INCLUDES 30+ patterns BONUS PATTERN INSERT

creating
with fabric
+ thread

32
happy spring
+

PROJECTS!

8
FRESH
PATTERNS
to feather
your nest
PAGE 46

abouverve
the c
TABLER
RUaN NEble!
v ila
kita
SEE PAGE 63

meet designer
CAROLINE HULSE
make her darling kimono jacket! (and get the
VIDEO HOW-TO at shop.sewdaily.com) PAGE 18
 make
SPRING
WITH SPRING JUST AROUND THE CORNER (I promise!),
I start thinking ahead to warmer days and what I want to be
making to refresh my home and wardrobe. This issue has
plenty of projects to get you inspired to rev up your own
machine. With sections like Return to Retro, Wardrobe
Warmup, Feathering Our Nests, and Daily Rituals, there's
no shortage of modern sewing patterns with springtime
flair. Plus, you'll find a helpful technique spotlight on
pattern markings and a fun feature on rising star designer
Caroline Hulse.
To make the leap from “I want it!” to “I made it!” even
easier, we have put all of our smaller project and accessory
patterns on the insert in this magazine. The bigger garment
patterns are available as downloadable PDFs on our online
community, sewdaily.com.
I also want to encourage you to look for the kits and the
video that tie into this issue on shop.sewdaily.com. These
projects will be indicated with a kit or video label. Get your
supplies and hands-on instruction in one click.
I hope these projects inspire you to start making and
dreaming of warmer days to come.
Happy stitching (and happy spring)!
amber eden P.S. You can find my retro poppy circle skirt project on page 42. You
Editor, Stitch/SewDaily.com can whip it up in a couple of hours!

coming soon! in the mail! check it out!

Watch for our supersized Check out the Stitch For full-size pattern downloads
SUMMER issue of Stitch, subscription program at for select projects in this issue,
packed with fabulous online extras, the Stitch blog,
projects and much more! shop.sewdaily.com.
and to sign up for the Sew
Get every issue sent
on sale Daily free e-newsletter, go to
straight to your
April 2015 mailbox! sewdaily.com

2
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 Serging is a

Breeze
with the New Juki MO-1000!

Air-Powered Push Newly Designed

Button Threading Knife System

Automatic Needle Easy Threading Ports

Threader

Breeze through projects with the ease of air-powered threading with the most dependable, yet affordable,
air thread serger on the market.
X Newly designed knife system for perfect curves!
X 2/3/4 Thread options for a wide range of stitch variations!
X Use decorative threads with the effortless power of air!

Visit www.jukihome.com to locate your local Authorized Juki Dealer for additional information and a
demonstration on the MO-1000!

Juki – Join the Fun!

 page 51

18 color
block
dress
page 43
FEATURES
14
contents
chicken scratch fever
KATHY AUGUSTINE
page 39
18
that's sew caroline
VERONICA GRAHAM

22 DEPARTMENTS
make your mark 2 editor’s note 26 book excerpt:
LINDA TURNER GRIEPENTROG
the paper-pieced home
8 what’s new+cool PENNY LAYMAN
30
a quilter's celebration 10 sew boutique 69 sewing basics
HELEN GREGORY
it's all about "sewing hope"
VERONICA GRAHAM 123 resources

14 12 wish list

get
the kit
Look for this project
shop.sewdaily.c on
kit colorful clamshell quilt
om
page 46

bright spot
child's
apron
page 65

4 ON THE COVER: ABOVE THE CURVE TABLE RUNNER , page 63

stitch
WARDROBE WARMUP
Vanquish winter's chilly temps with these hot closet staples.

38 peasant tunic dress 41 adorable baby girl dress

KATARINA ROCCELLA EVY HAWKINS
39 fold-over pouch purse
RASHIDA COLEMAN-HALE 42 red poppy circle skirt
AMBER EDEN
39 sweet and easy
spring handbag 43 color block dress
KHRISTAL JOUETT
LAURA KEITH

40 girl’s sweet quilted 44 funky pocket tee

TARA MILLER
jacket & reversible adorable baby
skirt 45 open pocket slim skirt girl dress
EVY HAWKINS TARA MILLER

projects
page 41

FEATHERING OUR NESTS

Breathe new life into your home with 8 fresh projects.

46 colorful clamshell quilt 50 double gauze

LATIFAH SAAFIR
baby blanket
AND RASHIDA COLEMAN-HALE RASHIDA COLEMAN-HALE
47 feather your nest 51 finch pillow
wall hanging KRISJE DEAL
ANNE DEISTER
52 springtime roman
48 blossom placemat shade
and napkin set KAREN SCHAPHORST
CHARISE RANDELL
53 pyramid pillows
49 walled garden pillow RASHIDA COLEMAN-HALE
CASEY YORK

scrappy pillow cover get

page 62 the kit
RETURN TO RETRO
Look for
this project kit
shop.sewdaily.c on
om
Past style is present perfect with these 7 inventive projects.
DAILY RITUALS
54 halter top meets Make these 5 festive projects to spice up
high-waisted shorts your routine.
EMILY LI MANDRI vintage patched
coasters 62 scrappy pillow cover
55 leather squared handbag MELISSA PEDA
LISA POLDERMAN page 59
56 atomic placemats 63 above the curve table runner
AMY STRUCKMEYER
KEVIN KOSBAB

57 miss miracle bag 64 chicken scratch apron

KATHY AUGUSTINE
ANNA LANKESHOFER

58 ‘40s kimono jacket 65 bright spot child's apron

NIKI MEINERS
CAROLINE HULSE

59 vintage patched coasters 66 sassy laundry bag

SAMINA MIRZA
BARB BROWN
60 cutout clutch
LISA POLDERMAN

5
sewdaily.com
 Shop Stitch
Digital Back CREATIVE EDITOR, SEWING GROUP/EDITOR Amber Eden

Issues!
TECHNICAL ASSISTANT EDITOREliane Pinto
FREELANCE EDITOR Veronica Graham
FREELANCE TECHNICAL EDITORS Linda Turner Griepentrog, Bernie Kulisek
EDITORIAL INTERN Barbara Brown
CONTRIBUTING EDITORS Susan Beal, Gretchen Hirsch,
Kevin Kosbab, Linda Lee, Linzee Kull McCray
_______________

Larissa Davis
ART DIRECTOR
PRODUCTION COORDINATOR Kate Binder
DESIGNER Megan Sabourin
PHOTOGRAPHY Jack Deutsch unless otherwise credited
PHOTO STYLIST Natasha Senko
HAIR & MAKEUP Greg Clark
ILLUSTRATION Ann Swanson
_______________

ADVERTISING MANAGER Barbara Staszak

bstaszak@interweave.com, 978-203-5460
ADVERTISING MANAGER Mary-Evelyn Dalton
maryeveholder@comcast.net, 615-297-3639
AD TRAFFICKER Cari Ullom
ONLINE MARKETING Whitney Dorband

Interweave Stitch (ISSN: 2160-6838 [print] and 2164-9375 [online]) is published four times per year by
Interweave, a division of F+W Media, Inc., 4868 Innovation Dr., Ft. Follins, CO, 80525-5576. (970) 669-7672.
All contents of this issue of Interweave Stitch are copyrighted by F+W Media, Inc. 2014. All rights reserved.
Projects and information are for inspiration and personal use only. Reproduction in whole or in part is
prohibited, except by permission of the publisher. Interweave Stitch does not recommend, approve, or
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30
quilts
for 30 years

Celebrating 30 Years
of Kona Cotton Solids
and 303 Colors

To see all 30 Quilts

visit us online!
 sewing room

what’s new + cool

Editors' picks for
products, tools,
books + notions

This WONDER CLIPS WRIST CUSHION keeps

your Wonder Clips supply handy and ready for use
at a moment’s notice. The slap bracelet stays in
place on your wrist while calling back to that most
essential of 1980s toys.
clover-usa.com, $13.95 (comes with three Wonder Clips)

Fans of Tula Pink can now

enjoy her unique point of view
on this special edition of the
BERNINA B 350 SE, which
features a Tula-designed
faceplate. Be inspired by Tula’s
bright and whimsical spirit
every time you sew.
bernina.com, $1,899

8
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 sewing room

Anna Maria Horner’s new

CROSS STITCH KITS
are small in scale but big
on impact. The six-color
designs are simple enough
for beginners and come with
suggested thread colors and
a color and symbol chart for
reference.
annamariahorner.com, $16 per kit
Classic sportswear pieces
like wide-legged trousers
and capris get a modern
update in GERTIE SEWS
VINTAGE CASUAL by
Gretchen Hirsch. Learn
how to make 30 of Gertie’s
vintage-inspired pieces
(pattern pack included)
to stock your closet with
Make sure all of your stitching needs are met with these new PAPER timeless staples.
PIECING, HAND QUILTING, AND QUILTING & PIECING THREADS interweavestore.com/sewing, $35
by Coats. The piecing threads are strong without adding bulk, and the
hand quilting thread goes for bold in a bright statement color.
makeitcoats.com, $2.79 per spool

The desert landscape gets

a contemporary spin in
SUCCULENTS by Heather
Givans, which mixes images of
cacti and desert skies with text for
how to care for succulent plants.
windhamfabrics.net (available in March)

Learn how to use paper

piecing in your home
dec projects with THE
PAPER-PIECED HOME
by Penny Layman. The
book includes 40 paper-
pieced blocks and 10
projects such as aprons
and pillows.
interweavestore.com/sewing,
$26.99

9
sewdaily.com
 sewboutique
From inspiring people to hot
trends, check out the news from
around the sewing world.

It’s all about

All photos courtesy of Frank Publicity unless noted
“Sewing Hope”
Sister Rosemary
Nyirumbe gives
Ugandan girls new
leases on life with
needle and thread
Text VERONICA GRAHAM

NEVER UNDERESTIMATE THE HEALING

POWER OF A NEEDLE AND THREAD. Sister Rosemary Nyirumbe spends time with children in Gulu, Uganda, where she is
At Saint Monica’s Girls School in Gulu, director of Saint Monica’s Girls Schools.
Uganda, director Sister Rosemary Nyirumbe
stitches up emotional wounds that run Sister Rosemary teaches her students She became a nurse and midwife
much deeper than any physical cuts. how to sew basic garments and accessories shortly after becoming a nun, sewing up
Sister Rosemary oversees sewing and that they can sell to earn a living. More surgery patients instead of garments. In
tailoring instruction at Saint Monica’s. Her importantly, Sister Rosemary uses sewing 2002, her convent assigned her to direct
students are women and girls who were to show her girls they can put their time Saint Monica’s two campuses in Atiak and
forced to serve in Joseph Kony’s Lord’s in the LRA behind them and be confident, Gulu, Uganda (Sister Rosemary is based out
Resistance Army (LRA). When Kony’s war capable members of society. of the Gulu campus). When girls who were
against the Ugandan government failed in Her efforts inspired the documentary former soldiers of the LRA started entering
2006, his female soldiers returned home Sewing Hope, narrated by Academy Saint Monica’s, Sister Rosemary realized
scarred and haunted by the atrocities of Award-winning actor Forest Whitaker and that teaching sewing would benefit them
war, shunned by their towns, and with no released last October. long after they graduated.
way to take care of themselves and their She also earned a spot on Time “These girls are not running to me to
children, fathered by Kony’s soldiers. magazine’s “The 100 Most Influential ask for money. They run to ask for work.
Now, Sister Rosemary is training those People in the World” of 2014 list. It’s an These girls make things the world can
girls to create rather than destruct, to love honor that’s still sinking in, she says. buy, and the world will see how much
and nurture their children, and to hold “Most influential? In the world? contribution we are making in producing
their heads up high. What does it mean?” she says with an good things,” Sister Rosemary says.
“Using the needles and the sewing incredulous laugh. “But, I realize being Sister Rosemary takes what she calls
machine is a way of fighting back, even most influential means doing what you’re a practical approach to her instruction,
[against] the violence within a person, supposed to be doing on a daily basis.” showing them how to use their own bodies
the hatred, the loss of dignity, the loss Sister Rosemary joined the Catholic to make patterns and take measurements.
of self-esteem, because when a person is order of the Sacred Heart of Jesus in her She still holds their garments to high
concentrating on doing something totally native Paidha, Uganda, at age 15 and standards, though.
good, they are getting very happy seeing became a nun when she was 16. She taught “I want good, quality finishing,” she
they can produce something useful,” herself how to sew, starting out by sewing says. “I tell them, ‘If you make rubbish,
Sister Rosemary says. “A needle can put straight stitches on bed sheets, then people will not even buy them.’ I teach
pieces together, and my girls have been learning how to cut and sew patterns by them to have self-esteem and feel that, ‘My
broken to pieces. We're stitching them making bras. She sewed her very first habit work is good. There’s no flaw in it, and I
back together.” and still makes most of her own clothes. can take pride in it.’”

