tangle 5 t o t he left edge of the pieced block. Repeat to make four blocks.

- Loop turner

I I

- Darning foot

1

I

FINISHED SIZE

I

10"x 10"

NOTES - All seam allowances ar e 5/s" unless ot herwise noted . - Press seams to one side after each addit ion.

From the Silk, cut :

- Two 5" x 12" rectangles - Eight 4" x 4" squa res [labelled 1 and 2) - Eight 4" x 6 3/4" rectangles !labelled 3 and 4] - Four 4" x 9 1/2" rectang l es [labelled 5] - One 1" x 15" Loop - Two 9" x 17" Lining

Ill From the Batting, cut: - One Hand le [A) on fold - Four squares, 1O" x 1O"

110 ........................................... * stitch

Handle [Al. adding a 3/s" seam allowance around the traced li nes. Trim the batting out of the seam allowances. Place the remaining Handle rectangle right sides together w ith the quilted Hand le. Stitch the long Handle edges together. Trim the seam allowances and turn right side out using a loop turner. Press the edges flat, then fold in half to form a loop and press. Baste the raw ends together.

I MAKE THE LINING I iEJ Join the two Li ning rec tangles long I edges using a V2" seam allowance, and leaving a 6" gap in the midd l e. 1 Press seam allowances open.

I ASSEMBLE THE BAG I IIJ Pin a Loop diagonally on three corners of the qu ilted patchwork square, with the raw edges matching. QUILT AND ASSEMBLE Pin the handle on the remaining corner MAIN PIECES in the same manner. Place the Lining fJ Pin the pieced Silk blocks to the I square on top, r ight sides together w ith Batting squares and baste to hold the I the Hand le/Loops between. layers together. I ml Sew around the square pivoting D Mach ine quilt each section in I at the Loop corners and sewing fr eehand rows, always working 1 diagonally across the Handle corner. across the narr ow direction on the I iB Turn the square right side out, rectangular patches; leave the block push out the corners, and press flat. seam allowances unqu ilted. Note: iE With the Li ning side up, fold the When qu ilti ng is complete, trim away 1 four corners to the center and press as much of the batting as possible I the folded edges. Hand- stitch the within the seam allowances, leaving diagonal edges toget her for 31/2" from the silk seam allowance intact. each corner. Fasten the thread ends D Stitch two blocks togethe r; repeat 1 securely on t he inside of the bag. for t he remain ing two blocks. Stitch I Hand- stitch the l ining opening closed. the two block pai r s together, matching I i[1 To use, ho ld the Handle and adjacent seams. Press seam I pull it th rough each of the loops in allowances open and trim the block to sequence. Pull out the bottom bag 17" square. I center to create the square shape.

I

CUT THE FABRIC

D

Sew rectangle 3 to the long side of 1/2.

IE Cut out the

I I I

I

PREPARE LOOPS AND HANDLES

IE

Fold the Loop rectangle long raw edges to the center and press. Fold the pressed edges together and edgestitch both sides along the Loop l ength. Cut into th ree 5" pieces. Curve the loop so the raw edges meet and baste together at the ends.

I

RUTH SINGER is a British textile artist

with a background in museums. She has a long-standing love oftraditional sewing techniques, which she applies to contemporary designs. She is the author ojThe Sewing Bible, Sew Eco, and Fabric Manipulation, 1 50 Creative Sev.ring Techniques. Find out more at RuthSinger.com


how-to -----------------------------------·--·-

Pieced Felted Scarf by JENN RHOADS {from page 63}

- FF= Fashion Fabric

- three 1 1/z" x 7" rectangles

- The scarf is made from three different blocks; make three of each.

IIiJ

From the FF10 light pink fel ted wool, cut : - three 11/4" x 4 1/2" rectangles

CUT THE FABRIC

mFrom the FF 11 med ium blue felted

D

From the FF1 lilac felted wool, cut: - twelve 11/4" x 3 1/2" rectangles - three 11/2" x 7" rectangles

wool, cut:

D

From the FF2 green felted wool, cut:

ASSEMBLE BLOCK 1

- twelve 11/4" x 3 1/2" rectangles

11/4" x 3 1/2" rectangles for each Block.

D

Assem ble by abutting the 31/2" edges of rectang les FF1, FF2, and FF3 in order. Sew four sections for each Block.

IE Use

From t he FF3 fuc hsia felted wool, cut:

FABRIC

-twe~e1~··x3~··~ctangles

- Eleven 13" x 16" rectangles felted wool labeled FF1 - FF11 [shown: lilac, green, fuchsia, cream, gold, yellow, bright green, bright blue, magenta, light pink, and medium blue]

- three 11/4" x 4 1/z" rectangles

OTHER SU PPLIES

From the FF4 cream felted wool, cut: - th ree 11/4" x 7" rectangles

D

From the FF5 gold felted wool, cut: - t hree 11/4" x 5 3/4" rectang l es

- three 1 1/4" x 2" rectangles

6 1/2" x 58 1/2"

D

NOTES - The felt pieces are sewn together using a bridging stitch that joins two pieces of fabric with abutted edges together fla t, instead of creating a trad itional seam . The featured project is sewn with a feather stitch, but other hand or machine bridging stitches achieve the same effect, including a basic zigzag.

block I

From the FF7 bright green felted wool, cut: - th ree 1 1/ 4" x 3 1/4" rectangles

ll From the FF8 bright blue felted

ASSEMBLE BLOCK 3

- three 2" x 2" squares

ml Sew together fou r 11/2 " x 7" strips

ll

From the FF9 magenta felted wool, cut: - three 11/4" x 53/4" rectangles

block 3

FF7 61/2"

"F9 FFll

FFB

T

FFll FF4 FF"

FF9 7"

61/2"

FF7

FFG

FF3 FF2 FFl

1

FFl

FFlO

FFl

figure l

in FF 1, FF7, FF9, and FF11, abutting the long edges. Trim the Block to 61/z" x 6". (figure l ) Repeat to make two more Block 3.

