PILLOW

PAGE 57

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 Serging is a

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 ,
NOT
so
WHITE I ANl WRITING THIS LETTER it's one
of tl1ose gorgeous mid-September days that the
Northeast is famous for. Leaves have not yet begun to
turn 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 hear it \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 t11e reality t11at winter vvill be back.
But one of t11e t11ings I do love about winter is
t11at 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 1kno\v 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 \vill agree that this issue
is full of lovely projects just perfect for chilly days.
From the various sections- Ne\ Vintage, Pi11ing
for Patchwork, DIY Denim, Boudoir, and Edwardian
Days- you \vill find a luscious brood that will ward
off any \vinter blues.
T\Vant to mention that we are also creating a
whole new host of se\ving videos, and are releasing
one per week via our companion site, Craft:Daily.com,
as well as on SewDaily.com. I'm very excited about
the topics and talent, and encourage you to visit
these sites. I-Iappy stitching!
Wu~.
Editor, Stitch/SewDaily.com

check it out!
For full-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-nevvsletter, go to
sewdai/y.com

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'60s-inspired
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dress
page 49

FEATURES

14
handy helpers
LINDA TURNER GRIEPENTROG

18
avoiding denim blues
LINDA TURNER GRIEPENTROG

20
luxurious lingerie
LINDA TURNER GRIEPENT ROG

24
book excerpt: quilter's
appl ique workshop
KEVIN KOSBAB

30
cheap and chic decor
LINDA BLIN N

36
anna maria horner studio
LINDSEY MURRAY

36
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DEPARTMENTS
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lo sew boutique 127 resources
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sewing is good for you! 128 outtakes
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ON THE COVER: xx. page xx
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 EDWARDIAN DAYS
Explore your fem inine s ide with these 4 fine and fancy
projects .

44 nuno-felted skirt 46 peek-a-boo skirt

LAURA KEI TH KHRIS TAL JOUETT

45 neoclassic cami 47 ribbon skirt

LAURA KEITH ELAI N E SCHMIDT

- ----------~--------~---- ------------
--------------,-------------------
------------------- ----------------

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

48 mid mod mini tote 52 vintage vinyl

ROSE BECK snakeskin clutch
LINDA LEE
49 '60s-inspired dress
KA TRIN VORBECK 53 embellished a-line skirt
STEPHAN IE BRACELIN
50 diamond chain
bolster 54 disco bag
K EVIN KOSBAB SARA CUR TIS

50 tablet folio 55 scallop shift dress

MARN I W EAVER STEPHAN IE BRACELI N

51 op art runner
K EVIN KOSBAB
DIV DENIM
Who doesn't love denim? Call it your own
------------------------------------------------------------------------------4 with these S groovy remakes .
PINING FOR PATCHWORK 56 denim jacket
Pick up your pieces to create these 6 scrap fabric projects. A MBER EDEN

57 denim love pillow

MARCIA VAN OORT
60 arrowhead table runner 63 pieced felted scarf
MARCIA VA N OORT J ENN RHOADS 58 slouchy crossbody bag
LISA POLDERMAN
61 a simply mod purse 64 retro baby quilt
LINDA WEGLARZ MALKA DUBRAWSKY
59 rods & reels denim pillow
HEID I EMMETT
62 log cabin 65 glamorous
59 jeans placemats
patchwork purse patchwork parka LIN DA TURN ER GRIEPENTROG
RUTH SINGER TI NA LEWIS

----------------------------------------------------------------------------L-------------------------------------------------------

BOUDOIR
Sit back and enjoy...after you've made 68 adult onesie
one of these S comfy creations. TIN A LEWIS

66 boudoir shorts 69 stylin' kids pjs

TARA MILLER KATRIN VORBECK

67 tangled up in blue quilt 10 like-a-dream wrap jacket

EMILY BRECLAW CH ERYL BUSH

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CREATING W ITH FAllllJC T HREAD

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ONLINE MARKETING Whitney Dorband

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sewdaily.con1 interweave.coin f\vcon1 munity.co1n
__ _
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Journey through the neighborhood

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Stomp through leaves,
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Look for these patterns
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sewing room

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Edit ors' picks for
products, tools,
books + notions
what's new + cool
-- - -- - ------- -- -----------~ - --------------- - ------- - ------------------ - ------------ - -- - ----------- -- -- - -----------------------------------------

Stop cooking and start crafting with this delicious

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fiberonawhim.com, $8.50.

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PATTERM~

l)ifferel>t Stylul
Sew 6 Patterntt Into 36


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On November 8, some of the DIY '
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sewdaily.com

sewmgroom

From inspiring people to hot

sew trends, check out the news f rom
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 pat
terns and projects, tl1e thrill of turning bits
of cloth into something useful and beautifuL
and ilie satisfaction that comes when shar-
ing ilie completed item wiili 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 scien.ce behind those emotions,
and that making things is good for our men-
tal 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 m.editative repetitiveness
required for sewing, knitting, quilting, and
other crafts as positive boosts to participants' tion, or even in attaining a meditative state. seniors who dedicated 15 hours a week to
physiology and psyche. lVIeditationhas been linked to lowering learning the ne\v skills of photography and
The concept of"flow," described by psy- blood pressure and successfully coping with quilting had less memory loss than those
chologist Mihaly Csikszentrnihalyi as a time depression and anxiety. who played gam.es or socialized.
of total involvement and deep enjoyment, A 2012 lVJayo Cli11ic study found that Other studies have examined. the effects
is familiar to those of us working away at a people \vho engaged in crafting (including of making thlngs on mothers of premature
project v;hen everything's going smoothly. quilting) were less likely to have cognitive babies, anorexic women, and the elderly.
But even when a project provides chal- impairments. Professor of psychiatry and The results indicate that crafting soothes,
lenges, se\vists experience flow-the brain neurology Yonas Geda suggests that crafting relaxes, de-stresses, and works as an anti-
is able to process a limited number of things inay build cognitive reserves that help the depressant for those who ei1gage vvith yam
at a time, and learning a new technique or brain stave off assaltlts by "bad chemicals and fabric. Vlhile some studies note that
stitching a challenging project necessitates and bad proteins" that lead to problems like ilie satisfaction felt at completing a project
focus on the here and now, rather than wor- Alzheimer's and dementia. Because crafting can strengilien one's self-image, it's also true
rying about the past or future. requires the brain to simultaneously employ that tl1e process of sewing has benefits. So
Linked to flow are crafting's repetitive visual, verbal, and spatial cues, occupational stop beating yourself up over those UFOs
processes. British sociologist Betsan Cork- therapist Sharon Gutman of Columbia and stop feeling guilty when you sit dov.rn
hill, \vho studied the therapeutic effects of University says it may keep our neural con- at your sewing machine. Taking time for
lautting on more than 3,500 participants, nections working quickly and efficiently. stitching and learning new tecluuques, even
notes that the skills learned whlle sewing And a recent study at the University of ifthe results \lo/ind up sitting in your closet, is
and knitting are helpful in learning medita- Texas' Center for Vital Longevity found that its O\Vn reward *
10
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 FABRICS
{barkcloth}

Ripple

Sunburst

Loop

Quadrant

-
Jessica Jones
-
Fall 2014

CLOUD9FABRICS. COM f W tp ~ CLOUD9FABRICS

 wishlist
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1 etsy.comlshop!ENDEsign, $35. I
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a diamond ring? This beautiful J

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 J Display your favorite rings in this
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 ....

STITCH STORY NQ 830 :

How a costume revealed

his true identity
--------------- --------------
Ellen's g randson, Jake was full of personality at home. but painfully shy at the playgr'{)und.
Then inspiration struck. Using her Janome Skyline SS, Ellen stitched a custom cape that
t ransformed him into "Super Ji;ike" and all owed his bold spirit to shine through. Learn more
about the new Skyline SS arid how our sewing machir1es deliver more super pD1Ners for the
money. V isit J anome com

JANOMEWHAT' 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 "stuff" from other rooms in the
The compartments house and found a sewing room
are perfect for storing purpose. Here are some of our
. .
sewing magazines, favorites:
either rolled or flat,
depending on the
opening shapes. PLASTIC LIDS
[think yogurt, cottage cheese, dips!
Sure, they could go to the recycli ng bin, but
they' re great for using as circle templates
and they come in assorted sizes. Label with
the diameter and you've got a ready- made
set of templates.

WASHERS
Large round metal washers from the home
im provement s tore make great pattern
weights. Use them au natura le, or cover
them in fabric.

BABY FOOD CONTAINERS

Whether they're glass jars with screw-on
lids or plastic containers with snap-tops,
these m ini storage units are great for
holding buttons, beads, and other small
findings.

DENTAL FLOSS
Zigzag over this sturdy strand for easy
gathering-just be careful not to catch the
floss in your stitching. It's a lso great for
sewing on butto ns on outerwear and other
thi ngs that get a lot of wear.
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 the m in to shape.

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Not your average sewing room supplies
ROLLING PIN
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 mark-
ing a seam allowance wider 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 the legs of your
cutting ta ble to raise it to the proper
height.

SHOULDER PADS
Perfect to protect your hand a nd act as
a mini pressing mitt.

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

DENTAL MIRROR
Instead of standing on your head
to thread the serger looper, use a PLASTIC
small mirror with a long handle
to see the threading path. PLACEMATS
Easily cut, these
WALLPAPER ROLLER are ideal for adding
Got bulky seams that seam unruly? stability to the
Roll over them with this tool to flatten bottom of a tote or
and tame. Great for use with leather,
purse. Trim to shape
faux leather, and heavy coatings. For
using kitchen shears
even more control on wools, flood the
area with steam before rolling- the or a craft knife, and
roller pushes it into the fibers. slip between the
Lining and bag. Totally
washable too!

15
sewdaily.com *
 technique spotlight

MUG RACK/TREE
This space-saving tool holds mu ltiple pairs
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 SHELF LINER

If you 've ever chased your machine
The perfect size helps across the table, or stretched to reach the
clean lint from the foot pedal on the hard-surface flooring,
machine's feed dogs. nevermore. Cut rubbe rized shelf liner to fit
under either for a slide-free solution to the
crawl. It grips and keeps things in place.

What's your favorite sewing room tool, not

originally intended for use in that space?

LINDA TURNER GRIEPENTROG owns G

Wiz Creative Services in Bend, Oregon, where
she lives with her husband (a longann 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 al gi.vizdesigns@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

SEWTNG WITH DENTM 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 always 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
seV1ring with. Starting with the right tools
will 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, with a large eye,
.
\0 is ideal for use with heavier threads. The
IJ)
QI needle size should always correlate to the
01
~ denim weight.
~ Regular se\ving thread works fine
V)

c for seaming, but you'll want heavier

QI
~ topstitching or jeans thread for a sho\vier
~ look.
.0
E
'!, PRE-TREATING
~ Denim \Vill shrink, so pre-wash it at least
-DIll once to allow for that before cutting.
-i Washing also softens the fabric and helps

~ with 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-'1vash the fabric to avoid a raveled mess.

The in-and-outs of working with
this American classic
Text LINDA TURNER GRIEPENTROG
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 mal<e a bias cut, so it's important to
finish all seams and hem edges securely.
Or, take advantage of this innate quality
and showcase fringed seams or edges, like
on the Rods & Reel Deniin Pillov (see page
59). If you plan to fringe, stitch where

................_..__ _
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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
figure 1
enclosed.
SEAMING
Reducing bulk is key when working with
denim as multiple layers can be taxing
to even the best of sewing machines. So
remember to grade enclosed seams to
different lengths, dip curves, and trim
comers.
Standard straight stitching is ideal for
denim seaming. Sew, then press the pre-
figure 2 figure '3 finished seam allowances open. (figure 2)
Serging also "''orks well when seams
will be pressed in one direction. (figure '3)
On light to medium-weight denims,
press seams in one direction and topstitch
'llrith a row of contrast stitching, a look that
mimics ready-to wear detafling. (figure 4)
For a true Levi look, make a real flat
felled seam. Sew the seam with \vrong sides
together and press the seam allo\vances
in one direction. Tum the lo\l\Ter seam
allowance to about V4", then fold the edges
figure 4 figure s of the upper seam allowance under and
lay over the trimmed seam. Topstitch the
folded edge in place. (figure SJ
TOPSTITCHING
Wherever possible, topstitch denim seams
to help keep them fl.at. This can be done
'llrith matching regular-weight sewing
thread, or with heavier topstitching or
buttonhole twist thread "''eights. Look for
figure 6 Coats Jeans Thread in colors that mimic
ready-to \ivear denim stitching- the bright
</) .
z Levi gold, t\l\TiSted blue denim colors or
0
l- many fashion colors as \veil.
o
z For double stitching in one pass, use a
</)
1:; twin needle-two size roo needles with
z
<(
z 6 mm spacing showcase topstitching
(;; thread with aplomb. (figure 6 )
UJ
l-
a: .
::::> .
0
(..)
figure 7
how-to
figures
HEMMING
Turning up a hem in denim is si1nple-
just 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 m.ore thicknesses at the junction,
\vreaking havoc 'llrith 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 10'11' to high
at the folded seamline. (figure 7) Place it
under the back of the foot at the start of
the climb, then \l\Then the foot is level atop
the denim lump, move it to the front of the
foot to help with the descent.
If you must, pottnd a thick seam
crossing from the \vrong side \ivith a
hammer before stitching to help flatten it.
TACKING
Ready-made denim garments are
often accented with bartacks sewn in
contrasting thread. To malce 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 inachines offer a
bartack setting.*
LINDA TURNER GRIEPENTROG owns
G Wiz Creative Services in Bend, Oregon,
where she lives with her husband (a longann
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.
19
sewdaily.com *
 technique spotlight

Sewing know-how for these

sumptuous fabrics ensures success.
Tex t LINDA TURNER GRIEPENTROG

20
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stitch
The world of lingerie sewin.g
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
flowing 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, n ot
quite so much.
Man.y lingerie fabrics are wider th an
standard fare-some tricots come 120"
wide- making th.em a very economical
choice for everything from panties to
negligees. A yard of fabric that "'ride goes a
long way to filling the undies dra\ver.
In addition to the fabric options, there For pinning, use silk pins-they're specifically for sewing lingerie fabrics.
are numerous special notions available long and thin and usually don't leave Look for size 60 thread in several pastels.
for lingerie se\7\ring. Look for underwires, permanent holes in delicate fabrics. Using finer thread makes less rigid seams.
pre-made straps, appliques and bows, On t1icot, sheers, and single knits that
and elastics. Many lingerie elastics have a tend to curl, use pattern \Veights to keep SEAMING
plush back designed to be placed against the pieces flat for cutting. Since most lingerie fabrics are knit of one
the sh.'in, not in a casing; others have a To help manage the unrulies, spray sort or another, it's important to maintain
picot edge to sit above the garment edge. them \vith starch or a starch alternative, the flexibility in sewn seams. Serging
such as Best Press, before cutting. It adds a is an ideal finish as it finishes edges
CUTTING bit of body making them easier to control. and Se\vSthe seam in one pass, while
If you're \vorking V\rith t ricot, silkies or maintaining some stretch ii1 the seam for
sheers, cutting requires care. Begin V\rith TOOLS OF THE TRADE close fitting items. On stretch laces and
sharp scissors, preferably with a serrated Choose a ballpoint needle for sewing with sheers, narro\v the stitch \vidth for less
blade for easier cutting. A little painter's kni ts, and a universal needle for woven show-through.
tape can help secure fabric to the cutting fabrics. Since most are light\veight, a size If you don't have a serger, stitch seams
table for non-slip layouts, or you can cut 70/1 Ois a good place to start, working up with a narro\v, open zigzag stitch-
things like sheers sand\7\riched between for heavier fabrics. perhaps even t\vo next to each other, and
t\vo layers of tissue for easier handling. Lightweight threads are available slightly stretch the seam as you se\v.

______ 21
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._.._

sewdaily.com *
 technique spotlight
figure l
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 v.rith zigzagging or serging.
Often woven fabrics are cut on the
bias f.or lingerie garments so they have
good draping. When sewing bias seams,
be careful not to stretch the seam as you
stitch, but allo\v 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 embellish-
ments on lingerie. Since lace doesn't ravel
when 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 a\vay under the lace motif.
22
----------
* stitch
figure2
EDGE FINISHING
Lace often finishes the edge of many
lingerie items and appl)ring it is simple-
just 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 a\vay or left in place.
Tf lace isn't the edge finish of choice,
narro\vly hem the edge using a 1/4 " turn-
under or serge the edge, tum llp 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 technique can be used on the
edge of tucks. (figure l)
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 wl1ile stretching
the fabric as much as you can. When you
release the edge, a ruffly lettuce edge \vill
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-solu ble
stabilizer. Se\1\r the decorative edge along
the seamline, trim close to the stitching,
and re1nove the stabilizer. (figure 3 "/k
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 leadsfabric shopping
tours to Hong Kong for the American Sewing
Guild. Contact her at gwizdesigns@aol.co1n
 give your projects
C[)efinition

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23
sewdaily.com *
 book excerpt

'

L---~~------
* stitch
 book excerpt

APPLIQUE TECHNIQUE
Invisible machine applique with
bias strips

FINISHED SIZE
13 1/2" x 39 1/2" 134.5 x 100.5 cm]

PERHAPS IT ISN'T COINCIDENCE that MATERIALS

both concrete and quilts come in blocl{
3/4yd 168.5 cm) off-white solid fabric
for bias strips, sashing, and binding
form. I was intrigued by the way the
12 squares, each 6" x 6" 115 x 15 cml.
separate blocks of concrete walls mal{e assorted prints for backgrounds
circle patterns when put together, just 2/3 yd 161 cm) backing fabric
lil{e quilt blocks take on a new life when 18" x 44" 145.5 x 112 cm] batting
they interact with copies of themselves
TOOLS
in a quilt top. Concrete sellers call the 1/2" 11.3 cm] bias-tape maker
common breeze-blocl{ design replicated
Cordova Block fattern
in this runner Cordova, and since the IDownloadable
concrete version is often used to build Toolbox for prepared-edge
applique
walls in and around gardens, it seemed
only natural to use floral prints as the Light box (optional)

background fabric.

25
....... -------------
sewdaily.com *.........
 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 solld fabric, cut:
- 2 strips 4" (10 cm) x width-of-fabric;
sub-cut each 4" (1 Ocm) strip into 1"
(2.5 cm) wide bias strips. You'll need a
total of 48 bias strips. (You should be
able to make a few extra bias strips,
which are useful for testing your
machine settings before se\ving the
actual blocks.)
- s tlorizontal Sashings 11/2" x 121/2"
(3.8 x 31.5 cm)
- 6 Vertical Sashings 11/2" x 6"
(3.8 x 15 cm)
- 2 Long Borders 1" x 38 112" (2.5 x 98 cm)
- 2 Short Borders 1" x 131/i'"
(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 Position a bias strip on one of
the 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
b ackground fabric. You'll need to curve
the bias strip gradually to follov.r 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
2 Run each bias strip through the bias-
tape maker to turn the edges under to
make 112" (1.3 cm) wide finished strips.
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
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.

26
-----...-----
* stitch

VARIATIONS
Bias strips can easily be
sewn by hand or topstitched
in place. If you baste the
strips securely, you co uld
even try quilting them in
place after bui lding the quilt
sandwich. Half of the table
runner Length-two by three
blocks-would be just right for
a placemat, and whe n I taught
this pattern at my Local quilt
guild , some of the members
used fou r blocks as t he front
panel of a tote bag.
book e xce rpt
Assemble the Runner 1" x 13112"
(2.5 x 34.5 ctn )
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'~
11
(15x 15cmJ
7 Referring to the Assembly
Diagram, arrange the blocks in 6 rows \
of 2 blocks each on a design wall or I
other flat work surface.
11/2" x 12112" (3.8 x 31.5 cm) I
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 sew 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
/\ 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.
I I Baste the backing, batting, and
runner top together. Quilt as desired.
'frim the excess batting and backing Assembly Diagram
and square the edges of the runner.
I2 From the remaining off-white
solid fabric, cut 3 strips 2" (5 cm) x
>vidth of fabric for binding. Join the
binding strips vvith diagonal seams
and press in half \vrong sides together.
Bind the runner.
27
sewdaily.com *
 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 narrow-
edge 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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29
sew daily com * -
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 feature

Cheap & Chic

Live a ~1 eener lifest)le
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? Noi.v green is a lifestyle
choice.

Let me state up front tha t 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 rec oncile th at
with a yearning to live a more simple life and
honor the environment? For my husband and
me, the first step was to build a smaller home
wit h 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 tha t idea, but
Barbara Kingsolver's book Animal, Vegetable,
Miracle did get me thinking).

My new studio is light and airy but scaled down

in size, resu lting in less room for my swag, my
stuf f, 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 son1e of my collections in
funct ional ways such as home decor, set t hem
free (give away, donate), or spend the rest of
my life perfecting an inventory system to man-
age and st ore my art materials. I went w it h the Inspired by t he drapes in Tricia Guild's book
first two options. Patterns, I mixed printed linen panels with plain
ones. Currently there is a resurgence of pattern
These mixed -media home decor projects in fabric for home decor and, wonder of wonders,
ill ustrate my new- I can barely utter th e word- wallpaper is back w it h a w hole new attit ude.
th riftiness. Out came a stockpile of natural linen Perfect timing for mixed-media artists! Our col-
fabric (old and not-so-old) for drapes, along lages, surface design techniques, and fab ric art
with cherished embellishments like vintage but- can now claim vertical wall space looking fresh and
tons and notions. T he only purchase I made for fab ulous.
any of the projects featu red here is t he sassy,
oversized rick rack used in the drapes (shown on Pillows made from burlap sacks, seen in a trendy
page 32). home store, influenced the concept for another

30
----------
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 feature

project. They were printed w it h text and large-

scale numbers, an easy motif to duplicate w ith
th e chunky foam alphabet stamps.

Since all Roman numerals can be made with only

seven letters. I took a quick look online to refresh
my memory and pulled out t he necessary letters:
I, V, X, l, C, D, and M.

For the front of t he pillows, I cobbled together

leftover Ii nen fron1 th e drapes, added scraps of
f abric w ith text, then stamped, stenciled, and
spattered th e surface - fami lia r techniques to all
mixed-media artists. If you have ever made a
collage and can sew a fa irly straight line, you can
make these pillows.

There is nothing like spending an hour in one of

t he Anthropologie stores to power up on inspira-
t ion fo r home-decor projects. ( I realize some
people actually do go th ere to buy cloth es.) It framed collage wall art
was t here I saw an entire wall of frames-all MATERIALS
sizes and styles. made into a cohesive collect ion Used picture frames
by painting t hem with w hite gesso. Although I Sandpaper
am fami liar with this design concept, it was t he Gesso. white and black
matte finish of the gesso t hat sent me home w it h Paintbrush
a mission. I buy gesso by th e gallon (so crisp and Golden Artist Colors Interference Gold paint
fresh on ceilings!) and already had the requisite Ephemera includ ing book pages, hotel
collecti on of old frames. receipts, record covers, and engineering
drawings
Humming "Reduce, Reuse, Recycle" put me in Old toothbrush
th e right f rame of mind. Prom ising to "use what Foil pen. gold
you already have," I cut up a previously made Alphabet stamps, foam rubbe r, large
collage: at 3' x 5' it was too large for my new, Large foam architectural stamps
smaller rooms. By laying the frames on top of t he Rubber stamps and ink pads
collage and moving and t urning t hem in different Acet ate transparencies
directions, I was able to fi nd a pleasing com- DIRECTIONS
position for each frame. It also helped tha t th e the frames
existing gesso spattering on the collages related 1. Sand t he frames and wipe them clean with a
to th e frames. damp cloth.
2. Apply 2-3 coats of white gesso, sand ing
Now th at the st udio is looking rat her spiffy I am lightly between coats.
on my way to the garden. My flowers (grown note: Gesso dries quickly, but be sure each coat is
from seed, I'm so proud!) are going to be my completely dry before applying t he next one.
new art materials. Poppies. sunflowe rs, Bells of 3. Apply Interference Gold paint to th e frames, if
Ireland, and nasturtiums. Their organic shapes, desired. Wipe gent ly with a cloth, leaving the
textures, and geometry captivate me and offer pa int in th e carve d areas.
endless possibilit ies for mixed-media art. I the collage
press them, preserve them in the freezer, and 1. Using you r favorit e techniq ues, create a col -
slath er their pet als and leaves with color to make lage with the ephemera, rubber stamps, and
monoprints. acetate transparencies.