10
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Photo courtesy of Sisters United
ABOVE: The Rosemary purse is made
from soda can tabs. One purse sale covers
a semester's tuition at Saint Monica's.
MIDDLE: Sister Rosemary celebrates at the
Time 100 Gala in New York City.
RIGHT: Oscar winner Forest Whitaker
visits Sister Rosemary in Gulu.
At the same time Sister Rosemary
took over at St. Monica’s, Reggie Whitten,
an attorney from Oklahoma City, made
his first trip to Uganda. Witnessing the
effects of the LRA in Uganda gave Reggie
Whitten new purpose and a way to cope
with the recent loss of his son Brandon,
who died at age 25, six months before the
trip to Uganda.
“I saw some things happening over
there, and what was happening to these
little girls, and it just changed my life,”
Reggie Whitten says. “It helped make
me feel a little bit less sorry for myself,
because any time you have a bad day, you
just have to think about what these girls
go through.”
Reggie Whitten and his wife Rachelle
formed Pros For Africa, a charity that sends
doctors, lawyers, teachers, seamstresses,
and even yoga instructors to Uganda to
pass on their trades. Rachelle Whitten
and Sister Rosemary also created the for-
profit company Sisters United as a way to
raise the money needed to cover the girls’
tuition at Saint Monica’s. Students started
out making purses out of soda can tabs for
Sisters United to sell. One purse sale covers
one girl’s tuition for one semester. Now
students make clothing and jewelry, as
well as purses, out of the soda can tabs.
“With the pop tabs I say we are
moving from trash to treasure by using
needles and hands and the talents God has
given us to make them beautiful,” Sister
Rosemary says. “My young women were
once considered like trash. Now they are a
treasure to the world.”
The Whittens commissioned the
documentary about Sister Rosemary, and
Reggie Whitten co-authored a book also
titled Sewing Hope, wanting to share her
spirit with as many people as possible.
“She’s able to take something
devastating and turn it into something
positive,” Rachelle Whitten says. “Her
laughter and her smile are just infectious.”
Currently, a third Saint Monica’s
campus is in the works in Sudan. The Gulu
campus also opened a café for girls who
want to learn catering and culinary skills.
Maintaining the schools’ water supply and
getting the students medical attention are
also constant projects, and Sister Rosemary
hopes to shift the schools onto solar power.
“It has been quite overwhelming, but
I do it with joy,” Sister Rosemary says.
“People have been lifting me on their
shoulders, so I feel like I need to be a good
steward. You have been entrusted with
talent and you need to apply it to the
service of other people.”
Sewing Hope is available for free viewing
at snagfilms.com and is also available on
Netflix. Purses and other fashions created by
students at Saint Monica’s are available for
sale at sistersunited.com.
For more information,
visit SEWINGHOPE.COM.
11
sewdaily.com
 wishlist

2 | From the designer’s De

Glace collection, this unique
necklace is made from handcut
and handsoaked feathers. The
delicate feathers are paired
with strong geometric shapes
of black and gold plates and
finished with a snake chain
tassel. Feather Necklace,
etsy.com/shop/noemiah, $85

1 | This engagement ring is

unlike any other. A rough-cut
diamond is set in 22k gold on
a sterling silver ring for a look
that’s raw and organic and also
delicate and special.
Diamond and gold engagement ring,
etsy.com/shop/GefenJewelry, $650

VIOLET
dreams
LET LUXURIOUS SHADES
OF PURPLE REIGN
YOUR WORLD

3 | High tech meets

handmade with this
unique tablet case,
made for a 10-inch
tablet, notebook or
e-reader. Made from
coffee-dyed cotton and
finished with a coconut
4 | Small enough for sipping espresso (or
button, you’ll feel
a more adult beverage if you choose), this
inspired to take your
cute mug’s abstract design takes its cues
tablet outdoors.
from the origins of the universe. Bonus: it’s
Tablet case, etsy.com/shop/
microwave and dishwasher safe!
GalaBorn, $44.80
Purple and Orange Universe Bourbon Cup/Espresso
Cup, etsy.com/shop/ElaineBussStudios, $24

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 this is your
Best of Stitch: FABRIC
Beautiful Bedrooms
at play!

You’ll find plenty of reasons to sit

down and sew these boutique-
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accessories. Find step-by-step
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By Susan Dunlop | $26.99
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Connect with us!

13
sewdaily.com
 technique spotlight

chicken scratch fever

AN APRON FROM YESTERDAY
Text KATHY AUGUSTINE

14
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BEING TIED TO THE KITCHEN DID NOT
MEAN SACRIFICING BEAUTY. Aprons, a
wardrobe staple of yesteryear, were both
functional and delightful. With a dash of
creativity and a sprinkling of stitching,
ordinary, serviceable cloth is magically
transformed into a miniature work of art.
Years ago, women lived in their aprons
from sunup to sundown. From meal
preparation in the kitchen to household
chores to dainty cover-ups when
entertaining guests, there was an apron
to fit every occasion and holiday. Aprons
protected clothes but also served as a
fashionable accessory. Because they were
inexpensive to make, women could afford
to have many different styles of aprons
tucked neatly in a drawer or hung on a
hook in their kitchen.
Gingham aprons became popular
during the 1920s and 1930s. The fabric,
gingham, is typically a 100 percent cotton
plain weave cloth, with the warp and weft
threads dyed prior to weaving. This process
produces a material with no discernible
Learn how to make this Chicken Scratch Apron on page 118.
wrong side, making it an economical
choice for sewing. tend to be vibrant and provide a good Using the predetermined grid of the
The name “gingham,” thought to have contrast with the white threads of the gingham fabric, designs, often geometrical
derived from the Malay word “genggang,” weave. The most common colorways are in nature, splashed across the apron skirt,
meaning “striped,” was produced during blue and white (as seen in Dorothy’s dress waistband, and pocket. This technique
the 17th century in the Dutch colonies in in The Wizard of Oz) and red and white of cross-stitching on gingham is often
Malaysia and Indonesia. Gingham was a (think western shirts and tablecloths). called “chicken scratch,” named after the
striped fabric during that time. It didn’t Yellow, green, aqua, pink, brown, and black tracks of chickens in the dust (not poor
become the checked fabric we think of are other common colors. Check sizes vary penmanship). It has also been known by
today until the mid 18th century when from tiny 1⁄16" checks to large 1" checks. many other names, including Depression
the textile mills of Manchester, England, Most are 1⁄8" and 1⁄4" checked fabrics. lace, Hoover lace, Amish embroidery,
manufactured it. Wearing a plain gingham apron wasn’t snowflaking, and gingham lace.
Many countries, including Germany, always a woman’s preference. Being With the knowledge of just a few basic
Italy, France (where it is known as “Vichy” resourceful, she found an easy method embroidery stitches (running, cross-stitch,
for the region in France where it was of embellishment. With a selection of and double cross-stitch), it was easy to
produced), England, and the United States carefully placed stitches and tricky thread create a stunning pattern on a garment.
all claim gingham as part of their national color choices, a simple gingham apron More experienced seamstresses employed
heritage. Since the cloth was relatively became a showcase of her stitching skills. more complex stitches and needle weaving
easy to create and inexpensive, it was Embroidery on gingham aprons was techniques.
widely used for school uniforms, bedding, fashionable during the Depression and Additionally, chicken scratch aprons
tablecloths, curtains, and clothing. WWII and even continued into the 1950s could also incorporate the use of rickrack
The colored threads in gingham fabric and 1960s. trim, either as an integral part of the

15
sewdaily.com
 technique spotlight

STRAIGHT STITCH/
RUNNING STITCH
Working from right to left, make a straight
stitch by bringing the needle up and
insert at 1, ⅛–¼" from the starting point.
To make a line of running stitches (a row
of straight stitches worked one after the
other), bring the needle up at 2 and repeat.

1 Detail from a vintage apron from the author’s collection that highlights the needle
2
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 4. Repeat for the desired
number of stitches.
2 2
4
1 ingenuity and minimal supplies. The grid
3 3
1 pattern of the gingham checks provided
DOUBLE
CROSS-STITCH
After completing the cross-stitch, working
from top to bottom, bring the needle up
at 1 and insert at 2, then bring the needle
back up at 3. Finish by inserting the
needle at 4.
weaving technique.
design or as a decorative edge along the
hem. Rickrack, a flat, zigzagged, braided
trim, became popular in the 1880s for
accenting garments or even providing
a durable framework for the creation of
Battenberg-style lace. Often white rickrack,
presumably because of availability, was
used on chicken scratch aprons, but plenty
of examples exist (gingham aprons of the
’40s and ’50s) of aprons designed with
colored rickrack.
Even though aprons were uniforms of
domesticity, women found ways to create
personal fashion statements with a lot of
an easy canvas for creativity. One yard of
fabric, plus a few yards of rickrack trim and
embroidery floss, along with an evening
of pleasant stitching, produced a new but
very necessary accessory.
Although the days when women were
expected to stay at home and mind the
kitchen have gone, nostalgia for some
aspects of that period of history remains.
Aprons with retro styling are becoming
quite fashionable for the 21st-century
homemaker once she arrives home from
her corporate office. In addition to our
wistful nod to the aprons of yesterday, we
can recognize and appreciate all of the
hard work women did to get us to where
we are today.
KATHY AUGUSTINE lives in Palmerton,
Pennsylvania, and frequently dons her apron
while baking treats for family and friends.
Her vintage apron collection is a tie to the
past that honors the women of yesterday, like
her grandmother, whom she remembers as
always wearing an apron while reading the
daily newspaper to protect her clothes from
ink smudges. Besides cooking and sewing for
her husband and daughters, Kathy also knits,
weaves, spins, and dyes.

16
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With up-to-date
information on more
than 1,000 craft market
resources, proven
social media marketing
strategies, and inspiring
interviews from some
of the biggest brands in
craft today, the first-ever 
2015 Crafter’s Market 
offers a whole world of
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your craft!

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business and
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Crafter’s Market 2015: How to Sell Your Crafts and Make a Living
Edited by Kelly Biscopink
Fons & Porter Trade Paperback Original/F+W; $34.99
ISBN: 9781440239786
Page Count: 496
AVAILABLE NOW
Wherever Books
Are Sold
 profile

Photos courtesy of Caroline Hulse. Taken by Sarah Delanie Photography.

sew
THAT’S

18
caroline
Designer Caroline Hulse is gleefully enjoying the ride to success
Text VERONICA GRAHAM

stitch
 profile

‘‘ I want to create things people will want to wear

to run errands or to go to church or to play with their kids...
— Caroline Hulse’’
THERE ARE TWO HARD-AND-FAST
RULES IN CAROLINE HULSE’S LIFE:
There’s always more than one way to do
something, and be yourself above all else.
Caroline, 26, is doing just that. Once on
track for a career in the corporate world,
Caroline shifted course when she learned
to sew while finishing her business
degree. Now, what started out as a hobby
has led to designing collections for Art
Gallery Fabrics, filming sewing tutorials,
and selling out patterns for her classic,
feminine designs.
“It’s been about a year and a half to two
years going from nothing to something,”
Caroline says. “It’s not a long time, but it’s
been a really fun journey.”
Caroline seemed destined for a
corporate career when she earned her
bachelor’s degree in finance from Texas
A&M University in 2010, but after
graduation, she decided to become a
math teacher instead. With few teaching
Caroline models her Picnic Skirt design in the Preppy Fleurs print from Gleeful, her
jobs available, though, sewing took over mini-collection for Art Gallery Fabrics.
Caroline’s world. She worked in a fabric
store while getting her teaching certificate, exactly what I wanted to sew, and I was
teaching sewing classes for kids and adults anti patterns at this point. Patterns scared
and learning the ropes of the industry. me for some reason,” she says with a laugh.
She also started her blog, Sew Caroline The more Caroline shared her creations
(sewcaroline.com), as a way to share with Sew Caroline, the more readers
her burgeoning talents. “I had this wanted Caroline to make them copies of
accountability to continue creating, this her designs. “People really resonated with
responsibility to continue sewing,” she my style and wanted a copy, but a lot of
says. “I had a reason to sew things, and it times I’d have to say, ‘Oh, I just made this
was easier for me to take creative risks if up.’ I had a light bulb go off in my head
I had somewhere and something to put and said, ‘Not everyone can sew like me.
it on.” Let’s capitalize on this,’” she says.
Caroline leaned on YouTube videos In 2013, despite her initial fear of
and blogs to teach herself how to sew. The patterns, Caroline decided to learn how
biggest challenges weren’t finding the to make them herself to sell online. “I did
instructions for how to do something, but take classes for that, and a lot of it was
finding something she wanted to make. trial and error and figuring out how to
“In the beginning it was fine, just trying do everything I needed to do. It was a fun
to learn how to install a zipper or a curved process, and with my math background, it Caroline wears her Waterfall Tank in the
seam, but beyond that, it was hard to find really did help that I was able to use that.” Untangled Ribbons print from Gleeful.

19
sewdaily.com
 profile
Caroline wears the ’40s Kimono Jacket in her home studio in Fort Worth, Texas, that you can make on page 111. Get the
instructional video from interweavestore.com/sewing.
Caroline released her first pattern in
February of last year, the Out and About
Dress, online on Sew Caroline. She’s
released four more patterns since then, but
the Out and About Dress continues to be
her favorite and the most popular pattern
amongst Sew Caroline shoppers for the
knit dress’s ease and versatility; there
are also patterns available for modifying
the dress, such as making it sleeveless, or
turning it into a top.
“I love Instagram, so I have a hashtag
that people can put on their patterns so
I can see them. That’s really fun to see,”
she says.
Caroline calls her style classic,
feminine, handmade, and always practical
for the modern girl. Her focus is on ready-
to-wear garments that make women feel
20
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both confident and comfortable when
worn. She tries to steer clear of anything
too trendy and hopes sewists find ways to
make her patterns their own.
“I want to create things people will
want to wear to run errands or to go
to church or to play with their kids at
the park,” she says. “Wearable things,
because that’s what I buy. As far as the
aesthetic of things, I just really like
happy, bright colors, and that shows in
my work. It’s pretty obvious that’s a huge
thing for me.”
That love for bright color is apparent
in Caroline’s inaugural collection for Art
Gallery Fabrics, appropriately named
“Gleeful,” released last year. Gleeful
is a mini-collection that’s part of Art
Gallery’s AGF Limited Edition line, which
showcases mini-collections from five
designers.
Art Gallery designer Pat Bravo tapped
Caroline to design a collection for AGF
Limited after meeting her at International
Quilt Market in Houston, Caroline says.
Bravo guided Caroline through the process
from start to finish, teaching Caroline
how to work with scale and placement
and create the patterns digitally. The end
result is a collection of polka dot, stripe,
and blossom prints that tell the story of
a carefree, whimsical girl chasing her
dreams.
“To see your prints go from digital to
fabric to yardage in stores, it’s the most
surreal feeling and makes me really proud
of what I did and was able to accomplish,”
Caroline says. “It’s definitely an experience