FFS

FF3

I

the center 2" squa re of FF8. Working outward, attach in order: FF6 [1 1/4" x 2"]. FF11 [1 1/4" x 31/4"]. FF 7 [1 1/4" x 3 1/4"]. FF 3 [1 1/4" x 4 1/z"I. FF 10 [1 1/4" x 4 1/z"]. FF9 [1 1/4" x 53/4"]. FF5 [1 1/ 4" x 53/4"]. and FF4 [1 1/4" x 7"].

wool, cut:

FF2

FF3

III Fo llowing figure l , beg in with

the Block to 6 1/ 2" x 7". Repeat to make two more Block 2.

block 2

FFl FF2 FF3

ASSEMBLE BLOCK 2

IE Trim

- three 11/z" x 7" rectangles

FFl

FF2

FF3 in the center. (fi gure l ) Trim the square to 6 1/ 2" x 6 1/ 2". Repeat to make two more Block 1.

cut :

FINISHED SIZE

four of the FF1 - FF3

IE Sew the sections together with

D

IJ From t he FF6 yellow felted wool,

- Contrasting thread

- three 11/4" x 3 1/4" rectangles - three 1 1/2" x 7" rectangles

61/z"

----ii

I

61/2" --~1

I

6"

I

>> 111 sewdaily.com

*


how-to

FINISH THE SCARF

- Hand sewing needle

IE

- Equilateral triangle ruler

Arrange the Blocks on a long table in the following order: Block 1, Block 2, Block 3, Block 1, Block 2 [rotate 180° ). Block 3, Block 1, Block 2, Block 3. Sew the Blocks tog ether with a bridging stitch, abutting edges. Trim outer edges to even, if needed, as felted wool can shift and grow as it is sewn. Stitch 1/4" from the outer scarf edges.

SOURCE FELTED WOOL Winterberry Cabin, winterberrycab in .com

JENN RHOADS owns f.Rho Crajtworks

and has been a sewist as long as she can remember. She is a graduate ofFashion Tnstitute ofTechnology (FTT). While designing and sewing clothing and accessories is her passion, she is also a contemporary quilter and creator ofall things sewable. Visit her shop at etsy.comlshop!TalentShow.

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

Retro Baby Quilt by MALKA DUBRAWSKY {from page 64}

FINISHED SIZE 30" x 30"

NOTES - All seam allowances are otherwise noted.

1/4"

unless

- Press all seams to one side, alternating sides where seams intersect, unless otherwise noted. Press after each piece addition.

I

figure l

- WOF=width of fabric

CUT THE FABRIC

trim - -

D

From each of the Blue, Red, Green, and Yellow fabrics, cut: - Four 4" equilateral triangles - One 31/2" x 9 1/4" rectangle - Two 63/4" equilateral triangles - One 8 1/4" equilateral triangle - Four 3 1/4" equilatera l triang les

figure 2

- One 23/4" x 6 1/2" rectangle - Two 23/4" x 7 3/4" rectangles

B

From Gray cotton, cut:

- Eight 1 1/2" x 7" strips - Eight 1 1/2" x 63/4" strips - Eight 1 1/2" x 20" strips

fig ure 3

- Eight 3 1/ 4" equi lateral triangles

El

From Binding fabric, cut:

- Three 1 1/2" x WOF strips

MAKE THE PATCHWORK CENTER

0

Stitch one 4" Blue triangle and one 1 1/2" x 7" Gray strip together along long edge. Trim to fit. (figure l )

1:1

FABRIC - Main : 1/ 4 yd each assorted quilting cottons in shades of Red, Green, Blue and Yellow - Backing: 1 1/4 yd quilting cotton - Binding: -

1/2

1/4

yd quilting cotton

yd gray quilting cotton

OTHER SUPPLIES - 40" x 40" cotton batting - Rotary cutter, cutting mat, acrylic ruler - Coord inating sewing and quilting threads

112 * stitch

Noting the orientation, sew a second 4" Blue triangle to the opposite Gray strip side in the sa m e manner. Trim to fit. (figure 2)

figure la

D

Noting th e orientation, repeat steps 4-5 with a second pair of 4" Blue triangles and a 11/2" x 7" Gray strip. (figure 3)

D

Sew together the pieced Blue recta ngles along the short edges. Press the seam open.

figure S

ll

Noting the orientation, sew a 3 1/ 2" x 91/4" Blue rectangle to the sewn section long edge. Press the seam open. (figure la)

D

Sew a 1 1/2" x 63/4" Gray strip to pieced short edge. (figure SJ Repeat for the opposite short side.


how-to

common long edges. Repeat to make a second Gray/Blue half- triangle square.

ill Following the qu ilt photo,

sew two 23/4" x 73/4" Blue rectangles. two Gray/ Blue half-triangle squares, and one 23/4" x 6 1/2" Blu e center rectangle to make the side bor der.

Hgure6

Glamorous Patchwork Parka by TINA LEWIS {from page 65}

DJ Sew the completed

Blue border to the Blue side of the quilt top.

ml Repeat steps 16- 17 using Green fabrics and sew to the Green edge of the quilt top.

IE Repeat steps 16- 17 using

both the Red and Yellow fabrics to make the other borders.

figure 7

Ell Follow step 16 to make one each of Red/Blue, Red/Green, Blue/Yellow and Green/Yellow half- triangle squares.

IE Sew the step 21

half- triang l e squares to the respective ends of the Red and Yellow pieced borders, so that the half- triangle square col ors are next to the adjacent color quilt borders. Note the half-triangle square col or orientation.

figure 8

IE

Noti ng the orientation, sew one 6 3/4" Blue triangle to the pieced section short edge. (figure 6) Repeat for the opposite short edge.

mSew a 8 1/4" Blue triangle to the sewn section along the lower edge. Press the seam open. (figure 7)

IE Sew one 11/2" x

20" Gray strip to the pieced section diagonal edge. Trim if necessary. (figure B) Repeat for the opposite diagonal side.