31
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sewdaily.com *
 feature

2. Overstam p with large alphabet letters. For DIRECTIONS

Roman numerals, use the letters in as many 1. Sew a plain and a patterned panel toget her
combinations as you like. along the long side (right sides facing), t hen
3. Apply black or white gesso to the large press the seam open. Repeat with the second
foam architectural stamps and press firmly set of panels.
onto the collage surface. 2. Attach large buttons to the plain panels with
4. Use an old toothbrush to splatter the waxed linen thread .
collage surface with both black and white 3. Hem the bottoms and tops of the panels using
gesso. Add sparkle and depth by "flicking" a iron-on tape.
gold foi l pen over t he fabric. 4. Sew the clo th measuring tape across the bot-
5. Place the frames on your collage, moving tom edge of the panels.
them around until you f ind the desired 5. Attach rick rack down t he center seam using a
composition for each. hot glue gun.
6. Mark, cut out. and f rame your pieces.
pillows
MATERIALS
drapery panel s Linen fa bric fo r pillow fronts
MATERIALS Fabric for pillow backs
Vintage linen or purchased linen panels, 2 Pillow forms
plain and 2 patterned Fabric paint, black and w hite (I used Tulip
(I used previously purchased natural Ii nen brand.)
fabr ic for my drapes-1 shown below.) Stencil brush
Buttons Stencils
Clot h measuring tape Large and small chipboard alphabet and
Waxed linen thread punct uation stencils
Giant rickra ck, 12" wide Purchased fabric with a tex t design
Iron-on hem tape Cloth measu ring tap e
Hot glue gun and glue sticks Buttons
Foa m st amps
DIRECTIONS
1. Cut the fabric for t he pillow f ront. I recom-
~ mend cutting th e fab ric for the pillow f ront
and back at least r
larger tha n the pillow
\ form; t his allows for V2" seam allowances.
(f 2. Holding t he stencil firmly in place, apply the
fa bric paint with a stencil brush and let it dry.

~'-
x
3. Apply fabric paint to the foa m stamps and
press firm ly onto t he fa bric.
4. Sew fabric patches, measuring tape, or other
embellishments to the fabric.
' {J 5. Spatter the surface with paint gesso, or gold
I L
foil pen .
xi note: The patchwork for t he front of the "and now"
pillow was pieced together with the seam allow-
ances showing on the outside.
6. Sew the pillow f ront to the back, right sides to -
gether, leaving an opening fo r the pillow form .
7. Insert the pillow form and stitch t he opening
clos ed either by hand or machine.
Look for
DIY Holiday For a list of inspirational decor books, check ou t
at stores and on lnterweavestore.com/DIVHoliday.

shop.sewdally.com.

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

Download the
FREE Marrakech
pattern at
shannonfabrics.com

- -- 46" x 58"

-----
"
-- be, SUR.fl ~OIJ che.c.1< oot
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-- - the., ol-~R Coddle, \<ids pRi1*-SI
- -------
Cuddle Kids is now available at your local quilt shop and fabric store.

FABRICS
Making The World A Softer Place


* *
*

I ac1111111,

., .
 artist Q&A

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 2011 issue of Studios?The pristine Photos by Ann a Maria Horner
vvh.ite surfaces and architectural details
just waiting for her to move in? I had
my doubts whether Anna Maria could
improve this space by adding anything-
it seemed perfect already!
Fast forward a fe,v months, and I stand
corrected. Once filled vvithAnna 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 anyvvay- an.d became a h.aven
not only for Anna Maria, but for her wl1ole
family.

LM: No'v 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 knovv what it would be.

I thought so 1011g 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 l1ow to t reat the
bare-bones plank stairs leading up from
the downstairs studio ...so far, they are
\Orking fine as they are, but I imagine r
may paint them.

LM: Is there any design feature you love

so much that you would recom.mend it to
other people?

'37
* .....
....... --------------~~
sewdaily.com
 artist Q&A

.. .....
AMH : Everyone \vorks differently, so T
..""........
.
.

feel that's the key thing to look at how

..-


do you work? You will come across 1nany
beautiful spaces, but making one function
the way that you personally operate is
the only reason to custom build a space.
We had nooks and crannies to deal \Vith
in this attic, but in the end, those spaces
served me really well and provided lots
of storage that I wouldn't have had in a
standard room.

LM: The way 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 \vith 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 pillov1s and rugs. Those
\vill probably change every time I design
a ne\v fabric line. The \vhole room is sort
of like a sketchbook that will get new
artwork from time to time. r do have a
few special things near my work desk,
including an embroidered family portrait
that I made in a college textiles class, a
miniature quilt piece by my friend Alexia
Abegg, and a Byzantine icon that my
mother gave me. These small additions
make the space feel like home.

38
----..---
* stitc h

..
-~
- '
LM: What is your favorite piece of
furniture?
AMH: I love the look of my stainless
steel \Vorktable. It's a sleek, modern break
from all the painted wood surfaces. T
found it th rough a restauran t supply
place, and it's just a standard k itchen
\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.
LM: You said that you r kids were always
welcome into tllis space. Do they like
spending time there?
AMH: They all do a little bit of
everything up here; typically, it's hanging
out, messing around with a needle and
thread, or reading. Since school started
they have been doing homework up h ere
in th e afternoons. Roman, our you ngest,
has a shelf or t\vo devoted to some of his
favorite toys so h e feels just as at home in
this room. as in any room. in th e h ouse.
LM: Speaking of your kids, do you
encourage them t o craft, or do they
naturally gravitate to it?
~
~
AMH : I a1n not sure I ever have to
make the suggestion, but they sort of
have about every craftlart/se\ving tool
and supply righ t at their fingertips, so
it comes as no surp rise it's what th ey
end up doing. They are certainly used to
seeing me pick up all sorts of projects,
both for \vork and for leisure, so I am sure
that contributes to their interest. Simply
limiting their T\Tand computer time
to just the weekends means that there
is free time that they 11ave to come up
with something creative or othenvise do
nothing but stare down boredom . It's a
proven recipe here.
LM: What is the first word that pops into
your mind when you think of your new
space? Why?
AMH: Sunlight. Th e morn ing sun is the
first thing that greets me as I turn to walk
in at th e top of the stairs every morning.
Jeff an d 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
togeth er here.
LM: Can you describe a typical day in
your studio?
artist Q&:A
I
-
~ ...~
AM H: 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 tu ne collections.
Pierrette is my assistant, and her desk is
downstairs where she manages the online
shop an d helps out with graph ics work
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 upcomin g projects.
Tf T'm sewing or \vorking at the draftin g
table, I typically like to straighten up
39
sewdaily.com *
 artist Q&A
my work area first, otherwise 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, hom.e\>Jork, 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 v-.rork
and focus on "home time."
40
* stitch
LM: You seem to do a little bit of
everything when it comes to creating. Is
there one craft that you just couldn't live
without?
AM H: I think that handwork 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 co11sider that some
of the most elaborate work can come
from just cloth, needle, a11d tluead. It is
such a personal expression.*
annan1ariahorner.com
This article first appeared in Studios
Winter 2011.
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 projects

What better season to

turn your attention to the
warmth of the sewing
room than winter. Draw
inspiration from one of
our 31 stY.lish projects to
fi ll 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 t ired to
decide, then Boudoir is
definitely for you!

sewdaily.com *
 nest-asilK

instructions
..................................
sewda1ly.com *
ribbons.to crea te\fnchlY..patterned tiered skirt: ?.till

[pro1ect instructions . .-....

Schmidt

m1nl!
instructions
diamond chain
bolster
Casual, hand-drawn lines were a haJlmark
of mid-century textile design, and the look is
easi1y replicated with free-motion quilting.
No expertise is required, since the waveri ng
1i nes give the simple design i ts character.
DESIGNED BY Kevin Kosbab
[project instructions on page 91]

tablet folio
Se\v a fun and unique padded tablet holder!
Instead of using a typical closure, th is 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 W eaver
(project instructions on page 93]
 ,
op art runner
Inspired by Op Art, crisp graphics jumped off the
gallel}' \\all and into the late196os home through the
work of designers like Verner Panton. Bring itinto your
o\11n home \vi th this runner. which adds applique to
Drunkard's Path pieced units, creating a bold, striped
\vave design.
DESIGNED BY Kevin Kosbab
[project instructions on page 94]

,, . ''
.. ... ... . ..
"' "
. . . -,,, "
.. .. . .. ..-..
, .. ' '
.. . . .....
.. .. " ".

51
....................................
sewda1ly.com *
 I

embellished
a-line skirt
..,
-
.-
e~
.......
This classic A-line skirt offers a
modem twist, includiilg a slightly
dropped waistline and a curved inset
Embellish theinsetwith coordinat
ing fabrics and embroidery floss,
adding your own flair. Use the s.1me
-
.. .:t: :i '
..-......
- . ..
~:: ~ :-:
.

fabric for the entire ski rt, or add a

..........
........
t- .
~-
.. . contrasting fabric for the inset for yet
a different look.
DESIGNED BY Stephanie Bracclin
[project instructions on page 97)
disco bag
Sho\v ofT your love of al1 things retro
\vilh a hand-embroidered disco bag.
Sparkling metallic details and a
modem shape add a touch of glam.
With a roo1ny interior, double inside
pocket, and magnetic snap closure,
this faux leather bag is sure to be your
ne\v favorite for a night out!
DESIGNED BY Sara Curtis
(pro1ect instructions on pa, 9:]
scallop shift
dress
Reminiscent of \vomen'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 il in a fun pasLel
print, or go bold for added in1pacl.
This dress is easy enough even for a
beginner.
DESIGNED BY Stephanie Bracelin
[pro1ect instructions on page 99]

____ ___________
.. SS _
sewda1ly.com *
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. \Vi th
the right accessories, this jacket's sha\vl
collar, peplum waist and indigo blue color
make a smooth transition from office to
evening and from winter to spring. Add a
pop of color with a brightlining.
DESIGNED BY Amber Eden
[project instructions o n page 101)
 SLOUCHY
CROSSBODY
BAG
Denim and leather make a fantastic
mix-edgy, modern, and sturdy
enough to withstand everyday use.
And \vi th denim now available in a
number of fun colors, you can make
one to match everything in your closet!
DESIGNED BY Lisa Pold erman
[project instruct ions on p age 103)

-
RODS & REELS
DENIM PILLOW
Don't thro\v out those old jeans! Cul lhen1
up and restitch them in an updated \vay. -- - - - --

Add your favori te fabric scraps using "sketch

stitching" to create a unique piece of modem
art in a pillo\v. This creative accent is easy to
make and fun for guys or gals.
DESIGNED BY Heidi Emmett
[project instructions o n page 104]
I Recycled jeans are ideal for placemats-
JEANS PLACEMATS
they'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
................................
sewda1ly com *
[project

61
sewdaily.com *
 purse
This dramatic origami-style bag is
based on a r 94os vintage creation
made from panels of soft leather. This
silk version is updated \vi th a log
cabin patchwork style panel. heavily
quilted to give a sumptuous te>..'ture.

62
* stitch
 ed felted scarf
Traditional log cabin. rail fence, and
stripe patch,vork blocks se\vn in felted
\vools are teamed \\rith exposed stitching
techniques to create a vibrant scarf set
to chase away 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]

 retro baby quilt
flidden secret? If you look closely at
this colorful baby quilt, you'll see the
incorporation of the letters ~I and Xin 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
(pro1ect instructions on page 112)

* stitch
glamorous patchwork parka
Velvet and a patch\vork of brilliant silks tum a warm, utilitarian J
parka into a stunning evening jacket Vi\rid silk lining turns back
at the cuffs and makes a snapped flap over the zippeL Insulated
\vith batting, the parka has a shaped hem, standing collar, and
front pockets.
DESIGNED BY Tina Lewis
[project instructions on page 113]

65
sewdaily.com *
 0 TANGLED UP IN THE BLUE DIAMOND CHAIN BOLSTER
QUILT by EMILY BRECLAW Project photo by KEVIN KOSBAB Project photo on page
on page 67; instructions on page 117. SO; instructions on page 91.

l!ITABLET FOLIO by MARNI 1J OP ART RUNNER

WEAVER Project photo on page SO; by KEVIN KOSBAB Project photo on page S1;
instructions on page 93. instructions on page 94.

(J)
t I
--*
t I
()
y-~)

~
El LOG CABIN PATCHWORK II VINTAGE VINYL SNAKESKIN
PURSE by RUTH SINGER Project photo CLUTCH by LINDA LEE Project photo on
on page 62; Instructions on page 110. page 52; instructions on p age 96.

0 A SIMPLY MOD PURSE I] DISCO BAG by SARA CURTIS

by LYNN WEGLARZ Project photo on page Project photo on page 54; instructions on
61; instructions on page 109. page 98.

click to download the ...0

~

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PATTERNS + TEMPLATES I../)
<(

I
Sit back and enjoy .
one of these 5 com

Perfect for snuggling in bed, these femin ine wrap

shorts feature a curved slit in the front to show
jusl a bit of leg. Pair them with a tank top or
camisole for sweet dreams.Look for a lightweight
fa bric 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. 'fhe asymmetrical ~gn enables
you to change the look of the quilt by sirnplf turning it
around.
DESIGNED BY Emi ly Breclaw
[project instructions on page 117]
J

adult onesie
Defy winter chills in an adorable,
\Varm and cozy onesie-a modem
big-kid version of a childhood
favorite. Loose and comfy for
loWlging, it has contrasting zippers,
ribbed cuffs, topstitching detail,
three pockets, and a snuggly
hood.
DESIGNED BY Tina lewis
[project instructions on page 119]
 >Ve ones tl1es 1ittle

69
sewdaily.com '*
 70
----. --
* stitch
 -s
-

The Hol sYo Love,

w
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 11 46 pages I $14.99 I Magazine I SRN: SG1400

- ---

9~r carff ltfU(J at

www .interweavestore.com/sewing
or by calling 866-949-1646
,
______ ........--------
._.._
71
sewdaily.com *
 * GETTING STARTED
SEWING KIT
The following items are essential for your sewing kit. Make
sure you have these tools at hand before starting any of the
projects:
0 ACRYLIC RULER This is a clear flat ruler, with a
measuring grid at least 2" wide x r8" 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 CRAFT SCISSORS Use these for cutting out paper
patterns.
0 DRESSMAKER'S SHEARS These sharp long-bladed
scissors are used to cut fabric.
0 EMBROIDERY SCISSORS These small scissors are
used to trim off threads, clip corners, and do other intri-
cate cutting work.
0 FABRIC MARKING PENS & PENCILS Availabl ein
several colors for use on light and dark fabrics; use them
for tracing patten1s and patten1 markii1gs onto your fabric.
0 HANDSEWING & EMBROIDERY NEEDLES Keep
an assortment of sewing and embroidery needles in dif-
ferent 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 pa-per may be used for
templates that will fit.
0 PINKING SHEARS These scissors \vi th notched teeth
leave a zigzag edge on the cut cloth to prevent fraying.
0 SEAM GAUGE This small ruler \vi th a movable slider
is used for marking hems, checking seam allowances,
placing buttons, and more.
72 _..__ _
-----...........
* stitch
Basic tools, techniques,
& terms you'll need
for the projects in
this issue.
0 SEAM Rf PPER Handy for quickly ripping out stitches.
0 SPIKED TRACING WHEEL & COLORED
TRACING PAPER Use these tools for tracing
patterns and markings onto your fabric.
0 STRAIGHT PINS & PINCUSHION Always keep
lots of pins nearby.
0 WEIGHTS Pattern weights or small rod<s are great for
keeping fabric in place while drawing, pinning, and cutting.
* OPTIONAL . . . butgoodtohave.
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 s1nooth seams. A knit-
ting needle or chopstick can also be used.
0 ROTARY CUTTER & SELF-HEALING MAT Useful
for cutting out fabric quickly. Always use the mat to protect
the blade and your work 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 instruc-
tions for recommended removal method.
0 TAILOR'S HAM A firm cushion used when pressing
curved areas of garments to preserve the shape and
prevent creases.
0 THIMBLE Your fingers and thumbs 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
lf18
PATTERN SYMBOLS & MARKINGS
Here is a quick reference guide to the
symbols and markings on the patterns.

;-- CUTTING DARTS Angled lines show where the

, , NOTCHES Notches are triangle-
LINES : stitching will be, and the dot shows , ,' shaped symbols used for accurately
Multisize :' you the position of the dart point (sig- ,' matching seams. Pieces to be joined will
'I
patterns have
' ! naling the point, at the end of the dart,
,'
,,,' have corresponding notches.
I
'II different cutting/ where your stitching should end). ,' '
lines for each / , PATTERN DOTS Filled circles ind icate
,,'
'
.
s ize. '
' ' ,
, -'' that a mark needs to be made (often on
'
J' ,,' ,.-' the right side of the fa bric), for place-
' ,' '
,' ,' ment of elements such as a pocket or
- L ,-_. -. .-.. .-. .-..-..-..-..-..-. -......:- .~
........-. .-..-..-..-..-..-..-..-..-..-..-.. -.. .-. .-..-..-..-..-..-..-..-. .-.;..., -. - - -- ----. _...,
' ..L. #r< .--i a dart point. Mark by punching through
. ... ,...---
I ------ ---
. -
-
- -------------- - -- ---- ------ -,---- - - --- - --- -,- - -----
, - - .
..

t h e pattern paper on ty,,h

--
t en mark on th e
: l '. r;- tr~ mr-~--------~~;r-------_:-:-~---- fabric through the hole.
:. l I; :!'l :J! ,,' ,'
.
."
.
iI
i
i
:
I ...,.
' ll
"l1 1'1

' ll
;
:\'~ ! ~ ' j
, ; ,
' ,'
,, '

,
,1'
,, '

PLACE ON FOLD BRACKET

:
.
I
I

1'
:\
'1
f'
;f'' , '
," ,, ,
,"
I '
' ' This is a grainline marking with arrows
. i . }
J I' ,' ~
~:I! ,''
;
, ' '' pointing to the edge of the pattern. Place
. ii :i .. ;
,
: !
'' the pattern edge on the fold of the fabric
'I ,
:: ii ~'i
1

I
,'
j
: ~ ,
,' so that your finished piece will be twice
. I ~ ,
: ! I I '
'
.:
I
t
f
I'
!
I , '
" the s ize of the pattern piece, without
: ,' :I io ,
,," having to add a seam. Do not cut the fold.
.: IJI

I "'
I ,
I , ,


1 I
I ;
" GRAIN LINE The double-ended arrow
' I I ' '
:
:
1
.
I
I
I
!.
,
,._,' should be parallel to the lengthwise
,
" ~ ~ ~
' -
I
grain or fold unless marked as

!
I :
I
:
, .- .
I
crosswise.
:
.
I
i
'
: : >'
: I
' iII '
I l
---- BIAS GRAINLINE This grainline is
.
.' I
1
'
I
I
:
-,... ---- -- --
:. Ii 'J I:
--- --- diagonal and indicates that the pattern
. ! : ! piece should be cut on the bias. The
: ! I
I
'"true bias is at a 45-degree angle to the
; !!
: j I
I
straight grain of the fabric.

; !
.
: !
.1 I
I
l,

-- -- _, . . -
-- .-- SLASH LINE The dashed line indicates
that the pattern needs to be s lashed
: !!
- -

: i : ,.. __ .......
---------------- along the line. Slash to the dots only, if
:' ii t---------------
I
,. .. , present If there are no dots, the pattern
:. .r--.
' .I should be slashed from edge to edge
--- I
.. ---..: 1
', along the entire line.
: i :
: I t

: i :
. . -.. --- -- --- BUTTON & BUTTONHOLE
:
'
: ! :
j
!
:
I
'I

.I 0 ..... -- ... PLACEMENT MARKS
:
I
!
I
: 0 I Solid lines indicate buttonholes. A large
I I ,
open circle is the button symbol and

I
I
I
1
I
I
I
I
'
'
I
0 shows placement.
i ' :
~:. jl !
,_.,_ ~---------- . ---.----------. .-
- ----- -----
__. ___.,,_._. _ _______,_,_,_._________ ,_,_,_,_____,____.__ ____ __ .__..
-------------------------------------------------------------
................................................................................................................
=-=~":"...:..-,_._ , -~-- ~ CB: Center Back
CF: Center Front

73
--------.- ....---
sewdaily.com *
 PATTERN INSERT GUIDE A quick
reference to the full-size patterns on the insert.

LAYOUT, MARKING + CUTTING GUIDELINES D AU pattern markings should be on the wrong side of the fabric
D The pattern insert features overlapping patterns, so you rnay unless othenvise noted.
not vvant to cut patterns or templates directly from the insert. Iii Lay the pattern pieces on the fabric as close together as possible.
Instead, use pattern paper (or other paper such as newsprint) or Double-check that all pattern pieces cut "on the fold" are placed
pattern tracing cloth to trace the patten1 pieces you need from the on the fold.
inse1t and then cut out your traced pieces. Regular office paper l:'Jl\1ake sure all pattern pieces are placed on the fabric with the
may be used for small templates that will fit. Tf necessary, use a grainline running parallel to the lengthwise grain unless a bias
light box or bright window for tracing. grainline is present or as otherwise noted.
lJTf you are cutting pattern pieces on the fold or cutting two of llUse weigh.ts to hold the patten1 pieces down and use pins to
the same pattern piece, fold the fabric in half, selvedge to selvedge, secure the comers as needed.
with right sides together or as indicated in the cutting layout or fJ Cut pieces slowly and carefully.
instructions.

a. L _ ...._.,...__-la "'""' u.f!W. - ' -.11-

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74
--..*------
stitch
GLOSSARY OF SEWING TERMS
+ TECHNIQUES A quick reference to the technical
sewing terms used throughout the project instructions.
BACKTACK Stitching in reverse for a
short distance at the beginning and end-
ing of a seain line to secure the stitches.
Most machines have a butto11 or knob
for this function (also called backstitch).
BARTACK A line of reinforcement
stitching often placed at areas of stress
on a garment. Bartacks are created with
short zigzag stitches (by machine) or
whipstitches (by hand).
BASTING Long. loose stitches to hold
something in place temporarily. To baste
by machine; use the longest straight-stitch
length available on your 1nachine. To baste
by hand, use stitches at least /," long. Use
a contrasting thread to make the stitches
easier to spot for re1noval.
BIAS The direction across a fabric that
is lo.cated at a 45-degree angle from the
lengthwise or crosswise grain. The bias
has high stretch and a very fluid drape.
BIAS TAPE Made fro1n fabric strips cut
on a 45-degree angle to the straight grain,
the bias cut creates an edging fabric that
vill 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 con-
cave 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
se\ving a longer piece of fa bric 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 even!y; but 1naking 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>v1y,
Sinoothing as necessary to ease the pieces
together as evenly as possible, being
careful not to catch tucks in the seam.
EDGESTITCH A row of topstitching
placed very close (/,. - '/s") to an edge or
an existing seam line.
FABRIC GRAIN The grain is created in
a woven fabric by the threads that travel
lengthwise and crossv.rise.The lengthv-rise
grain runs parallel to the selvedges; the
crosswise grain should always be perpen-
dicular to the lengthwise threads. If the
grains aren't completely straight and per-
pendicular, grasp the fabric at diagonally
opposite con1ers and pull gently to restore
the grain. In knit fabrics. the lengthwise
grain runs along the v-rales (ribs), parallel
to the selvedges, with the crosswise grain
running along the courses (perpendicular
to the >vales).
FINGER-PRESS Pressing a fold or
crease with your fingers as opposed to
. .
using an tTon.
GATHERING STITCH (machine)
These are long stitches used to compress
a length of fabric before sewing it to a
shorter piece.1:-0 gather, set the machine
for a long stitch length (J,0-4.0 mm; use
the shorter length for lighter-\veight
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 'k" 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
gath.ered to the shorter piece right sides
together, matching edges, centers, and
pattern 1narkings as directed in the
patten1. Pin at each 1nark. Grasp the bob-
bin threads from both lines of stitching at
one end and pull gently. Work the gathers
along the thread until the entire piece is
gathered and lies flat against the shorter
fabric piece. Pull the bobbin threads fro.in
both ends to gather long pieces. Stitch the
seain, then ren1ove the gathering threads.
GRADING SEAM ALLOWANCES The
process of trirnrni ng searn allowances to
different widths to reduce bulk and allow
the seam to lie fl at. The seam allowance
that will lie to the interior of the project is
trimmed the most, leaving the seam allovv-
ance that will lie closer to the exterior of
the project slightly wider.
GRAINLINE A pattern marking showing
the direction of the grain. Ivlake sure the
grainline marked on the pattern runs
parallel to the lengthwise grain of your
fabric, unless the grainline is specifically
1narked as crosswise or bias.
INTERFACING/ INTERLINING
Jvlaterial used to stabilize or reinforce
fabrics. Fusible interfacing has an
adhesive coating on one side that adheres
to fabric when ironed. Interlining is an
additional fabric layer between the shell
and lining, used to change the garmen.t
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. Most
co1runon 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 zig-tag stitch
can be used as an alternative to finish raw
edges if your 1nachine doesn't have an
overcast-stitch function.
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 PINK To trim 'Ari th 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 garn1ent 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 open-
ings, often in conjunction with buttons
or other closures.
PRESHRINK 1'1any fabrics shrink when
washed; you need to .vash, 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 garment. 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 fac-
ing 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 min . 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 searn.
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 v.rill
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 seam 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
make sure the edges are straight and the
measurements are correct. Use a rotary
cutter and a rigid acrylic ruler to trim the
block if necessary. Because you might
trim off the backtacking on seams when
you square up, 1nachlne 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 djstortion. 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 seam.ed fabric right side up
under the presser foot and sew along the
seamline "ditch." The stitches will fall
between the two fabric pieces and disap
pear into the seam.
TOPSTITCH Used to hold pieces firmly
in place and/or to add a decorative effect,
a topstitch is simply a stitch that can
be seen on the outside of the 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
handythread snippets are easily
removed Without damage. Take several
loose stitches through the pattern and
fabric layers leaving about a r 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 poin t to be marked,
through all layers and leaving a tail of
about 1... Take another small stitch,
through all layers, directly over the
previous st'itch, leaving the thread
loose to create a.bout a 1" loop. When
marks are all complete and the pa ttern
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/garment sea1n. Understitch-
ing 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 referen ce to the han dstitches used
throughout the project instructions.