Caroline’s The Picnic Skirt is made with the Charms Abloom print from Gleeful, and
her top is her Waterfall Tank design.
I will never forget, and it’s really neat that
someone just thought enough of me to
give me the opportunity to do that.”
Caroline’s first video tutorials are also
coming out this year, including one for her
’40s Kimono Jacket (see page 58). Filming a
tutorial proved to be easier than teaching a
classroom full of students.
“I was able to say exactly what I
wanted to say and nobody told me, ‘Oh,
that’s not how you do it,’” she jokes.
This year, Caroline is set to release her
first full collection for Art Gallery Fabrics.
At press time, the line was still in early
stages, but Caroline says the concept will
be much more personal than Gleeful, and
have a mix of both hand drawn and digital
designs (Gleeful is entirely digital).
“The theme is sort of home sweet
home,” she says. “My family and friends
are extremely important to me, so I
really wanted to create a line that exudes
that.”
Caroline’s home is currently in Fort
Worth, Texas, with her husband David.
She likes to spend her time finding
inspiration both online and in nature.
She also makes it a point to learn at least
profile
The Out and About Dress (shown in the
Springs Sun print from Gleeful) is still
Caroline’s most popular pattern.
one new thing a day to help feed her
inspiration.
“I like to come up with a concept or
theme and start sketching ideas, or writing
down adjectives or a story. I think it’s
best if a collection tells a story,” she says.
“When I find a concept, I’ll just have an
epiphany, but some times it’ll be a long
time coming.”
Caroline describes that moment in time
when she decided to learn to sew as being
a complete epiphany, but the more she
thinks about it, the decision was actually
one long in the making. “Going shopping,
I’ve always seen things and thought kind
of analytically about them. I look at things
and can see how it’s made and think, ‘That
doesn’t look that difficult. I think I can do
that,’ even at time when I had no skills
at all,” she says. “I don’t know where the
desire came from, but when I landed on
sewing, I just knew I could do it.”
VERONICA GRAHAM is a freelance writer
and editor from Boston, Mass.
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 technique spotlight
Dritz Chalk
Wheel Kit
mark
MAKE YOUR
With so many different methods for
making pattern markings, which is
best for your project?
Text LINDA TURNER GRIEPENTROG
AN IMPORTANT PART OF SUCCESSFUL
SEWING is transferring the pattern
markings to your project accurately.
Construction indicators like darts, dots,
clips, and corners are crucial for fitting
something together, and designers intend
for them to be carefully regarded.
The markings need to be visible on the
chosen fabric and last for the duration of
the construction process where they’re
needed. Some markings can be permanent
if they’re on the inside; others need to be
only temporary until they’re no longer
needed. For the latter, it’s imperative to
have an easy removal method that doesn’t
damage the fabric.
There are a myriad of marking methods
available, but which one is right for your
particular project? Testing will tell the tale.
Before you choose, test the tool or method
on a fabric scrap for ease of use, visibility,
durability, and removability. In most
instances, you’ll have multiple choices
that work equally well.
22
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Pilot FriXion
pens
TAILOR'S TACKS
If you’re making a tailored garment, one
way to mark it is with tailor’s tacks— GOING,
thread loops that stay in place until they’re
no longer needed. This traditional method
GOING, GONE
is particularly good to use on wools, where It looks like a felt-tip marker, but it's
the fibers actually help hold the threads really not. The Pilot FriXion erasable gel
in place, but is also ideal for delicate pen is available in several ink colors and
and sheer fabrics where other marking has a fine ball tip, ideal for sewists. The
methods may leave telltale signs. ink simply goes away when the marks
To make a tailor’s tack, use a double are ironed.
strand of thread through a hand needle. Fun for kids—the ink will reappear if
Take a small stitch through the paper it's subjected to very cold temperatures,
pattern and both layers of fabric at the so put your project in the freezer and
designated marking, leaving a 1" thread play "now you see it, now you don't."
tail. Then take another stitch through the
same area, leaving a 2" loop. Gently lift the
pattern off the cut fabric (slitting the paper
with the needle point works well to avoid
pulling out threads). Separate the fabric
layers and clip the threads between.
Different thread colors can be used to
indicate different types of markings, such
as red for pocket placement, white for
darts, etc., making them a handy reference.
 Dritz Serrated Tracing
Wheel and Double-Faced
Wax-Free Tracing Paper

DRESSMAKER'S TRACING Readily available in pencil form (requiring

PAPER AND TRACING WHEEL
Originally creating permanent marks,
today’s ink washes out leaving ne’er a trace
of the lines it helped create. It’s best to use
the lightest color that will show on your
project fabric and choose a brand that’s
wax-free to avoid staining. On multi-color
fabrics, select the color that shows the best.
To mark using this method, slide the
tracing paper under the fabric so the
colored surface faces the fabric wrong side.
On projects cut double, fold the tracing
paper so the colored surface contacts the
wrong side of both layers. Use a wheel
(straight or serrated) to trace the needed
markings, moving the paper as needed for
longer marks. For dots and corners, simply
make an X.
CHALK
Perhaps the most common and most
convenient marking method, chalk is
available in several colors and forms.
a sharpener), wedges, and squares, there
are two types of chalk—waxed for use on
woolens and non-waxed for other fabrics.
Several colors are also available, depending
on your project color.
Powdered chalk is also available in a
wheeled applicator and additional chalk
refills can be purchased separately.
Chalk variations include iron-off,
brush-off, and glowing chalk. The latter
shows only under a black light. Using
chalk allows for an easily removable fine
marking line, but, if your project lingers
on or is handled a lot, the markings may
disappear before they’re used.
SOAP
If you’re into recycling, think about
those small slivers of soap, too tiny for
comfortable showering. Instead, move
them to your sewing room. They work
best on darker fabrics, and (obviously) the
marks will wash out. Use a small knife
if you need to hone a sharp edge. Some
soaps contain dyes, so be sure to test them
before using them on the right side of your
project.
FELT-TIP MARKER
Not designed for use on fabric except in
unusual circumstances, felt markers are
permanent. They are, however, great for
use on fusible web when tracing a design
or tracing an actual pattern onto paper.
They can be used to write on project labels
or for touch-ups to embroidery stitches
where bobbin thread may have pulled up,
making it visible. Felt-tip markers come
with fine, ultra-fine, and medium points,
depending on the use.

Make tailor's tacks—thread loops—to mark tailored garments.

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 technique spotlight
PENS
Pens are a convenient marking tool, and
they can be filled with water–, air–, or
heat–removable ink. Be sure the removal
method is compatible with your project
fabric—part of the testing process. Read
the instructions with your marking pen,
as some inks are set by heat (pressing
over them) and become permanent—not
a good idea if you’ve marked something
on the right side. Some markings may
also disappear with humid conditions—
frustrating if the project isn’t done.
Water-soluble inks require spritzing or
immersing fabrics for removal, depending
on the brand. If your fabric can’t tolerate
water, consider air-soluble pens instead.
If it can take the heat, try one where
markings dissipate when touched by an
iron, such as the FriXion markers.
To help with the removal of water-
soluble inks, look for special pens that can
be filled with water and simply run along
the markings for removal.
WATER PEN
Not only does it help remove water-
soluble inks and leads, but this specialty
pen can be used for quick markings as
well. A thin line of water is placed on the
fabric for marking, and of course it simply
dries—after your pocket’s in place or the
buttonhole is made. Marks made with
the water pen need to be transferred just
before use.
PENCILS
A mechanical pencil with wash-out lead
is handy for marking flat-finish fabrics
24
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If your fabric can't tolerate water, consider
air-soluble pens instead.
Dritz "The Fine
Line" Water
Erasable
Marking Pen
and interfacings, assuming it doesn’t show
through to the right side. Look for pencils,
both mechanical and otherwise, with TAPE
colored leads, some of which are water- If you need a long straight line for
soluble or simply erasable; others offer topstitching a zipper, or you’re quilting
ceramic leads. On traditional pencils, keep layers of a project together, head to the
a sharpener handy for fine points. home improvement store for some painter’s
When transferring markings with tape. The adhesive doesn’t damage the
pencils, use a light touch so as not to fabric surface, and it pulls off in a snap.
distort the fabric grain while marking.
THREAD TRACING
SELF-ADHESIVE DOTS If you need to have lines or markings
Available at the office supply store, self- visible on the right side of a project,
sticking dots are great for marking design thread tracing can be used alone or in
details on the right side of a project. You combination with other previously
can even write on them with short notes or mentioned methods to make that happen.
reminders. With lots of colors, including Mark the line on the wrong side of the
neons and assortment packs, they come project, then thread trace the lines to the
in many sizes, depending on your needs. right side, by hand, using long basting
Unless they’re used on fuzzy fabrics, the stitches, or by machine basting. This
dots are reusable if you put them back on method is ideal for transferring fold lines,
their protective papers. pocket placement lines, etc.
Making something from fleece?
Dots are perfect to adhere to the surface
to designate a pocket corner or other
marking.
Clover Hera™
Marker
 Thread
tracing
allows you
to have
markings
visible on
the right
side of the
fabric by
stitching on
the wrong
side.

HERA™ MARKER
Sometimes you don’t need a highly visible
marking, but just an indication of one,
like at a fold line or crease of a tote, or the
center front of a shirt. This plastic tool has
a thin, flat edge to “score” the line for you. June
Tailor, Inc.,
It can be used with dressmaker carbon to Quilter's
trace a more visible line, or on its own just Stencil
to make an indicator line. Marking
Spray

SPRAY
If you need to mark a design for quilting
on your project and you want to use one
of the ready-made stencils to create the resources
pattern, think about using a spray to mark Clover Hera™ Marker, Chacopel Fine Marking Pencils,
the design. Sprays are available in white, clover-usa.com
gray, or blue, depending on your fabric Dritz Chalk Wheel Kit, Serrated Tracing Wheel, Double-Faced
color. It’s easy—just hold the stencil in Wax-Free Tracing Paper, The Fine Line Water Erasable Marking
Pen, dritz.com
place and psst! The marking washes out
June Tailor, Inc., Quilter's Stencil Marking Spray
after you’re done stitching the design.

LINDA TURNER GRIEPENTROG owns G

Wiz Creative Services in Bend, Oregon, where
she lives with her husband (a kitchen designer
and longarm quilter, no less) and three dogs. She
writes, edits, and designs for several companies
and leads fabric shopping tours to Hong Kong.
Contact her at gwizdesigns@aol.com.

Clover Chacopel Fine

Marking Pencils

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sewdaily.com
BOOK EXCERPT

The Paper-Pieced Home

Quilting a Household
One Block at a Time
by Penny Layman

AVAILABLE NOW
at shop.sewdaily.com

The Paper-Pieced Home

Quilting a Household
One Block at a Time
by Penny Layman
$26.99

DOWNLOAD PAGES 29, 90, 133

AND THE SEWING MACHINE
BLOCK PATTERN FOR THIS
PROJECT AT SEWDAILY.COM
 Sewing
Organizer
This colorful organizer is a cute and practical way
to keep those items you use most often in your
sewing area at your fingertips. If you have favorite
tools that are different than the ones marked on
this organizer, stitch those names on the pockets
instead to customize the organizer to fit your needs.

featured block Notes

Sewing Machine (page 90)
finished size
17½" × 27½" (44.5 × 70 cm)
t If your machine has a “triple straight stitch”
(with a sewing pattern of forward, backward,
and then forward again for each stitch), use
it where indicated in the pattern. If not, use a
heavy topstitching thread or embroider by hand
using 3 strands of floss.

t When embroidering the words onto the pockets

and plaque, use a sashiko stitch. This tradi-
tional Japanese version of a running stitch
features stitches that are longer than the spaces
in between, with the goal being a very uniform
appearance and consistent stitch length.

Create & Organize 101

27
sewdaily.com
 Fabric cut the fabric
r Fabrics for Sewing Machine block (page 90) From the linen, cut:
r ½ yd (45.5 cm) of natural linen fabric for background
and pockets t 2 side borders, 1½" × 15½"
(3.8 × 39.5 cm)
r 7/8 yd (80 cm) of multicolor print fabric for backing and
pocket lining t 1 top border, 2¼" × 17½"
r ½ yd (45.5 cm) of orange print fabric for binding, tabs, (5.5 × 44.5 cm)
and scissors strip t 1 lower front, 11" × 17½" (28 × 44.5 cm)
Other Supplies t 1 sectioned pocket, 10" × 5½"
r 20" × 30" (51 × 76 cm) piece of batting (25.5 × 14 cm)
r 6-strand embroidery floss (black used in the sample)
t 1 ruler pocket, 12" × 2½"
and needle (30.5 × 6.5 cm)
r Sewing Machine block pattern (on CD)
r Word embroidery patterns (page 133) t 1 scissors plaque, 2½" × 5"
(6.5 × 12.5 cm)

From the print fabric, cut:

t 1 backing rectangle, 20" × 30"

(51 × 76 cm)

t 1 sectioned pocket, 10" × 5½"

(25.5 × 14 cm)
t 1 ruler pocket, 12" × 2½"
(30.5 × 6.5 cm)

t 1 scissors plaque, 2½" × 5"

(6.5 × 12.5 cm)

From the orange print, cut:

t 5 strips, 2½" (6.5 cm) × width of fabric,

for binding, tabs, and scissors strip

directions
1 Piece the Sewing Machine block (page 90).
2 Sew a linen side border to each side of
the block.

3 Sew a top border to the upper edge of

the assembled unit.

4 Sew the lower front rectangle to the

bottom of the assembled unit.

5 Layer the backing, right side down;

batting; and organizer front, right side up.
Baste with pins.

6 Echo quilt ⅛" (3 mm) outside the sew-

ing machine by hand with embroidery floss.

102 The Paper-Pieced Home

28
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7 Trim the batting and backing to match the
front of the organizer. Bind the organizer with
the 2½" (6.5 cm) wide orange print strips, fol-
lowing the instructions on page 29. Reserve
the leftover strip length.
8 Triple stitch (see note on page 101) ⅛"
(3 mm) outside the sewing machine block.
9 With right sides together, sew the linen
and lining pocket and plaque pieces together,
leaving a 2" (5 cm) gap along one long edge of
each for turning.
q Trim the corners diagonally to reduce
bulk. Turn the pockets and plaque right side
out, folding the seam allowances to the wrong
side along the gaps, and press. Use a thin
bead of water-soluble glue to tack the opening
closed.
w Embroider the words on the pockets as
shown, using a sashiko stitch (see note on
page 101).
e Use the triple stitch to edgestitch the scis-
sors plaque onto the organizer, ⅞" (2.2 cm)
below the sewing machine block and 1¼"
(3.2 cm) from the left edge.
r Use the triple stitch to edgestitch the ruler
pocket onto the organizer, 1⅛" (2.9 cm) above
the bottom edge and 3" (7.5 cm) from the
right edge. Leave the short end on the right
open.
t Position the sectioned pocket on the org-
anizer, 2" (5 cm) below the sewing machine
block and 1⅛" (2.9 cm) from the right raw
edge. Be sure the glued opening is along the
bottom edge so it will be secured by the edge-
stitching. Use the triple stitch to edgestitch
the side and lower edges of the pocket.
y Triple stitch 2" (5 cm) from the left edge
of the sectioned pocket to divide the pocket,
creating the seam ripper section. Triple
stitch 2½" (6.5 cm) from the right edge of the
pocket to create the markers section.
u To create the scissors strip, cut a 5"
(12.5 cm) length from the leftover binding
strip. Fold it in half lengthwise, with wrong
sides together, and press. Open the fold and
press both long edges in to meet at the center
2¼" × 17½" (5.5 × 44.5 cm)
1½" × 15½" (3.8 × 39.5 cm)
1½" × 15½" (3.8 × 39.5 cm)
⅞" (2.2 cm)
11" × 17½" (28 × 44.5 cm) 2" (5 cm)
2½" (6.5 cm) 1¼" (3.2 cm)
1¾" (4.5 cm)
1⅛" (2.9 cm)
3¼" (8.5 cm)
1⅛" (2.9 cm) 3" (7.5 cm)
Assembly Diagram
crease. Press ¼" (6 mm) to the wrong side
on each short end. Refold along the original
crease and press once more. Edgestitch both
tip
long edges with the triple stitch.
If your favorite
ruler is wider than
i Position the scissors strip on the organiz- 1" (2.5 cm), adjust
er, 2½" (6.5 cm) below the scissor plaque and
1¼" (3.2 cm) from the left raw edge. Triple the ruler pocket to
stitch from top to bottom across the strip, fit your ruler.
⅛" (3 mm) from each end. Stitch again 1¾"
(4.5 cm) and 3¼" (8.5 cm) from the left edge
to divide the strip into three sections.
o To make the hanging tabs, cut two 10"
(25.5 cm) lengths from the leftover bind-
ing strip. Press each as directed in Step 16.
Edgestitch all four edges of each tab.
p Fold the hanging tabs in half. Position
each one along the top edge of the organizer,
1" (2.5 cm) from the side edges, with the fold
just below the binding. Stitch in the ditch of
the binding seam to attach the fold of each See the CD for the
hanging tab to the organizer. Tie the ends of full-size block pattern.
each tab into a knot.
Create & Organize 103
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 Photos by Danielle Anna DeFiore of DeFiore Photography