IE

Repeat steps 4- 12 to create Red, Yellow, and Green pieced triangl e sections.

Note: You now have four patchwork triangles with a base measuring 26 1/2" and sides measuring 18 1/2" and 19 1/s".

III Sew togethe r the two patchwork 18 1/ 2"

IE Sew the

Red and Yellow borders to the respective sides of the quilt top.

FINISH THE QUILT

Ill Working

on a flat surface, layer Backing fabric wrong side up, batting, and pieced top rig ht side up.

IE Baste layers together

using your

preferred m ethod.

('j~

J~

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

FABRIC - Main: 1 3/4 yd cotton velvet or velvetee n, 56 .. - Lining: 13/ 4 yd silk dupioni. 54" - Patchwork : Twelve 8" x 8" squares of assorted silk dupioni colors

OTHER SUPPLIES - Templates, downloadable : - Left Front (A) - Right Fr ont [BJ

III Mach ine quilt as desired. Note:

- Side (CJ

The featured quilt was free - motion machine quilted in concentric spiral s starting from the center.

- Back [OJ

Ill Trim the quilt layers even with

top

edges.

ID Using diagonal seams, sew the binding strips together. Press in half lengthwise, wrong sides together.

IIl Stitch the binding to the quilt, turn

- Yoke [El - Collar [Fl - Pocket [G) - Sleeve [H) - Front Flap [I) - 1 yd cotton batting , 96" - 15/s yd lig htweight fusible interfacing, 20"

triang les along the edges. Repeat w ith r emaining two patchwork t rian gles.

it to the back side , fold under the raw edge 1/ 4". and hand - stitch in place.

Im Sew the triangles together along

MALKA DUBRAWSY sews, designs, dyes,

- Five metal snaps, 5/s"

the common l ong edge.

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

- Snap tool

MAKE THE PATCHWORK BORDERS

iD Sew together one 3 1/4" Gray and one

3 1/4"

Blue triangle along the

- Metal separating zipper, 22"

- Matching thread - Template plastic - Zipper foo t

>> 113 sewdaily.com

*


how-to

FINISHED SIZE

- One Front Flap (I]

topstitch 1/4" from the seams. Pin the Sides to the Back and Fronts, clipping where necessary and matching dots on the Fronts. Stit ch, keep ing Pocket openings free. Press seams open.

D

III

- One Yoke [El - One Collar [Fl

t-

Arm Lenght Bust a:: XS 32-33" 231/1." c( 1/1" 23 3435" s :c 237/a" M 36-371/i" w L 39-40 1/i" 241/1." N XL 42 1/i-441/i" 245/a" Cl) Shown msizeSmall

u

-

- Two Sleeve [H J From the Interfacing, cut :

Pin the Collar to the neckline, matching center backs, front edges, and shou lders, and clipping the neckline as needed; baste an d st itch . Press the seam toward the Collar.

- One Left Front (Al - One Right Front (BJ - One Yoke[E] - One Collar [Fl

NOTES

- One Front Flap (I]

- All seam allowances are 5/a" unless otherwise noted.

- One 13/4" x 243/4" Zipper Guard

- Stitch with right sides together unless otherwise noted. - Cut velvet "with nap," having the pattern pieces facing the same direction. - After sewing seams that include batting, trim the batting seam allowances to 1/a".

CUT THE FABRIC

D

From the Main fabric, cut:

- One Left Front [A] - Two Right Front (BJ - Two Side [CJ

- One Collar (Fl - Four Pocket [G] - Two Sleeve [HJ From the Lining, cut:

- One Left Front [Al-right side down

From template plastic, cut a 1 1/2" x 11/2" square. Trace the template squa re onto the Patchwork fabrics and cut 234 assorted color squares.

- One Collar (F] - Two Sleeve [HJ - Two Front Flap [I]

El

x

Zipper Guard

From the Batting, cut:

- One Left Front [Al - One Right Front (BJ - Two Side (CJ - One Back [OJ

Pin and st itch the Collar to the neckline in the same manner as for the Ma in parka.

JOIN THE PARKA AND LINING

Im

Pi n t he Collar to Lining Collar al ong the upper edge; st itch. Pin the parka lower edge to Lining lower edge, matching seams; stitch. Grade both seams and turn right side out. Baste and press.

IJ

From the Patchwork panel, cut one Right Front [BJ. right side up.

iB Working through the Fronts and

Following the manufacturer's instructions, fuse interfacing to the wrong side of the Fronts, Collar, Yoke, Front Flap, and half of the Zipper Guard. Tip : Protect the napped fabric from flattening by pressing on a thick bath towel.

D

ll!I

- One

DJ

[I Stitch the squares together using 1/4" seams, in random color order, in 26 rows of 9 squares each. Press the seams of every other row in the opposite direction. Sew the rows together, matching adjacent seams. Press row seams in the same direction.

- Two Side [CJ - One Yoke [El

* stitch

D

- One Right Front (BJ- right side down - One Back [OJ

11~

ASSEMBLE THE PATCHWORK

Layer and baste batting to the wrong side of the Back, Sides. and Sleeves, and the interfaced Fronts, Collar, and Front Flap.

24 3/4"

just insid e the seam line. Pin and stitch the Lining Fronts an d Back. Press seams toward the Yoke. Pin and stitch the Sides to the Fronts and Back, clipping where necessary. Press seams open.

ll

- One Yoke (E]

3 1/2"

iEJ Staystitch the Lining Yoke neckline

ASSEMBLE THE PARKA

- One Back [OJ

D

ASSEMBLE THE LINING

Pin a Pocket to each Front, matching edges and dots. Stitch between the dots; clip to dots. Grade the seam, turn Pockets to the insid e; press. Topstitch 1/4" from the Pocket edge between the dots. Pin the remaining two Pockets over the attached Pockets, matching dots. Stitch the Pockets together from dot to dot. Baste Pockets to Fro nt and lower parka seam allowances.

mStaystitch the Yoke neckline just insid e t he seamline. Pi n and stitch the Yoke to the Fronts and the Back. Press sea ms toward t he Yoke and

armhole openings, and starting and stopp ing 1 1/2" from th e front edge, catch stitch the Lining and Main parka neckline seams together.