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BLINOSTITCH/ BLINOHEM STITCH A
Used mainly for hemming fabrics where an CHAIN STITCH A
l
rnconspicuous hem 1s difficult to achieve Working from top to bottom. bring the
11'3
I
(this stitch 1s also useful for securing binding
on the wrong stdel. Fold the hem edge back
needle up and then reinsert at l lo create
a loop; do not pull the thread taut. Bring
I about 'h.''. Take a small stitch 1n the garment. the needle back up at 2 . keeping the
:
BACKSTITCH A picking up only a few threads. needle above the loop and gently pulling
Working from right to left. bring the needle the needle toward you to tighten the loop
up at l and insert behind the starting point at flush to the fabric (leave a little slack in
:
2 . Bring the needle up al 3 , repeat by insert- the thread to keep the loop roundl. Repeat
ing at l and bringing the needle up at a point by inserting the needle at 2 to form a loop
that is a stitch length beyond 3 . and bringing the needle up at 3 Tack the
! last loop down with a straight stitch.
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BASTING A ~ u=
Used to temporarily hold layers together, a
basting stitch is simply a long running stitch.
I
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Stitches should be about V" long and evenly I
I
spaced.
COUCHING A
Working from right to left. use one thread.
BUTTONHOLE STITCH A
known as the couching or working thread, to
Working from right to left and with the point tack down one or more laid threads. known
of the needle toward you. bnng the needle as the couched threads. Bnng the working
above the fabric edge at 1. loop the thread thread up at l and insert at 2 , over the laid
to the left, then down and to the right. threads to tack them down; repeat by insert-
inserting the needle from the wrong side ing the needle at 3 . This stitch may also be
at 2 , keeping the loop of thread behind the worked from left to right. and the spacing
needle at both the top and bottom. Pull the between the couching threads may vary for
needle through, tightening the stitch so that different design effects.
BLANKET STITCH A the looped thread lies along the edge of the
Working from left to right. bnng the needle up fabric. Do not tighten so much that the tops
at l and insert at 2 . Bring the needle back up of the stitches pull together. When using the
at 3 and over the working thread Repeat by buttonhole stitch lo finish a hand button-
making the next stitch 1n the same manner. hole, work the stitches so that they are very
keeping the spacing even. closely spaced.

77
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CROSS-STITCH'
Working from right 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 .ft.
Repeat for the desired number of stitches.
2
3
ENDING UPT
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 markings, make a single
knot or simply leave a long threa d end to
allow for easy removal.
NOTE Another opti on 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.
78 ____ _
-----............
* stitch
11
LAZY DAISY STITCH'
Working from top to bottom, bri ng the
needle up at 1 and create a loop by reinsert-
ing 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 to-
ward you gently to tighten the loop so that it
'.i is flush with the fabric. Tack the loop down
i by inserting the needle at 3 . Repeat for the
desired number of stitches.
FLY STITCH.A
Working from left to right, bring the nee-
dl e up at l and insert at 2 , leaving the
thread l oose Bring the needle back up at
3 , keeping th e needl e above the th r ead
an d pulling the needle toward you gently
1. to ti ghten the thread so t hat it is flush
! w i th the fab r i c. Tack the thread down by
inser ti ng the nee dle at 4 . Repeat for the
j desired number of stitches.
;
j
? FRENCH KNOT'
Bring the needle up at 1 and hold the thread
i'
. taut above the fabric. Point the needle
; towa rd your fingers 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 tau t near
the knot as you pull the needle and thread
th rough the knot and the fabric to complete.
i
! OVERCAST STITCH '
..
i Keeping your stitches at consistent depth
and spacing, take a diagonal stitch by
I
i bringing the needle through the fabric at
'i 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
i
around the edge.
1
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i
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.
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FRENCH TACK T PRICK STITCH/PICK STITCH T
Take a small stitch in the garment and then Prick stitch is worked just like a backstitch,
take a small stitch in the lining or facing, except that the stitches are spaced 1/a" to
l directly across from the first stitch, leaving 1"
to 2" of thread between the two. Take a few
1/4" oh the right side [taking longer stitches
on the wrong side]. When used for top-
'
more small stitches in each spot to build up stitching, Pick stitch is worked only through
a thread spacer that is several threads th ick. the top layer of fabric so that the stitch is
Work a tight blanket stitch over the thread not seen on the interior or underlayer.
spacer {see Bl anket Stitch).
'I
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 *
~ng
'118
SEED STITCHES
/ SEEDING STITCH T
Small straight stitches worked in clusters
or scattered at random. Seed stitches can
Ii
a 2
also be worked tightly together and all in the
same direction to uniformly fill a space. I ..-:4
1

SLIP STITCH T
Working from right to left. join two pieces of
;
fabric by taking a 1/ ;-/, long stitch into the
0
folded edge of one piece of fabric and bringing
the needle oul. Insert the needle into the
folded edge of the other piece of fabric.
directly across from the point where the
3 2
STANDARD HAND-
APPLIQUE STITCH A
Cut a length of thread 12- I 8. Thread the
newly cut end through the eye of the
needle, pull thi s end through, and knot it.
Use th is technique to thread the needle
and knot the thread to help keep the
thread"s ""twist"" intact and to reduce
knotting. Beginning at the straightest
edg e of the applique and working from
right to left. bring the needle up from the
underside. through the background fabric
and the very edge of the applique at 1,
catching only a few threads of the applique
fabric . Pull the thread taut, then insert the
needle into the background fabric at 2,
as close as possible to 1. Bring the needle
up through the background fabric at 3,
STRAIGHT STITCH/
RUNNING STITCH .A
i
j Working from r ight to left, make a straight
II stitch by bringing the needle up and insert
al 1. 'IB- 1/," from the starting point. To make
I a line of running stitches la row of straight
stitches worked one after the other). bring
the needle up at 2 and repeat.
SQUARE KNOT T
Working with two cords (or threads), make
a loop from the right cord (pinch the cords
together at the base of the loop between
thumb and forefinger). then thread the left
cord through the loop from bottom to top.
Bring the left cord toward you and wrap
1t under and around the base of the right
loop and then thread it through the loop

thread emerged from the previous stitch.
Repeal by 1nsert1ng the needle into the first
piece of fabric. The thread will be almost
entirely hidden inside the folds ol the fabrics.
II
'la" beyond 2. Continue in this manner, from top to bottom. Pull the cords tight.
keeping the thread taut (do not pull 11 so
tight that the fabric puckers) to keep the
stitching as invisible as possible.
!

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3 2 ,,, UNEVEN SLIP STITCH
--~:7??
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"' / SLIPSTITCH HEMMING T

SPLIT STITCH T
i /
Working from left to right, bring the needle up
at 1, insert at 2 , and bring the needle up near
the right end of the previous stitch (between
1 and 2 , at 31. inserting the needle into the
thread to split the thread 1n two. When youre
working with multiple strands of thread,
insert the needle between the strands.
/
.i
After securing the thread in the fold, take a
small stitch in the garmen t or outer fabric,
i picking up only a few threads of the fabric.
Then, take a stitch, about 1/4' long, in the
fold, across from the stitch in the garment/
outer fabric. Continue. alternating between
STEM STITCH A
I !
tiny stitches in the garment/outer fabric and
longer stitches in the fold.

Working from left to right. bring the needle I

up at 1 and insert 11 n- /." away at 2 (do
not pull taut). Bring the needle up halfway
I
between 1 and 2, at 3 . Keeping the needle
above the loop just created. pull the stitch
I !
taut. Repeat by inserting the needle I.-'/..
to the right and bring up at 2.
ij
I
WHIPSTITCH T
i Bring the needle up at 1. insert at 2, and
I bring up at 3 .
I

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sewdaily.com *

CREATE BINDING
CUTTING STRAIGHT STRIPS
Cut str ips on the crosswise grain, from
selvedge to selvedge, cutting to the width
indicated in the proj ect instructions. Use
a rotary cutter and straightedge to obtain
a stra ight cut. Remove the selvedges and
join the strips with diagonal seams.
.
! FOLD BINDING T
i
A. Double-fold Binding This option will
l. create binding that is similar to pack-
! aged double- fold bias tape/binding. Fold
j
the str ip in half lengthwise, with wrong
..! sides together; press. Open up the fold
and then fold each long edge towa rd the
..
wrong side, so that the raw edges meet
. in the middle Il l. Refold the binding along
the existing center crease, enclosing the
.: raw edges (2 ). and press again.
B. Double-layer Binding This option
. !
! creates a double- th ickness bin ding with
only one fo ld. This binding is often favored
then fold it back down alon g the project
raw edge (2 1. This fo r ms a miter at the
corner. Stitch the second side. beginnin g
. at the project raw edge (2 ) and ending 1/4'
from the next corner, as before. Continue
l as es tablished until you have completed
; the last corner. Continue stitching until
l you are a few inches from the beginning
! edge of the binding fabric. Overlap the
!
i pressed beginning edge of the binding
by 112" (or overlap more as necessary for
security] and trim the working edge to
fit. Finish sewin g the binding (opening the
i center fold and tucking the raw edge inside
I

.: the pressed end of the binding strip). Refold

.! by quilters. Fold the strip in hal f length-
the binding along all the creases an d
: wise with wrong sides tog ether; press.
l . then fold it over the project raw edges to
I
i the back, enclosing the raw edges {there
.. are no creases to worry about with option
. ~ Bl. The folded edge of the binding strip
. ! should just cover the stitches visible on
J
. the project back. Slip-stitch the binding in
. I 1

.
.
.
' .
;

.!
place, tucking in the co r ner s to complete
the miters as you go (3 ].

CUTTING BIAS STRIPS A :

Cut strips to the width indicated in the
project instructions. Fold one cut en d of
the fabric to m eet one selvedge, forming
a fold 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
stra ightedge and rotary cutter, cut strips
to the appropr iate wid th. Join the strips
with diagonal seam s.
. :
. BINDING WITH
1
MITERED CORNERS T II>
If using double-layer binding [option 8 above)
follow the alternate italicized instructions in
----------------
parentheses wherever you see them.
Open the binding and press 112" to the
w rong side at one short end (refold the 1
l
.. binding at the center crease and proceed) .
I
Starting with the folded -under end of
the binding, place it near the center of
' 1
the first edge of the project to be bound,
matching the raw edges, and pin in
f
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I
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. place. Begin sewin g near the center of I
I
'. one edge, along the first crease (at the I
I
'.. appropriate distance from the raw edge), I
I
leaving several inches of the binding
!: fabric free at the beginning. Stop sewing :
lf4" before reaching the corner, backtack,
.:
. i ~ .-
and cut the threads. Rotate the project :
3
l
!
90 degrees to position it for sewin g the ..
next side. Fold the bin ding fabr ic up, away .
from the proj ect, at a 45- degree an gle (l l.
..:
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stitch
DIAGONAL SEAMS
FOR JOINING ST RIPS .A i
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Never miss
Lay two strips right sides together, at . another stitch! ..~ - _.,.:_'"==-::..
r ight angles. The area where the strips :
.
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overlap for ms a square. Sew diagonally
across the square as shown above. Trim
i
Download a PDF of our ----
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the excess fabric 1/" away from the seam expanded sewing basics section
line and press the seam allowances open.
Repeat to join all the str ips, for ming one at sewdaily.com today!
long fabric band.
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stit ch
 ..
1
SEWING+ PRESSING
A CURVED SEAM
When you first look at two opposing curves (such as on a princess seam), you may
i
l. think that there's no way they can fit together, but- surprise, surprise- they do. Join-
! ing a concave and convex curve taJ<es a little know-ho\v for a smooth SearrL
Sew a line of stitching just inside fue searnline on the concave curve and clip
into the seam allo\vance every 3/s" ( 1 c1n), stopping short of the stitching a . (Use the
i
figure 1 ' pattern notches as a guide for fue curved section and stitch between them)
l
i Spread the curve apart and pin it right sides together with the convex section,
!
1natching the notches. Stitch the seam with the clipped side facing up, sev.Tingjust
! beyond the reinforcement stitching b.
i Press th.e seam open over a pressing ham (a stuffed ham like shape) to avoid
: flattenjng the curve you just made. If needed, clip out some fullness on the convex
side to make the seam lie flat c.

j TIP Don't remember your high school g eometry? Concave is a hol-

tigure2 !
I
low inward curve (think o f 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.
ID With the wrong side of the yo-yo circle
facing up, fold over 1/4" along the edge of
your circle. With a handsewing needle >

and thread, sew a running stitch through I '

I

both layers of fabric, about 1/1-1/s" from t

the edge. Make stue your thread is long li
enough to go around the perimeter of the !
circle with a bit to spare (figure 1). a
Note: The stitch length determines i
I
the size of the center opening in your
finished yo-yo. Longer stitches make
I
j
a more tightly gathered center, while l
!
shorter stitches will make the opening !
'
larger (which is perfect if you intend to _/'-:,
sew a button in the center). '
I
r I

II Gently pull your thread until the edges ,'/ "

gather in the center (figure 2). Continue I
'.
I

tightening until the center is tightly 1 I

I

gat11ered. Make a couple of stitches to i! I

'
I
I

secure the gathers, then tie a knot '

1 1

ID Flatten the yo-yo with your hand to
make it lie flat, with the gafuered center !
on top. t c
~
ID Repeat Steps 2-4 to make more yo-yos. !
l

.......
__..._ _____ 81_____
.. _. .....
sewdaily.com *
 r.. .,..,-{o. SEAMS & HEMS
French and flat -fe ll a re self-fin ished seams that protect the raw edges of the seam allowance from abrasion. Use a
Hong Kong finish or triple -stitched hem for unlined silk garments. For lined ga rments, finish seam allowances by pinking
or use a zigzag stitch.

0 FRENCH SEAM Pin the pieces wrong r

sides together and stitch a 3/a" stra ight seam.

Trim the seam a llowances to 1/e". Fold the fabric
right sides together along the s titched seam and
press. Stitch along the original seamline (now
1/4" from the fold). encasing the raw edges. Press

the seam to one side. 0

0 FLAT-FELL SEAM Fold the seam
allowance over toward the right s ide on one
piece and toward the wrong side on the adjoining
piece. Insert the folds into each other s o that I
I
I

both pieces are facing right s ide up Isee below, I

I
I
f
I
both raw edges are now encased and hidden). I
I
Edgestitch along each fold to finish. (See a Web I
I

tutorial on s ewing flat-fell seams at sewdaily.

com.)

0 HONG KONG FINISH Using , .. _

wide bias strips, place a bias stri p right sides
- - ,..-n
together with one seam a llowance, raw edges I
alig ned. Keeping the other seam allowance and I'
gar ment fabric out of the way, sew with a 1/4" II
seam allowance. Press the bias strip over the
seam and then fold it over the seam a llowance
edge to the back lno need to turn under the raw
e I
==~==~::;-.:_:.
edge of the bias stri p; it will be left exposed on
the underside of the seam allowance). Pin in
place, then stitch in the ditch fro m the right side
of the seam allowance to secu re the underside
of the binding in place.

0 TRIPLE-STITCHED HEM Stitch

l

'
I
2

' ..
I
3

1/,"from the raw edge, then press 3/ 16" toward

I
I
I
I
I
I
I
I
'
I
I
I
I
the wrong side so that the line of stitches ru ns I
I
I
I
I
I
,
I

I
near the edge of the fo ld (1/16"). Stitch 1/s" from I
I
I
I I
I I I
the fo lded edge, then trim the raw edge close to I I
I
I
'' I
I
this second stitch line. Roll the hem toward the I
I '
I I
I

wrong side to enclose the raw edge lone row of I

I
I
'
I
I
I
I
I
stitchi ng will still be visible). Finish by stitching I
'I
I I

once more directly over the visible stitch line. 0 I

I I
I

'

82
--..*-------
stitch

-----------------------------------
Nuno-felted skirt
by LAURA KEITH
{from page 44}
(j~ DOWNLOAD THE FULLSIZE
J ._ PATTERN FOR THIS PROJECT
AT SEWDAILY.COM
FABRIC
- Main : 2 yd silk habotai
- Overlay: 2 yd silk chiffon
- Enough prewashed and pressed
cotton muslin to cover the
Border template
OTHER SUPPLIES
- Templates, downloadable:
- Front Skirt [A]
- Back Skirt [BJ
- Front Border [C)
- Back Border [OJ
- Front Border Template [El
- Back Border Template [Fl
- Leaf [G)
Note: The Bo rder template
patterns are sized to allow for
shrinkage in the felting process.
- Wool fiber/roving [not
Superwash]: Merino wool
blended with silk or Tencel,
how-to
Angelina fiber, and/or metallic - One Back Border [DI on fold
threads E1 From the Overlay fabric, cut:
- 1 yd water-soluble stabilizer - One 40" x WOF for Border
- Elastic ties, 1/," wide Note: The remaining Overlay chiffon
- One invisible skirt zipper, 7" w ill be cut after felting.
- Hook-and- eye set
PREPARE THE OVERLAY
- Stretch velvet binding, your B Trace the Front Border Template
waistline measurement minus 3" [E) and Back Border Template IF)
- Fabric-safe marker onto folded pattern paper to make
- Rolled hem foo t full pieces. With a fabric marking pen
or chalk, t race the template pattern
- Size 60/8 needle
pieces onto the 40" chiffon cut fabr ic.
- Fabric- safe marker With the felt tipped marker, trace the
- Decorative threads same pieces onto the clear vinyl.
- 1 yd thick clear vinyl D Cover the Leaf [G] outline with a
- Thick black felt tipped marker piece of water-soluble stabilizer and
trace the desired number of motifs
- 1 roll rubberized shelf liner for both the Front and Back onto the
- Spray bottle f illed w ith liquid dish stabilizer. Cut out each motif.
soap and wate r l'I Place the self liner on the table
- Glue stick or spray and cover with the vinyl template
- Lace or net l aundry bag [the kind material. Lay the chiffon Border on
used for machine -washing delicate top, matching the traced edges and
articles] having the fabric right side up.
- Pattern paper IJ Apply glue stick to the wrong side
of each motif and position it on the
FINISHED SIZE chiffon border fabric, allowing 1" of
uncovered fabric w ith in the traced
edges.
1- Hip Length
~ XS 3.61b:::J7Yi' 231h"_ D Apply glue on top of each water-
c( s 38!Li-391tL 24"
soluble stab ilizer motif.
::J: (] Lay down wisps of fibers and
u M 40..1/,-42" 241(1"
25" decorative threads on top of the motif.
w L. 43 1/z:.45"
Top each motif with the wool fiber to
-en
N XL 4.7-49"
S~o~w in size S_
mall
2_5%"
ensure that the decorative threads
and other elements will be encased in
the interlocked wool fibers. When you
have a pleasing design, you're ready
NOTES t o felt.
1/ 2"
- All seam allowances are unless
otherwise noted. FELT THE OVERLAY
- Transfer all patte rn markings to
ll Carefully place the muslin fabric
over the chiffon motifs without
the cut pieces.
displacing the fiber.
- Zigzag or serge all raw edges.
Dll Spray w ith soapy water.
- Press all seams open unless
otherwise noted. mRemove the vinyl template.
- WOF =Width of fabric iEJ Roll up the fabric/fiber/shelf liner
bundle and tie it with the elastic ties.
CUT THE FABRIC IE Place the bundle in the laundry
D From the Main fabric, cut: bag.
- One Front Skirt [A) on fold iIJRun the bag through a lukewarm
- One Back Skirt [B) on fold wash cycle, followed by a lukewarm
- One Front Borde r [CJ on fold
rinse cycle.
>>
83
-------- ....---....--...
sewdaily.com *
 how-to

ASSEMBLE THE SKIRT

Ill Slip the overlay over the underlay
aligning the waistline edges and the
overlay opening over the zipper. Baste
the waistline edges together 3/e" from
the edges.
f!J Encase the waistline edges 1n the
foldover binding, stre tching it to fit
the skirt as you sew. Turn the binding figure l

ends under at the zipper opening

and hand-stitch them to the inside
binding .
IE Separate and remove the chiffon III Topstitch through both
fabric layers
bord ers from the oth er items. Stretch
around the zipper opening.
the fabric wh en damp, and press with
an iron on th e wool setting . Eill Hand- stitch a hook andeye closure
to the binding at the zipper opening
CUT THE FELTED OVERLAY top. figure 2
ID From the felted Overlay fabric, cut:
LAURA KEITH lives in the Pacific
- One Front Border [CJ on fold Northwest and has an apparel design degree
OTHER SUPPLIES
- One Back Border (DJ on fold and several years ofexperience designing Cami
garmentsfor a sports apparel rnanufacturer. - Templates, downloadable:
ASSEMBLE THE UNDERLAY She designs swimsuits, produces sewing - Upper Back Bodice (A)
lEStitch the darts on the Front Skirt patterns, teaches sewing classes, and tvrites
and Back Skirt pieces. - Lower Back Bodice (Bl
sewing articles.
iIJ Following the manufacturer's - Upper Front Bodice (Cl
instructions. install the invisible Neoclassic Cami - Lower Front Bodice (DI
zipper in the left side seam. Sew the - 2 yd stretch lace, 3;, ..
by LAURA KEITH
left side seam below the zipper.
{from page 45} - 1 pair pre-made straps or
III Sew the right side seam. - 11;, yd satin ribbon, 1/2"
fll] Sew the Front and Back Borders
- Two sets of lingerie slides and
together at the side seam s. .
rings
ED Matching side sea m s, sew the
- 1/3 yd satin ribbon, 1/4"
border to the skirt body, easing as
needed around the curves. - Narrow hemmer foot
fE Press the border hem under - Fabric- safe marker
'/2" . Fold the hem width in half and - Half slip: 1/ 2" elastic to fit waist
topstitch.
FINISHED SIZE
ASSEMBLE THE OVERLAY
IE Assemble the skirt overlay
following steps 17-19. ...ix Chest
XS 32-33"
Center Back
16'/."
1IJ Pin- mark 7 1/2"
from the upper edge c( s 36-35" 16Y."
on the left side seam. Sew the side J:
(j DOWNLOAD THE FULLSIZE M 36-37'/i' 17'/."
seam from the pin- mark to the lower J~ PATTERN FOR THIS PROJECT u L 39-40'/z" 17.Y."
edge. To finish opening edges, turn AT SEWDAILY.COM
w XL 42 /i-441/i' 18'/."
the seam allowance under 1/ , .. twice
and topstitch.
lE Sew together the remainder of the
FABRIC
- Main: '/4 yd ylon tricot, stretch satin
-N
Cl)
Shown in size Smale
Half slip: made to fit
overlay following steps 19-21. or knit fabric with at least 25/o
f;lll Finish the border hem with a widthwise stretch, 54"
narrow rolled edge.
NOTES
- Contrast: 1/2 yd Nylon tricot, 54" - All seam allowances are 1/4",
- Half slip: 1/ 2 yd Nylon tricot, 54" unless otherwise noted; no seam
allowance on front and back upper
bodice edge.
84
----