a quilter’s
CELEBRATION
BREAK FREE Text HELEN GREGORY

GO BOLD
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WHAT DO YOU GET WHEN
YOU COMBINE PASSIONATE
QUILTERS (who also happen to
be a book author, an innkeeper
and chef, and a quilt shop owner)
with a road trip to Quilt Market?
A celebratory quilt event like
none other. As Jacquie Gering,
coauthor with Katie Pedersen of
Quilting Modern, says, “It was a
quilt-themed dinner for 20 in the
backyard of an inn to celebrate
Quilting Modern, but in many ways
it was more than that.”
When Jacquie began planning a trip
to Colorado, she reached out to a quilt
friend/blogger in the Fort Collins quilting
community in hopes of planning a book
signing or related event. Quickly Angela
Gray, owner of a local quilt shop, and Tara
Rebman, chef and innkeeper (she also
hosts quilting retreats at her inn), were
looped in, and they started discussing
the options for a special event. But they
weren’t sold on the idea of hosting a
traditional trunk show at Angela’s shop.
They wanted to do something amazing to
generate buzz and interest.
Fast-forward to International Quilt
Market/Spring 2012 in Kansas City. Tara
and Angela, who really only knew each
other through the shop, took a road trip to
“ It was a true celebration
of the quilting community and
how quilting connects us...
— Jacquie Gering, coauthor of Quilting Modern
Market. When they met Jacquie in person
at her book signing, the three hit it off
immediately. Shortly thereafter, Tara had
a light bulb moment. “My first thought
was, ‘I’m a chef!’” She immediately located
Angela on the show floor at Market to
inform her, “We’re bringing Jacquie in, and
we’re going to have a dinner.”
BRAINSTORMING
Tara says, “Our drive back to Colorado was
littered with ideas. Once the idea of a quilt-
themed menu came into my head, with
half-square polenta as a jumping-off point,
the ball was rolling. An intimate dinner
under the trees on a mellow summer
evening was so romantic to me. The kind
you read about in magazines. The vision
was there. The execution and resulting
event were the fodder for many evenings
with friends and the sharing of ideas.”
GETTING THE WORD OUT
The first order of business was to spread
the word about the event they were
planning.
Tara explains, “Angela made a list of
customers whom she thought would be
interested in attending, and we designed
postcards to send to them.” The event
was presented as “Dinner with Jacquie:
An intimate evening with Jacquie and
her quilts.” One week later, the postcard
mailing was followed by an electronic
newsletter to Angela’s email list.
”
“We also talked it up in the shop,” says
Angela. “We had a copy of Quilting Modern
at the register—we’d talk up the event and
show the book and the amazing quilts. We
were so tickled when the event sold out in
a week and a half. The attendees were local
quilters and sewists we knew through the
shop.”
Tara goes on to say, “While I regret that
we couldn’t share this amazing evening
with everyone, there was something to
be said about sticking to our limits. I can
only cook a four-course meal for so many
before a taco bar is the better option. And
that was decidedly not our vision.”
THE TABLE
“The table was set with handmade place
mats, each unique, made using the
techniques from Quilting Modern,” says
Jacquie. “Actually, they are ‘placecases’ as
Tara calls them, because they were made
with envelope closures on the back so they
could be turned into pillows at home.”
Tara says, “The place mats based on the
amazing techniques from the book were
brainstormed on the road. We knew we
wanted our guests to take something home.
I personally have no use for a single place
mat, and my small house doesn’t support
mini quilts. So I don’t make anything small
that can’t be turned into a pillow.”
Tara made the majority of the
placecases. She explains, “I had originally
thought that I would pick a technique
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 The menus were designed by Susan Hazel Rich (hazelmade.wordpress.com).
from the book and make four or five of
similar design; and once I’d made each
design four or five times I’d be done. But
the techniques from the book offer so
many options and so much inspiration
that each placecase was made individually,
with no thought of the others. I would
finish one and then flip through the book
for the next idea.” She had help from
Angela and one of her employees with a
few of the placecase tops—and with the
envelope backs and binding. Tara adds, “I
was so thrilled with the way these turned
out that we’re going to make placecases for
a swap for our Modern Quilt Guild’s retreat
in October.”
Each place setting also included a
handmade pincushion as the place card.
Like the placecases, the pincushions were
made using techniques from the book.
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The place card pincushions featured the
signature line from the book, “Break Free.
Go Bold.” Tara made the pincushion tops,
and she had help with the sewing, turning,
stuffing, and whipstitching.
Even the table centerpieces were
inspired by the book. Tara’s son gathered
river rock for the glass cylinders. Tara
says, “I wanted river rock in the vases to
evoke thoughts of the cover of Jacquie and
Katie’s book. The gray rocks captured the
pebble quilting on the cover perfectly. My
family helped me sort through river rock,
because I wanted only the gray ones for
the centerpieces.”
FINISHING TOUCHES
As previously arranged, Jacquie arrived
one hour before the dinner in order to
deliver and help arrange the quilts. She
brought two gigantic suitcases filled
with quilts from her home in Chicago.
Jacquie says, “Everything was done before
I arrived. The table was set, the food was
cooking, and the books were stacked for
the signing. The quilts were the icing on
the cake.” They immediately set out to
arrange the quilts.
Tara says, “I’ve read Jacquie’s blog
for years, and she’s always struck me as
someone who is serious about her craft. So
when she said we could just arrange her
quilts on the grass, it was an epiphany. It
created an amazing walking quilt gallery
that framed the event perfectly.”
Jacquie was equally delighted with
the result. “It was such a beautiful setting
with the trees, flowers, and rocks. It
made perfect sense. We created a quilted
pathway through the yard.”
 33
sewdaily.com
 And Tara was pleased to have a few
minutes for Jacquie to see the table décor
in its entirety prior to the arrival of the
guests. “I wanted her to see it as a whole—
the big reveal, if you will. That set the
precedent for happy tears all evening long.”

THE DINNER
The event commenced with a Drunkard’s
Path cocktail hour. It was followed by
a four-course, quilt-themed dinner,
including a pickle dish (pickled veggies),
raw-edge scallops, half-square triangle
polenta, free-pieced chicken, and caramel
stippled mocha Bavarian cream.
Tara says, “The menu was hard. I racked
my brain for any quilting terms that I
could apply to food, and I scoured lists of
classic blocks that might be food related.
Jacquie came up with the idea for free-
pieced chicken (I simply mentioned free
range); I had to include it. Once I had the
menu written, even more ideas emerged. I
decided to cut the red and golden pickled
beets into triangles—to mimic the pickle
dish pattern.” The final menu was “by
a quilter for quilters. It wouldn’t have
worked any other way.”
“The Drunkard’s Path cocktail hour
had nothing to do with drunkenness,” says
Tara. “But it was much too appropriate and
funny not to include it.”
“Before the dessert course, I shared
quilts and spoke about my quilting
journey,” says Jacquie. “After dessert,
I signed books and we continued to talk
about quilts and quilting. It was a true And Jacquie says, “It was a magical To learn more about the women behind this
celebration of the quilting community and evening. I was struck and so pleased by special event, visit them online: Jacquie
how quilting connects us and has changed the diversity of those who attended—art Gering (tallgrassprairiestudio.blogspot.com),
and filled our lives with creativity and joy.” quilters, modern quilters, and traditional Angela Gray of Mama Said Sew
The success of the event was far- quilters; folks for whom quilting is a (mamasaidsew.com), Tara Rebman of Inn at
reaching, and hopefully this is just the first hobby and those who make quilting City Park (tinkerfrog.blogspot.com), and Penny
of many joint ventures between the shop their business. We were old, young, Layman (sewtakeahike.typepad.com).
and the inn. Tara sums up her thoughts and everything in between. We had all
about the evening, “I have the utmost taken different paths to where we were
respect for Jacquie; her story resonates in our quilting journeys, but we had the Quilting Modern is available at
within me. I feel lucky to have been a part idea of a quilt in common. We respected SHOP.QUILTINGDAILY.COM.
of the magic of the evening. And I am so and embraced each other’s differences
blessed that my husband (built-in sous and celebrated our common bond. It
chef) and friends were there to help make was an evening to revel in the amazing
the magic happen.” community that we all belong to.”

34
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Sew Gifts for All of
Life’s Celebrations
Betz White offers a new collection of
sewing projects for you to stitch and give
to those you love. From birthdays, holidays,
showers, or just because, you will find gifts
for every occasion. Projects include cuddly
toys for babies and toddlers, clever bags
and accessories for women and men, and
beautiful items for the modern home.

Present Perfect
223 pages
$26.99 | Paperback
SRN: 14SW02

Order your copy now at

www.interweavestore.com/sewing
or by calling 866-949-1646

35
sewdaily.com
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 projects

spring fever
What better time is
there than spring to
reboot your sewing?
We’ve got 30 novel
projects that celebrate
the season of new
beginnings. Vintage
style gets rejuvenated
in Return to Retro. Kick
winter to the curb and
liberate your closet with
the clothes in Wardrobe
Warmup. Bring the
season’s sunnier climate
into your home, too,
with Feathering Our
Nests and Daily Rituals.

37
 Vanquish
winter’s chilly
temps with
these 9 hot
closet staples.

peasant tunic dress

Nice, comfy, and a versatile wardrobe
essential, tunic dresses are perfect for casual
wear and bringing a bit of bohemian whimsy
to your every day style. Wear it alone or
paired with skinny jeans, leggings, or just
tights for the complete look. This dress,
inspired by traditional costume wear, is part
of the modern folkwear trend.
DESIGNED BY
Katarina Roccella
[project instructions on page 82]
fold-over
pouch purse
Fold-over pouches are certainly popular
these days for their ability to contain
everything you need while still looking
chic. This pouch steps it up a notch with
a clever, asymmetrical curve. Quilt the
purse as you wish, from plain and simple
to more elaborate.
DESIGNED BY Rashida Coleman-Hale
[project instructions on page 83]

sweet and easy

spring handbag
A covered, vinyl tubing rim gives this
versatile tote its great shape and stability.
The recessed-zipper top secures your
shopping, needlework, or travel essentials
for go-everywhere fun. Soft stabilizer and a
boxed bottom maintain the simple, sweet
shape and structure.
DESIGNED BY Laura Keith
[project instructions on page 84]

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 girl’s sweet quilted
jacket & reversible skirt
Create a cheerful, quilted jacket and a reversible
skirt for a little girl that are as cute as they are
wearable. Quilted garments can be stiff and hard
to wear, but this one adds batting in a way that
does not add bulk. For the skirt, choose soft cotton
flannel for one side and pretty quilting-weight
cotton for the other and have a skirt that will
work for spring and fall weather.
DESIGNED BY Evy Hawkins
[project instructions
on page 85]

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adorable baby girl
dress
Simply sweet, this baby girl dress is a snap to
make. The free and easy shape means your
little girl can wear this dress while she grows,
too. Embellish it with cute appliqué designs
for added fun.
DESIGNED BY Evy Hawkins
[project instructions on page 87]

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red poppy circle skirt
A basic, short circle skirt is the perfect way to showcase a
vintage fabric, such as this silk/linen drapery panel from the
late 1960s. Lined with silk dupioni, which gives the skirt its full
“skater” look, the luxurious fabrics transform the simple style.
DESIGNED BY Amber Eden
[project instructions on page 89]
color block dress
A color-blocked dress is a great way
to shed winter’s dark colors and
move into spring. This close-fitting,
sleeveless dress uses vibrant shades
of blue and red, plus figure-flattering
piecing to make a bold color
statement.
DESIGNED BY Khristal Jouett
[project instructions on page 89]

43
funky pocket tee
This extra-cozy tee, designed with
a wrap-around back and hidden
pouch pocket, is a wardrobe basic.
The half sleeves can easily be
shortened or lengthened, depending
on the season. For hot summer days,
use short sleeves and lightweight
cotton jerseys, like the one shown.
Use bold solids for a color-blocked
look, or transition this top to fall
with sweater knits.
DESIGNED BY Tara Miller
[project instructions on page 91]
open pocket slim skirt
This quick-to-sew skirt with über style uses a bold
pocket fabric for contrast, but don’t forget the
exposed zipper in the back for pops of color from
every angle. This skirt design goes easily from day
to night in different fabrics. Play up your favorite
print, or try a new color combo.
DESIGNED BY Tara Miller
[project instructions on page 92]

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 featheringg our
nests
Breathe new life into your home with 8 fresh projects.

get
the kit
Look for
this project kit
shop.sewdaily.c on
om

colorful
clamshell
quilt
Using quilting-weight
cottons as well as cotton/
linen blends and lawns,
traditional clamshells get
a fresh look enlarged and
sliced in half. This quilt
comes together quicker
than it looks because it’s
pieced by machine.
DESIGNED BY
Latifah Saafir and
Rashida Coleman-Hale
[project instructions
on page 94]

46
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feather your
nest wall
hanging
Add a splash of color to your
home for spring with this
cute wall hanging. It’s a great
project for using colorful,
skinny scraps of fabric to
build your nest, plus a few
low-volume prints for the
background. The quilt is
made with a combination of
stitch-and-flip and quilt-as-
you-go techniques for easy
construction.
DESIGNED BY Anne Deister
[project instructions
on page 95]
blossom placemat
and napkin set
Fresh, summery flower prints make table
decorating a snap. Mix and match the prints on
a single setting for color-popping results. These
rounders and accompanying napkins are perfect
for a special occasion lunch or family meal.
DESIGNED BY Charise Randell
[project instructions on page 96]
walled garden pillow
One point perspective and gradated colors create the illusion of peering into
a private, walled garden. Hand embroidery finishes the appliqué edges and
protects them from fraying, and French knot blossoms sprinkle the foliage of
this private escape.
DESIGNED BY Casey York
[project instructions on page 98]

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double gauze
baby blanket
The combination of double gauze and high-loft
batting creates just the right amount of softness and
warmth for this quick and easy baby blanket. It makes
a great gift. Change the dimensions, and you can whip
up a sweet, cozy blanket for yourself or a loved one.
DESIGNED BY Rashida Coleman-Hale
[project instructions on page 99]
finch pillow
This pillow is inspired by the beautiful gold and purple finches that return to the feeder every
spring. They remind us of the coming of spring after a long winter and the joy associated with
seeing new arrivals at the feeder once the temperature warms.
DESIGNED BY Krisje Deal
[project instructions on page 100]