INSERT THE ZIPPER

mFold the zippe r tape back at an ang le above the top zipper stops and tack in place. Keeping the Li ning free, pin the zipper face down on the r ight Front, with the zipper stop at the dot 3/4" from the Collar edge, and the I zipper tape 1/4" from the Front edge; I baste. Stitch t he zipper in place 5/a" I f rom front edge. Separate t he zipper. Place the remaining half on the left I Front and st itch in the same manner.

I

I DJ

I I

I

Fold the Zipper Guard in half lengthwise and stitch across ends. Turn right side out; press. Baste the raw edges together.

IIJ With

edges even, pin the Zipper Guard to the right Front and Collar edge over the zipper. Stitch 5/a" from the front edge, following the zipper stitching.


how-to

IE

Press t he zippe r seams towa rd t he Fronts. Press the lining Front seam allowances to the wrong side.

SET IN THE SLEEVES

Ell To ease the top of the Sleeves, stitch between t he dots using a longe r stitch. Pin together t he underarm seams; stitch. Press seams open . Repeat for the Li ning Sleeves. With edges even, baste toget her the parka and Lining armholes. Slip the Lining into the Sleeves, right sides together. Pin lower edges together, having the li ni ng edge 3/a" inside the Sleeve edge to add ease for the turn back; stitch (lining seam allowance will be 1/4"). Turn Sleeves with Lining side out. Press the turn back edges. Lining side up, topstitch the lower Sleeve edges 1/4" from edges and again 3" from edges. Turn Sleeves right side out. Turn cuffs back 21/2".

IE

Keeping t he Sleeve Li ning free, pin Sleeves into armholes, matc hing armholes to Sleeve dots and draw up gathers as needed between upper dots. Baste and stitch . St itch again 1/4" from first stitching between the underarm notches. Trim to stitching.

IE

Fold the Lining seam allowance to the wrong side and pin the folded edge along the sleeve stitching, enclosing all seams. Draw up gathers. as needed, and sli pstitch Lining in place.

MAKE THE FRONT FLAP

mPin the Flap facing to the Flap . Stitch the curved seam, keep ing the straight side open . Grade the seam and notch cu rves. Tu rn righ t side out; press. Baste together straight sides of Flap and facing . Topstitch 1/4" from the cu rved edge and along t he zigzag stitching l ines.

FINISH THE PARKA

IE Slipstitch

folded Lining center front edge t o the Zipper Guard stitching on t he right side and to the zipper stitching on the left side, enclosing seams.

III Topstitch 1/4"

from the hem edge and the colla r edge. starting and stopping at the zipper tape.

IE Attach t he rema ining snap halves to the pa r ka left f ront at corresponding points .

SOURCES FABRIC Cotton velveteen, Farmhouse

Fabrics, farmhousefabrics.com; Silk dupioni, Nuttalrs. nuttallbe r nina.com

Em Following the manufacturer's

ZIPPER YKK Rainbow Excella ,

instructions, attach t he top half of the snaps at indicated points.

Zipperstop, zi pperstop.com

fD

Keeping the Lining free, pin the Flap, right side down, to the right fron t between the dots; st itch . Stitch again 1/a" inside the first stitching. Trim Flap seam allowance to the stitching. Press Flap back over the seam and topstitch 1/4" from seam.

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 numerous publications. Often detailed with hand-stitched needlework, her work has a fresh classic look.

115 sewdaily.com

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how-to

- Finish the edges of all exposed seam allowances with zigzag or serging before const ructing. - Stitc h right sides together un l ess otherwise noted.

Boudoir Shorts

- Clip all curved seams.

by TARA MILLER

- Piece Ruffle str ip as needed.

{from page 66}

- WOF =Width of fabric

CUT THE FABRIC

- Main: 1 1/4 yd l ightweight cotton, 45"

El Fold the

town Georgia with her two young daughters, husband, and two heavily shedding dogs. She has a history degree, but spends her days knitting, sewing, and writing. You can read all about it on her biogs at editcreativedesigns.blogspot.com and blog. fabric.com

Ruffle st rip in half lengthwise, wrong sides togethe r, and press. Set the ruffler to pleat every sixth stitch and sew/pleat the cut edges together. If not using a ruffler, hand-pleat or gather using two threads and a basting stitch [see Sewing Basics).

ASSEMBLE THE SHORTS

El Pi n a Back to a Side

- Fro nt [A)

Front at the side seam and stitch. Press the seam open. Re peat fo r the re maining set of Back and Side Front pieces.

- Side Front [B)

0

OTHER SUPPLIES - Templates, downloadabl e:

- Back (CJ - 11/2 yd non- roll elastic, 11/2" - Match ing th read - Optional: Ruffler

FINISHED SIZE

c(

:c u w

N

Cl)

Waist

---------------¡------------------------

Tangled Up In Blue Quilt by EMILY BRECLAW

Pin a Back to a Front at the inseam and stitch. Press the seam open . Repeat for t he rema ining set of Bac k and Front pieces.

D

- Large safety pin or bodkin

...a:

0

TARA MILLER is a Yankee living in small

- Two Back [C)

FABRIC

2". Stitch 1/4" away from the l ower finished edge, l eavi ng a 3" opening to insert the elastic. Topstitch 1/4" from the upper folded edge all the way around.