figure 3
r D Cut 3" of ribbon. Draw one end
figure It
- The sample was made with stretch
sat in bodice and nylon tricot torso.
- Lay out all pieces onto the fabric
according to the di rection of
greatest stretch arrow on the
pattern pieces, so the stretch goes
around the body. Refer to fab r ic
layouts in the pattern.
- For lace applicat ion, use a narrow
zigzag stitch.
- Lace application: Place the lace so
the outer edge aligns with the fabric
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
. stitch, sew through both layers,
zigzag (figure 2).
- Hem: Use a narrow hemmer foot
and a medium width zigzag.
CAMI
CUT THE FABRIC
D From the Main fabric, cut :
- One Upper Back Bodice [A]
on fold
- Two Upper Front Bodice [CJ
fJ From the Contrast tricot fabric, cut:
- One Lower Back Bodice [BJ on fold
- One Lower Front Bodice [OJ on fold
ASSEMBLE THE UPPER BODICE
El Stitch the Upper Back Bodice to
the Upper Front Bodice at the side
in.I Fold the end back on itself with
seam, matching notches. Repeat with
the other side.
APPLY THE LACE
TO THE UPPER BODICE
D Stitch the lace to right Upper Front
Bodice neckline. opening with a 1:1
ratio, mitering the lace at the first
corner. Continue along the right
neckline to the strap point, holding
the lace slightly stretched. Miter
the lace at the point. Continue in
this manner around the side and
back to the left st rap point, m iter
aga in, then finishing 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/a" and
with matching thread, and a zigzag
joining the center fronts of the
Upper Front Bod ice. (figure It)
ASSEMBLE LOWER BODICE
D Pin, then stitch side seams of the
lower bodice pieces, using a stretch
stitch.
ASSEMBLE UPPER BODICE
TO THE TORSO
lJ Pin the upper bodice to the lower
bodice with right sides together,
matching center fronts and side seam
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.
APPLY THE STRAPS
through a ring and fold it back on
itself and, with a narrow zigzag stitch,
topstitch both layers.
D Repeat step 8 for other strap
ill Cut the remaining ribbon yardage
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 ribbon on the top in
order to fit the second ribbon section
wrong sides together, and stitch the
ribbon end to the ribbon about 112" to
3/, .. from the slider.
mOn the straps, adjust the slider to
about 3" from the ring, to allow room
for future fitting of the straps on the
final garment. Stitch right strap with
the end that has the sliders and ring
to the back of the cami, match ing
the ribbon end to the dot. Be sure to
topstitch the st rap to the fabric wit h
a na rrow zigzag and also to the lace
with a similar stitch, crosswise across
the ribbon width.
iE Repeat step 11 for the other side.
iEl Try on the camisole and, with
safety pins, attach the strap ends to
t~e neckline at the mitered point, to
fit. Remove the garment and stitch
the straps to the points in the same
manner as for the back straps.
iIJ Fold 4" of t he narrow ribbon
into a
bow and sew it to the center front with
a bar tack.
BONUS HALF SLIP
IE Draw a pattern : Add 9" to your hip
m.easurement t o determine the slip
w idt h. Determine the finished length
and add 2". Draw a rectangle this size
on the fabric.
>>
85
sewdaily.com *
 how-to
ID Tu r n under each vert ical edge 3/4".
Topstitch 1/2" from the fold through
both layers using a three- step zigzag
stitch.
IE Finish the hem with a narrow
rolled hem .
iD Overlap t he vert ical edges 2"
and pin together at the wa istline.
If desired. topstitch the overlapped
edges together from the waistline
edge down 6" .
FINISH THE WAISTLINE
ml 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 .
IE Thread t he elastic through t he
casing; adjust to fit and tr im the extra
length. Overlap the elastic ends and
stitch. Stitch the casing open ing closed .
LAURA KEITH has presented local sewing
classes and workshops, written for various
sewing magazines, and appeared as a guest
expert on DTY TV and PBS programs about
sewing. Her website LauraKeithDesigns.com
features her line ofpatterns for home-sewing
enthusiasts.
Peek-a-boo Skirt
by KHRISTAL JOUETT
{from page 46}
(j DOWNLOAD THE FULL-SIZE
J~ PATTERN FOR THIS PROJECT
AT SEWDAILY.COM
FABRIC
- Overskirt: 11/2 yd skirt-weight wool,
54"
- Underski rt : 1 yd lace, 54"
____._86
.........--.--
* stitch
1
- Lining: 1 yd polyester silky, 54" El From the Int erfacing, cut :
- Two Front Waistband [Al
OTHER SUPPLIES
- Templates, down l oadable: SEW UNDERSKIRT AND
- Front Waistband [A] OVERS KIRT
- Back Waistband [Bl D Baste the lace Underski rt and
Lining pieces together around
- Front Overskirt [Cl
all edges and treat as one for
- Back Overski rt [DJ construction.
- Front Underskirt [El 1:1 Stitch thefront and side darts in
- Back Underskirt (Fl both the Underskirt and Overskirt. Clip
dart open to 1" fron t dart point. Press
- 1/4 yd heavyweight fusible
interfacing the dart s open. Press the side darts
open.
- 3 yd non-roll elast ic. 1/2"
D Sew the Overskirt center back
- Matching thread seam from t he upper edge to the
- Fabric -safe ma rker vent dot. Baste from dot to hem
- Safety pin or bodkin edge. Clip corner of vent seam to.
but not through dot. Press open the
- Pressing tool s: ham. clapper
center back seam. Press vent to the
FINISHED SIZE left inside skirt. Topstitch top of vent.
at diagonal. through all layers .. For
....a= Hip Length
Underskirt vent, stitch from waist
seam to dot. Press seam open. Fold
c( XS 42" 201/z" and press vent opening 5/a". Fold S/s"
:::c s 44" 21" again. Stitch along folded edge using
u M 46%" 21 1/z" 1/2" topstitch.
LI.I L 491/i" 22" D Press under the Underskirt hem
-
N XL 53'/i"
Cl)
Showninsize Small
22 1/z" 2 1/2''. Finish t he edges and hand -stitch
in place.
ll Sew the bias binding to the
NOTES Overskirt hem edges and along the
- All seam allowances are 5/s" unless curve of center fron t Overskirt. Trim
otherwise noted. and clip seam allowance. Hand -stitch
bias binding hem edge to skirt. Align
- Fi nish all exposed edges with a center front edges of the Overskirt, at
zigzag, overcast or serging stitch. t he waistline . Hand- stitch together
- Transfer all pat tern markings. along aligned edges for 1". starting at
edge of waist seam allowance .
CUT THE FABRIC
0 From the Overskirt fabric, cut: ASSEMBLE THE FRONT
- Two Front Waistband (Al WAISTBAND
ll Fuse interfacing to the wrong
- One Back Waistband (BJ
side of each front Overskirt fabric
- One Front Overskirt [Cl Waistband pieces, making sure to have
- Two Back Overskirt (DJ a left and right Waistband [one pair) .
- Bias strips. 2" Dll Pin, then stitch Front Waistband
El From each the Underskirt and lining to Front Waistband Overskirt
Lining fabrics, cut: fabric, with right sides together. Stitch
along curved edge of pieces. Trim and
- Two Front Waist band [A]. lining only
clip seam allowance. Fold right side
- One Back Waistband [BJ. l ining only out and press flat. Matching notches
- One Front Underskirt [El at center front waist seam, overlap
right Front waistband over left Front
- One Back Underskirt (Fl
waistband; pin, then baste wa ist seam
at overlap. Edgestitch through all
 how-to

-----~---- .. ---------------------------
Ribbon Skirt
by ELAINE SCHMIDT
{from page 47}

figure l

inside of front
waistband wrap lining side of front
waistband over towards
back waistband

inside ol front stitch seam

waistband allowance
(jS DOWNLOAD THE FULL-SIZE
J 'llli. PATTERN FOR THIS PROJECT
AT SEWDAILY.COM

figure 2
FABRIC
- Main: 23/4 yd qui l ting cotton. 45"

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 t owards lining, then
underst itch seam allowance to li ning.
St itch back sk irt to Back Waistband
along waist seam, leaving lining edge
free . Press seam toward waistband.
iB 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 pat tern of Back
Waistband for elastic cut lengths].
OTHER SUPPLIES
seam allowance th rough all layers. - Template, downloadable:
(figure 2)
- Front Yoke [A)
ImPull Front Wa istband towards
- Back Yoke [8)
center front. This will sandwich the
- Ribbons, laces. trims:
raw edges of the side seam inside the
Front Waistband seam. - 8 1/2 yd, 3/a"- 1/2" w ide
iE Waistba nd is ready to attach to - 151/2 yd, 5/a"- 3/4" wide
the skirt. Pin r ight side of waistband - 123/4 yd, 7/a" -1 " wide
to right side of skirt, l eaving l ining
- 11 1/2 yd, 11/2"- 2" wide
free. Stitch. Press seam allowances
into t he waistband . Cover seam wit h - One zipper, 7"
lining. From the right side of the - Hook and eye
garment. stitch- in-the-ditch along the - Matchi ng t hreads
waist seam, be ing sure to catch the
l ining on the inside of the waistband . FINISHED SIZE

ATTACH THE FRONT WAISTBAND

iEJ Baste the Underskirt front to the
FINISH FRONT WAISTBAND
iil
Edgestitch along t he curves of t he
front waistband to the crossover at
... YOKE !hip width! Length
~ XS 37" 381/i"
Overskirt front at the waistline edges. center front.
<C s 39Vi" 381/i"
%
Remove basting at cent er fron t wa ist
KHRISTAL JOUETT is a designer from
u M 42"1 38%"
seam of Front Waistband so that w L 45 /( 381/i"
lining is free. With back and front
waistbands together at side seams,
pin right sides of Oversk irt fabric
North Alabama. She holds a degree in
electrical engineering, but has enjoyed clothing
design from an early age. She has been an
-en
N XL 49%" 381/i"
Shownin sizeSmall
together. then wrap l ining side of front avid sewer/crafter since the age ofI 2, and is
inspired by a love ofvintage clothing.
NOTES
over the top of the wa istband. towards - All seam allowances are 5/a", unless
the inside of the waistband. Stitch
otherwise noted .
- Twenty-two different kinds of
r ibbons and trims were used to
>>
87
-----..........---....--...
sewdaily.com *
 how-to

make the featured ski r t. Select a 1 El Stitch Front Yoke Lining to Back
combination of ribbons in various Yoke Lining at side seams, matching
widths- jacqua rds, velvets, notches. Turn in seam allowance of
grosgrains, sheers, and metallics- Lining lower edg e and press, easing in
along with rickrack, laces, and fullness. Set Yoke Lining aside.
other trims. 0 Select a 7/a"- 1" ribbon and a
- To finish seams, zigzag raw edges 1 1/2"- 2" ribbon for the vertical rows.
of seam allowances and press Cut four 7 1/4" for size Small of each
open . ribbon. Evenly position and sew two
gathers evenly. Stitch. Stitch again 1/4"
- Stitch close to both finished edges of each ribbon onto the Front Yoke,
inside the seam allowance. Trim the
of r ibbons and laces. Sew rickrack vertically. Evenly position and sew one
seam close to the stitching and zigzag
down the center. of each ribbon vertically to each Back
edges together. Press t he seam
Yoke. allowances toward Tier 1.
- Label each piece with the Tier
number and location to avoid mix- 0 Sew Yoke s ide seams.
iE In the same way, stitch Tier 3 to
ups. the lower edg e of Tier 2, Tier 4 to the
SEW TIER 2
l ower edge of Tier 3. and Tier 5 to the
CUT THE FABRIC D Sew Tier 2-5 Back to the side of
l owe r edge of Tier 4.
D From the Main fabric, cut : each corresponding Tier Front.
El Position and sew rows of ribbon IE Stitch the skirt center back seam,
- Tier 1: Two Front Yoke (A] for Front matching all t ier seamlines . Stop
and Lining and trim to the t ier. The featured skirt
stitching 8" from t he top edge.
uses one row of 1/2", one row of 5/a",
- Tier 1: Two Back Yoke [BJ for Back
two rows of 7/a" - 1", and one row of 1 ml Pin Yoke Lining to Main Yoke at
and Lining 1/2" ribbons. waist edg e, matching seams and
- Tie r 2: One 8 1/ 4" x 24" rectang le I center front notches. Stitch. Trim .
[Front] I SEW TIER 3 Understitch close to the seam.
- Tier 2: Two 8 1/4" x 14" rectangles ll Position and sew rows of ribbon
(Backs] and trim to the t ier. The featured FINISH THE SKIRT
skirt uses one row of 3/a", one of 5/s", iD Sew the zipper at the center back
- Tier 3: One 9 1/4" x 28" rectangle
two of 3/4'', two of 7/a", and one of 1 1/2" opening, leavi ng the lin ing free.
(Front]
- Tier 3: Two 9 1/4 x 16 1/4" rectangles
ribbons. mTurn the Yoke Lining down,
turning under the center back seam
(Backs] SEW TIER 4 allowances along the zipper. Hand -
- Tier 4: One 10 1/4 " x 32" rectangle D Position and sew rows of ribbon stitch the Yoke Lin ing to the zipper
[Front] and trim to the tier. The featured tape and over t he Tier 2 seam.
skirt uses one row of 3/a", one of 1/2",
- Tier 4: Two 10 1/4" x 181/2" rectangles OJ Sew the hook and eye to Back Yoke
two of 5/s", one of 7/a", and two of 1 1/2"
(Backs] at the top of the zipper.
ribbons.
- Tie r 5: One 13 1/4" x 36" rectang le iD Press up the skirt lower edge 2 1/4".
(Front] SEW TIER 5 Turn in the raw edge 1/4" and hand-
- Tier 5: Two 13 1/4" x 20 3/4" rectangles ill] Position and sew rows of ribbon stitch in place.
(Backs] and trim to the tier. Place the last row
of ribbon or trim 21/2" from the lower SOURCES
edge to allow for hemming. Sample FABRIC Seven Wonders, by David
XS S M L XL skirt uses one row of 1/2'', three rows
Ii TIER 2FRONT 22%" 24" 251/1" 271/l" 24Yi" of 5/s", two rows of 7/s", and two rows of
But ler, Shale; FreeSpirit Fabrics,
freespi ritfa bric.com
c:( TIER 2BACK 13%" 14" 14%" 15/a" 16%" 1 1/2" ribbons. RIBBON Many are from David
:C TIER 3FRONT 261/z" 28" 29%" 3P/t 34%" Butler's Parson Gray Collection,
U TIER 3BACK 151/i" 161/i" 17Ys" 181/a" 19%" ASSEMBLE THE SKIRT rena issa ncerib bans.com
W TIER 4 FRONT
N
301/;" 32" 34" 3611." 39" mOn the top edge of each Tier 2- 5,
- TIER 4 BACK 17o/s" 181/z" 191/i" 20/a" 22" sew gathering stitches along the ELAINE SCHMIDT is a designer and
en seamline. Stitch again 1/4" away inside author who live in Long Valley, New Jersey.
TIER 5FRONT 34" 36" 381/:" 4.t 43%"
the seam allowance. Stop and start Her sewn, embroidered, and quilted projects
TIER 5BACK 19%" 20%" 21%" 231/a" 24%"
stitches at the side seams. Mark have been featured in numerous publications.
center front of each t ier. She is the author ofHow to Make 100
SEW TIER 1 iE Gather stitches of tier 2 to fit the Ribbon Embellishments andThe
ElNotch center fronts on Front Yokes, bottom of the Tier 1. Pin at the side Complete Photo Guide to Ribbon Crafts.
Main and Lining. seams and at the center fronts. Adjust

....... __.__
____._88
* stitch

- Large darning or leather needle
- Sp ring clips
FINISHED SIZE
11" x 8" x 31/4"
NOTES
- All seam allowances are 3/s" unless
otherwise not ed .
Mid Mod Mini Tote CUT THE FABRIC
by ROSE BECK 0 From the Ma in fabric, cut :
{from page 48} - Two Body (A)
- One Gusset [Bl on fold
B From the Lin ing fabr ic, cut:
- Two Body [Al
- One Gusset [Bl on fol d
- One 53/4" x 16" rectang le, for Pocket
El From the Stabilizer, cut :
- Two Body [Al
- One Gusset [Bl on fold
0 From each Accent felt cut:
- One Appliques [CJ
DOWNLOAD THE FULL-SIZE APPLIQUE AND EMBROIDER
PATTERN FOR THIS PROJECT Iii Cut lengths of rickrack fo r t he
AT SEWDAILY.COM
stems and posit ion onto t he Body
Front using fabric glue, extending the
FABRIC stems to the lower bag edge. Remove
- Main: 1/2 yd canvas. outdoor fabric, flowe r Appliques and stitch each stem
wool or other mid - to heavy-weight in place wit h a center line of stitching.
fabric D Position the flower Appliques on
- Lining: 1/z yd quilting cotton t he Body Front right side as shown,
covering the upper r ickrack end.
- Accent: Scraps of wool felt in
Glue Appliques in place and stitch all
coordinating colors
around each one using a blanket stitch
OTHER SUPPLIES or zigzag [see Sewing Basics]. Using
- Templates. downloadable: free - form stitching, stitch stra ight
lines through the center flowe r and
- Body [A]
out from other flower edges. Sew
- Gusset [Bl buttons to the center flower stitching
- Appliques [CJ l ines. Optional: Add flower Applique t o
t he Body back if desired .
1/2 yd foam stabilizer. 58"
- Gusset as in step 9, but leave an 8"
- One 5 3/4 " x 8" rectangle ASSEMBLE BAG
heavyweight fusible interfacing IJ Baste the stabilizer to the w rong
- 18" purse hand l es with sew-on tabs side of the Body Front, Back, and
Gusset using a 1/4" seam allowance.
- 1/ 2 yard each of two colors rickrack,
Trim the edges of the stabi lizer very
1/4"
close to the basting to red uce seam
- Six buttons. 1/2"
bulk.
- Fabric glue D Attach handles to the Body Front
- Embroidery floss and Back using embroidery floss.
- Matching and contrast ing threads Hand -stitch using a backst itch,
how-to
sewing th rough both the fabric and
the stabilizer.
D With right sides together, pin one
long edge of the Gusset to the Body
Front curved edge, match ing 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
D!I Following the manufacturer's
instructions, apply the 53/4" x 8"
Inte r facing to one half of the Pocket
.
piece.
mFol d the Pocket in half, right 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 tu r ning. Trim
corners. Turn Pocket right side out.
fold opening edges in, and press.
Edgestitch t he Pocket top.
iEI Place the Pocket on a Lining Body
right side in desired position and pin.
Edgestitch the Pocket sides and lower
edges, securi ng t he opening as you
stitch.
iE1 Stitchthe Lining Body pieces to the
ope ning in one Lining lower seam for
turning. Press seams open. Note: Do
not turn Lining right side out yet.
FINISH THE BAG
i1J With the handles down and right
sides together, place the Main bag
inside t he Lining, matching corner
seams, and pin/clip in place. St itch
together around the uppe r edge.
>>
89
sewdaily.com *
 how-to
(0 Tu rn the bag right side out, stitch
the opening closed. and push the
Lin ing into the bag . Press the upper
edge.
(0 Topstitch the upper bag edge
from the edge, being careful to keep
the handles out of the way as you
stitch .
ROSE BECK is a multi-crafter who loves
to play with anything related to fiber. vVhen
she's not stashing fabric or yam, she likes
to dream up designs for sewn and kniHed
accessories. Find her patterns and adventures
at roseisarosepattems.com.
'60s-inspired Dress
by KATRIN VORBECK
{from page 49}
('j DOWNLOAD THE FULLSIZE
) ~ PATTERN FOR THIS PROJECT
AT SEWOAILY.COM
FABRIC
- Main: 2 1/ 3 yd li nen , 45"
- Lining : 3/4 yd l ining fabric, 45"
- Pip ing/Applique: 1/2 yd contrasting
fabric [shown: Kona Cotton solids,
chartreuse)
OTHER SUPPLIES
- Templates, downloadable :
- Fro nt [AJ
- Back [Bl
- Front Facing [CJ
- Back Facing (DJ
- Front Skirt [El
- Back Skirt (Fl
- Back Lining [G)
- Fro nt Lining [HJ
......... __.__
____._90
* stitch
- 3/4yd lightweight woven fusible IJ From Piping/Applique fabric, cut:
interfacing . 36" - 11/2" bias strips, pieced to make
- Invisible zipper. 20" about 11/2 yd pip ing.
- 11/2 yd cotton piping cord, 3/ 16" - Apply fusible web to remaining
1/4"
- Matchi ng threads accent fabric and cut applique
circles. Note: Sample shows 6",
- Fusib le web
3 1/2 " . and 2" circles.
- Fabric- safe marker
- Invisible zipper foot MAKE PIPING
D Sew togethe r the bias strip ends
- Zipper foot
with diagonal seams. Fold the bias
strip in half lengthwise, wrong sides
FINISHED SIZE
1 together. Center the piping cord in
...a: Bust Waist
24-25"
Hip 1
t he fold and using a zipper foo t. stitch
I close to the cord.
341/i-35 1/1" I D Fuse interfacing to the wrong side
c( XS 32-33"
s
::c 34-3.5" 2.6-27" 36 1/z-37 1/i" of all fac ings.
u M 36-371/z" 28-291/z'' 38 /i-40"
1 1
I D Serge or zigzag all raw edges on
LLI L .39-40. 1/;t" 31-32 1/{ 41 1/z-43" I sides, shoulder seams. and lining
-
N Xl 4211z:44'h" 341/z-361/;"
en Cente.r Back Len~th: 321/~"
.45-47" I hemline.
I ASSEMBLE THE BODICE
Sho.wn insize.Sm.~ll
I D Sew darts on the Main and Lining
I pieces. Press darts downwards.
NOTES
I D With right sides together, sew
- All seam allowances are 5/s" unless
I facing pieces to the coordinating
otherwise noted.
I Lin ing pieces. St itch t he Lining
- Hem allowance is 2" .
I shoulder seams and righ t side seam
- Extra fabric may be required to only. Trim shoulde r seam. Note: Left
match l arge designs.
I
hand side seam will be closed later.
- Press seams after every step. lllJFuse the applique circles on t he
- Pretreat t he fab r ics and cord as the Front and sew around t he edges using
fin ished garment will be handled a zigzag or satin stitch.
(wash. dry. and iron or dry clean ) to mWith r ig ht sides together, stitch the
avoid shrinkage aft er the garment Main shoulder seams and r ight side
.
1s sewn . seam.
- Desired circ le template. IE With r ight sides facing, sew the
Lin ing to the Main dress around
CUT THE FABRIC neckl ine. Trim and clip the seam
D From the Main linen, cut : allowances. Ca re fully press seam
- One Front (A] on fold allowances toward the facings.
Understitch fac ing/lining to the
- One Back (BJ on fold
neckline seam allowances close to the
- One Front Facing [CJ on fold
seamline. Turn the dress right side
- One Back Facing [DJ on fold out and press the neckline again .
- One Front Skirt (El E With the right side of dress facing
- One Back Skirt (Fl out , reach between the Lining and
El From Lini ng, cut : Main fab ric and hold onto the right
front armhole seam allowances. Pu ll
- Two Back Lini ng [GJ
them through and with ri ght sides
- One Front Li ning [H) on fold toge ther, sew the armhole closed
El Fr om fusible woven inte rfacing, from the shou lder to the side sea m.
cut : Trim and clip the seam allowances.
Turn right side out again and press
- One Front Faci ng [CJ on fold
first half of the armhole . Repeat this
- One Back Faci ng (DJ on fold
 how-to

I
Diamond Chain
Bolster
by KEVIN KOSBAB
{from page 50}

figure 1

I
I
step w ith the back armhole and on the I
left side . I
I
iD Sew the invisible zippe r in the left
FABRIC I
seam of the Main dress, shortening I
- Ma in: 1/2 yd solid cot ton [shown: Ice I
the zipper if needed. Stitch the I
Frappe]
remaining dress left side seam from I
the lower edge to t he zipper. Press - Accents: Four scraps of different
seam allowances open. solid cottons, 2 1/2" x 21/2" [shown: figure 2
Flame, Candy Pink, Bahama Blue,
ml Fold left Lining seam allowances
and Torch]
unde r and hand -stitch to the zipper - Two 15" x 9" rectangles for
tape . - Piping: 1/2 yd solid cotton (shown: Backgrounds
Spruce] - Two 3 1/4" x 2 3/4" rectangles for
ASSEMBLE THE SKIRT - One muslin rectangle, 20" x 24" Detail Ends
iIJ Stitch the skirt cente r back seam. - Two 3 1/2" x 3 1/2" squares; sub- cut
Finish seam allowance edges. OTHER SUPPLIES
each twice diagona lly to make
IE Baste the piping to the upper ski rt - Template, included on insert:
eight quarter- square triangles.
edge, with the cord towa rd the skirt. - Bolster End [A) Note: You'll use six.