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sewdaily.com
springtime roman shade
A roman shade is the perfect window treatment for traditional
or modern décor with its clean lines and tailored look. The fabric
hangs in neat symmetrical folds. This classic design is updated
with a 2-inch-wide, contrasting band for a decorator’s touch.
DESIGNED BY Karen Schaphorst
[project instructions on page 100]
pyramid pillows
Pyramid pillows can brighten up any room with their quirky
shape and clever construction. Add some pom-poms or
patchwork to make them your own, and toss with abandon.
DESIGNED BY Rashida Coleman-Hale
[project instructions on page 102]

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RETURN
Past style is present
perfect with these
7 inventive projects.

halter top meets

high-waisted shorts
A retro classic gets a modern update, with
wide, elastic trim for an athletic touch
and an exposed zipper for contemporary
detailing. Brocade is the featured fabric,
but this pattern would also work well in a
woven, non-stretch fabric, such as denim
or cotton. The top is lined for comfort.
DESIGNED BY Emily Li Mandri
[project instructions on page 105]
leather squared bag
Shapes and hues of mid-century
handbags inspired this project.
Colored patchwork panels allow
for the use of remnants, making it
an economical project for sewists
interested in learning to work with
leather.
DESIGNED BY Lisa Polderman
[project instructions on page
106]

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sewdaily.com
 atomic placemats
Set a space-aged table with these
placemats, inspired by a perennially
popular mid-century dishware design.
Simple machine appliqué and straight-
line quilting make that vintage sparkle
quick and easy to create.
DESIGNED BY Kevin Kosbab
[project instructions on page 107]

56
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miss miracle bag
Make the ’50s come alive with this
classy handbag. Use polka dots and bold
color combos for a wonderfully retro
effect. This bag features a spacious main
compartment, two zipper pockets,
and protective purse feet. It’s a perfect
project for an advanced beginner.
DESIGNED BY Anna Lankeshofer
[project instructions on page 108]

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’40s kimono jacket
Whether you have a passion for
all things Far East, or you simply
want a quick-to-sew wardrobe
basic, this kimono jacket fits the
bill on both counts. It’s great for
stitching up in prints, or almost
any lightweight, drapeable fabric.
DESIGNED BY Caroline Hulse
[project instructions on
page 111]

get the
video
shop.sewdaily.c
om
vintage patched coasters
Vintage linens have much to offer the creative
sewist, despite age stains and holes from
daily use or improper storage. This simple
project rescues your family’s textiles and
highlights some of their finer features–like
hand-stitching, whimsical prints, and textural
barkcloth–to bring a piece of the past into
your current home.
DESIGNED BY Barb Brown
[project instructions on page 111]

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 cutout clutch
This clutch takes its cues from the geometric shapes of
mid-century cement and wood screens that were used
to divide rooms and outdoor areas. Leather scraps and
remnants are a great way to play contrasting pieces off
one another. You can easily resize the bag as needed, too.
DESIGNED BY Lisa Polderman
[project instructions on page 112]

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MAKE YOUR QUILTING
IMPROVISATIONAL!
Join author Alexandra Ledgerwood to learn about improvisational
quilting. Through full-color step-by-step illustrations and the 18
inspiring quilted patterns shared in Improvising Tradition, you’ll learn
to embrace spontaneity with confidence as Alex demonstrates how
using strip piecing, strata piecing, and slice-and-insert techniques to
make improv quilts that are totally one of a kind—even when working
from a pattern.
Improvising Tradition
18 Quilted Projects Using Strips, Slices, and Strata
By Alexandra Ledgerwood
144 pages • 8½ × 10¼
ISBN 978-1-62033-532-1 • $27.99
Add this book to your library at
shop.quiltingdaily.com/ImprovTradition
DAILYrituals
Make these 5 festive projects to spice up your routine.

scrappy
pillow cover
Quick and colorful, this
happy pillow cover uses
buttons to secure the
patchwork instead of
quilting. Easy piecing, no
quilting, and lots of print
and color—it doesn’t get
much better than that.
DESIGNED BY
Melissa Peda
[project instructions
on page 116]

get
the kit
Look for
this project kit
shop.sewdaily.c on
om
above the curve
table runner
Inspired by the work of artist Rex Ray,
this table runner is a collage of irregular
curved shapes. Making the curves is
easy using freezer paper patterns and a
turned edge appliqué technique. Attach
the shapes by hand or machine. Use
graphic, modern prints, solids, or more
subdued prints.
DESIGNED BY Amy Struckmeyer
[project instructions on page 117]

get
the kt kititon
Look for this projec y.com
shop.sewdail

63
sewdaily.com
chicken scratch
apron
You don’t need a yard full of egg-
laying hens to appreciate this
apron. The nostalgic cross-stitching
technique for which the apron is
named personalizes it and makes it a
keepsake for future generations.
DESIGNED BY Kathy Augustine
[project instructions on page 118]
bright spot
child's apron
Not only can you get your little one
excited about being a helper in the
kitchen with their very own apron,
but you can introduce them to hand
appliqué as well. This project is great
for teaching needlework basics.
DESIGNED BY Niki Meiners
[project instructions on page 120]

65
 sassy laundry
bag
Tote your clothes in style.
Label the bag using machine
embroidery, or substitute
appliqué, hand embroidery, or
fabric markers to tell the tale.
Add fun, coordinating prints
and bias tape accents for color
mixing fun. The drawstring
top keeps things secure for safe
delivery.
DESIGNED BY Samina Mirza
[project instructions
on page 121]

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 3 Full Days -

hop (and shop some more)

Stock up for a year’s wo
rth of creative
fun! Fabrics, notions, too
w.
ls, ideas,
inspiration and know-ho

Learn (it’s a maker’s lifestyle)

Learn from the best: ho
learn something ne w an
ne skills,
d refresh your
and seminars.
creative life in workshops

Smle (satisfaction guaranteed

)
Meet trendsetters, see tru
stage, gather inspiration
nk shows on
on a walk through
play and more...
the amazing quilts on dis

JOIN US!
Lakeland, FL March 5, 6 & 7, 2015
Atlanta, GA March 12, 13 & 14, 2015
Cleveland, OH March 26, 27 & 28, 2015
Schaumburg, IL April 9, 10 & 11, 2015
Worcester, MA April 16, 17 & 18, 2015
Fredericksburg, VA October 1, 2 & 3, 2015 sewingexpo.com
Minneapolis, MN November 12, 13 & 14, 2015 800.699.6309
1 ATOMIC PLACEMATS by KEVIN 2 MISS MIRACLE BAG by ANNA 3 CUTOUT CLUTCH by LISA 4 FINCH PILLOW by KRISJE DEAL
KOSBAB Project photo on page 56; LANKESHOFER Project photo on page 57; POLDERMAN Project photo on page 60; Project photo on page 51; instructions on
instructions on page 107. instructions on page 108. instructions on page 112. page 100.

9BRIGHT SPOT CHILD’S 0LEATHER SQUARED HANDBAG - FOLD-OVER POUCH PURSE =ABOVE THE CURVE TABLE
APRON by NIKI MEINERS Project photo by RASHIDA COLEMAN-HALE Project
by LISA POLDERMAN Project photo on RUNNER by AMY STRUCKMEYER Proj-
on page 65; instructions on page 120. page 55; instructions on page 106. photo on page 39; instructions on page 83. ect photo on page 63; instructions on page 117.
5FEATHER YOUR NEST WALL 6 WALLED GARDEN PILLOW 7 BLOSSOM PLACEMAT AND NAPKIN 8 COLORFUL CLAMSHELL QUILT
HANGING by ANNE DEISTER Project by CASEY YORK Project photo on page 49; SET by CHARISE RANDALL Project photo by LATIFAH SAAFIR & RASHIDA COLEMAN-HALE
photo on page 47; instructions on page 95. instructions on page 98. on page 48; instructions on page 96. Project photo on page 46; instructions on page 94.

qSWEET AND EASY SPRING

HANDBAG by LAURA KEITH Project
photo on page 39; instructions on page 84.

INCLUDES 30+ patterns BONUS PATTERN INSERT

AS SEEN IN SPRING 2015

click to download the

pattern 32
8
+
happy spring
PROJECTS!
FRESH
PATTERNS
to feather
your nest
PAGE XX

above e
the curv
TABLE
ER
RUavNailNable!
kit
SEE PAGE XX

PATTERNS + TEMPLATES
meet designer
CAROLINE HULSE
make her darling kimono jacket! (and get the
VIDEO HOW-TO at shop.sewdaily.com) PAGE XX pinterest.com/SewDaily
facebook.com/Stitch Magazine
Vintage Embroidery Designs
WITH A MODERN TWIST
Artfully Embroidered reinvents vintage embroidery through a
modern aesthetic. Traditional Japanese and western motifs are
made new with color and embellishment, and 25 embroidered
patterns demonstrate the beauty of the traditional designs while
keeping the projects fresh and modern-looking for today’s sewists.

Artfully Embroidered | 120 pages | $24.99 | Paperback | SRN: 14SW04

Order your copy now at

www.interweavestore.com/sewing
or by calling 866-949-1646

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:
ACRYLIC RULER This is a clear flat ruler, with a
measuring grid at least 2" wide u 18" long. A rigid acrylic
(quilter’s) ruler should be used when working with a
rotary cutter.
CLOTH MEASURING TAPE Make sure it’s at least
60" long.
CRAFT SCISSORS Use these for cutting out paper
*FRENCH CURVE A template of metal, plastic, or wood
patterns.
DRESSMAKER’S SHEARS These sharp long-bladed
scissors are used to cut fabric.
EMBROIDERY SCISSORS These small scissors are
used to trim off threads, clip corners, and do other intri-
cate cutting work.
FABRIC MARKING PENS & PENCILS Available in
several colors for use on light and dark fabrics; use them
for tracing patterns and pattern markings onto your fabric.
HANDSEWING & EMBROIDERY NEEDLES Keep
an assortment of sewing and embroidery needles in dif-
ferent sizes, from fine to sturdy.
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.
PATTERN PAPER Have some pattern paper or other
large paper (such as newsprint, butcher paper, or pattern
tracing cloth) on hand for tracing the patterns from
the pattern insert. Regular office paper may be used for
templates that will fit.
PINKING SHEARS These scissors with notched teeth
leave a zigzag edge on the cut cloth to prevent fraying.
SEAM GAUGE This small ruler with a movable slider
is used for marking hems, checking seam allowances,
placing buttons, and more.
GETTING STARTED
Basic tools, techniques,
& terms you’ll need
for the projects in
this issue.
SEAM RIPPER Handy for quickly ripping out stitches.
SPIKED TRACING WHEEL & COLORED
TRACING PAPER Use these tools for tracing
patterns and markings onto your fabric.
STRAIGHT PINS & PINCUSHION Always keep
lots of pins nearby.
WEIGHTS Pattern weights or small rocks are great for
keeping fabric in place while drawing, pinning, and cutting.
OPTIONAL . . . but good to have.
that includes many curved edges for constructing smooth
curves.
NEEDLE THREADER An inexpensive aid to make
threading the eye of the needle super fast.
POINT TURNER A bluntly pointed tool that helps push
out the corners of a project and/or smooth seams. A knit-
ting needle or chopstick can also be used.
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).
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.
TAILOR’S HAM A firm cushion used when pressing
curved areas of garments to preserve the shape and
prevent creases.
THIMBLE Your fingers and thumbs will thank you.
ZIPPER FOOT This accessory foot for your machine has
a narrow profile that can be positioned to sew close to the
zipper teeth. Zipper feet are adjustable so the foot can be
moved to either side of the needle.
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 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
patterns have naling the point, at the end of the dart, will have corresponding notches.
different cutting where your stitching should end).
lines for each PATTERN DOTS Filled circles
size. indicate that a mark needs to be made
(often on the right side of the fabric),
for placement of elements such as a
pocket or a dart point. Mark by punch-
XL

ing through the pattern paper only, then

M

mark on the fabric through the hole.

XS

PLACE ON FOLD BRACKET

This is a grainline marking with arrows
pointing to the edge of the pattern.
Place the pattern edge on the fold of
the fabric so that your finished piece
place on fold

will be twice the size of the pattern

piece, without having to add a seam.
Do not cut the fold.

GRAINLINE The double-ended arrow

should be parallel to the lengthwise
grain or fold unless marked as
crosswise.

BIAS GRAINLINE This grainline is

diagonal and indicates that the pattern
B
IA
S

piece should be cut on the bias. The

“true” bias is at a 45-degree angle to
the straight grain of the fabric.

SLASH LINE The dashed line

indicates that the pattern needs to be
slashed along the line. Slash to the
dots only, if present. If there are no
dots, the pattern should be slashed
from edge to edge along the entire
line.

BUTTON & BUTTONHOLE

PLACEMENT MARKS
Solid lines indicate buttonholes. A
large open circle is the button symbol
and shows placement.

CB: Center Back

CF: Center Front

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PATTERN INSERT GUIDE A quick
reference to the full-size patterns on the insert.

LAYOUT, MARKING + CUTTING GUIDELINES 3All pattern markings should be on the wrong side of the fabric
unless otherwise noted.
1 The pattern insert features overlapping patterns, so you may
not want to cut patterns or templates directly from the insert. 4Lay 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 pattern pieces you need from the on the fold.
insert and then cut out your traced pieces. Regular office paper 5Make sure all pattern pieces are placed on the fabric with the
may be used for small templates that will fit. If 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.
2If you are cutting pattern pieces on the fold or cutting two of 6Use weights to hold the pattern pieces down and use pins to
the same pattern piece, fold the fabric in half, selvedge to selvedge, secure the corners as needed.
with right sides together or as indicated in the cutting layout or 7Cut pieces slowly and carefully.
instructions.