PREPARE RUFFLE

- Two Side Front (BJ

J~ 'W

[J Press the upper shorts edge under

- 3 WOF strips x 2" for Ruffle

From the Ma in fabric, cut :

- Two Front [A)

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

ELASTIC WAIST

Use a safety pin or bod kin to insert the elastic; pin the ends together and try on shorts. Adj ust the elastic to a comfortable length. Re move the s horts, t r im the elastic, and join the ends. Stitch the casing opening closed.

D

(jS

lower edge. Repeat for the opposite ha l f of the shorts.

Hip

XS 24-25"

34112-351/2 " 361h -371/2 .. s 26-27" 381/2 -40" M 28-29 1/z" 4l1h -43" l 31-32 1/z " XL 341h-36 1h" 45-47 .. Showninsize Small

NOTE - All seam allowances are /s" unless otherwise noted. 5

Stitch the crotch curve seams together.

I] With r ight side together, pin the Ruffle to the shorts outer leg curved edge, matching raw edges, starting and end ing at the upper shorts edge . Stitch . Press the Ruffle away from the shorts and topstitch close to the attachment seam to hold the seam allowa nces in place. Repeat for the second l eg.

D

With wrong sides up, fold the Side Front over the Front piece, matching t he upper notches. Baste in place along the wa ist edge. Sm oot h out the Front and pin the Side Front to the Front at the lower dot. Topstitch in place by sewing over the previous to pstitching line, st op ping 1" from the

FABRIC All fabrics are qu ilting cottons. - FF1: 21/4 yd light aqua - FF2: 1 yd white - FF3: 1 yd da rk tea l - FF4: 3/4 yd lime green - FF5: 1 yd black - FF6: 1 yd l ight lavender - FF7: 1 yd periwinkle - FF8: 1 yd gray - Back ing: 23/ 4 yd quilt ing cotton, 108"

>> 117

sewdaily.com

*


how-to

/- ~ /

....

~

/ /

- Four 8 1/2" x WOF strips ; sub-cut twenty- eight 81/2" Tr iangles .

/

/ / "

..

D

/ /

- Four 8 1/2" x WOF strips ; sub-cut twenty- two 81/ 2" Triangles.

I

figure 1 .

.

From the FF7 Periwinkle fabric, cut:

. .

. - Fou r 81/2 " x WOF strips; sub- cu t twen ty- two 81/2" Triang les.

- B1nd1ng.. 3V4 yd qu1lt1ng cotton

OTHER SUPPLIES

D

From the FF4 Lime Green fabric, cut:

- Template, provided on insert : - Triangle [A]

D

- Four 8 1/ 2" x WOF strips; sub-cut twenty- two 81/ 2" Triangles.

D

- 92" x 98" batti ng

nineteen 81/2" Triangles.

0

From the FF5 Black fabric, cut: - Four 8 1/2" x WOF strips; sub-cut twen ty- eight 8 1/2" Triangles.

- Optional: Template plastic - Optional: Equilateral triangle ruler [See note below.]

IJ

From the FF6 Light Lavender fabric, cut:

From the Binding fab r ic, cu t : - Nine 21/ 4" x WO F strips.

- Three 8 1/2" x WO F st rip s; sub- cut

- Rotary cutter and mat, and acrylic ruler

From the FF8 Gray fabric, cu t :

ASSEMBLE QUILT TOP

illJ

Sort th e Tria ngles in piles by col or, and Label each pile FF 1-FF8.

mLay out the Triangles following figure 2 . Sew the Triangles into

columns. Press each seam open before

FINISHED SIZE 84" x 90" FFl

NOTES - All seam allowances are otherwise noted .

1/ 4"

unless

FF3 _,....,...._ .......,...._ FFS

81/2"

- Triangles in this quilt are cut measured through the triangle center. [Some rulers indicate dimensions based on the length of the tr iangle side, so check measurements before cutting.]

_,....,...._ FFS FFl

FF.fa FFl

FF? _,....,...._ FFS FF3 _,....,...._ FF.fa FF2 _,..-.-.... FF3 FF2 _,....,...._ FFS ........-.... FFl

- If you are not using an equilatera l triangle rul er, trace the Triangle [A] template onto templa te plastic and cut out carefu l ly.

_,....,...._ FF3

_,....,...._ FF.fa FF2 _,....,...._ FFl FF6 _,....,...._

- Press all sea ms open unless otherwise noted.

FFl

- WOF=width of fabric - When cutti ng Triangles, alternate ruler direction after each Triangle to maximize fabric use. (figure 1)

CUT THE FABRIC Cut t ri angles using an equilateral triangle ruler or the template provid ed.

FF2 _,....,...._

_,....,...._ FFS FFl

D

From the FF1 Light Aqua fabric, cut:

FFl

- Nine 8 1/ 2" x WOF strips; sub-cut sixty- th re e 81/ 2" Triangles.

D

From the FF2 White fabri c, cu t : - Four 8 1/2"x WOF stri ps ; sub -cu t

FFl FFl FFl FFl

twenty- seven 8 1/2" Triangles.

D

From the FF3 Dark Teal fabric, cut: figure 2

118 ........................................... * stitch


how-to

the quilt underside and hand -stitch in place.

SOURCES LONGARM QUILTING Amy Jameson.

Amyfa ithq u ilting. blogspot.com RULER Creative Grids 8" 60° Triangle

Ruler, www.creativegridsusa.com EMILY BRECLAW is a quilt pattern

designer and mom offive. Her patterns and quilts have been featured in Stitch and

Asian Fabrics. Follow her quirky quilting adventures at thecaffeinatedquilter.com.

Adult Onesie by TINA LEWIS {from page 68}

(l

J~ â&#x20AC;˘

figure 3

adding the next Triangle, and line up each Triangle with the points of the previously sewn Triangles to ensure accurate points. Note: Leave the f irst and last Triangle of each column whole; they will be trimmed later.

iEJ

Stitch columns together. pressing seams open and matching triangle points. As you sew, make sure the needle lands at the exact intersection of the three fabrics visible in the seam allowance.