FINISH THE DRESS
iD Wit h 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.
ml Hand- stitch the skirt hem in place.
fE Loosely tack the Lining lower edge
to the skirt attachment seam.
KATRIN VORBECK,.from Germany, is
a passionate sewer, always learning and
exploring. lt's the small details and the simple
design features that she loves most. She's also
into need1ecrafts since her childhood - knitting
and sewing are her ways to slay sane.
Admittedly, she's afiberholic, booki.vorm, and
a bad photographer. Visit her blog atfrauvau.
blogspot.com
- 14" x 6" bolster pillow form
- 2 yd cotton piping cord, 5/32"
diameter
- Batting, 20" x 24"
- Coord inat ing th read for
construction and quilti ng
- Heavy cotton thread for detail
quilting (shown: black 40-weight
quilting th read]
- Da r ning or free - motion quilting foot
- Zipper or piping foot
- Safety pins or qui lt bast ing spray
FINISHED SIZE
14" x 6"
NOTES
1/4"
- All seam allowances are
otherwise not ed .
- WOF = Width of fabric
CUT THE FABRIC
D From the Main fabric, cut:
- Two Bolste r End (A)
- Two 2" x 2" squa res; sub- cut each
once diagonally to make four half-
square t riang les
fJ From each Contrast scrap, cut:
- One 2 1/a" x 2 1/a" square
El From the Piping fabric, cu t :
- Two 11/2" x WOF bias strips
PIECE THE DETAIL STRIP
D Place one half-square triangle on
a Contrast square, cente ri ng t he long
edge of the triangle on one edge of
the square, and sew together. Sew
a quarter- square triangle to the
opposite edge of the square as shown.
(fig ure 1) Press the seam allowances
toward the square. This unit w ill be
at one end of the detail strip. Repeat
unless
this step to make another unit using
the Contrast square fo r the other st rip
end .
D Sew quarter-square triangles
to opposite edges of the remaining
Contrast squares, with t riangles
>>
91
sewdaily.com *
 how-to
fi gure '3
facing in opposite directions as
shown.
(figure 2) Press the seam allowances
toward the squares.
ll Trim the extending triangle corners
flush with t he squares. Referring to
figure '3, sew the units from Steps
4 and 5 together, aligning adjacent
seams [the squares will face an
adj acent unit's triangle for sewing).
Sew a quarter- square t riangle to each
remai ning raw edge of the Contrast
squares.
0 Sew a Detail End to each short end
of t he pieced deta il strip. Press the
seam allowances open .
ASSEMBLE THE PILLOW COVER
D Sew a Background piece to each
long edge of the detai l strip. Press the
seam allowances open .
D Layer the batting on the muslin
and center the pillow cover r ight 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 outline
around the Contrast shapes, working
in a f igure- eight path t o keep t he l ine
continuous. (figure 'a) Retrace the
outline once or twice more, varying
the exact position of the qu ilting lines
for a sketch- l ike effect. NOTE: Use a
walking foot if you prefer a less hand-
drawn look.
mUs ing coordinat ing thread, quilt the
Main fabric background as desi red .
The sample was quilted w ith large,
casual zigzags paralleling the pieced
shapes. Leave an unquilted margin
92
--..*-------
stitch
of 5/s" at one of the short ends of the
pillow cover.
IE Trim away the excess batting and
muslin so the quilted pillow cover
measures 15" x 19 3/4 " , 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 afte r
stuffing.
iEJ Bri ng the short ends of the pillow
cover right sides togethe r and sew
wit h 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
iII Wrap a pipingstrip lengthwise
around the piping cord, wrong sides
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.
ID Pin one of the piping lengths
around the perimeter of a Bolster
End piece, aligning the raw edges.
The piping ends shoul d ove rlap by
several inches where they meet.
Using a zipper or piping foot, baste
the pip ing to the Bolster End nea r
t he co rd, sta rting severa l inches from
the pip ing end. When you're a few
inches from the starting point, trim
the pip ing ends to leave an overlap
of about 1", undo the st it chi ng at the
sta rting end, and fold unde r t he fabric
at the sta rting end. Trim the filler
cords to abut and encase the join with
the sta rting end fab r ic. Sew t he joined
section to the Bolster End near the
cord. Repeat for the opposite end.
FINISH THE PILLOW
ml Pin one of the piped bol ster ends
into one end of the pillow cover tube,
r ight sides together and raw edges
alig ned. Use a zipper or piping foot
to sew the layers together very close
to the piping cord . Repeat this step to
sew the remaining bolster end into
t he opposite end of the t ube, then trim
t he seam allowances on both ends t o
reduce bulk.
mTurn the pillow cover righ t side
out through t he seam opening, gently
pushing out the piped edges. Insert
the pillow form through the opening .
OJ Fold under the open 5/s" seam
allowance and hand- stitch the
opening closed.
SOURCE
FABRIC Robert Kaufman, Kena Cotton
solids, robertkaufman .com
KEVIN KOSBAB is a contributing editor
to Stitch and has previously written on 1nid-
century modem-inspired quilting for Modem
Patchwork. Author ojThe 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).

NOTES
Tablet Folio - All seam allowances are 1/2" unless
by MARNI WEAVER otherwise noted .
{from page SO} - 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
El From the Lining fabric. cut:
- One 13" x 19" rectangle
El From the Accent A fabric, cut:
- Two Flap (A)
D From the Accent B fabric, cut:
- Two Inner Flap (Bl. two reverse
1:1 From the ultra-firm interfacing,
cut:
FABRIC
- Main: 1/2 yd or 1 fat quarter quilting - One Flap (A]
cotton (shown: Yellow Trassle) - One Inner Flap (Bl. one reverse
- Lining : 1/2 yd or 1 fat quarter - Two 13" x 19" rectangles
quilting cotton (shown: Coral D From the fusible fleece, cut :
Blomster]
- One Inner Flap [BJ. one reverse
- Accent A: 1/4
yd or 1 fat quarter
quilting cotton for Flap (shown:
- Two 13" x 19" rectangles
Yellow Bergen) FUSE THE FABRIC
- Accent B: 1/4 yd or 1 fat quarter D Lay the Main 13" x 19" rectangle
quilting cotton for Inner Flap piece right side facing down. Center
[shown: Coral Little Blomster) the ultra-firm interfacing pieces
onto the fabric. Leave a 1/s" gap at
OTHER SUPPLIES the center front. All outside seam
- Templates, included on the insert: allowances are 1/2" . Press in place.
- Flap [A)
[J Lay the Accent A Flap piece right
- Inner Flap [BJ side facing down. Center the Flap
Interfacing onto the wrong side of
- 1 yd single- sided fusible ultra-firm
the fabric. Note: There should be 1/2"
interfacing, such as Pellon Peltex
seam allowance around the curve
71 F
and 3/ 4" seam allowance at the flat
- 1/2 yd fusible batting
side. Press in place. Repeat for the
- 1" hook-and - loop tape , 3/4" wide remaining Accent A Flap lining piece.
- Matching thread
[J Lay the Inner Flap piece right side
- Fabric- safe marker facing down. Center the Inne r Flap
Interfacing onto the fabric. Note:
- Fabric glue stick
There should be 1/2" seam allowance
- Spring clips, such as Clover
around the curve and front side. There
Wonder Clips
should be 3/ 4" seam allowance at the
- Rotary cutter, mat, and acrylic ruler bottom seam. Press in place. Repeat
for the remaining Inner Flap pieces.
FINISHED SIZE
Open: 22" x 11 7/s"; Closed : 93/s" x 117/ 8 " iI!J Fuse the respective fusible batting
onto th e Lining pieces in the same
manner.
how-to
TURN AND FOLD SEAM
ALLOWANCES
mTurn and fold the seam allowances
on each fabric piece. Use a fabric
glue stick to hold the seam allowance
to the back side of the interfacing
pieces. Turn and fold all straight
edges and clip into all curved edges
in 1" increments. Do NOT clip into
the seam allowance. Turn and fold to
backside. Hold in place with the fabric
glue stick. Make sure all curves lie
smooth. Press with an iron .
ID Repeat step 11 for all pieces - both
outside and lining, following these
guidelines:
Main/outside and lining fabric pieces :
turn and fold all seam allowances.
iE For the Flap and lining fabric
pieces, only turn and fold the curved
edge. For t he Inner Flap pieces, as
well as lining fabric pieces, turn and
fold the 1/2" seam allowances. This is
only the curved seam allowance and
the front seam allowance.
TOPSTITCH PIECES
iIJ With wrong sides together, lay the
Flap pieces together, wrong sides
facing each other. Match along the
curved edge. Pin or use clips to hold
the edges in place. Topsti tch the
curved edge. Continue stitch ing along
the outside edge of the interfacing
straight edge. backstitch at the
beginning and ending of the seam .
illJ With wrong sides together,lay
two Inner Flap pieces together.
Match the front edge and bottom
seam allowance. Topstitch along the
curved edge and front seam. Continue
stitching along the bottom outside
edge of the interfacing, backstitching
at the beginning and ending of the
seam .
ID Repeat step 15 for the remaining
Inner Flap pieces. ))
93
sewdaily.com *
 how-to

ASSEMBLE THE FOLIO and Background pieces. The pieces

[il Lay t he Main rectangle piece righ t
side facing down. Place the Lining
rectangle piece r ight side facing up.
There should be approximately 1/a"
difference along outs ide edge. Match
at the center front seam. Clip to hold
the left front side in place. Pin along
center front seam/gap .
iD Insert Flap into t he right hand side,
lining side up. Sandwich the Flap
seam allowance between the Main/
outs ide and lining pieces. Leave a
1/s"- 1/4" gap between flap inter facing
edge and the fol io front edge. Pin in
place. Edgestitch with the flap down,
backstitch ing at each end.
lllJ Insert top andbottom Inner
Flaps. Sandwich the Inner Flap seam
allowances between the Ma in/outside
Op Art Runner used are equ ivalent to Sizzix's 4"
by KEVIN KOSBAB fi nished Drunkard s Pat h dies.
{from page 51} - Water-sol uble basting glue is a
great alternative to pins for holding
the applique pieces in place .
- WOF =Width of fabric
CUT THE FABRIC
D From FF1 fabric, cut:
- Twelve Background (Al pieces
- Two 2" x WOF strips
Ill From FF2 fabric, cut:
- Twelve Wedge (BJ pieces
II Trace the Center Curve, Half-
Center Curve, Inside Curve, and
Corne r Curve templates onto the dull
side of freezer paper. leaving at least
1/4" space between the tracings, then

and lining pieces. The front seams
should line up. Leave a 1/s"- 1/4" gap
between flap interfacing edge and
folio edge. Pin in place.
IE Leave all Flaps lying outside the
fol io . Topstitch around the entire
outside folio edge.
Bl Topstitch along the center front/
gap seam.
ED Tu r n and fold t he top and bottom
Inner Flaps into the folio. aligning at
the front edge. Topstitch flaps down at
fro nt edge.
ATTACH THE CLOSURE
fE Lay t he hook tape onto t he Flap
lining center. approximately 3/s" from
the curved edge. Stitch in place.
f;JJ Fold the fol io at the center f ront
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
MARNI WEAVER is a selfproclaimed
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 blogs about her sewing
adventures at haberdashery.fun.com.
FABRIC
- FF1: Backg round/bind ing: 1/3 yd
quilting cotton [shown: Cardinal)
- FF2: Drunkard 's Path wedges:
quilting cotton [shown: Flame)
- FF3: Curve cente r s: 1/, yd quilting
cotton [shown: Torch]
- Backing: 3/a yd quilting cotton
OTHER SUPPLIES
- Templates, on insert :
- Background (A)
- Wedge (Bl
- Center Curve (Cl
- Half- Center Curve (0)
- Inside Curve (El
- Corner Curve (Fl
- 12" x 28" Batting
- Freezer paper
- Spray starch and small brush
- Clear monofilament thread
- Coordinat ing thread for quilting and
p1ec1ng
- Safety pins or quilt basting spray
FINISHED SIZE
81/2" x 24 1/2"
NOTES
- All seam allowa nces are 1/4"
otherwise noted.
- Instead of using templates, a die
cu tter can be used to cut the Wedge
press the freezer paper onto a second
piece of freezer paper. both dull sides
up. Peel the doubled free zer paper off
1/4 yd you r ironing su r face and cut out the
templates on the t raced lines.
D Press the freeze r paper templates
dull- side up onto the wro ng side
of t he fabrics l isted below. Cut out
the fabric roughly 1/4" beyond the
template curved edges for seam
allowances and flush w ith the straight
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 the seam
allowances to the wrong side, against
the freezer paper template. Clip the
seam allowances if needed to w r ap
them snugly around the templates.
When cool, remove the template and
reuse it to cut the next piece. Follow
this process to cut:
- Five Center Cu rves (CJ from FF3
- Two Half-Center Curves (DJ from
FF3
- Five Ins ide Curves (El fr om FF1
- Two Corner Curves (Fl from FF1
D From the Backing, cut:
- One 12" x 28" rectangle
SEW DRUNKARD'S PATH UNITS
unless
D Fold the Background and Wedge
pieces in half and finger- press a
crease at the center point. (figure 1)

94
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 how-to

/
figure 1 figure2 figure 3 v

figure 4 figures figure 6

figure 7

With right sides together, match
the center 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 the
other end. (figure :3)
fl Pin continuously along the curved
edge, dividing the fullness evenly.
(figure 4) Sew the pieces together
along the pinned edge. (figure S)
Press the seam allowances toward
the Wedge pieces. Make a total of
twelve units.
D Sew ten units into pai rs 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
the rows.
APPLIQUE THE CENTER AND
INSIDE CURVES
$J Pin a Fabric A Inside Curve piece
and a Fabric C Center Curve piece
centered on the seam of a pieced half-
circle unit, raw edges flush. (figure 6)
mUsing a short. narrow zigzag stitch
and clear monofilament thread [with
cotton thread to blend with the fabric )

95
sewdaily.com *
 how-to
in the bobbin). sew along all turned-
under edges of the Inside and Center
Curve pieces to applique them to the
pieced units. Make a total of ten.
1B Pin a Fabric A Corner Curve and a
Fabric C Half Center Curve to the two
single pieced units and applique as in
Step 11.
ASSEMBLE AND QUILT
THE RUNNER
D!J Arrange the units in two rows as
shown in figure 7 . Sew the adjacent
units within each row together and
press the seam allowances open.
Pin the two rows together, matching
seams and appliqued edges, and sew.
Press the seam allowances open.
ID Layer the batting on the wrong side
of the backing, then center the runner
top right side up. Bast e the layers
together with safety pins or basting
spray.
Quilt as desired. The sample was
first quilted just to t he side of each
pieced or appliqued curve using
matching thread, then these curves
were echoed in threads a couple
shades lighter than the fabrics to give
the colors an additional glow.
FINISHING
Ila Square up the runner. trimming
away the excess batting and backing.
Sew the 2" x WOF Fabric A strips
together with a diagonal seam. and
bind the runner with a double- layer
binding [see Sewing Basics].
SOURCE
FABRIC Robert Kaufman Fabrics, Kona
Cotton Solids. robertkaufman.com
KEVIN KOSBAB is a contributing editor
to Stitch. He designs modern sewing and
quilting projects for magazines and his own
pattern line, Feed Dog Designs (jeeddog.
net). His bookThe Quilter's Applique
Workshop (Tnterweave, 2or4) offers
instruction for hand and machine techniques,
fun quilted projects, and inspiration for
exploring the possibilities ofappliqui.
-----96
.............____ _
* stitch
in diameter, making felt - like pieces.
Vintage Vinyl Mix the colors of silk and roving for a
Snakeskin Clutch more interesting look.
by LINDA LEE D Place the Flower [A] template onto
{from page 52} each of the Accent fabric scraps and
cut out eight flowers, four of each
fabric.
D Stack one of each fabric flower
together, fold in half and make a 1/s"
snip in the center.
MAKETHE BAG
[I Fold the 8 1/2" x 21" Main rectangle
in half crosswise. At the fold, cut out
both corners 1/2" from the fold and 1"
across.
[J On one side of the bag, in the upper
FABRIC
third and away from the 1/2" zipper
- Main : 1/4 yd snakeskin vinyl seam allowance, mark the flower
- Accent: scraps of wool felt and silk placements as desired . Fold the Main
dupioni in four colors at each placement dot and snip 1/s".
OTHER SUPPLIES Di] With the zipper facing down, sew
one side of the zipper to the right side
- Template, included on insert :
of one short Main edge. Repeat to
- Flower [Al sew the other side of the zipper to the
- One zipper, 9" remaining edge. Sew 1/2" from the Main
fabric edges, moving the zipper pull
- Scraps of fusible interfacing
out of the way to keep an even seam
- Wool roving, four colors
allowance. Open the zipper at least
- Felting needle, brush tool, and mat halfway.
- Four metal brads, 1/4"
mWith right sides together, sew
- Template plastic the side seams, keeping the seam
- Zipper foo t allowances open at the top as you
sew through the zipper ends. Trim the
FINISHED SIZE excess zipper tape length at the ends.
7 1/2" x 8 1/2" x 2" lB To form the boxed bottom, open
the side seam allowance and align it
NOTE with the bottom fold. Sew across the
- All seam allowances are 1/2" unless
corner edges. Repeat for the second
otherwise noted. corner.
lE Turn the bag to the outside through
CUT THE FABRIC
D From the Main fabric, cut: the open zipper.
- One 81/2" x 21" rectangle 1IJPoke a brad through two stacked
Flowers and then through the bag. On
MAKE THE FLOWERS the inside of the bag, flatten the brad
fl Trace the Flower [A] template onto stems to anchor the flower. Repeat for
the plastic and cut out. each Flower.
D Fuse interfacing to the wrong side LINDA LEE is the owner ofThe Sewing
of each scrap of Silk. Workshop Pattern Collection, a group of
D Shred chunks of wool roving and patterns for fashionable garments using
place on the right side of silk sections innovative sewing techniques. She travels
in approximately a 4" circle . the country teaching.fine sewing and the
IllUsing the felting needle, brush art ofcombining beautiful fabrics and
tool, and the mat, punch the roving distinctive garment design. Visit her at
into the silk creating circles about 3" sewinguJorkshop.com.
 how-to

---------------------------------------- NOTES ' Stitch the Facing to the skirt using

Embellished
. ..., ...
-- ,1... 1.
- All seam allowances are 5/s" unless
otherwise noted .
a 1/ 4" seam allowance. Clip the curves
and press seam allowances toward
by STEPHANIE BRACELIN - Press all seams open, unless th e Fac ing.
{from page 53} otherwise noted. II Understitch the Facing as close
- Trans fer all pattern markings to to the seam as possible. Press the
the fabric before sewing. Facing toward the inside of the skirt .

- Backstitch at the beginning and INSERT THE ZIPPER

ending of all seams, excluding I Insert the zipper in theleft side
topstitching and understitching. seam of the skirt, following the
- To finish raw edges, serge, zigzag manufacturer's instructions.
or pink.
FINISH THE SKIRT
CUT THE FABRIC Fold the top of the zipper ends so
From the Main fabric, cut: that they are hidden under the facing
,ff!!AI
""-'.
"'.ffl!
- One Front (A) when it's folded down . Hand-stitch
the facing down on both sides of the
- One Back [Bl
uppe r zipper, folding under the edge
- One Front Inset [CJ along the zipper tapes.
(j DOWNLOAD THE FULL-SIZE
)~ PATTERN FOR THIS PROJECT - One Front Facing (OJ on fold Sew a hook and loop to the top of
AT SEWDAILY.COM - One Back Facing (El on fold the skirt opening, above the zipper.
From the Interfacing, cut: Stitch in the ditch of the skirt right
FABRIC side seam to tack the facing in place.
- One Front Facing [OJ on fold
- Main: 1 3/s yd quilting cotton, 45" ID Press up the 3/4" skirt hem, finish
- One Back Facing (El on fold
- Accent: Coordinating fabric scraps the raw edge, and sew in place .
for Embellishment ASSEMBLE THE FACINGS
EMBELLISH THE INSET
Fuse t he Interfacing to the Front
OTHER SUPPLIES Facing and Back Facing following the
Trace thirteen circles, or desired
- Templates, downloadable: shapes, onto the fusible web paper
manufacturer's directions.
- Front [AJ backing; trim just outside the lines .
Stitch th e Front Facing and Back Adhere the fusible web pieces to
- Back [BJ Facing right sides together at the left the wrong sides of the Accent fabric
- Front Inset [CJ side seam. Finish the lower Facing scraps. Trim th e shapes along the
raw edge with a zigzag or serging . drawn circles.
- Front Facing [OJ
- Back Facing (El DARTS ID Arrange the shapes on the Front
5/s Stitch darts. Press darts toward Inset as desired and fuse them in
- yd fusible interfacing, 20"
the center front and center back. place , following the manufacturer's
- One zipper, 7" instructions.
- Paper- back fusible web ASSEMBLE THE FRONT INSET Using three strands of embroidery
- Coordinating threads Stitch the Front Inset to the Front, floss, sew a backstitch around the
matching notches and making sure to circl e edges (see Sewing Basics).
- Hook-and - eye set
maintain the curve.
- Hand sewing needle SOURCES
Clip the curved Front Inset seam
- Optional: Embroidery floss allowances and press toward the FABRIC Cloud9 Fabrics, Shape of
inset; fini sh the raw edge of the Spring collection by Eloise Renouf,
FINISHED SIZE Spring Sampler in Petal Pink; Shape
curved seam .
of Spring collection by Eloise Renouf,
Hand-stitch an even running
1- Drop Waist Center Back Spring Scrapbook in Petal Pink;
stitch, just inside the seam, using six
~ XSlZl4) 271h-28Yz" 18" strands of embroidery floss, catching
cloud9fabrics.com
::c
S!6f8l 29Yi-301/i" 18Vi" the seam allowances as you sew (see INTERFACING Pellon 911 FF Fusible
U MJ10/ 12J 32-.331/z'' 12'' Sewing Basics). Featherweight and Pellon 805
W L(14/16l 35111-37" 191/1" Wonder-Under; pellonprojects.com
~ XL(18l20J 391/r-41 %" 20" ATTACH THE FACING EMBROIDERYTHREADS OMC , Cotton
fl) Shownmsize Small [6-8J Stitch the skirt right side seam. Embroidery Floss; dmc- usa.com

-------....._____
97 ...____..

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 how-to

STEPHANIE BRACELIN is an Iowa-based '' ope ning '' ''

web/graphic designer and seamstress, who ~----------------------------------------- ~ -------- - -------------~
~I ----------------------------------------- IL ----------------------~I
loves all things design. She began sewing I

when she was six, making clothes for her

dolls, and now she sews and wears a lot ofher I

ope ning I

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.