1 NORTHWEST MODERN
LAPTOP COVER
2 COZY MONSTER
3 WOOL FELT POUF
4 APPLIQUÉ HEXAGON PILLOW
5 SAUCY CUPCAKES

3 WOOL FELT POUF

TULIP
fold cut 4

1 NORTHWEST MODERN
LAPTOP COVER
13” laptop
15” laptop
17” laptop

3 WOOL FELT
LEATHER OPENING POUF
cut 2 LARGE CIRCLE
cut 1 slit in felt icing

3 WOOL FELT POUF

SMALL CIRCLE

A
cut 14
E

5 SAUCY CUPCAKES
CUPCAKE ICING
17” laptop
15” laptop
13” laptop

1 NORTHWEST MODERN cut 1 felt

LAPTOP COVER cut 1 floral cotton
LEATHER BASE
cut 2
5 SAUCY
CUPCAKES
4 APPLIQUÉ
CUPCAKE TOP
HEXAGON PILLOW
cut 1 felt
HEXAGON TEMPLATE
cut 6 C

2 COZY MONSTER
5 SAUCY CUPCAKES
CUPCAKE SIDE TOP

UPPER FRONT
cut 1 2 COZY 2 COZY
MONSTER 2 COZY
MONSTER
cut 1 felt

A LEG MONSTER
ARM
B

cut 4 BACK
cut 4
cut 1
G C H
A

5 SAUCY CUPCAKES
CUPCAKE BASE
cut 1 cotton gingham/
2 COZY MONSTER stripe
LOWER BODY FRONT cut 1 felt
D cut 1
B
2 COZY MONSTER 5 SAUCY CUPCAKES
MOUTH CUPCAKE LINER BOTTOM
cut 1 cut 1 cotton gingham/stripe
D

StitchW12_PatternInsert.indd 1 7/10/12 9:56 AM

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 GLOSSARY OF SEWING TERMS
+ TECHNIQUES A quick reference to the technical
sewing terms used throughout the project instructions.
BACKTACK Stitching in reverse for a
short distance at the beginning and end-
ing of a seam line to secure the stitches.
Most machines have a button or knob
for this function (also called backstitch).
BARTACK A line of reinforcement
stitching often placed at areas of stress
on a garment. Bartacks are created with
short zigzag stitches (by machine) or
whipstitches (by hand).
BASTING Long, loose stitches to hold
something in place temporarily. To baste
by machine, use the longest straight-stitch
length available on your machine. To baste
by hand, use stitches at least 1⁄4" long. Use
a contrasting thread to make the stitches
easier to spot for removal.
BIAS The direction across a fabric that
is located at a 45-degree angle from the
lengthwise or crosswise grain. The bias
has high stretch and a very fluid drape.
BIAS TAPE Made from fabric strips cut
on a 45-degree angle to the straight grain,
the bias cut creates an edging fabric that
will stretch to enclose smooth or curved
edges. You can buy bias tape ready-made
or make your own.
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 form to the fabric
to fit body curves.
EASE/EASE IN When a pattern directs
to “ease” or “ease in,” you are generally
sewing a longer piece of fabric to a shorter
piece or a curved piece to a straight piece.
This creates shape in a garment 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
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remaining fabric together, distributing
the extra fullness evenly, but making sure
that the seamlines match up as smoothly
as possible (you will be smoothing the
excess fullness away from the edge); don’t
be afraid to use a lot of pins. Stitch slowly,
smoothing 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 (1⁄16 – 1⁄8") 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 crosswise. The lengthwise
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 corners and pull gently to restore
the grain. In knit fabrics, the lengthwise
grain runs along the wales (ribs), parallel
to the selvedges, with the crosswise grain
running along the courses (perpendicular
to the wales).
FINGER-PRESS Pressing a fold or
crease with your fingers as opposed to
using an iron.
GATHERING STITCH (machine)
These are long stitches used to compress
a length of fabric before sewing it to a
shorter piece. To gather, set the machine
for a long stitch length (3.0–4.0 mm; use
the shorter length for lighter-weight
fabrics) and loosen the tension slightly.
With the fabric right side up, sew on the
seam line and again 1⁄8" from the seam line,
within the seam allowance. Sometimes
you will be instructed to place the first line
of stitches 1⁄8" from the seam line within
the body of the garment so the stitches
don’t become tangled in the permanent
seam line. Leave thread tails at each end
and do not backtack. Pin the fabric to be
gathered to the shorter piece right sides
together, matching edges, centers, and
pattern markings as directed in the
pattern. Pin at each mark. 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 from
both ends to gather long pieces. Stitch the
seam, then remove the gathering threads.
GRADING SEAM ALLOWANCES The
process of trimming seam allowances to
different widths to reduce bulk and allow
the seam to lie flat. The seam allowance
that will lie to the interior of the project is
trimmed the most, leaving the seam allow-
ance that will lie closer to the exterior of
the project slightly wider.
GRAINLINE A pattern marking showing
the direction of the grain. Make sure the
grainline marked on the pattern runs
parallel to the lengthwise grain of your
fabric, unless the grainline is specifically
marked as crosswise or bias.
INTERFACING/INTERLINING
Material 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 garment
drape or add structure or warmth.
LINING The inner fabric of a garment
or bag, used to create a finished interior
that covers the raw edges of the seams.
MITER Joining a seam or fold at an angle
that bisects the project corner. Most
common is a 45-degree angle, like a
picture frame, but shapes other than
squares or rectangles will have miters
with different angles.
OVERCAST STITCH A machine stitch
that wraps around the fabric raw edge to
finish edges and prevent raveling. Some
sewing machines have several overcast
stitch options; consult your sewing
machine manual for information on stitch
settings and the appropriate presser foot
for the chosen stitch (often the standard
presser foot can be used). A zigzag stitch
can be used as an alternative to finish raw
edges if your machine doesn’t have an
overcast-stitch function.
PINK To trim with pinking shears,
which cut the edge into a zigzag pattern
to reduce fraying.
PLACKET A placket is a finished gar-
ment opening, most often at the location
of a garment closure. A placket can be
finished by hemming or with binding
or a facing. Plackets are often seen on
sleeve vents (above the cuff) and are also
used at neckline and waist edge open-
ings, often in conjunction with buttons
or other closures.
PRESHRINK Many fabrics shrink when
washed; you need to wash, dry, and
press all your fabric before you start to
sew, following the suggested cleaning
method marked on the fabric bolt. Don’t
skip this step!
RIGHT SIDE (RS) The front side, or the
side that should be on the outside of a
finished 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 mm. The length
setting should be short enough for
complete coverage but long enough to
prevent bunching and thread buildup.
SEAM ALLOWANCE The amount of
fabric between the raw edge and the seam.
SELVEDGE This is the tightly woven
border on the lengthwise edges of
woven fabric and the finished
lengthwise edges of knit fabric.
SHELL The outer fabric of a garment or
bag (as opposed to the lining, which will
be on the inside).
SLIP BASTING A temporary slip
stitch used for basting in curved areas,
or for matching plaids or stripes in
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 1⁄4"
(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, machine stitch across any
trimmed seams to secure.
STAYSTITCHING A line of straight
stitching (through one layer of fabric),
used to stabilize the fabric and prevent
stretching or distortion. Staystitching is
usually placed just inside the seam line,
often at curved edges such as armholes.
STITCH IN THE DITCH Press a previ-
ously sewn seam open or to one side.
Lay the seamed fabric right side up
under the presser foot and sew along the
seamline “ditch.” The stitches will fall
between the two fabric pieces and 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. To topstitch, make a line of
stitching on the outside (right side) of
the piece, usually a set distance from an
existing seam.
UNDERLINING Fabric used as a back-
ing for the shell of a garment to add
structure and/or aid in shaping. It is also
sometimes used to make a transparent
fabric opaque. Underlinings are cut to
the size and shape of each garment piece
and the two are basted together and
treated as one during construction.
TAILOR'S TACKS
Used for transferring markings from
a pattern to garment sections, these
handy thread snippets are easily
removed without damage. Take several
loose stitches through the pattern and
fabric layers leaving about a 1" loop
of thread. After all symbols have been
marked, separate the fabric layers
and snip the thread between; carefully
remove the pattern.
A similar method is to take a small
stitch, at the point to be marked,
through all layers and leaving a tail of
about 1". Take another small stitch,
through all layers, directly over the
previous stitch, leaving the thread
loose to create about a 1" loop. When
marks are all complete and the pattern
paper has been removed, separate the
fabric layers so that the thread loop is
extended between the layers. Cut the
threads, leaving a tailor’s tack in each
layer.
UNDERSTITCHING A line of stitches
placed on a facing (or lining), very near
the facing/garment seam. 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.
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 STITCH GLOSSARY
A quick reference to the handstitches used
throughout the project instructions.
1
3 2
1 inconspicuous hem is difficult to achieve
3 (this stitch is also useful for securing binding
BACKSTITCH
Working from right to left, bring the needle
up at 1 and insert behind the starting point at
2. Bring the needle up at 3, repeat by insert-
ing at 1 and bringing the needle up at a point
that is a stitch length beyond 3.
BASTING V
Used to temporarily hold layers together, a
basting stitch is simply a long running stitch.
Stitches should be about 1⁄4" long and evenly
spaced.
2 inserting the needle from the wrong side
1 3
BLANKET STITCH
Working from left to right, bring the needle up
at 1 and insert at 2. Bring the needle back up
at 3 and over the working thread. Repeat by
making the next stitch in the same manner,
keeping the spacing even.
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BLINDSTITCH/BLIND-HEM STITCH
Used mainly for hemming fabrics where an
on the wrong side). Fold the hem edge back
about 1⁄4". Take a small stitch in the garment,
picking up only a few threads.
2 1
BUTTONHOLE STITCH
Working from right to left and with the point
of the needle toward you, bring the needle
above the fabric edge at 1, loop the thread
to the left, then down and to the right,
at 2, keeping the loop of thread behind the
needle at both the top and bottom. Pull the
needle through, tightening the stitch so that
the looped thread lies along the edge of the
fabric. Do not tighten so much that the tops
of the stitches pull together. When using the
buttonhole stitch to finish a hand button-
hole, work the stitches so that they are very
closely spaced.
1
CHAIN STITCH
Working from top to bottom, bring the
needle up and then reinsert at 1 to create
a loop; do not pull the thread taut. Bring
the needle back up at 2, keeping the
needle above the loop and gently pulling
the needle toward you to tighten the loop
flush to the fabric (leave a little slack in
the thread to keep the loop round). Repeat
by inserting the needle at 2 to form a loop
and bringing the needle up at 3. Tack the
last loop down with a straight stitch.
2
1
3
COUCHING
Working from right to left, use one thread,
known as the couching or working thread, to
tack down one or more laid threads, known
as the couched threads. Bring the working
thread up at 1 and insert at 2, over the laid
threads to tack them down; repeat by insert-
ing the needle at 3. This stitch may also be
worked from left to right, and the spacing
between the couching threads may vary for
different design effects.
 11 22
3
3 LAZY DAISY STITCH
CROSS-STITCH Working from top to bottom, bring the
Working from right to left, bring the needle up needle up at 1 and create a loop by reinsert-
at 1, insert at 2, then bring the needle back ing at 1; do not pull the thread taut. Bring
4
4
up at 3. Finish by inserting the needle at 4. the needle back up at 2, keeping the needle
Repeat for the desired number of stitches. above the loop and pulling the needle to-
ward you gently to tighten the loop so that it
is flush with the fabric. Tack the loop down
by inserting the needle at 3. Repeat for the
desired number of stitches.
FLY STITCH
Working from left to right, bring the nee-
2
dle up at 1 and insert at 2, leaving the
thread loose. Bring the needle back up at
3, keeping the needle above the thread 1
and pulling the needle toward you gently 3
to tighten the thread so that it is flush 2
3
1 with the fabric. Tack the thread down by
inserting the needle at 4. Repeat for the
2 desired number of stitches.
4
FRENCH KNOT
1 Bring the needle up at 1 and hold the thread
3
taut above the fabric. Point the needle
toward your fingers and move the needle
in a circular motion to wrap the thread
around the needle once or twice. Insert the
needle near 1 and hold the thread taut near
the knot as you pull the needle and thread
through the knot and the fabric to complete.
OVERCAST STITCH
ENDING UP W Keeping your stitches at consistent depth
At the end of a line of permanent 1 and spacing, take a diagonal stitch by
handstitching, take a small stitch and pull bringing the needle through the fabric at
the needle and thread through the loop. Take 1, wrapping the thread over the edge, and
another short backstitch and repeat. Clip the then bringing the needle through the fabric
thread ends close to the stitches. For basting again at 2, to the side of the previous stitch.
or other temporary markings, make a single The result is a diagonal stitch that wraps
knot or simply leave a long thread end to around the edge.
allow for easy removal. 1
NOTE Another option is to take a small stitch
on the fabric’s wrong side, wrap the thread 11
22
around the needle several times, then pull
the needle through to secure the knot close
to the fabric surface.

FRENCH TACK W PRICK STITCH/PICK STITCH W

Take a small stitch in the garment and then
take a small stitch in the lining or facing,
directly across from the first stitch, leaving 1"
to 2" of thread between the two. Take a few
more small stitches in each spot to build up
a thread spacer that is several threads thick.
Work a tight blanket stitch over the thread
spacer (see Blanket Stitch).
Prick stitch is worked just like a backstitch,
except that the stitches are spaced 1⁄8" to
1⁄4" on the right side (taking longer stitches
on the wrong side). When used for top-
stitching, Pick stitch is worked only through
the top layer of fabric so that the stitch is
not seen on the interior or underlayer.