IE

Lay the quilt top on a rotary mat on a large flat surface. Use the clear acrylic ruler and place the 1/4" marking aligned on the triangle points along the quilt top and bottom (figure 3). Trim the quilt 1/ 4" beyond the Triangle points.

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

FABRICS FINISH THE QUILT

- Main : 35/a yd fleece. double knit or sweatsh irt knit. 50"

DJ Place the

- Ribbing:

Backing fabric face down on the floor or a large flat surface. Center the batting on top of the backing . Center the quilt to p face up, on top of batting. Smooth all layers and baste.

mQuilt as desired. Quilt shown was longa rm quilted with a meandering boxes pattern. Trim extra backing and batting.

1/3

yd tubular cotton ribbing

OTHER SUPPLIES - Templates, downloadable: - Front [A] - Back [BJ - Sleeve [CJ - Hood (DJ - Side Pocket [El

ml Join the Bind ing fabric strips with

- Chest Pocket (Fl

diagonal seams [see Sewing Basics]. Press seams open. Press Binding strips in half lengthwise. wrong sides togeth er, to create double-fold binding. Atta ch to quilt using a 1/4" seam allowance. Fold the Binding to

- Sleeve Cuff [G] - Leg Cuff [HJ - Contrasting zippers: One 22"; Three 7"

-1 1/2yd cord ing. 1/4" - 11/4 yd grosgrain ribbon , 3/a"

>> 119 sewdaily.com

*


how-to

- Contrast ing topstitching thread or pearl cotton, #5 - Two squares fusible interfacing, 1" - Matching threads - Zipper foot

I- XS D::

c( s ::t: M

u

l IJJ XL N Shown in size Small Cl)

-

Center Back Neck to Hem 583/4" 591/4" 593/ 4" 601/4" 603/ L"

NOTES - All seam allowances are S/s" unless otherwise noted . - Transfer all pattern markings to t he cut fabric pieces. - Trim seams to 3/s" and serge , overcast or zigzag the edges.

CUT THE FABRIC

D

From the Main fabric. cut: - Two Front (A] - Two Back (BJ - Two Sleeve [Cl - Two Hood [OJ - Two Side Pocket (E] - One Chest Pocket (Fl

fJ

From the Ribbing , cut: - Two Sleeve Cuff (GI - Two Leg Cuff IH I

MAKE THE POCKETS

El Finish the edge of the Chest Pocket and curved edges of Side Pockets. To shorten the zipper for the Chest Pocket, make a thread zipper stop by whipstitching over the zipper 3 3/4" from top [see Sewing Basics!. Trim the zipper 3/4 " below the stop. Whip the zipper tape together just above the zipper top.

D

For the Chest Pocket, stitch a rectangle on the left front where indicated . Slash down the rectangle center and clip the ends at angles to the corners. Press flaps to the wrong side along the stitching. With

120 * stitch

[Cl Stitch the Hood to the neckline , matching shoulders, center back, and center fronts. Press seam toward Hood. If desired , cover the neckline seam with grosgrain ribbon , edgestitch ing the ribbon on each side. Fold the Hood edge 11/4" to the wrong side along the foldline. Stitch 1" from the folded edge. Using a safety pin. thread the drawstring through the casing beginning and ending at a buttonhole. Trim as desired and knot the ends.

D

FINISHED SIZE

Chest 40 1/z" 42 1/z" 45" 48" 52"

centered behind the buttonhole markings. Stitch 1/2" buttonholes at the markings for the drawstring.

the zippe r pull toward the center front , center the zipper in the window opening wit h the folds 1/4" from the zipper teeth; baste. Edgestitch the folds around the w indow. On the wrong side, pin the Chest Pocket, right side down, over the zipper, positioning the zipper line on the pocket over the zipper underneath. From t he wrong side, stitch the pocket 1/4" from the finished edge. From the right side, topstitch over the stitching with contrasting thread or sew a runn ing stitch with pearl cotton.

D

Repeat steps 3- 5 to make the Side Pockets, having the zipper pulls toward the top. Match pocket notches with side notches and baste the side edges together. Stitch and topstitch the pockets 1/2" from the curved edges.

1

ADD THE CUFFS

im

Fold the Sleeve Cuffs right sides match ing notches, and stitch I together. 1 I /4" seams. Tur n right side out and fold ASSEMBLE THE ONESIE 1 in half along foldline, bring ing raw D Fi nish the f ront edges from the neck 1 edges together and enclosing seams; to j ust below the dot. Staystitch center I baste. fronts 1" from edges, from the neckline I ID Mark half- and quarter- points from to the dots. pivoting at the dots back to the seam on cuff edges. Mark half1 the edge. Clip diagonally to the dots. and quarter-points on sleeve edges. 1 [I Sew the Fronts to Backs at shou ld er I Pin cuffs to Sleeves, matching edges and quarter - points. Stitch a 1/ 4" seam , and side seams, catching in the Side 1 stretching the cuffs to fit the sleeve. Pockets. Sew Fronts to Backs at inside 1

mAttach the Leg Cuffs in the sa me

leg seams.

I manner, matching cuff seam to inside matching underarm seams, shoulders, I l eg seam. and notches.

ll Stitch Sleeves into the armholes.