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

fold
figure l

NOTES IJ From the Interfacing, cut:

- All seam allowances are V2" unless - One 12" x 12" square
otherwise noted.
- Two 2" x 2" squares
- Preshrink and press lining fabric ,
before use. APPLIQUE THE BAG
- Choose your bag fabric carefully. fl Place the Circle Applique piece on
Upholstery-weight vinyl is not a Bag Front referring to inner dashed
suitable for th is project, as it's too lines for placement. Use a glue stick
stiff. to lightly attach the Circle Applique
to the Bag Front. Zigzag around the
- Do not place your iron directly on
Circle Applique outer edge.
FABRIC the r ight side of any faux leather.
The vinyl will melt. You may be able EMBROIDER THE BAG
- Main : 1 yd faux leather
to press faux leather with a warm ll Transfer the stitching line
- Lin ing: 1 yd quilting cotton iron and a sturdy press cloth, but markings to the Main fabric right side
- Accent: 6" x 6" square metallic always test a scrap first. using the fabric - safe marker.
fabric - Test the faux leather for marker D Thread the embroidery needle with
removal before use. metallic floss and embroider along
OTHER SUPPLIES
- Template, provided on insert: - To help with even feeding if you the marked lines with a running stitch
don't have a non-stick presser foot, [see Sewing Basics]. Begin with gold
- Bag Front/Back [Al
place Magic tape on the underside on the smallest circle and alternate
- Circle Applique (BJ of a regular presser foot. with silver going outward. Sample
- 1/2yd medium-weight fusible - When cutting from the Main and stitches are 3/a" long with 1/4" spacing.
interfacing Lining fabrics, cut r ight side up and
STITCH THE EXTERIOR
- One magnetic snap set , 1/ 2" single layer.
ll Place the Bag Front and Bag
- Metallic embroidery floss (1 skein Back pieces right sides together,
CUT THE FABRIC
each: gold , silver] matching notches. Stitch along the
D From the Main fabric, cut:
- Hand embroidery need le rounded edge between the notches,
- Two Bag Front/Back [Al. printed
- Matching thread backstitching at each end. Trim and
side up
clip the seam allowance along the
- Fabric -safe marker EJ From the Lining fabric, right side stitched edge. Turn right side out.
- Glue stick up and single layer, cut:
- Spring clips - Two Bag Front/Back [Al. printed SEW THE POCKET AND LINING
side down D Following the manufacturer's
- Optional: Non -stick presser foot instruct ions, fuse the 12" x 12"
- Two 12" x 12" squares, for Pocket
FINISHED SIZE inte rfacing to one Pocket square .
El From the Accent fabric, cut: Place the Pocket squares righ t sides
18" circular bag
- One Circle Applique (BJ together and stitch around the edges,

98
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 how-to

leaving a 3" opening on one side for SARA CURTIS is a wife, homeschooling FINISHED SIZE
turning. mother of6, and enjoys sewing and design
ml Trim the Pocket corners diagonally ofall kinds. After years ofcreating sewing
... Chest Center Back
and tu r n right side out. Press t he patterns for her personal use, she ventured
0:: 2T 201/i" 2]"
~
Pocket. turning in the opening seam into digital sewing pattern design. Sara also
dabbles in fabric design and textile printing. 3T 21" 21"
allowances. Topstitch opposite Pocket
edges, closing t he open ing with t he Look for her patterns and design work at U 4T."22" .2.2"
st itching. St itch another line 1/4" from radianthomestudio.com. LLI 5 _23" 23"
the fi rst. !'.::! 6 24" 24"
II> -Sho wn in size
--- 6
mFold one topstitched edge toward Scallop Shift Dress
...----

the opposite edge, leaving 1 1/2"

by STEPHANIE BRACELIN
between the two edges. Press in NOTES
place. {from page 55} 1/2"
- All seam allowances are unless
iB Align the top Pocket corners otherwise noted.
wit h the ma rkings on one half of the - Press all seams open unless
Lining. Topst itch the Pocket to the otherwise ind icated.
Lining along both sides and lower
- Backstitch at the beginn ing and
edge, backstitching at each end.
ending of all seams.
Topstitc h a li ne f rom the lower edge to
the Pocket to p creating a 7" and a 4" - To finish raw edges. serge, zigzag
section. (figure 1) or pink.

iE Place the Lining pieces r ight - Transfer all patte r n markings to

s ides t ogether, matchi ng not ches.
St itch along t he rounded lower edge,
between the notches. leaving a 4" gap
for turn ing, and backstitch ing at each
end . Notch t he seam allowances, t urn
right side out, and press if you ca n.
D'J Following the manufacturer's
instr uctions, attach t he mag netic
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 t he wrong side.
ASSEMBLE THE BAG
IE Place the Lining and bag right
sides t ogethe r, 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
the handle ends, and notch along all
curved seam lines.
ill Turn the 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 ar ound t he hand les with one
conti nuous line of stitch ing.
ID Hand -stitch the lin ing opening
cl osed. Tie a square knot w ith t he
handle sections to finish the bag.
the fabric and interfacing.
CUT THE FABRIC
D Fr om t he Main fabric, cut:
- One Dress Back (A] on fold
- One Tab Dress Front [BJ
- One Scallop Dress Front (CJ
- One Tab Front Facing [OJ
(j~ DOWNLOAD THE FULL-SIZE
)'!A. PATTERN FOR THIS PROJECT - One Scallop Front Facing (El
'W AT SEWDAILY.COM
- One Back Facing (HJ on fo ld
FABRIC El From the Interfacing, cut:
- Ma in : 11/s yd quilting cotton, 45" - One Scallop Interfacing [Fl
- One Tab Interfacing (G]
OTHER SUPPLIES
- One square, 1" x 1"
- Templates, downloadable:
- Dress Bac k (A] PREPARATION
- Tab Fro nt Dress (BJ El Fuse interfacing to the Tab Front
and Scallop Front Facings fo llowing
- Scallop Front Dress [CJ
manufacturer's directions.
- Tab Front Facing (OJ
0 Sew a gathering stitch a scant 1/2"
- Scallop Front Facing (El al ong the Dress Back shoulder seams
- Sca llop Interfacing [Fl (see Sewing Basics].
- Tab Interfacing [G]
SEW THE SHOUDLERS
- Back Facing (HJ D Sew the Tab Front Faci ng and
- 1/3 yd lightweight fusible inte rfacing, Scallop Front Fa cing at the shoulder
20" seams.
- Four butt ons, 1/2 "
SEW THE DRESS
- One snap D Sew the Dress Front and Dress
- Matching thread Back together at the shoulders,
easing the back onto t he front. ))

99
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 how-to

ATTACH THE FACINGS

D Pin the facings to the dress at
the neck, tab and scallop, matching
shoulder seams and dot.
ll Sew from the bottom of the tab/
scallop placket dot around t he
neckline to the bottom of the other
side of the placket dot using a 1/4"
seam allowance. Sew slowly around
the sca llops to maintain 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.
IIll Clip t he inside points between
the scallops and all cu rves along the up and out of the way. Sew the dress
neckline and placket. front seam.
mUnderstitch the seam as far as Eil1 Tack down the tab and scallop
poss ible, excluding the scallops. facing lower edges by hand .
iI1 Pin the armholes right sides HEM
together, matching shou lder seams
f;iJ Press up the 3/4" hem, finish the
and dot s.
raw edge, and sew in place.
iEl To finish
the armholes/sleeves,
sew from dot to dot using a 1/4 " seam SEW THE SNAP
allowance. Clip curves and corners. IEHand - stitch t he snap halves at t he
Understitch the seams. ma rkings.
iD Reach through the shoulder from
BUTTONS AND BUTTONHOLES
the back and pull the hem of the
dress fron t through. Repeat on ot her
IE Sew the buttonholes at the
ma rkings and cut open. Sew
shoulder.
buttons on the dress fro nt in the
ID Push the tab and sca llop edges corresponding location.
out, making the seams lie flat. Press
the neckline, placket, sleeves and SOURCES
unde rarms. FABRIC Art Ga llery Fabrics, Arizona
III Pin the side seams, matching the collection by April Rhodes, Triangle
unde rarm seam. Sew through the Tokens/ARZ-554; artgalleryfabrics.
facing and dress. Press the seam com
allowances open. Repeat fo r the other NOTIONS La Mode Buttons, Style 48188,
side. button lovers.com; Pellon: 911 FF
ID Pin the armhole facings down, Fusible Featherweight Interfacing,
matching the side sea ms. Stitch in t he pellonprojects.com
ditch the length of the facing or hand
tack in place. STEPHANIE BRACELIN is an Iowa-
based web/graphic designer and seamstress,
FRONT SEAM AND PLACKET who loves all things design. She began sei.ving
ID At the bottom of the placket, when she was six, making clothes for her
clip the corner to the dot where dolls, and now she sews and wears a lot ofher
the stitches end for the facing own clothing. When she's not designing or
attachment. sewing, Stephanie's probably spending time
with her daughter being crafty or teaching her
ID Pin the dress front seam below
something new. Visit her at s-renee.com
the placket , keeping t he facing pieces

100
--..*---stitch
. ----
 how-to

FINISHED SIZE

t- Center Back Chest

ax XS 2~ 1/i" .32"~ 33''
<
% s 2331/' 34"- 35" figure 1

u M .2(' 36"-371
+-- - 12" ~
fill
w L 24-..
.,.,... ........
1/z"
.. - 39"-40112"
. . _..,.,. - .... I I

-en
N XL 24%"
SbJl.W.!ljn_si~e S!ll.a11.
42112"-441/2" I
I
I
I
I
I
Denim Jacket I
I
I
I
by AMBER EDEN NOTES
{from page 56} - All seam allowances are 5/s" unless
ot herwise noted . figure 2
- Sew with right sides together
unless otherwise noted. ll On each Front layer. stitch the
corner of the shoulder/neck seam
- Finish seam allowances and edges
for 1" on either side of the dot using
by serging, zigzagging, or binding.
small stitches. Clip diagonally to, but
CUT THE FABRICS not through, the dot to help when
D From the Main fabric, cut: pivoting.
- Two Bodice Front [A) l lStitch the Front and Back shoulder
seams, stopping at the neck dot. Pivot
- Two Bodice Back [Bl
at the dot and stitch along the back
- Two Sleeve [Cl neck seam, creating the undercollar.
- Two Peplum Front [Dl Pivot at the second dot and finish
- One Peplum Back (El on fold sewing the other shoulder seam.

- Two Front Facing [Fl ADD THE SLEEVES

(j~ DOWNLOAD THE FULL-SIZE
- One Back Neck Facing [G) on fold ill] Stitch the Sleeve to the armhole
J~ PATTERN FOR THIS PROJECT
AT SEWDAILY.COM fJ From the Interfacing, cut: matching notches. Clip seam
allowance approximately every 1/2".
- Two Front Facing [Fl Press seam allowances towa rd the
FABRICS - One Back Neck Facing [G) on fold jacket bodice. Repeat for the second
- Main : 2 1/4 yd denim fabric, 54" B From the Lining fabric, cut: sleeve.
- Lining: 3/4 yd lining fabric, 45" - Two Front Lining (Hl mStitch the side/underarm sleeve
seams, starting at the waist edge and
OTHER SUPPLIES - One Back Lining (I) on fold
ending at sleeve hem edge. Finish the
- Te mplates, downloadable:
PREPARE THE FACINGS seam allowance edges, then press
- Bodice Front (Al open.
0 Apply fusible interfacing to
- Bodice Back (Bl each Front Facing and Back Neck
PEPLUM CONSTRUCTION
- Sleeve (Cl Facing following the manufact urer's
iEI Pin, then stitch Peplum Front and
instructions
- Peplum Front (Dl Peplum Back at the side seam . Clean -
- Peplum Back (El ASSEMBLE THE JACKET finish the seam by folding the seam
Ill To create center back box pleats, allowance under on each side of the
- Front Facing (Fl
fold and press the pleats following seam, then pressing. From the rig ht
- Back Neck Facing (Gl side of the garment, edgestitch [1/16")
the fold lines on the pattern (figure 1).
- Front Lining [H) Edgestitch each side of the pleat fold on each side of the seam, being sure
- Back Lining [I) at the neck edge for 11/2" and at the to catch th e fold ed seam allowance
7/s waist edge for 2" as shown in figure 2. edges on wrong side of Peplum.
- yd lightweight fusible interfacing,
20" iEJ Fold the center front edges under
IJ Stitchthe back neck darts and 1/ 2". then 5/s", creating a narrow hem.
- Three buttons press toward center.
Topstitch 1/2" from the folded edge.
D Stitch the Fronts togethe r at the Repeat to finish the lower Peplum
center back collar edge. hem.
>>
101
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 how-to

----------------------------------------
I r1 I
I I I Denim Love Pillow
I I I by MARCIA VAN OORT
I I I I
I I I I {from page 57}
I I I I
I I I I

figure 3

IIJ 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 . Steam-
press all pleats to make crisp, clean
edges.
iD Stitch thePeplum 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
IE Stitch the corner of the Back
Facing/Front Facing shou lder/neck
seam for 1" either side of the dot using
small stitches. Clip diagonally to,
but not through, the dot to help with
pivoting.
ill 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 shou lder seam creating the
upper collar/facing.
ml 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 Facings,
matching shoulder seams and center
back notches. Press the seam toward
the lining.
BJ With right sid es together, stitch
the Lining/Collar/Faci ng to the 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
stitch the collar/facing attachments
seams together.
COMPLETE THE JACKET
IIITurn under the Lining waist seam
allowances 5/s". Whip-stitch the
lining to the bodice, covering the
waist seam allowances [see Sewing
Basics). Turn the arm hole Lining
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 indicated on the pattern. Stitch
buttonholes on the right front, and
sew buttons to the left front as
ma r ked.
AMBER EDEN is the Editor ofStitch.
('j . DOWNLOAD THE FULLSIZE
J~ PATTERN FOR THIS PROJECT
'W AT SEWDAILY.COM
FABRIC
- Main: denim shirt or skirt with
button/band closure
- Contrast: 1/ 3 yd lightweight cotton
denim or one 1O" x 20" rectangle
from shirt, skirt or jeans
OTHER SUPPLIES
- Templates, downloadable:
- Pillow Front/Back [Al
- Matching thread
- Fabric-safe marker
- 16" square pillow form
FINISHED SIZE
15"x 15"
NOTE
- All seam allowances are 1/z" unless
otherwise noted .
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
0 From t he Contrast fabric, cut:
- Bias strips, 1/2" wide, to measure
200" in length
PREPARE THE FRONT AND BACK
B Zigzag or serge the pillow edges.

10 2
----------
* stitch

0 Using the fabric-safe marker and
the Pillow Front/Back (Al. transfer the
word .. love" to the Pillow Front.
MAKE THE CHENILLE
El Square the ends of the Contrast
denim strips. Stack three bias strips
of differing lengths 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
[I Center and pin the chenille strip
over the letter markings following the
directional arrows. Cut the chenille
strip at the dots and start again at the
X.
D Stitch the center of the chenille
strip starting and stopp ing as
necessary and backstitching to hold
ends in place .
ASSEMBLE THE PILLOW
[J With right sides togethe r. stitch the
Pillow Front to the Pillow Back.
[J Turn the pillow right side out.
ml Wash the pillow cover and dry it in
the dryer to fluff the chenille. Do not
wash with anything else, as lint will
accumulate.
mInsert the pillow form through the
button opening.
MARCIA VAN OORT is a.freelance
designer and seamstress who enjoys merging
a bit of the past i.vith a bit ofthe present.
See more ofher ivork at etsy.comlshopl
prairiemusing and at prairiemusing.com.
how-to
NOTES
Slouchy - All seam allowances are 1/ 2" unless
Crossbody Bag otherwise noted.
by LISA POLDERMAN - When the instructions call for
{from page 58} topstitching, use topstitching
thread in the needle and matching
all- purpose thread in the bobbin.
Topstitch with a slightly longer
stitch length (3.5 to 4mml to make
topstitching more visible.
- Use an edgestitch foot and/or
adjust needle positioning fo r
accurate topstitching.
- Use binder clips to secure leather.
as pins will leave holes.
- Transfer all markings to the cut
fabric pieces.
CUT THE FABRIC
(j DOWNLOAD THE FULL-SI ZE D From the Main denim, cut:
J '1ti.,. PATTERN FOR THIS PROJECT
AT SEWDAILY.COM - Two Lining (A)
- Two Center Pane l [CJ
- Two 2" x 2 1/2" rectangles for Loop
FABRIC
- One 6" x 8"rectangle for Pocket
- Main: 1 yd denim. 54"
- One 8" x 9" rectangle for Pocket
- Contrast: 30" x 30" lightweight
El From the Contrast leather, cut:
leather
- Two Top Panel (Bl
OTHER SUPPLIES
- Two Bottom Panel [DJ
- Templates, downloadable:
- Two 11/2" x 50"- 60" strips, piecing
- Lining [A)
as needed
- Top Panel (Bl
- Center Panel [CJ SEW THE POCKET
- Bottom Panel [DJ
El Place the 7" zipper right side up
(tab left) on the table and open zipper
- One metal handbag zipper. 12" halfway. Place the longer Pocket piece
- One metal or synthetic coil zipper. on the upper zipper tape edge with
7" r ight sides together and raw edges
- One metal slider/double loop, 11/2" aligned. Pin in place . Sew the edge
of the fabric/zipper tape using a 1/4"
- Two swivel bolt snaps. 11/2"
seam allowance, moving the zipper
- Two 0-rings, 3/4"
pull as needed to continue stitching.
Press the fabric away from the zipper.
- Matching threads
Topstitch 1/a" from the fold to keep
- Contrasting topstitching thread
the fabric flat. Repeat for the shorter
- Leather or denim machine needles Pocket piece.
- Small binder clips D Open the zip per halfway. Place
- Zipper foot Pocket pieces right sides together
- Optional: Walk ing foot, edgestitch with lower edges aligned (zipper will
foot now be offset). Sew around three
sides. Finish the edges. Clip corners,
FINISHED SIZE turn, and press.
14" x 14" x 4" (excludi ng strap) El Position Pocket in the center of one
Lining panel piece, 7" from the lower )~
edge. Edgestitch in place. 'I
10 3
sewdaily.com *
 how-to
SEW THE STRAPS AND LOOPS
ll If necessary, piece leather strips
together. Pin straps wrong sides
together and topstitch both long
edges, 1/a" from edge .
D Fold 2" x 21/2" Main 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.
ASSEMBLE THE OUTER BAG
D Machine baste guidelines 1;, ..
from the top and bottom edges of
both Center Panel denim pieces.
Place Bottom Panel leather piece
on the denim with the wrong side
of the leather facing the right side
of the denim, and the raw edge of
the leather just covering the basted
guideline; secure with binder clips.
D Topstitch 1/a" from the raw edge of
the leather to attach it to the denim .
illl Repeat to attach leather Top Panel
piece to the Center Panel Denim
piece. Repeat for the second side of
the outer bag . Draw a line 2" down
from the Top Panel leather edge
wrong side [u se light pencil or fabric
marker).
mPlace an 0-ring on the loop and
fold the loo p in half. Baste in place at
marking using a 1;,.. seam allowance.
Repeat for the second loop.
iIJ Lay the metal handbag zipper r ight
side up on a table. Place the top edge
of one complete bag piece so that the
raw edge of the leather is 1/a" to 1;,..
from the zipper teeth. with the wrong
side of the leather facing the right
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 the leather to attach the bag to the
zipper. Repeat with the second side.
IE Place the completed front and bag
sides of outer bag right sides together
and clip in place, matching leather
seams.
IE Sew around sides and bottom of
the bag, sewing ca refully over the loop
and cross seam allowance thickness.
Fi nger- press seams open.
10.t.t
--..*--stitch
. -----
ASSEMBLE THE BAG LINING/
CORNERS
iEJPin bag Lining right sides together.
Sew around three sides of the bag .
Press seams open .
ml Fold lower corner of the bag Lining
so that it forms a triangle, match ing
the side seam with the bottom seam.
Pin through seams to hold in place.
Measure approximately 21/," from
1 triangle point to where the bottom of the I Rods &. Reels
triangle is 4" across. Draw a line across I
the corner. Stitch. Trim excess fabric.
lE Repeat Step 16 w ith the second
Lining corner and both outer bag
corners .
ATTACH THE LINING
DJ Place the Lining inside the oute r
bag, wrong sides tog ether. Line up
the top edge of the Lining with the
line drawn on the leather. Carefully
pin [parallel to top edge of denim, 1/4"
away from edge) or hold carefully in
place.
ml Fold the leather over the Lining
along the line. Use binder clips to hold
layers together.
fE To pst itch around upper edge of
the bag, 1/ , .. from the fold, stitching
I carefully over the thick side seams.
I ATTACH THE STRAP
I
ED Clip the swivel bolt snaps onto the
I 0-rings.
IE Place the strap on the table , wrong
sid e up. Feed the strap through the
center portion of the slider and fold it
back. Topstitch in place, 1/a" from raw
edge.
IE Take the other end of the strap and
feed it through the l eft loop. Thread
this end of the strap through the
slider.
IIIFeed the end of the st rap through
the right loop. Try the bag on and
adjust the strap length; topstitch the
end in place and cut off any excess
length.
SOURCES
FABRIC lndygo Junction, Crossroads
Denim by Amy Barickman,
indygoju ncti on .com
HARDWARE Buckleguy.com .
LISA POLDERMAN is a teacher; blogger;
and enthusiastic fabric ogler. She started sewing
at the age of40, emboldened by lean1ing 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 patten1s
on Etsy. Visit her at poldapop.com
I Denim Pillow
by HEIDI EMMETT
1
{from page 59}
I
I
I
I
I
FABRIC
- Main : One pair of old jeans
- Reels: 1/ayd each, 5-10 different
woven stripe fabrics
- Rods: 1/a yd coordinating woven
stripe
OTHER SUPPLIES
- Batting: 7/a yd , 1"- 11/2" thick
- Polyeste r stuffing, 1 lb
- Thread to match denim
- Temporary basting glue
- Liquid stabilizer [such as Terial
Magic)
- Jeans needle
- Hand sewing need le
- Darning foo t
FINISHED SIZE
14" x 26"
NOTES
1/,"
- All seam allowances are unless
otherwise noted .
- To minimize f raying on the
embellishment fabrics, spray with
liquid stabilizer before cutting.
- WOF =Width of fabric
- Look for the largest size jeans you
can find to harvest more denim; a
men's size 34 will make one pillow.

- Wash and dry the 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 m imic heart
rhyt hms on an EEG machine.
- Sketch stitching: Set the machine
for free - motion stitching [consult
your owner's manual), use the
darning foo t, and begin sewing
from the center of t he circle stack
outward in a spira ling motion,
making the spiral larger as the
stitching moves along. Stitch close
to the outer edges of each fabric
layer. Place your hands on either
side of the presser foot and aim for
a light touch with moderate foot
control speed. Practice on a scrap
circle [glued down) and pi ece of
denim until you feel comfortable.
CUT THE FABRIC
D From the Main j ean 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"-31/2" ci rcl es from each
stripe
D From the Rod fabric, cut:
- Two 1 1/s" x WOF strips
D From the Batting, cut:
- One 27" x 29" rectangle
PIECE THE DENIM
D Lay out varying widths of denim
strips for the Pillow Front and Back
to make two rectangles roughly 15" x
30" .
D 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
strip. Press the seams open.
fJ From the r ight side, zigzag down
the center of each seam.
D Use a pin or seam r ipper point to
fray the edges of the joining seam
allowances.
how-to
ATTACH THE POCKET
D Pin the den im pocket in place on
the Pillow Back. Topstitch the side and
lower edges.
ADD THE RODS & REELS
iillPlace circle stacks on the Pillow
Front, two to three layers deep, with
the largest circle on the bottom, and
al ternat ing stripe directions.
mAdd the rods between the reels,
trimm ing to tuck under the reel
stacks by 1/ 2". Pin the reel centers an d
glue- baste t he rods and reels in place.
ill
Edgestitch both sides of the rods
down and then cardiac stitch the rods.
al Sketch stitch all the reel stacks in
place.
III Trim the Pillow Front and Pillow
Back pieces to 141/2" x 26 1/2". With
right sides together, stitch the two
pieces together leaving one short side
open. Tu rn the pillow right side out.
MAKE THE PILLOW FORM
ml Fold the batting in half to make a
14 1/2" x 27" rectangle. Us ing a 1/2"
seam allowance, stitch three sides
together, l eavi ng one short end open.
Tu rn right side out.
DJ Stuff the pillow form with the
fiberfill, using the entire bag. Hand -
stitch the open end closed.
FINISH THE PILLOW
iE Stuff the pillow and hand-stitch t he
opening closed.
SOURCES
FABRIC Westminster, Kaffe Fa ssett
Stripes, westminsterfabrics.com
GLUE Roxanne Glue-Baste-It,
colon ialneedle.com
STABILIZER Terial Magic, terialarts.com
HEIDI EMMETT loves designing and
creating accessories, clothing, or wall quilts-
it's ''Art on The Wall, Art to Wear!" Visit
her blog al designsbyheidi.wordpress.com
and see her clothing patterns on Craftsy.com/
1-IeidiEmmetL
))
105
sewdaily.com *
 how-to
Jeans Placemats
by LINDA TURNER GRIEPENTROG
{from page 59}
FABRIC
[for two placemats]
- Main: One pair of jeans with back
pockets
- Lining: 2/3 yd quilting cotton
OTHER SUPPLIES
- 7/ayd medium -weight fusible
interfacing , 22"
- Den im sewing machine needle
- Removable fabric marker
FINISHED SIZE
18" wide x 13 1/2" high
NOTES
- All seam allowances are 1/ 4"
otherwise noted.
- Look for large size jeans so you 'll
have more fabric to work with.
- Wash and pr ess jeans before
beginning construction.
- The pocket can be placed on the
left or right side of th e mat.
CUT THE FABRIC
D From the Main jean fabric:
- Separate the back from the front by
cutting down the side seams and
leg inseams. Cut along the center
back seam.
fJ From the Lining fabric, cut:
- Two 14" x 181/2" rectangles
El From the Interfacing, cut:
- Two 14" x 181/2" rectangles
106
-- *--stitch----
.. .....
PREPARE PLACEMAT FRONT
D Draw a line down the pocket
vertical center. Measure out the
maximum distance the jeans allow
and draw a line parallel to the pocket
1
center on each side. Trim off any
back yoke seam parallel to the upper
pocket edge and draw a line parallel to
the upper pocket edge about 3" below
the pocket. Cut the pocket block from
1 the jeans back.
Heiro Mod Farm
Ill Using scrapdenim from the leg 1'11101//
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: Don't worry about denim gra in
lines as most pockets are not placed
on straight of grain. Each placemat
piecing may be different depending on
pocket size and location. but create
a seamed piece at least 19" wide and
15" tall. Seam the denim and press lnnp SkeNers
llill -
seams open; topstitch to flatten. Cut a
1 -
I 14" x 18 /2" rectangle for the placemat
l
I front . T
I ASSEMBLE THE PLACEMAT ~I
I lJ Fuse interfacing to the placemat I
front wrong side, following the f
manufacturer's instructions.
D With right sides together, sew
lining to the placemat front . leaving
a 4" opening in the lower edge for
turning.
unless
[J Trim the seam allowance corners
diagonally, turn the placemat right
side out and press the edges. Hand
stitch the opening closed .
Ill Topstitch 1/4" from the outside
edges.
iilJ Repeat to make second placemat.
LINDA TURNER GRIEPENTROG owns
G Wiz Creative Services in Bend, Oregon,
where she lives 1.vith her husband (a longann
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.co1n.
 j
:
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______ --
............107.........
._.._

sewdaily.com *
 how-to

CUT THE FABRIC

1n1n
for -
D From the Main Ombre fabric. cut:
- Fou r 3 1/2" x WOF strips
El From the Background fabric, cut:

a c war - Three 3 1/2" x WOF st rips

PREPARE THE TRIANGLES

B From each 3 1/2" Ombre strip, cut
nineteen triangles using the 60 ru ler
---------------------~------------------ angle.
Arrowhead El Fro m the 3 1/2" Background strips,
Table Runner cut forty-four triangles using the 60
by MARCIA VAN OORT ruler angle. Note: There will be extra
{from page 60} triangles. Set remain ing fabric aside
for Backing.
El Separate the triangles into five color
groups; dark, medium dark, medium,
medium light, and light.
ASSEMBLE THE PATCHWORK TOP
D Alternating direction and beginni ng
and ending with an Ombre triangle,
stitch together five dark Ombre and
four White triangles. Press seams.
Make two sets.
D Alternating direction and beginning
and ending with a White triangle, sew
together four medium dark Ombre
and five White triangles. Press seams.
FABRIC
- Main: 1 yd Ombre quilting cotton Make two sets.
- Background: 1/2 yd white quilting
ll Alternating direction and beginning
and ending with an Ombre triangle,
cotton
sew together five medium Ombre and
OTHER SUPPLIES four White triangles. Press seams.
- Cotton batting, 18" x 30" Make two sets.
- Five thread colors from dark to IJ Alternating direction and beginning
light to match graduated colors in and end ing with a White triangle, sew
Ombre fabric together four medium light Ombre
and five White triangles. Press seams.
- Fabric-safe marker
Make two sets.
- Ruler with 60 angle line
iilJ Alternating direction and beginning
FINISHED SIZE and ending with an Ombre triangle,
16"x27 1/2" sew together five light Ombre and four
White triangles. Press seams. Make
NOTES two sets.
- All seam allowances are 1/4" unless mLay out the rows following the
otherwise noted . runner photo, with dark Ombre on the
- Press all seams toward the da r ker outer edges working toward the light
fabric. Ombre in the center. Sew the rows
togethe r, aligning triangle point s and
- WOF=width of fabric
bases. Press the seams toward the
- Stitch right sides together unless Ombre triangles and the center seam
otherwise noted. open .
ASSEMBLE THE RUNNER
i8 Lay the pieced top, right side up, on
batting and pin together. Stitch around
outside edge a scant 1/4" pivoting at
the points . This stitching will be a
guide for stitching the backing.
IElLay the backing right sides
together with the pieced top, batting
side up; pin. Stitch the edges together
using the previous stitching l ine as a
guide around the points. Leave a 4"- 5"
opening on one end for turning.
lE Trim the backing and batting even
with patchwork top. Trim and clip
corners.
lE To aid in rolling the edge out after
turning, press just the backing seam
allowance toward the body of the
runner.
ml Turn the runner right side out, pull
out edges and press.
[fl Hand-stitch the opening closed.
QUILT THE RUNNER
iIJMa rk the quilting li nes through
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 with
the center quilting l ine being the
lightest color thread.
fE Pull thread tails to the back, knot
and bury the thread ta ils in backing .
SOURCE
FABRIC Ombre, Simply Color by
Vanessa Christenson 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
.
praznemuszng.co1rz.