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 SEED STITCHES
/SEEDING STITCH
Small straight stitches worked in clusters
or scattered at random. Seed stitches can
also be worked tightly together and all in the
same direction to uniformly fill a space.
SLIP STITCH
Working from right to left, join two pieces of
fabric by taking a 1⁄16–¼" long stitch into the
folded edge of one piece of fabric and bringing
the needle out. Insert the needle into the
folded edge of the other piece of fabric,
directly across from the point where the
thread emerged from the previous stitch.
Repeat by inserting the needle into the first
piece of fabric. The thread will be almost
entirely hidden inside the folds of the fabrics.
SPLIT STITCH
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 3), inserting the needle into the
thread to split the thread in two. When you’re
working with multiple strands of thread,
insert the needle between the strands.
2
1 between 1 and 2, at 3. Keeping the needle
3 to the right and bring up at 2.
1 2
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1
3 2
STANDARD HAND-
APPLIQUÉ STITCH
Cut a length of thread 12"–18". Thread the
newly cut end through the eye of the
needle, pull this end through, and knot it.
Use this technique to thread the needle
and knot the thread to help keep the
thread’s “twist” intact and to reduce
knotting. Beginning at the straightest
edge of the appliqué and working from
right to left, bring the needle up from the
underside, through the background fabric
and the very edge of the appliqué at 1,
catching only a few threads of the appliqué
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,
1
⁄8" beyond 2. Continue in this manner,
keeping the thread taut (do not pull it so
tight that the fabric puckers) to keep the
stitching as invisible as possible.
3 2
1
1 3
2
STEM STITCH
Working from left to right, bring the needle
up at 1 and insert it 1⁄8–1⁄4" away at 2 (do
not pull taut). Bring the needle up halfway
above the loop just created, pull the stitch
taut. Repeat by inserting the needle 1⁄8–1⁄4"
1
2
STRAIGHT STITCH/
RUNNING STITCH
Working from right to left, make a straight
stitch by bringing the needle up and insert
at 1, 1⁄8–¼" from the starting point. To make
a line of running stitches (a row of straight
stitches worked one after the other), bring
the needle up at 2 and repeat.
SQUARE KNOT
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
it under and around the base of the right
loop and then thread it through the loop
from top to bottom. Pull the cords tight.
UNEVEN SLIP STITCH
/SLIP-STITCH HEMMING
After securing the thread in the fold, take a
small stitch in the garment or outer fabric,
picking up only a few threads of the fabric.
Then, take a stitch, about ¼" long, in the
fold, across from the stitch in the garment/
outer fabric. Continue, alternating between
tiny stitches in the garment/outer fabric and
longer stitches in the fold.
WHIPSTITCH
Bring the needle up at 1, insert at 2, and
bring up at 3.
2
3
1

CREATE BINDING
CUTTING STRAIGHT STRIPS
Cut strips on the crosswise grain, from
selvedge to selvedge, cutting to the width
indicated in the project instructions. Use
a rotary cutter and straightedge to obtain
a straight cut. Remove the selvedges and
join the strips with diagonal seams.
1 then fold it over the project raw edges to
2 B). The folded edge of the binding strip
FOLD BINDING
A. Double-fold Binding This option will
create binding that is similar to pack-
aged double-fold bias tape/binding. Fold
the strip in half lengthwise, with wrong
sides together; press. Open up the fold
and then fold each long edge toward the
wrong side, so that the raw edges meet
in the middle (1). 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-thickness binding with
only one fold. This binding is often favored
by quilters. Fold the strip in half length-
wise with wrong sides together; press.
1 the back, enclosing the raw edges (there
2 the miters as you go (3).
then fold it back down along the project
raw edge (2). This forms a miter at the
corner. Stitch the second side, beginning
at the project raw edge (2) and ending ¼"
from the next corner, as before. Continue
as established until you have completed
the last corner. Continue stitching until
you are a few inches from the beginning
edge of the binding fabric. Overlap the
pressed beginning edge of the binding
by ½" (or overlap more as necessary for
security) and trim the working edge to
fit. Finish sewing the binding (opening the
center fold and tucking the raw edge inside
the pressed end of the binding strip). Refold
the binding along all the creases and
are no creases to worry about with option
should just cover the stitches visible on
the project back. Slip-stitch the binding in
place, tucking in the corners to complete

CUTTING BIAS STRIPS

Cut strips to the width indicated in the
project instructions. Fold one cut end of
the fabric to meet one selvedge, forming
a fold at a 45-degree angle to the
selvedge. With the fabric placed on a
self-healing mat, cut off the fold with a
rotary cutter, using a straightedge as a
guide to make a straight cut. With the
straightedge and rotary cutter, cut strips
to the appropriate width. Join the strips
with diagonal seams.
BINDING WITH
MITERED CORNERS 
If using double-layer binding (option B above)
follow the alternate italicized instructions in
parentheses wherever you see them.
Open the binding and press ½" to the
wrong side at one short end (refold the 1
binding at the center crease and proceed).
Starting with the folded-under end of
the binding, place it near the center of
the first edge of the project to be bound,
matching the raw edges, and pin in
2
place. Begin sewing near the center of
one edge, along the first crease (at the
appropriate distance from the raw edge),
leaving several inches of the binding
fabric free at the beginning. Stop sewing
¼" before reaching the corner, backtack,
and cut the threads. Rotate the project 3
90 degrees to position it for sewing the
next side. Fold the binding fabric up, away
from the project, at a 45-degree angle (1),

DIAGONAL SEAMS
FOR JOINING STRIPS Never miss
Lay two strips right sides together, at
right angles. The area where the strips
another stitch!
overlap forms a square. Sew diagonally
across the square as shown above. Trim Download a PDF of our
the excess fabric ¼" away from the seam expanded sewing basics section
line and press the seam allowances open.
Repeat to join all the strips, forming one at sewdaily.com today!
long fabric band.

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 SEWING + PRESSING
A CURVED SEAM
When you first look at two opposing curves (such as on a princess seam), you may
think that there’s no way they can fit together, but—surprise, surprise—they do. Join-
ing a concave and convex curve takes a little know-how for a smooth seam.
Sew a line of stitching just inside the seamline on the concave curve and clip
into the seam allowance every 3⁄ 8" (1 cm), stopping short of the stitching a. (Use the
figure 1 pattern notches as a guide for the curved section and stitch between them.)
Spread the curve apart and pin it right sides together with the convex section,
matching the notches. Stitch the seam with the clipped side facing up, sewing just
beyond the reinforcement stitching b.
Press the seam open over a pressing ham (a stuffed hamlike shape) to avoid
flattening the curve you just made. If needed, clip out some fullness on the convex
side to make the seam lie flat c.

TIP Don’t remember your high school geometry? Concave is a hol-

figure 2
low inward curve (think of a cave); convex is an outer curve.

MAKING A YO-YO
1 With a fabric marking 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.
2 With the wrong side of the yo-yo circle
facing up, fold over ¼" along the edge of
your circle. With a handsewing needle
and thread, sew a running stitch through
both layers of fabric, about 1⁄16–1⁄8" from
the edge. Make sure your thread is long
enough to go around the perimeter of the
circle with a bit to spare (figure 1). a
Note: The stitch length determines
the size of the center opening in your
finished yo-yo. Longer stitches make
a more tightly gathered center, while b
shorter stitches will make the opening
larger (which is perfect if you intend to
sew a button in the center).
3 Gently pull your thread until the edges
gather in the center (figure 2). Continue
tightening until the center is tightly
gathered. Make a couple of stitches to
secure the gathers, then tie a knot.
4 Flatten the yo-yo with your hand to
make it lie flat, with the gathered center
on top. c
5 Repeat Steps 2–4 to make more yo-yos.

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how-to: SEAMS & HEMS
French and flat-fell are self-finished 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 garments, finish seam allowances by pinking
or use a zigzag stitch.

1 FRENCH SEAM Pin the pieces wrong

sides together and stitch a 3⁄8" straight seam.
Trim the seam allowances to 1⁄8". Fold the fabric
right sides together along the stitched seam and
press. Stitch along the original seamline (now

1
¼" from the fold), encasing the raw edges. Press
the seam to one side.

2 FLAT-FELL SEAM Fold the seam

allowance over toward the right side on one
piece and toward the wrong side on the adjoining
piece. Insert the folds into each other so that
both pieces are facing right side up (see below,
both raw edges are now encased and hidden).
Edgestitch along each fold to finish. (See a Web
tutorial on sewing flat-fell seams at sewdaily. 2
com.)

3 HONG KONG FINISH Using 1"-

wide bias strips, place a bias strip right sides
together with one seam allowance, raw edges
aligned. Keeping the other seam allowance and
garment fabric out of the way, sew with a ¼"
seam allowance. Press the bias strip over the
seam and then fold it over the seam allowance
edge to the back (no need to turn under the raw
edge of the bias strip; it will be left exposed on 3
the underside of the seam allowance). Pin in
place, then stitch in the ditch from the right side
of the seam allowance to secure the underside
of the binding in place.
1 2 3

4 TRIPLE-STITCHED HEM Stitch

¼" from the raw edge, then press 3⁄16" toward
the wrong side so that the line of stitches runs
near the edge of the fold (1⁄16"). Stitch 1⁄8" from
the folded edge, then trim the raw edge close to
this second stitch line. Roll the hem toward the
wrong side to enclose the raw edge (one row of
stitching will still be visible). Finish by stitching
once more directly over the visible stitch line. 4

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 SETTING IN A SLEEVE
This is another of those “who thought this up?” sewing
challenges—the idea that a seemingly much larger curved
piece (the sleeve) has to fit into what appears to be a much
smaller hole (the armhole). A set-in sleeve should have a
smooth cap without any wrinkles or tucks. To accomplish
this, you need to “ease” the cap fullness to fit. Similar to
gathering, easing evenly distributes fullness without any
gathers.
Stitch three rows of basting between the sleeve notches,
one on the seamline and the others 1⁄ 4" on each side a; leave
thread tails long enough to pull.
Pin the sleeve into the armhole, right sides together
matching the notches, dots (if applicable), and underarm
seams. Pin at the underarm seam, center cap notch, and
the front (single) and back (double) notches. Gently pull
on the ease-stitching bobbin threads to pull up the excess
fullness to fit the armhole, making sure that the fullness
is eased evenly within each segment (between the initial
pins) and then pin the rest of the sleeve in place, leaving
a b
80
stitch
no tucks or pleats along the seamline b. On natural fibers,
use the tip of the iron to help steam out any excess, but
don’t press the sleeve area flat.
With the sleeve side up, begin stitching at one notch,
continuing down through the underarm area and around
the sleeve cap, carefully manipulating the upper sleeve full-
ness with your fingers as you stitch to avoid puckers. Just go
slowly and be vigilant to keep the extra sleeve fullness evenly
distributed between the notches as you sew.
As you come back to where you began sewing, shift the
stitching to the inside seam allowance 1⁄ 8" (3 mm) and stitch
back to the other notch. Trim the lower armhole area close
to the second line of stitching c. Don’t trim the upper sleeve
seams because the seam allowances help the sleeve cap fit
properly. On ravel-prone fabrics, zigzag or serge the seam
allowance edges together.
c
NOW AVAILABLE!
 how-to
Peasant Tunic Dress
by KATARINA ROCCELLA
{from page 38}
DOWNLOAD THE FULL-SIZE
PATTERN FOR THIS PROJECT
AT SEWDAILY.COM
FABRIC
— Main: 1⁄3 yd quilting-weight cotton
(shown: Fairisle Hearts Greige)
— Appliqué: as desired (shown:
Flowered Engrams Ornate)
— Contrast A Skirt: 1¼ yd quilting-
weight cotton (shown: Nocturnal
Pure Element)
— Contrast B Insert/Back: 7⁄8 yd
quilting-weight cotton (shown:
Bullion Fronds Rose)
— Contrast C Sleeve: 5⁄8 yd voile
(shown: Cuneiform Script Cast)
OTHER SUPPLIES
— Templates, downloadable:
— Front (A)
— Back (B)
— Sleeve (C)
— Insert (D)
— 1⁄2 yd paper-back fusible web for
Appliqué
— 2 yd picot-edge elastic trim, 3⁄8" (for
wrists and upper skirt)
— 1⁄3 yd Decorative eyelet trim (for
neckline)
82
stitch
— 13⁄4 yd Decorative lace trim (for
seamline)
— 1 1⁄4 yd ribbon 3⁄8"
— 1 yd pre-made piping
— Safety pin or bodkin
— Fabric-safe marker
— Optional: Embroidery floss, needle,
thread, and beads
FINISHED SIZES
Bust CB Length
XS 32-33" 32"
S 34-35" 32¾"
M 36-371⁄2" 331⁄2"
L 39-401⁄2" 34¼"
XL 421⁄2-441⁄2" 35"
Shown in size Small
NOTES
— All seam allowances are 5⁄8" unless
otherwise noted.
— Pre-wash and press the fabrics
before cutting.
— Transfer all pattern markings to
the cut fabric pieces.
CUT THE FABRIC
1 From the Main fabric, cut:
— One Front (A), on fold
2 From the Contrast A Skirt fabric,
cut:
— Two rectangles measuring:
Size XS 21" u 28" (H u W)
Size S 21 1⁄2" u 29" (H u W)
Size M 221⁄2" u 30" (H u W)
Size L 22" u 31" (H u W)
Size XL 231⁄2" u 33" (H u W)
3 From the Contrast B Insert/Back
fabric, cut:
— Two Back (B), on fold (one for
Lining)
— Four Insert (D) (two for Insert
Lining)
4 From the Contrast C Sleeve fabric,
cut:
— Two Sleeve (C)
5 From the Lining fabric, cut:
— One Front (A), on fold
— One Back (B), on fold
6 From the Skirt Trim fabric, fussy-
cut:
— Two bands, 4" u the skirt rectangle
width
EMBELLISH THE SKIRT
7 Following the manufacturer’s
instructions, back the area under the
selected Appliqué fabric portions for
the Skirt Front and Skirt Back pieces
with paper-back fusible web. Trim
around the shapes.
8 Fuse the Appliqué shapes onto the
respective Skirt pieces approximately
3" above the hemline marking and
finish the upper edges using a
blanket, zigzag, or decorative stitch
(see Sewing Basics).
MAKE THE SKIRT
9 Place the front skirt and back skirt
pieces right sides together. Pin the
side seams together and sew. Press
the seams.
0 Place the end of the waist trim on
the center of one side seam. With the
starting point of the trim folded, pin
as you go. Overlap the starting point
with the finishing end. Stitch. Trim
leftover edges. Turn the edge inside
and topstitch.
- Cut the elastic trim piece the
length of the skirt waist seam. Pin
the center of the elastic to one of the
side seams and pin randomly along
the seamline, until reaching the other
seam with elastic ends.
= With the starting point of the
elastic folded, stitch the elastic trim
on the seamline, stretching the
elastic while sewing. Overlap the
starting point with the trim finishing
end. Topstitch, stretching the fabric
with elastic thread sewn, as you go.
MAKE THE BODICE
q Narrowly hem or zigzag the
neckline edge of the Main Front
piece. Place the eyelet trim over the
finished edge and stitch along each
edge. Using the safety pin or bodkin,
thread a 12" ribbon through each side
of the eyelet trim, starting from the
sides and ending at the center. Stitch
the side ends in place.