FINISH THE ONESIE

[[!] Pin the onesie ha lves together from : IIJ To make all the ribbon zippe r pulls. the back neckline to the front dot, cut 5" lengths of ribbon, roll an end matching crotch seams; stitch . : and draw it through the zipper pull. INSERT THE ZIPPER I Bring the ends of the1 ribbon together, fold under the ends /4" and whipstitch Press the Front edges to the wrong I the ribbon edges together all around. side along the stitching and ac ross the j bottom of the opening between t he I SOURCE dots. Baste the zipper into the opening, 1 FABRIC Michael Miller, Organic Cotton having the top of the zipper 1¡¡ from the 1 Sherpa, michaelmillerfabrics.com 1 neckline edge and the fabric folds /4" I from t he zipper teeth. Edgestitch the TINA LEWIS designs and sews in her folds around the opening. studio high in the mountains of Park City,

m

I

MAKE THE HOOD

IE

Pin the Hood pieces together along th e back and top curved edge. Stitch from the center back to the top center front. Finish t he straight front edge of the Hood.

iE

For reinforcemen t, fuse interfacing squa res to the wrong side of the Hood ,

I Utah. Her quilts, clothing, and accessories

I

I

for adults and children have beenfeatured in numerous publications. Often detailed with hand-stitched needlework, her work has a fresh classic look.


how-to

Stylin' Kids PJs by KATRIN VORBECK {from page 69}

NOTES - All seam allowances are 5/s" unless otherwise noted . - Hem allowance is 11/4" for a single fold ed hem on sleeves and top.

ASSEMBLE THE TOP

- Press seams after every step.

0

- Pretreat the fab rics as the finished garment w ill be handled [wash, dry, and iron) to avo id shrin kage after the garment is sewn . - A serger is the best way to sew with knits; if you don't have a serger, . use a narrow zigzag.

J ._

mJ

From the Main fabric, cut : - One Front [Al on fold - One Back [BJ on fold - Two Pants [OJ

FABRIC

- One Waistband, 5" x 191/4" [cut crossgrainJ

yd stretch jersey, 60"

- Applique: One fat eighth quilting cotton

- Two Cuffs, 3" x 8" [cut crossgrainJ - One Neckband, 21/ 4" x 153/4" (cut crossgrainJ

OTHER SUPPLIES - Templates, downloadable:

fJ

- Front [Al

From the Applique fabric: - Apply fusibl e web to fabric for the Tie.

- Back [BJ - Sleeve [CJ - Pants [OJ

ASSEMBLE THE PANTS

- Tie [El

0

- Paper- backed fu sible web - Matching t hreads - Fabr ic- safe marker - Twin stretch needle, 4 mm - Optional: Walking foot, serger

I- Center Back a: 2T 13" c( :c 3T 1337/s" u 41 14 /4" w 5 151h .. N 6 16" f l) Showninsize 5

-

Fold the Cuffs in half lengthwise, wrong sides together. Pin to the l ower pant legs, distributing the width even ly. Serge the Cuffs in place, stretch ing slightly to prevent pucker ing. Lightly press the seam allowances upwards.

D

With right sides together, serge the inner leg seams matching the Cuff seams.

FINISHED SIZE

Pant Inseam 11 3/G .. 131/2 .. 143/4" 161/4" 173/4 ..

IJ Serge the Sleeves to the Fronts,

D

- Two Sleeve [CJ

- Main :

zigzag.

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

11/4

Arrange Tie Applique shapes on the Front, layer ing them from bottom to top, beginning with #1 on the bottom and ending with #5, as noted in the template. Fuse in place. Sew around the Appliqu e edges using a

leaving the left Back seam unsewn. Press the seam allowances toward the Front/Back and topstitch in place.

- Transfer all pattern markings.

(j~

the cente r back seam with the pant seam, and distributing the width even ly. Serge the band to the pants, stretching slightly as you sew.

1:1 Tuck one leg into the other, with ri ght side together, aligning the inner leg seams. Serge the crotch seam. Turn pants rig ht side out.

IJ Sew the Waistband

sho rt edges together. Fold the band lengthwise, wrong sides together.

D

With right sides together and raw edges aligned, pin the fold ed strip to the top of th e pants, aligning

Fold the Neckband in half wrong sides together. With the rig ht side of the Neckband facing the wrong side of neckline and raw edges aligned, serge th e ba nd in place, dist ribu ting the width evenly.

mFold the Nec kband over the serged seam . Fro m the right side , to pstitch th e folded Neckband edge in place using a straight stitch.

iEJ

Serge the rema ining Sleeve/Back seam, aligning the Neckband sea ms. Press seam allowance towards back and topstitch in place.

lEI Serge the Sleeve hem edges and fold the hem allowances up. Topstitch in place using a st raigh t stitch and a twin needle. Stretch the seam very slightly while sewing. It should remain lightly stretchy but not floppy.

iE Serg e the undera rm/sleeve seams. ml Serge the lower shirt edge and fold th e hem allowance up. Topstitch in place using a twin needle .

SOURCE APPLIQUE FABRIC Marble Mate Dots,

Purple, modafabrics.com KATRIN VORBECK,.from Gennany, is

a passionate sewer, always learning and exploring. Tt's the small details and the simple design features that she loves most. She's also into needlecrafts since childhood- knitting and sewing are her ways to stay sane. Admittedly, she's afiberholic, bookwonn, and a bad photographer. Visit her blog at frauvau. blogspot.com.

>> 121 sewdaily.com

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how-to

Like-a-Dream Wrap Jacket

NOTES

JOIN THE JACKETS

- All seam allowances are 5/s" unless otherwise noted.

D

- Transfer all pattern markings to the cut fabric pieces.

by CHERYL BUSH {from page 70}

- Trim seam allowances and clip curves. - Make sure fabric nap is facing downward for cutting all pieces.

D

the Sleeve Lining under about 2" and insert it into the corresponding sleeve of the Main jacket. Turn under the hem on the Main jacket Sleeve. Pin together the edges, matching up the underarm seams. Stitch the Sleeves together, working slowly and not stretching the fabrics. Optional: Handsew together if you prefer.