108
-- *-stitch
...... .........------
 how-to

- Two 2" x 7" rectangles
A Simply Mod Purse 0 From Lin ing fabric:
by LYNN WEGLARZ
- Two 10 3/4" x 12 1/4" rectangles
{from page 61}
r -- - : - - - Two 5" circles
STITCHING THE CIRCLE POCKETS
B 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.
FABRIC Turn under each straight edge and
- Main: 3/s yd home decor-weight hand -stitch to the zipper tape.
cotton D Following manufacturer's directions,
- Contrast: 1/3 yd quilting cotton fuse heavy interfacing to the wrong side
D To make the 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
mJ 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
togeth er, stitch the purse sides and
bottom; leave lining free.

- Lining: 3/s yd quilting cotton

OTHER SUPPLIES
- Templates, provided on insert:
- Flap [A]
- Handle Cut-out [Bl
- Two metal zippers, 5"
- One pair circular purse handles, 6"
- One magnetic purse closure,
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 shortened 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.
3/4"
mBox the purse bottom corners by
matching the bottom seam to the
side seam to create a small triangle.
From the triangle point measure in
1" and stitch across. perpendicular to
the seams. Repeat for other corner.
Press. Turn right side out.
tEI Right sides together, stitch the lining
side seams. On the bottom seam. turn
1/4" to wrong side on each side. Press.

1/3
- yd heavy-weight fusible
interfacing
- Matching thread
- Rotary cutter, mat, and acrylic rule r
- Zipper foot, blind hem foot
- Optional: Water- soluble basting
tape
FINISHED SIZE
11" x 1O" [excluding handle)
NOTES
- All seam allowances are
otherwise noted.
CUT THE FABRIC
0 From the Main fabri c, cut:
- One Purse Flap [Al
- Two 6" x 12 1/4" rectangles
- Two 5" circles
fl From Contrast fabric, cut:
- One Purse Flap [Al
- Fo ur 5 1/2" x 61/2" rectangles
- Six 3" x 3" squares
MAKE THE PURSE FLAP
IJ Following the manufacturer's
instructions, attach one part of
magnetic clasp to the Main fabric flap
at the pattern marking. Right sides
together stitch the Main fabric 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, centering it over the
seam and having the Contrast fabric to
the right side of purse back.
1/4" unless ASSEMBLE THE BAG
fl Center the Handle Cut- Out
(Bl pattern over the Main fabric
rectangles and cut along th e dotted
line 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 lower purse front. Repeat
for the purse back, sewing the Flap
between. Press.
Ill Center the opposite half of the
magnetic clasp on the upper purse
front at the marking.
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
binding piece to the upper edge of the
purse. Repeat for other side. Press
and fold binding to wrong side of purse
and tuck in the ends. Hand-stitch the
turned under edges in place.
SOURCE
FABRIC Amy Butler Fabrics, Belle Line,
Coriander Pine, amybutlerdesign.com
LYNN WEGLARZ is the author ofthe book
TCan Sevv, in addition to writingforSew
News, Quilter's World, Sewing 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

Log Cabin
mSandwich the Handle batting in
between the 5" x 12" Silk rectangles.
Patchwork Purse 4 Baste in place around the edges.
by RUTH SINGER Trace the Handle Template [A) onto
the silk. Free-motion qui l t wit hin the
{from page 62}
template lines.

s 1 IE Cut out the Handle [A). adding a

3/a" seam allowance around the traced
3 li nes. Trim the batting out of the seam
allowances. Place the remaining
I Handle rectangle right sides together
2 I w ith the quilted Handle. Stitch the long
I Handle edges together. Trim the seam
allowances and turn r ight side out
1
figure 1 using a loop turner. Press the edges
I flat. then fold in half to form a loop and
SEW PATCHWORK BLOCK I press. Baste the raw ends together.
I
D Referring to figure 1 for assembly,
stitch squares 1 and 2 together. I MAKE THE LINING
iE] Join the two Lining rectangles long
FABRIC I
D Sew rectangle 3 to the long side edges using a 1/2" seam allowance,
- 112 yd silk dupioni. 60" of 1/2. and l eaving a 6" gap in the middle.
I
I Ill Sew rectangle 4 to the upper edge Press seam allowances open.
OTHER SUPPLIES I of 1/2/3.
- Template, included on the insert: ASSEMBLE THE BAG
1 IJ Stitch rec tangle 5 to the left edge
- Handle [A) of the pieced block. Repeat to make DJ Pin a Loop diagonally on three
1 corners of the quilted patchwork
- 3/a yd lightweight cotton batting, 60" four blocks.
I square, with the raw edges match ing.
- Match ing thread
QUILT AND ASSEMBLE Pin the handle on the rem ain ing corne r
- Loop turner MAIN PIECES in the same manner. Place the Lining
- Darning foot O Pin the pieced Silk blocks to the square on top, right sides together with
Batting squares and baste to hold the the Handle/Loops between.
FINISHED SIZE layers together. IE Sew around the square pivoting
10" x 10" DMachine quilt eac h section in I at the Loop corners and sewing
freehand r ows, always working I diagonally across the Handle corner.
NOTES
- All seam allowances are 5/a" unless 1 across the narrow direction on the I Dl1 Turn the squareright side out.
rectangular patches; leave the block I push out the corners, and press flat.
otherwise noted. 1

- Press seams to one side after each

seam allowances unqu ilted. Note:
I When qu ilting is complete, trim away
I mWith the Lining side up, fold the
addition. fou r corners to the center and press
as much of the batting as possible
1 within the seam allowances, leaving the folded edges. Hand- stitch the
CUT THE FABRIC diagonal edges toget her for 31/2" from
I the silk seam allowance intact.
D Fro m the Silk, cut : each corner. Fasten the thread ends
I ll Stitch two blocks together; repeat securely on the inside of the bag.
- Two 5" x 12" rectangles
I for the remaining two blocks. Stitch Hand- stitch the lin ing opening closed.
- Eight 4" x 4" squares I the two block pai r s together, matching
[labelled 1 and 2) I adjacent seams. Press seam
ml To use, hold th e Handle and
pull it through each of the loops in
- Eight 4" x 6 3/4" rectangles (labelled I allowances open and trim the block to
sequence. Pull out the bottom bag
3 and 4) 17" square .
center to create the square shape.
- Four 4" x 9 1/2" rectangles PREPARE LOOPS AND HANDLES
[labelled 5) RUTH SINGER is a British textile artist
IE Fold the Loop rectangle long raw with a background in museums. She has
- One 1" x 15" Loop edges to the center and press. Fold
a long-standing love oftraditional sewing
- Two 9"x 17" Lining the pressed edges together and
techniques, which she applies to contemporary
edgestitch both sides along the Loop
O From the Batting, cut: designs. She is the author offhe Sewing
length. Cut into three 5" pieces. Curve Bible, Sew Eco, and Fabric Manipulation,
- One Hand le [A) on fold the loop so the raw edges meet and 150 Creative Sevling Techniques. Find out
- Four squares. 1O" x 1O" baste together at the ends. more at RuthSinger.com
110
--..*-.----
stitch
 how-to

---------------------------------------- - FF= Fashion Fabric - th ree 1 1/2" x 7" rectangles

Pieced Felted Scarf - The scarf is made from three ml From the FF10 light pink felted
by JENN RHOADS
different blocks; make three of wool, cut:
{from page 63} each. - three 1 1/4" x 4 1/2" rectangles
CUT THE FABRIC mFrom the FF11 medium blue felted
D From t he FF1 lilac felted wool, cut: wool, cut:
- twelve 1 1/4" x 3 1/2" rectangles - three 11/4" x 3 1/, .. rectangles

- th ree 1 1/2" x 7" rectangles - three 1 1/2" x 7" rectangles

FABRIC
- 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]
OTHER SUPPLIES
- Contrasting thread
FINISHED SIZE
6 1/2" x 58 1/ 2"
NOTES
- The felt pieces are sewn together
using a bridging stitch that joins two
pieces of fabric with abutted edges
together flat, instead of creating
a traditional seam. The featured
project is sewn with a feath er stitch,
but other hand or machine bridging
stitches achieve the same effect,
including a basic zigzag.
D From the FF2 green felted wool,
cut:
- twelve 11/4" x 3 1/2" rectangles
El From the FF3 fuchsia felted wool,
cut:
- twelve 1 1/4" x 31/2" rectangles
- three 1 1;,.. x 4 1/2" rectangles
D From the FF4 cream felted wool.
cut:
- three 1 1/4" x 7" rectangles
El From the FF5 gold felted wool, cut:
- three 1 1/4" x 5 3/4" rectangles
I] From the FF6 yellow felted wool,
cut:
- three 1 1/," x 2" rectangles
IJFrom the FF7 bright green felted
wool, cut:
- three 1 1/4" x 31/4" rectangles
- three 1 '/2" x 7" rectangles
D From the FF8 bright blue felted
wool, cut:
- three 2" x 2" squares
D From the FF9 magenta felted wool,
cut:
- three 1 1/&" x 5 3/4" rec tangles
ASSEMBLE BLOCK 1
iEJ Use four of the FF1-FF3
11/4" x 3 1/2" rectang les for each Block.
Assemble by abutting the 3 1/2" edges
of recta ngles FF1, FF2, and FF3 in
order. Sew four sections for each
Block.
IE Sew the sections together with
FF3 in the center. (figure l) Trim the
square to 6 1/ 2" x 6 1/2" . Repeat to make
two more Block 1.
ASSEMBLE BLOCK 2
Ill Following figure l , begin with the
center 2" square of FF8. Working
outward, attach in order: FF6
[1 1/4" x 2"1. FF11 (1 1/4" x 31/,"J, FF 7
[1 1/4" x 3 1/4"), FF 3 (1 1/4" x 4 1/2"). FF 10
[1 1/4" x 41/2"), FF9 (1 1/4" x 5 3/4"], FF5
(1 1/4" x 53/,"I. and FF4 (1 1/4" x 7").
IE Trimthe Block to 6 1/2" x 7". Repeat
to make two more Block 2.
ASSEMBLE BLOCK 3
IE Sew together four 1 1/2" x 7" strip s
in FF 1, FF7, FF9, and FF11, abutting
the long ed ges. Trim the Block to
6 1/2" x 6" . (figure l) Repeat to make
two more Block 3.

block 1 block 2 block 3

FFl FFS
FFl FF2 FF3 FF2

FF3
FF7

FFB
FF4
FFll

FF9
T
'"'F9 FFll FF" 7" 61/2"
FF3 FF7
FF2

FFl
FF3 FF2 FFl
FFG
FFlO
FF1
1
I 6" I
61/2" _ _ _...,., I 61h" ----11
I
tigure l
>>
_ _sewda1ly.com
111
..... - ------
.....
*
 how-to
FINISH THE SCARF
ill 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 together 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 ;,..
from the outer scarf edges.
SOURCE
FELTED WOOL Winterberry Cabin,
w interberrycabin.com
JENN RHOADS owns [Rho Crajtworks
and ha.s been a sewi.st as long as she can
remember. She is a graduate of Fashion
Tnstitute ofTechnology (FIT). While designing
and sewing clothing and accessories is her
passion, she is also a conte1nporary quilter
and creator ofall things sewable. Visit her
shop at etsy.comlshop!TalentShow.
Retro Baby Quilt
by MALKA DUBRAWSKY
{from page 64}
FABRIC
- Main: 1/ 4 yd each assorted quilting
cottons in shades of Red, Green,
Blue and Yellow
- Backing: 11/4 yd quilting cotton
- Binding: 1/, yd quilting cotton
- 1/2 yd gray quilting cotton
OTHER SUPPLIES
- 40"" x 40"" cotton batting
- Rotary cutter, cutting mat, acrylic
ruler
- Coordinating sewing and quilting
threads
__..............
112 . . -
* stitch
- Hand sewing needle
- Equilateral triangle ruler
FINISHED SIZE
30"" x 30""
NOTES
- All seam allowances are 1/4"" unless
otherwise noted.
- Press all seams to one side,
alternating sides where seams
intersect, unless otherwise noted. figure 1
Press after each piece addition.
- WOF=width of fabric
CUT THE FABRIC
D From each of the Blue, Red, Green,
and Yellow fabrics, cut:
- Four 4" equilateral triangles
- One 3 1/2" x 9 1/," rectangle
- Two 6 3/4"" equilateral triangles
- One 8 1/4" equilatera l triangle
- Four 3 1/4"" equ ilateral triang l es
- One 23/4" x 6 1/2" rectangle
figure 2
- Two 23/4" x 73/4" rectangles
fJ From Gray cotton, cut:
- Eight 1 1/2" x 7" strips
- Eight 11/2" x 63/4" strips
- Eight 11/2" x 20" strips fig ure 3
- Eight 31/4" equilateral triangles
D From Binding fabric, cut:
- Three 11/2" 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 1)
fl Noting the orientation, sew a
second 4"" Blue triangle to the opposite figure '*
Gray strip side in the same manner.
Trim to fit. (figure 2)
IJ Noting the 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
rectangles along the short edges.
Press the seam open.
figure S
0 Noting the orientation, sew a 3
1/2" x 91/4" Blue rectangle to the sewn El Sew a 11/2" x 63/," Gray strip to
section long edge. Press the seam pieced short edge. (figure S) Repeat
0 pen. (figure '*l for the opposite short side.

figure 6
figure 7
figure 8
ml Not ing the orientat ion. sew one 6
3/4" Blue triang l e to the pieced section
short edge . (figure 6) Repeat for the
opposite short edge.
mSew a 8 1/4"
Blue triang le to the
sewn section along the lowe r 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 8) Repeat for the
opposite diagonal side.
iE Repeat steps 4- 12 to create Red,
Yellow, and Green pieced triangle
sections.
Note: You now have four patchwork
t riangles with a base measuring 26 1/2"
and sides measuring 18 1/ 2" and 19 1/a".
ED Sew together the two patchwork
triang les along the 18 1/ 2"
edges.
Repeat w ith remaining two patchwork
t r iang les .
IE Sew the triangles together along
the common long edge.
MAKE THE PATCHWORK
BORDERS
iIJ Sew together one 3 1/ 4" Gray and
one 3 1/4" Blue triangle along the
how-to
common long edges. Repeat to make
a second Gray/Blue half-triangle Glamorous
square. Patchwork Parka
ifl Following the qu ilt photo, sew two by TINA LEWIS
23/4" x 73/4" Blue rectangles. two Gray/ {from page 65}
Blue half- triangle squares. and one
23/4" x 6 1/ 2" Blue center rectangle to
make the side border.
ID Sew the comp leted Blue border to
the Blue side of the quilt top.
ill Repeat steps 16- 17 using Green
fabrics and sew to the Green edge of
the quilt top.
Elll
Repeat steps 16- 17 using both the
Red and Yellow fabrics to make the
other borders.
Ell Follow step 16 to make one each of
Red/Blue. Red/Green, Blue/Yellow and
Green/Yellow half-triangle squa res.
f;El Sew the step 21 half-triangle (iS DOWNLOAD THE FULL- SIZE
J~ PATTERN FOR T HIS PROJECT
squares to the respective ends of the AT SEWDAILY.COM
Red and Yellow pieced borders. so
that the half-triangle square colors
are next to the adjacent color qu ilt FABRIC
borders. Note t he half-tria ngle square - Main : 13/4 yd cotton velvet or
color orientation. velveteen, 56 ..
IE Sew the Red and Yellow borders to - Lining: 1 3/4 yd silk dupioni. 54"
t he respective sides of the quilt top. - Patchwork: Twelve 8" x 8" squares
of assorted silk dupioni colors
FINISH THE QUILT
Ill Working on a flat surface, layer
Backing fabr ic wrong side up. batting,
OTHER SUPPLIES
- Templates, down loadable:
and pieced top right side up.
- Left Front (A]
IE Baste layers together using your
preferred met hod.
- Right Front [BJ
- Side (CJ
fD Machine quilt as desired. Note:
The featured quilt was free - motion - Back [DJ
mach ine quilted in concent ric spirals - Yoke (El
starti ng from t he center.
- Collar (Fl
Ill Tr im the quilt layers even with top
- Pocket [GJ
edges.
- Sleeve [HJ
fD Using diagonal seams. sew the
binding strips together. Press in half - Front Flap (I]
lengthwise, wrong sides together. - 1 yd cotton batting , 96"
IIl Stitch the binding to the quilt. tu r n - 15/s yd lig htweight fusible
it to the back side. fold under the raw inter facing. 20"
edge 1/4 " , and hand -stitch in place. - Metal separating zipper, 22"
MALKA DUBRAWSY sews, designs, dyes, - Five metal snaps. 5/s"
and writes from her home in Austin, Texas. - Snap tool
She sells PDF patterns and other handmade - Matchi ng t hread
goodies at stitchindye.etsy.com. Visit her at
stitchindye.com. - Template plastic
- Zipper foo t
>>
113
----sewdaily.com
..----------
*
 how-to

FINISHED SIZE - One Yoke [El topstitch 1/4" from the seams. Pin the
- One Collar [Fl Sides to the Back and Fronts. clipping
....a:Bust Arm Lenght - Two Sleeve [HJ
where necessary and matching dots
on the Fronts. Stitch, keeping Pocket
<( XS 32-33" 231/4' - One Front Flap (I) openings free. Press seams open.
:c s 34-35" 231/i" I D From the Interfacing, cut: 18 Pin the Collar to the neckline.
u M 36-37 /i" 1 231/a"
- One Left Front (Al matching center backs, front edges.
UJ L 39-401/ { 241/4" and shoulders, and clipping the
-
N XL 421/1-441/i"
( /) Shown msize Small
245/s" - One Right Front [BJ
- One Yoke[E)
neckline as needed; baste and stitch.
Press the seam toward the Collar.
- One Collar [Fl
ASSEMBLE THE LINING
NOTES - One Front Flap I ll
IE Staystitch the Lining Yoke necklin e
- All seam allowances are 5/s" - One 13/4" x 243/4" Zipper Guard
just inside th e seam line. Pin and
unless othe rwise noted.
: ASSEMBLE THE PATCHWORK stitch the Lining Fronts and Back.
- Stitch with right sides together Press seams towa rd the Yoke. Pin
unless otherwise noted.
D From template plastic, cut a
and stitch the Sides to the Fronts and
1 1/2" x 1 1/2" square. Trace the template
- Cut velvet "with nap," having t he Back. clipping where necessary. Press
square onto the Patchwork fabrics
pattern pieces facing the same j seams open.
and cut 234 assorted color squares.
direction. I iil Pin and stitch the Collar to the
[I Stitch the squares together using
- After sewing seams that include 1/4" seams. in random color order, I
neckline in the same manner as for
batting. trim the batting seam in 26 rows of 9 squares each. Press
I the Ma in parka.
allowances to 1/s" . the seams of every other row in the I
JOIN THE PARKA AND LINING
opposite direction. Sew the rows I iB Pin the Collar to Lining Collar
CUT THE FABRIC I
together, matching adjacent seams.
D From the Main fabric. cut: along the upper edge; stitch. Pin the
Press row seams in the same direction. I parka lower edge to Lining lower
- One Left Front [Al
D From the Patchwork panel, cut one I edge, matching seams; stitch. Grade
- Two Right Front (Bl Right Front [BJ. right side up. both seams and turn right side out.
- Two Side [CJ Baste and press.
ASSEMBLE THE PARKA
- One Back [OJ
ll Following the manufacturer's
ml Working through the Fronts and
- One Yoke (El armhole openings. and starting and
instructions, fuse interfacing to the
stopping 1 1/2" from the front edge,
- One Collar IF) wrong side of the Fronts. Collar, Yoke.
catch stitch the Lining and Main parka
- Four Pocket [GJ Front Flap, and half of the Zipper
neckline seams together.
Guard. Tip: Protect the napped fabric
- Two Sleeve [HJ
from flattening by pressing on a thick INSERT THE ZIPPER
fl From the Lining, cut: bath towel. llJ Fo ld the zipper tape back at an
- One Left Front [Al-right side ll Layer and baste batting to the angle above the top zipper stops and
down wrong side of the Back, Sides, and tack in place. Keeping the Lining free,
- One Right Front (BJ -right side Sleeves. and the interfaced Fronts. pin the zipper face down on the right
down Collar, and Front Flap. Front. with the zipper stop at the dot
- Two Side [Cl Dil Pin a Pocket to each Front, 3/4" from the Collar edge, and the
matching edges and dots. Stitch zipper tape 1/4" from the Front edge;
- One Back [OJ baste. Stitch the zipper in place 5/s"
between the dots; clip to dots.
- One Yoke [El Grade the seam. turn Pockets to the from front edge. Separate the zipper.
- One Collar (Fl inside; press. Topstitch 1/4" from the Place the remain ing half on the left
Pocket edge between the dots. Pin Front and st itch in the same manner.
- Two Sleeve (HJ
- Two Front Flap [ll
the remaining two Pockets over the iIJFold the Zipper Gua rd in half
attached Pockets. matching dots. leng thwise and stitch across ends.
- One 3 1/2" x 24 3/4" Zipper Guard Stitch the Pockets together from dot Turn right side out; press. Baste the
El From the Batting, cut: to dot. Baste Pockets to Front and raw edges together.
- One Left Front [Al lower parka seam allowances. iIJ With edges even, pin the Zipper
- One Right Front (Bl mStaystitch the Yoke neckline just Guard to the righ t Front and Collar
insid e the seamline. Pin and stitch edge over the zipper. Stitch 5/s" from
- Two Side [CJ
the Yoke to the Fronts and the Back. the front edge, following the zipper
- One Back [0) Press seams toward the Yoke and stitching.