- Two Sleeve [BJ - Four Pocket [CJ - One Back [DJ on fold - One Hood (El on fold

J ¡~ â&#x20AC;˘

- Main: 23/s yd fleece [shown: Spa Cuddle, Latte) - Lining: 23/s yd fleece (shown: Embossed Paisley Cuddle, Violet)

OTHER SUPPLIES - Templates, downloadable:

- Pocket [Cl - Back [OJ - Hood [El yd elastic,

1/4"

- Hand sewing needle - Fabric-safe marker

- Optional: Walking foot

FINISHED SIZE

w

-en N

122 ........................................... * stitch

Sew together the Main jacket and Main Sleeve, matching center Sleeve marking to Main jacket shoulder seam.

rig ht sides together, match the straight edge of a Pocket with the markings on one side of the Back piece; stitch. Repeat with other side of Back and on each side of the two Fr ont pieces. Stitch, then trim the seam allowances.

II Turn

I- One size fits S-L o=

u

B

ll With

- Matching thread

Bust s 34-35" M 36-371/2" L 39-401/2 ..

Stitch tog ether the Hood and jacket , matching center markings.

ATTACH THE POCKETS

- 2 buttons, 1"

-< :c

El Open th e Main jacket and lay it flat.

double the button diameter, and add 1/2"; cut two strips. Fold the elastic in half and baste a loop to each Front top sect ion, just under the seam that connects th e Hood and Front pieces.

- Sleeve (BJ

1/4

El St itch the shoulder seams of the

D To determine th e elastic length,

- Front (A]

-

ASSEMBLE THE JACKET Main fabric Back and Front pieces together.

FABRIC

Center Back 29 .. 29" 29"

edges (excluding the sleeve opening], l eaving a 5" gap along the back lower edge between notches. Turn the jacket r ight side out.

mTo attach the Sleeve hem edge, fold

- Two Front [A)

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

IE Stitch together the outer jacket

CUT THE FABRIC From both the Main and Lining fabrics, cut:

(j~

Pin toget her the Main and Li ning jackets right sides together, matching notches and seams along the outer raw edges.

the Pockets outward from Main jacket pieces. Match up the Front and Back side seams continuing to pin together the outstretched pockets and underarm seams. Stitch continuously from the Sleeve end all the way to the jacket lower edge on both sides.

ll

Repeat Steps 2- 7 to make the Lining jacket .

iE With

the jacket wrong side out, tack th e center back necks together, Ma in to Lining, to close the neckline opening. Tack the underarm seams of the sleeves, Main to Lining. Note : These steps will keep the jacket from separating when turned right side out. Tu rn the jacket right side out through the 5" opening at center back hem edge.

IE

Hand-stitch the lower edge opening closed.

Ill To determine the

placement for the shoulder buttons, try the jacket on and place a pin under the l oop on the shoulder area. Sew the second button to the Lining only at the location of the opposite loop.

SOURCE FABRIC Shannon Fab rics, Spa Cuddl e

and Embossed Paisley Cuddle, sha n nonfab rics.com

CHERYL BUSH is a designer, crafter, and

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This year, celebrate everything handmade with projects for multiple crafts, perfect for the holiday season! In this brand new special issue from Interweave, you will discover something for everyone, from sewing and quilting, to beading and jewelry-making to knitting, crochet, and weaving. The projects are intended for anyone to make, no matter your craft, with clear step-by-step instructions.

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• Over 25 projects in a variety of crafts • Ideas for inexpensive gifts on the fly • Must have suppliesfor any crafter

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RESOURCES WHAT'S NEW + COOL

FEATURES

PAGE 8 ROBERT KAUFMAN GARMENT FABRIC robertkaufman.com

HANDY HELPERS Page 14 LINDA TURNER GRIEPENTROG sewnwrite@aol.com

KHRISTAL JOUETT kypsee@knology.net LAURA KEITH laurakeit hdesig ns.com

HAND-DYED CHEESECLOTH GRADATIONS fibe ronawhim.com THE MAGIC PATTERN BOOK amybarickman.com PRESENT PERFECT sewdaily.com THE SEWING PARTY thesewingparty.com

AVOIDING DENIM BLUES Page l s LINDA TURNER GRIEPENTROG sewnwrite@aol.com LU XURIOUS LINGERIE Page 20 LINDA TURNER GRIEPENTROG sewnwrite@aol.com

OUTTAKES

KEVIN KOSBAB feeddog.net LINDA LEE sewingworkshop.co m TINA LEWIS tinalewisdesigns@gmail.com TARA MILLER editcreativedesigns.blogspot.com

Pagel28 SMARTER BY PFAFF pfaffusa.com

PROJECT DESIGNERS

SEW BOUTIQUE

ROSE BECK roseisarosepatterns.com

PagelO SEWING IS GOOD FOR YOU! Linzee Kull McCray linzee.mccray@gmail.com

STEPHANIE BRACELIN s-renee.com

WISH LIST

EMILY BRECLAW thecaffeinat edquilter.com

Page l 2 COFFEE MUG etsy.com/shop/ENDEsign

CHERYL BUSH sewcando.com

FEATHER RING BOWL etsy.com/shop/redravenst udios

SARA CURTIS rad ianthom estudio.com

LINDA TURNER GRIEPENTROG sewnw rite@aol.com

STONEWARE NECKLACE etsy.com/shop/lofficina

MALKA DUBRAWSKY st it c hi ndye.etsy.com

KATRIN VORBECK Frauvau.blogspot.com

DIAMOND RING etsy.com/ shop/ARTEMER

AMBER EDEN aeden@interweave.com

MARNI WEAV ER haberdasheryfun.com

HEIDI EMMETT designsbyheidi.wordpress.com

LYNN WEGLARZ Lweglarzl@frontier.com

ELAINE SCHMIDT elaineschmidt.com MARCIA VAN OORT prairiemusing.com LISA POLDERMAN poldapop.com JENN RHOADS etsy.com/shop/talen t show RUTH SINGER ruthsi nger.com

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stitch outtakes

---------------.......__ On each shoot, the Stitch photo team poses on set. This time the onesie inspired us ...

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michaelmillerfabrics.com


modafabrics.com

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Stitch winter 2014  
Stitch winter 2014  
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