.........___.__
____._11~
* stitch
 how-to

EillPress the zipper seams toward the

Fronts. Press the l ining Front seam
allowances to the wrong side.

SET IN THE SLEEVES

fII To ease the top of the Sleeves,
stitch between the dots using a longer
stitch. Pin together the underarm
seams; stitch. Press seams open .
Repeat for the Lining Sleeves. With
edges even, baste together the parka
and Lining armholes . Slip the Lining
into the Sleeves, right sides togethe r.
Pin lower edges together, having the
lining 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 the Sleeve Lining free,
pin Sleeves into armholes, matching
armholes to Sleeve dots and draw up
gathers as needed between upper
dots. Baste and stitch . Stitch again
1/4" from first stitching between the
underarm notches. Trim to stitching.
EEiFold 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 slipstitch Lining in place.
MAKE THE FRONT FLAP
Era Pin the Flap fac ing to the Flap .
Stitch the curved seam, keeping the
straight side open. Grade the seam
and notch cu r ves. Tu rn right side out;
press. Baste together straight sides
of Flap and facing. Topstitch 1/4" from
the curved edge and along the zigzag
stitching lines.
IE Following the manufacturer's
instructions, attach the top half of the
snaps at indicated points.
ID Keeping the Lining free, pin the
Flap, right side down, to the right
front between the dots; stitch . 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.
FINISH THE PARKA
ED Slipstitch folded Lining center front
edge to the Zipper Guard stitching
on the right side and to the zipper
stitch ing on the left side, enclosing
seams.
II] Topstitch 1/4" from the hem edge
and the collar edge , starting and
stopping at the zipper tape.
IE At tach the remain ing snap
halves to the parka left front at
corresponding points.
SOURCES
FABRIC Cotton velveteen, Farmhouse
Fabrics, farmhousefabrics.com; Silk
dupioni, Nuttalrs. nuttallbernina.com
ZIPPER YKK Rainbow Excella,
Zipperstop, zipperstop.com
TINA LEWIS designs and sews in her
studio high in the mountains ofPark City,
Utah Her quilts, clothing, and accessories
for adults and children have been featured in
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 constructing.
- Stitch right sides together unless
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
D From the Ma in fabric, cut:
- Two Front [A]
- Two Side Front (BJ
- Two Back [CJ
- 3 WOF strips x 2" for Ruffle
lower edge. Repeat for the opposite
half of the shorts.
ELASTIC WAIST
IJ Press the upper shorts edge under
2". Stitch 1/4" away from the lower
finished edge, leavi ng a 3" opening to
insert the elastic. To pstitch 1/ 4" from
the upper folded edge all the way
around.
[I Use a safety pin or bodkin to insert
the elastic; pin the ends together
and try on shorts. Adjust the elastic
to a comfortable length. Remove
the shorts, trim t he elast ic, and join
the ends. Stitch the casing opening
closed.

PREPARE RUFFLE TARA MILLER is a Yankee living in small

0 Fold the Ruffle strip in half town Georgia with her two young daughters,
Lengthwise, wrong sides together, husband, and two heavily shedding dogs.
and press. Set the ruffler to pleat She has a history degree, but spends
every sixth stitch and sew/pleat the her days knitting, sewing, and writing.
(j~ DOWNLOAD THE FULLSIZE cut edges together. If not using a You can read all about it on her biogs at
J~ PATTERN FOR THIS PROJECT ruffler, hand-pleat or gather using editcreativedesigns.blogspot.com and blog.
"W AT SEWDAILY.COM
two threads and a basting stitch [see fabric.com
Sewing Basics). ----------------------------------------
FABRIC
- Main: 1 1/4 yd lightweight cotton, 45" ASSEMBLE THE SHORTS
Tangled Up
El Pin a Back to a Side Front at the In Blue Quilt
OTHER SUPPLIES side seam and stitch. Press the seam by EMILY BRECLAW
- Templates, downloadable: open. Repeat for the rema ining set of
- Front [A) Back and Side Front pieces.
- Side Front [Bl D Pin a Back to a Front at the inseam
- Back(C) and stitch . Press the seam open .
Repeat for the rema ining set of Back
- 11/2 yd non- roll elastic, 11/2" and Front pieces.
- Matching th read El Stitch the crotch curve seams
- Large safety pin or bodkin tog ether.
- Optional: Ruffler 0 With right side together, pin the
Ruffle to the shorts outer leg curved
FINISHED SIZE edge, match ing raw edges. starting
and ending at the upper shorts edge .
....a:Waist Hip Stitch . Press the Ruffle away from
the shorts and topstitch close to the FABRIC
c( XS 24-25." 34.1/z-351/2 "
attachment seam to hold the seam All fabrics are qu ilting cottons.
::c s 26-27" 361h 371/2"
u M 28 -29~2" 38~/2 -40''
allowances in place. Repeat for the - FF1: 21;, yd light aqua
w L 31 -321h " second leg.
41 1/2-43" - FF2: 1 yd white

-
N XL 341/2~361/z "
Cl)
Sh.uwn insize .Small
45-47 " D With wrong sides up, fold the Side
Front over the Front piece, matching
the upper notches. Baste in place
- FF3: 1 yd dark teal
- FF4: 3/4 yd lime green
along the waist edge. Smooth out - FF5: 1 yd black
NOTE the Front and pin the Side Front to - FF6: 1 yd light lavender
- All seam allowances are 5/s" un less the Front at the lower dot. To pstitch
- FF7: 1 yd periwinkle
otherwise noted. in place by sewing over the previous
topstitching line, stopping 1" from the - FF8: 1 yd gray
- Backing: 23/4 yd quilting cotton, 108" >>
117
-----sewdaily.com
.. *
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 how-to

- Four 8 1/2" x WOF strips; sub-cut

twenty- eight 8 1/2" Tr iangles.
D From th e FF7 Periwinkle fabric, cut:
- Four 81/2" x WOF strips; sub-cut
figure 1 twenty- two 81/2" Triangles.

- Binding: 3/4 yd quilting cotton - Four 81/2" x WOF strips; sub-cut

ll From the FF8 Gray fabric, cut :
twenty-two 81/2" Triangles. - Four 8 1/2" x WOF strips; sub-cut
OTHER SUPPLIES twenty- two 81/2" Triangles.
- Template, provided on insert :
D From the FF4 Lime Green fabric,
cut: D From the Binding fabric, cut:
- Triangle [A] - Nine 21/ 4 .. x WOF strips.
- Three 8 1/2" x WO F strips; sub- cut
- Rotary cutter and mat, and acrylic nineteen 81/2" Triangles.
ruler ASSEMBLE QUILT TOP
II From the FF5 Black fabric, cut: iilJ Sort the Triangles in piles by color,
- 92" x 98" batting
- Four 81/2" x WOF strips; sub-cut and label each pile FF 1-FF8.
- Optional: Template plastic
- Optional: Equilateral triangle ruler
twenty-eight 81/2" Triangles. mLay out the Triangles following
D From the FF6 Light Lavender figure 2 . Sew the Triangles into
[See note below.] fabric, cut: columns. Press each seam open before
FINISHED SIZE
84" x 90"

NOTES
- All seam allowances are 1/ 4" unless FF3 ...... ,..._ FFS FFS ...... ,..._ ...... ,..._ FF6 FFl FFS FF2 ......,..._ FFS
otherwise noted .
......,..,_ FFS FFl FF.r. FFl .....-r-.. FFS FF2
- Triangles in this quilt are cut 81/2"
measured through the triangle FF3 FF.r.
center. [Some rulers indicate
dimensions based on the length
of the triangle side, so check
measurements before cutting.]
FF6 FFl ,....,..,_ FF3
- If you are not using an equilateral
triangle ruler, trace the Triangle [A] FF6 .....-r-.. ,....,..,_ FF3
template onto template plastic and
FFS
cut out carefully.
- Press all seams open unless ,....,..,_ FF.r. FF2 .,.-,..,_ FFl FF6 ......,..._ FFl
otherwise noted.
FFl FFl
- WOF=width of fabric
- When cutting Triangles, alternate
ruler direction after each Triangle FF6 ,....,..,_ ,....,..,_ FF3 FFl
to maximize fabric use. (figure 1)

CUT THE FABRIC FF2 ,....,..,_ FF3

Cut t riangles using an equilateral
triangle ruler or the template FF2 .....-r-.. ,....,..,_ FFS
provided. FFl
D From the FF1 Light Aqua fabric,
cut: FFl

- Nine 8 1/ 2" x WOF strips; sub-cut FFl FFl

sixty-th ree 8 1/2" Triangles.
FFl
El From the FF2 White fabric, cut:
- Four 8 1/2"x WOF strips; sub- cut
twenty-seven 81/2" Triangles.
B From the FF3 Da rk 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. l-fer patterns
and quilts have been featured in Stitch and
Asian Fabrics. Follow her quirky quilting
adventures at thecajfeinatedquilter:com.

Adult Onesie
by TINA LEWIS
{from page 68}

1 -

DOWNLOAD THE FULL-SIZE

S'111..

PATTERN FOR THIS PROJECT
AT SEWDAILY.COM

figure 3 FABRICS
- Main: 35/s yd fleece, double knit or
adding the next Triangle, and line up FINISH THE QUILT sweatshirt knit, 50"
each Triangle with the points of the iIJ Place the Backing fabric face down - Ribbing: 1/J yd tubular cotton ribbing
previously sewn Triangles to ensure on the floor or a large flat surface.
accurate points. Note: Leave the Center the batting on top of the OTHER SUPPLIES
first and last Triangle of eac h column backing. Center the quilt top face up, - Templates, downloadable:
whole; they will be trimmed later. on top of batting. Smooth all layers - Front [A]
iEJStitch columns together, pressing and baste. - Back [BJ
seams open and matching triangle mQuilt as desired. Quilt shown was - Sleeve [CJ
points. As you sew, make sure the l ongarm quilted with a meandering
needle lands at the exact intersection - Hood (DJ
boxes pattern. Trim extra backing and
of the three fabrics visible in the seam batting. - Side Pocket [El
allowance.
iI1 Join th e Binding fabric strips with - Chest Pocket (Fl
IE Lay the quilt top on a rotary mat diagonal seams [see Sewing Basics] . - Sleeve Cuff [G]
on a large flat surface. Use the Press seams open. Press Binding
clear acrylic ruler and place the - Leg Cuff [HJ
strips in half lengthwise, wrong
1/4" marking aligned on the triangle - Contrasting zippers: One 22";
sides tog ether, to create double-fold
points along the quilt top and bottom bind ing. Attach to quilt using a 1/4" Three 7"
(figure 3). Trim the quilt 1/ 4" beyond seam allowance. Fold the Binding to - 11/2 yd cording, 1/4"
the Triangle points.
- 11/4 yd grosgrain ribbon, 3/s"
>>
___
-.......... 119
.....
._

sewdaily.com
___
_..
*
....
 how-to

- Contrast ing topstitching thread or the zippe r pull toward the center centered behind the buttonhole
pearl cotton, #5 front, cent er the zipper in the window markings. Stitch 1/z'' buttonholes at
open ing wit h the folds 1/4" from the the markings for t he drawstri ng .
- Two squares fusible inter facing, 1"
zipper teeth; baste. Edgestitch the DJ Stitch the Hood to the neckline,
- Match ing threads folds around the w indow. matching shoulders. center back,
- Zipper foot D On the wrong side, pin the Chest and center fronts. Press seam
Pocket, right side down, over the toward Hood. If desired , cover the
FINISHED SIZE
zip per, pos it ioning the zip per line on neckline seam w ith gr osgra in ribbon,
the pocket over the zipper under neath. edgestitch ing the ribbon on each side.
Chest Center Back Neck to Hem From t he wrong side, stitch the pocket Fold the Hood edge 11/4" to the wrong
I- XS 40112" 583/1/' 1/4" from the finished edge. From the
side along the foldline. Stitch 1" from
0:: ". '

< s 42'.lz" 591/t."

~
right side, topstitch over the stitching the folded edge. Using a safety pin,
::z: M 45" 5.93/i" with contrasting thread or sew a t hread the drawstring th r ough the
u L 4.8" 60 1/4" running stitch wit h pearl cotton. casing beginning and ending at a
Ill XL 52" 603/" 0 Repeat steps 3-5 to make the buttonhole. Trim as desired and knot

-
N
Cl)
Shown in size Small Side Pockets, having the zipper pulls
toward the top. Match pocket notches
the ends.

ADD THE CUFFS

NOTES
- All seam allowances are 5/s" unless
otherwise noted .
- Transfer all pattern mark ings to
the cut fabric pieces.
- Trim seams to 3/s" and serge,
overcast or zigzag t he edges.
CUT THE FABRIC
D From the Main fabric, cut:
- Two Front (A)
- Two Back (B)
- Two Sleeve [Cl
- Two Hood [O)
- Two Side Pocket (E)
- One Chest Pocket (Fl
fJ From the Ribbing , cut:
- Two Sleeve Cuff [G)
- Two Leg Cu ff (HJ
MAKE THE POCKETS
D Finish the edge of the Chest Pocket I bottom of the opening between t he
and curved edges of Side Pockets.
To shorten the zipper for the Chest
Pocket, make a thread zipper stop
by whipstitchi ng 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 cor ners . Press flaps to the
wrong side along the stitching. With
with side notches and baste the side
edges together. Stitch and topstitch the
pocket s 1/2" from the curved edges.
ASSEMBLE THE ONESIE
D Fin ish the front edges from t he neck I
to just below t he dot. Staystitch center I baste.
fronts 1" from edges, from the neckline ID Mark half- and quarter- points from
to the dots, pivoting at the dots back to
the edge. Clip diagonally to the dots.
[I Sew the Fronts to Backs at shou lder Pin cuffs to Sleeves, matching edges
and side seams, catching in the Side
Pockets. Sew Fr onts t o Backs at inside
1
I
leg seams.
I ll Stitch Sleeves into the armholes,
matching underarm seams, shoulders,
I and notches.
I [[iJ Pin the onesie ha lves together from
I the bac k neckline to the front dot,
I matching crotch seams; stitch.
I Br ing the ends of the rib bon together,
I INSERT THE ZIPPER
I mPress the Front edges to the wrong
I
side along the st itching and across t he
I dots. Baste the zipper into the opening,
I
having the top of the zipper 1" from the
neckline edge and the fabric folds 1/4"
from t he zipper teeth. Edgestitch the
folds around the open ing.
MAKE THE HOOD
im Pi n the Hood pieces together along
the back and top curved edge. Stitch
from the center back to the top center
front. Finish t he straight front edge of
the Hood.
iEJ For rei nforcemen t, fuse interfacing
squa res to the w rong side of the Hood,
il:1
Fold the Sleeve Cuffs right sides
together, matching notches, and stitch
1/4" seams. Turn right side out and fold
I
in half along foldline, bring ing raw
I edges together and enclosing seams;
I
the seam on cuff edges. Mark half-
1
I and quarter-points on sleeve edges .
1
and quarter - points. Stitch a 1/4" seam,
stretch ing the cuffs to fit the sleeve.
mAttach the Leg Cuffs in the sa m e
manner, matching cuff seam to inside
leg seam.
FINISH THE ONESIE
ml To make all the ribbon zipper pulls,
cut 5" lengths of ribbon, roll an end
and draw it through t he zipper pull.
fold under the ends 1/4" and whipstitch
the ribbon edges together all around.
SOURCE
1 FABRIC Michael Miller, Organ ic Cotton
Sherpa, michaelm illerfabrics.com
TINA LEWIS designs and sews in her
studio high in the mountains ofPark City,
Utah. Her quills, 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.

120
--..- .............
---~-

* stitch
 how-to

NOTES the center back seam with the pant

Stylin' Kids PJs - All seam allowances are 5/s" unless
by KATRIN VORBECK otherwise noted .
{from page 69}
- Hem allowa nce is 11/4" for a single
fold ed hem on sleeves and top.
- Press seams after every step.
- Pretreat the fab rics as the finished
garment will be handled [wash, dry,
and iron ] to avoid shrinkage after
the garment is sewn.
- A serger is the best way to sew with
knits; if you don't have a serger,
. ll Serge the Sleeves to the Fro nts ,
use a narrow zigzag.
- Transfer all pattern markings.
CUT THE FABRIC
D From the Ma in fabric, cut:
- One Fron t [A] on fold
(j DOWNLOAD THE FULL-SIZE
J~ PATTERN FOR THIS PROJECT - One Back [BJ on fold
AT SEWDAILY.COM
- Two Sleeve [C)
- Two Pants (DJ
FABRIC - One Waistband, 5" x 19 1/4" [cut
- Main : 11/4 yd stretch jersey, 60"
crossgrain)
- Appli que: One fat eighth qui lting
- Two Cuffs, 3" x 8" [cut
cotton crossgrain)
seam, and distributing the width
even ly. Serge the band to the pants,
stretching slightly as you sew.
ASSEMBLE THE TOP
[J Arrange Tie Applique shapes on
the Front, layerin g them from bottom
to top, beginn ing with #1 on the
bottom and ending with #5, as noted
in the template. Fuse in place. Sew
around the Applique edges using a
zigzag.
leaving the left Back seam unsewn.
Press the seam allowances toward
the Front/Back and topstitch in place.
ml Fold the Neckban d in half wrong
sides together. With the righ t side of
the Neckband facing the wrong side of
neckline and raw edges aligned, serge
th e band in place, distributing the
width evenly.
mFold the Nec kband over the serged
seam . From the right side, topstitch
th e folded Neckband edge in place
using a straight st itch .

OTHER SUPPLIES - One Neckband. 21/4" x 153/4" (cut i8 Serge the remaining Sleeve/Back
crossgrain) seam, aligning the Neckban d seams.
- Templates, downloadable:
Press seam allowance towards back
- Front [AJ fJ Fro m the Applique fab ric: and topstitch in place.
- Back [B J - Apply fusible web to fabric for
iE Serge the Sleeve hem edges and
the Tie.
- Sleeve [CJ fold the hem allowances up. Topstitch
- Pants [O) ASSEMBLE THE PANTS in place using a st raigh t stitch and a
twin needl e. Stretch the seam very
- Tie [EJ B Fold t he Cuffs in half lengthwise,
slightly while sewing. It should remain
wrong sides together. Pin to the
- Paper- backed fusible web lightly stretchy but not floppy.
lower pant legs, distributing the
- Matching threads width even ly. Serge the Cuffs in ilJ Se rge the undera r m/sleeve seams.
- Fabr ic-safe marker place, stretching slightly to prevent III Serge the l ower shirt edge and fold
- Twin stretch needle, 4 mm pucker ing . Lig htly press the seam the hem allowance up. Topstitch in
allowances upwards. place using a twin needle .
- Optional: Walking foot, serger
D With right sides together, serge the
FINISHED SIZE inner leg seams matching t he Cuff
SOURCE
APPLIQUE FABRIC Marble Mate Dots,
seams.
....
a: Center Back Pant Inseam B Tuck one leg into the othe r, with
Purple, modafabrics.com

11 3/G .. ri ght side together, alig ning the inner KATRIN VORBECK,from Germany, is
<( 21 13"
131/2 .. leg seams. Serge the crotch seam. a passionate sewer; always learning and
::c 3T 1337/s"
u 41 14 /4" 11\3/1,.. Turn pants rig ht side out. exploring. Tt's the small details and the simple
w 5 151h .. 161/G" 0 Sew the Waistband short edges design features that she loves most. She's also

-
N 6 16"
en Shown 1nsize5
173/1, .. together. Fold the band lengthwise,
wrong sides together.
into needlecrafts since childhood- knitting
and sewing are her ways to stay sane.
Admittedly, she's afiberholic, bookworm, and
D With right sides together and
raw edg es aligned. pin the fold ed
a bad photographer. Visit her blog at frauvau.
blogspot.com.
strip to the top of the pants, aligning
>>
121
sewdaily.com *
 how-to

---------------------------------------~
NOTES
Like-a-Dream - All seam allowances are 5/a" unless
Wrap Jacket otherwise noted.
by CHERYL BUSH - Transfer all pattern markings to
the cut fabric pieces.
{from page 70}
- Trim seam allowances and clip
curves.
- Make sure fabric nap is facing
downward for cutting all pieces.
CUT THE FABRIC
D From both the Main and Lining
fabrics, cut:
- Two Front [A]
- Two Sleeve [BJ
- Four Pocket [CJ
- One Back [DJ on fold
- One Hood (El on fold
(iS DOWNLOAD THE FULL-SIZE
J~ PATTERN FOR THIS PROJECT ASSEMBLE THE JACKET
~ AT SEWDAILY.COM B Stitch the shoulder seams of the
Main fabric Back and Front pieces
together.
FABRIC
- Main: 23/s yd fleece [shown : Spa
El Open the Main jacket and lay it flat.
Stitch together the Hood and jacket ,
Cuddle, Latte)
matching center markings.
- Lining: 23/ayd fleece (shown:
Embossed Paisley Cuddle, Violet]
0 Sew together the Main jacket and
Main Sleeve, mat ching center Sleeve
OTHER SUPPLIES marking to Main jacket shoulder
seam.
- Templates. downloadable:
- Front (A] D To determine the el ast ic length,
double the button diameter. and add
- Sleeve (BJ 1/2" ; cut two strips. Fold the elastic
- Pocket [CJ in half and baste a loop to each Front
- Back [OJ top sect ion, just under the seam that
connects the Hood and Front pieces.
- Hood [El
1/4 yd elastic, 1/4"
- ATTACH THE POCKETS
- 2 buttons, 1" IJ With right sides together, match
the straight edge of a Pocket with
- Matching thread
the markings on one side of the Back
- Hand sewing needle piece; stitch. Repeat with other side
- Fabric- safe marker of Back and on each side of the two
- Optional: Walking foot Front pieces. Stitch. then trim the
seam allowances.
FINISHED SIZE 0 Turn the Pockets outward from
Main jacket pieces. Match up the Front
I- One size fits SL and Back side seams continuing to pin
a: together the outstretched pockets and
<C
:c Bust Center Back underarm seams. Stitch continuously
u s 34-35" 29 .. from the Sleeve end all the way to the
w M 36-371/2" 29" jacket lower edge on both sides.
JOIN THE JACKETS
D Pin toget her the Main and Li ning
jackets right sides togethe r, matching
notches and seams along the outer
raw edges.
IE Stitch together the outer jacket
edges (excluding the sleeve opening].
leaving a 5" gap along th e back lower
edge between notches. Turn the jacket
right side out.
mTo attach the Sleeve hem edge, fold
the Sleeve Lining under about 2" and
insert it into the corresponding sleeve
of the Main jacket . Tu rn unde r 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: Hand-
sew together if you prefer.
IE With the jacket wrong side out,
tack the center back necks together,
Main to Lining, to close the neckline
opening. Tack the underarm seams
of the sleeves, Ma in 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.
IEHand- stitch the lower edge
opening closed.
iD To determ ine the placement for
the shoulder buttons. t ry t he jacket on
and place a pin under the loop on t he
shoulder area. Sew the second button
to the Lining on ly at the location of the
opposite loop.
SOURCE
FABRIC Shannon Fab rics. Spa Cuddle
and Embossed Paisley Cuddle,
sha n nonfab rics.com
CHERYL BUSH is a designer, crafter, and
homeschooling mother ofthree. She creates
original projects and articles for magazines,
books, andfabric/craft companies, as well as
patterns for her shop thegreenhedghog.com
She shares her ideas, tips, and free tutorials at
her site sewcando.com

-en
~--~-

N L 39-401/2" 29" ll Repeat Steps 2- 7 to make the

Lining jacket.

122
---------
* stitch
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* stitch
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126
* stitch
RESOURCES
WHAT' S NEW + COOL FEATURES KHRISTAL JOUETT
PAGE 8 HANDY HELPERS kypsee@knology.net
ROBERT KAUFMAN GARMENT FABRIC Page 14
robertkaufman.com LINDA TURNER GRIEPENTROG LAURA KEITH
sewnwrite@aol.com laurakeithdesigns.com
HAND-OYEO CHEESECl.OTH
GRADATIONS AVOIDING DENIM BLUES KEVIN KOSBAB
fiberonawh im.com Page 18 feeddog.net
LINDA TURNER GRIEPENTROG
THE MAGIC PATTERN BOOK LINDA LEE
amybarlckman.com -
sewnwrite<cllaol.com
sewlngworkshop.com
LUXURIOUS LINGERIE
PRESENT PERFECT Page 20 TINA LEWIS
sewdaily.com LINDA TURNER GRIEPENTROG t inalewisdesigns@gmail.com
sewnwrite <;!JaOl.com
THE SEWING PARTY TARA MILLER
thesewingparty.com OUTTAKES editcreativedesigns.blogspot.com
Page128
SMARTER BY PFAFF ELAINE SCHMIDT
pfaffusa.com PROJECT DESIGNERS elaineschmidtcom
ROSE BECK
MARCIA VAN OORT
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On each shoot, the

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