w Pin the decorative piping to the
right side of the larger curved edges
on both Inserts. Sew the piping
in place along the seamline. With
right sides together, sew the Main
Front bodice pieces between the two
Inserts. Then pin the Insert Lining
pieces right sides to the wrong side of
the Main Front. Turn to the right side
and press.
e Stitch the completed Front bodice
to the Main Back bodice.
r Place two Main Back pieces right
sides together and sew the neckline.
Turn to the right side and press. With
right sides together, pin and sew the
Insert Lining pieces to the Lining
Back bodice shoulder seams, and
pin the right sides of the front insert
pieces to the right side of the back
bodice piece at the shoulder seams.
Note: It’s important to first pin the
centers, positioning the piping toward
the Front/Back bodice side.
t Fold and stitch the pleats on the
Sleeves. With right sides together, pin
the Sleeves to the bodice, matching
the Sleeve center to the shoulder
seamline. Sew the Sleeves in place.
y Cut elastic trim pieces for the
Sleeves (measure the circumference
of your wrist and add 2" to that
measurement). Pin the center of the
elastic to the center of the Sleeve
lower seamline. Pin the elastic trim
edges to the seam ends. Stitch the
elastic trim along the seamline,
stretching the elastic while sewing.
Thread ribbon through the eyelet trim
openings, as for the neckline.
u With right sides together, sew
the side seams on the Sleeves and
bodice.
i Turn the finished bodice right side
out and finish the bottom hem with a
zigzag.
o If desired, hand embroider a line
of zigzag stitches along the hemline.
ATTACH THE BODICE TO THE
SKIRT
p Lap the upper Skirt edge over the
finished bodice hem and topstitch in
place.
how-to
SOURCES NOTES
FABRIC Art Gallery Fabrics, — All seam allowances are 1⁄2" unless
Recollection collection, Flowered otherwise noted.
Engrams Ornate (voile), Bullion
Fronds Rose, Fairisle Hearts CUT THE FABRIC
Greige, Pirot Evoked Silver (skirt 1 From the Main fabric, cut:
trim) and Cuneiform Script Cast — Two Bag (A)
(voile); Pure Elements, Nocturnal, — Two 2" u 3" rectangles for Zipper
artgalleryfabrics.com Tab
KATARINA ROCCELLA is a fabric 2 From the Lining fabric, cut:
designer from Belgrade, Serbia. Visit — Two Bag (A)
likeflowersandbutterflies.com to learn more
3 From the Fusible Fleece, cut:
about her work and likeflowersandbutterflies.
blogspot.com to read her blog. — Two Bag (A)
FUSE THE BATTING AND QUILT
4 Following the manufacturer’s
Fold-over Pouch instructions, fuse the fleece to the
Purse wrong side of the Main Bag pieces.
Quilt as desired (shown: channel
by RASHIDA COLEMAN-HALE
quilting).
{from page 39}
MAKE THE ZIPPER TAB
5 Fold each Zipper Tab in half
lengthwise, press, and then unfold.
Fold each raw edge to the middle
crease and press.
6 Place one zipper end into the
center fold of one of the strips. Slowly
stitch it to the zipper 1⁄8" away from
the inner edge of the strip, being
careful not to hit the zipper teeth.
Repeat for the other zipper end.
ATTACH THE ZIPPER
7 With right sides together, place the
FABRIC zipper on the top straight edge of one
of the Main Bag pieces, aligning the
— Main: 3⁄8 yd quilting-weight cotton
raw edges. Stitch 1⁄4" away from the
(shown: burgundy print)
raw edge. Press the fabric away from
— Lining: 3⁄8 yd quilting-weight cotton
the zipper and topstitch. Repeat for
OTHER SUPPLIES the other zipper side and Bag.
— Template, provided on insert:
ASSEMBLE THE POUCH
— Bag (A) 8 Fold the Bag so the right sides are
together. Open the zipper and line
— 3⁄8 yd Fusible Fleece
— One 10" zipper up the side seams. Stitch around the
perimeter of the pouch, avoiding the
— Rotary cutter, self-healing mat, zipper tabs. Clip the curved seam
and clear acrylic ruler allowance.
— Matching thread
ASSEMBLE THE LINING
— Hand-sewing needle
9 Place the Lining right sides
— Zipper foot together. Stitch around the outer
— Optional: Walking foot edge, leaving the upper edge open
in reverse to the Bag. Turn the lining
FINISHED SIZE
10" u 10" (flat)
83
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 how-to
right side out and press under 1⁄2"
along the top edge.
0 Turn the Bag wrong side out. Pull
the Lining over the Bag. Hand-stitch
the Lining to the Bag using a blind
stitch (see Sewing Basics). Turn the
Bag right side out and press.
SOURCES
FABRIC Cotton + Steel Fabrics, Mochi
Collection, Mochi Floral, Purple
(bag); Dottie’s Cousin, mint (lining),
cottonandsteelfabrics.com
RASHIDA COLEMAN-HALE is a
founding designer of Cotton + Steel Fabrics
and studied at the Fashion Institute of
Technology (FIT) in New York City. She has
designed fabric for Timeless Treasures and
Cloud9 Fabrics, and is the author of I Love
Patchwork and Zakka Style. Rashida lives
in Atlanta with her husband and their three
children.
84
stitch
— Transfer all markings: Fold line
Sweet and Easy should be marked on the right side
Spring Handbag of the lining pieces only. Mark the
by LAURA KEITH Handle openings on the Body with
tailor’s tacks.
{from page 39}
CUT THE FABRIC
1 From the Main fabric, cut:
— Two Body (A)
2 From the Contrast fabric, cut:
— Two Body (A), for Lining
— Two Handle (C)
— One Base Cover (D), on fold
3 From the foam Stabilizer, cut:
— Two Stabilizer (B)
4 From the Fusible Interfacing, cut:
— Two Interfacing (E)
FABRIC PREPARE THE BAG BODY
— Main: ½ yd fabric, 45" 5 Baste the Stabilizer to the wrong
— Contrast: ½ yd smooth-finish side of each Main Body piece along
fabric, 45" the raw edges, leaving the top edges
unstitched and aligned with the fabric
OTHER SUPPLIES fold line.
— Templates, provided on insert:
INSERT THE ZIPPER
— Body (A)
6 Pin one long zipper edge right
— Stabilizer (B) sides together to the Main Body
— Handle (C) upper edge, aligning the fabric and
outside zipper tape edges; zipper
— Base Cover (D)
ends extend 11⁄2". With right sides
— Interfacing (E)
together, layer the Contrast Lining
— One 18" zipper over the zipper, aligning edges. Stitch
— 1 yd vinyl tubing, 5⁄16" (outside 1⁄8" from the zipper teeth using a
diameter) zipper foot.
— 5⁄8 yd foam Stabilizer 7 Repeat step 6 for the opposite
— 1⁄8 yd Fusible Interfacing Body side.
— Matching thread 8 Press the Contrast Lining and Main
Body away from the zipper on both
— Zipper foot Body sections. Topstitch 1⁄8" from the
— Cardboard or plastic canvas, seam on both sides through all layers.
9 1⁄4" u 3 1⁄2" Open up the zipper for easier stitching
if desired.
FINISHED SIZE
13 1⁄2" u 8 3⁄4" u 3 3⁄4" SEW UP THE BAG
9 With right sides together and
NOTES the zipper partially opened, lay the
— All seam allowances are ½" unless bag out flat, separating the Lining
otherwise noted. and Body. Stitch the side and lower
— Suitable fabrics include quilting- seams, leaving a large opening in the
weight cottons, silk dupioni, linen, lower Lining for turning. (figure 1)
or home décor prints. Trim the Stabilizer seam allowance
— For fabrics prone to raveling, finish to 1⁄4" and press all seams open. Trim
edges with pinking, zigzagging, or any excess zipper length.
serging after cutting.

lining
figure 1
figure 2
0 Box the Body and Lining corners:
Fold the corners so the side seam
meets the bottom seam and stitch
across the raw edge. Repeat for all of
the corners.
- Turn the bag right side out and
hand-stitch the Lining lower seam
opening.
= At the top of the bag, fold the
Lining to the inside along the marked
fold line, using the Stabilizer edge
and Handle opening marks as a
guide. Topstitch 1⁄8" from the upper
folded edge.
PREPARE THE HANDLES
q With the right sides together, sew
the short ends of the two Handle
pieces together and press seams
open.
w Center and fuse one piece of
Interfacing over each inside Handle
seam.
e Press one long Handle edge under
½". On the opposite edge, press edge
under ¼" between opening marks.
FINISH THE BAG EDGE
r With right sides together, pin
the Handle edge with the ¼" fold
to the inside edge of the bag upper
edge, matching side seams. Using
a 1⁄4" seam, sew the Handle to the
bag upper edge, leaving the marked
Handle opening areas between dots
free. (figure 2)
t Fold the Handle to the bag outside
to cover the previous stitching. Pin
how-to
Girl's Sweet Quilted
Jacket & Reversible Skirt
by EVY HAWKINS
{from page 40}
figure 3
figure 4
the Handles together between the
DOWNLOAD THE FULL-SIZE
stitching lines. Edgestitch the folds PATTERN FOR THIS PROJECT
together. (figure 3) Note: The first and AT SEWDAILY.COM
last few stitches will be through the
bag upper edge.
FABRIC
y At the side seams, topstitch the — Jacket: 3⁄4 yd quilting-weight cotton
Handle through all layers. (figure 4)
for the Jacket Main and Lining
u Leaving about 1" unstitched on — Skirt: 1⁄3 yd cotton, flannel, soft
either side of the side seam opposite
fine-wale corduroy, or other woven
the zipper pull, edgestitch the casing
fabric for both sides
from each side seam to the previously
stitched Handle. OTHER SUPPLIES
i Cut two 14 1⁄2" pieces of tubing. — Templates, downloadable:
Push the tubing through the casing — Skirt (A)
from both side openings, tucking the
— Jacket Front (B)
ends up snugly within the casing and
against the side seams. Machine or — Jacket Back (C)
hand-stitch the casing openings. — Jacket Sleeve (D)
SEW THE BAG BASE — 3⁄4 yd lightweight batting
o Fold the Base Cover in half — Elastic, 3⁄4" (2" smaller than waist
lengthwise. Sew the long side and measurement)
across one short edge. Turn right side — Matching threads
out. — Two buttons, 3⁄4"
p Insert the cardboard and tuck in — Optional: Embroidery machine
the raw fabric edges. Machine or
hand-stitch the opening closed. Insert — Optional: Embroidery threads
the bag bottom for stability. — Optional: For the Jacket, machine
embroidery border designs
SOURCES — Optional: For the Skirt, appliqué
SUPPLIES Foam stabilizer, ByAnnie’s,
machine embroidery designs
Soft and Stable, byannie.com
— Optional: Tear-away stabilizer for
LAURA KEITH has been designing, embroidery
teaching, and writing about sewing for
more than 15 years. Her original sewing NOTES
patterns and published articles are listed at — All seam allowances are ½" unless
laurakeithdesigns.com. otherwise noted.
85
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 how-to
— Pre-shrinking all fabrics is
recommended.
FINISHED SIZES
Chest Waist Jacket Length Skirt Length
6mo 18" 181⁄2" 10"
9mo 181⁄2" 19" 101⁄2"
12mo 19" 191⁄2" 11"
18mo 19¾" 20¼" 111⁄2"
24mo 201⁄2" 21" 12"
Shown in size 9 months
CUT THE FABRIC
1 From Skirt Main/Lining fabrics,
cut:
— One Skirt (A) Note: Label one set
as Skirt 1 and the other Skirt 2.
2 From the Jacket Main fabric,
Lining and Batting, cut:
— Two Jacket Front (B)
— One Jacket Back (C), on the fold
— Two Jacket Sleeve (D)
— From Lining only, cut enough
1 7⁄8"-wide bias strips to finish the
Jacket opening and sleeves. To
make button loops, use 1 1⁄8" wide
bias strips.
ASSEMBLE THE JACKET
3 Sew the Jacket Main and Lining
back and front pieces together at
the side seams. Press the seam
allowances open. Place the jacket
wrong side up on the table.
4 Trim away the seam allowance of
the Batting at the shoulder, armhole,
and side seams. Place the Batting
pieces on top of the wrong side of
the Main jacket, aligning the Batting
so that the side seams abut. Hand
baste the Batting together with
whipstitches spaced ½" apart (see
Sewing Basics). (figure 1)
5 Place the Lining right side up
over the batting, aligning it with the
jacket edges. Hand baste the layers
together at the side seams, across
the shoulders, and open front edges.
QUILT THE JACKET
6 Quilt from the right side as
desired. Accent with free-motion
stitching around the printed fabric
86
stitch
71⁄2"
8⅛"
8¾"
9⅜"
10"
figure 1
lining
figure 2
motifs, grid quilt, or simply channel
quilt from the top of the jacket to the
bottom, evenly spacing the lines. For
best results, begin in the center back
and work toward the front edges.
7 Trim away the seam allowance
of the sleeve batting at the cap
and underarm seams. Sandwich
the layers together as done for the
jacket, baste, and then quilt. Optional:
At this point, you may wish to add
border cutwork machine embroidery
designs as shown on the featured
jacket. Follow the manufacturer’s
instructions to apply the designs
along the hemline of the jacket and
sleeves. Use the same color, weight,
and type of thread in the top and
bobbin. Begin in the center of the
jacket back and work toward the front
to the right and then to the left.
8 Serge, zigzag, or fold under a
tiny bit of the seam allowance and
straight stitch to finish the raw
edges of the shoulders and sleeve
underarm seams.
9 Sew the shoulder seams and the
sleeve underarm seams. Press the
seams open.
right side
wrong
side
figure 3
0 Sew a line of long gathering
stitches across the sleeve cap. Align
the center top of the sleeve with the
jacket shoulder seam and the sleeve
underarm seam with the jacket
side seam; pin in place. Pull up the
gathering stitches to ease the cap in
place. Sew the sleeves to the jacket.
FINISH THE JACKET
- For a neat, clean finish inside
the armhole, trim away 1⁄8" of the
armhole seam allowance. With right
sides together, sew the bias to the
jacket opening edges using a 3⁄8"
seam allowance, leaving 1⁄2" free at
both ends. Wrap the bias around
the cut edge, fold the bias raw edge
under approximately 3⁄8" and hand-
stitch to the jacket.
= If you didn't add an embroidered
border, serge or cut away 1⁄8" of the
seam allowance around the hem
allowance of each sleeve. If you added
cutwork borders and the borders do
not quite end at the seam allowance,
curve the jacket front edges over
to meet the borders as you trim.
Leave ¼" seam allowance between
the seam allowance edge and the
end of the border. Zigzag the seam

allowance edge if you do not have a
serger.
q With right sides together, sew
the bias to the jacket opening edges
using a 3⁄8" seam allowance, leaving
½" free at both ends. Wrap the bias
around the cut edge, fold the bias raw
edge under 3⁄8" and hand-stitch to
the jacket wrong side. Tuck the loose
ends under to cleanly finish the bias
ends. Repeat to finish each sleeve
hem in the same manner if you didn’t
embroider.
w For the button closure, sew folded
bias edges together and add fabric
loops when binding. The loops need
to be long enough to go around the
button, plus a 3⁄8" seam allowance
at both ends. Place the loops on the
jacket inside so they can flip outward
to extend past the jacket edge, and
double check the length. Tack the
button loops to the outside edge of
the bias to secure as shown. (figure 2)
ASSEMBLE THE SKIRT
Optional: If you’re adding machine
embroidery to the skirt front, stitch it
before constructing the skirt.
e Join each Skirt main together at
side seams and press open. Repeat
for the Skirt lining side seams. Press
open.
r Place the Skirt main and Skirt
lining right sides together, aligning
the side seams. Sew along the
hemline using a 3⁄8" seam allowance,
leaving a 4" opening for turning right
side out. (figure 3)
t Sew the skirt together at the
waistline with a 3⁄8" seam allowance,
leaving a 1" opening, for inserting
elastic. Turn the skirt right side out
through the opening in the hem.
Press hem and waist seam flat.
y Sew a casing line 1" below the top
edge of the waistline for the elastic.
u Insert the elastic in the casing,
adjust for comfort, and sew the
ends of the elastic together. For
prettiest results, use thread in the
top and bobbin that matches the
corresponding fabric.
i Slipstitch the openings in the skirt
hem and waist closed.
how-to
Adorable Baby
Girl Dress
by EVY HAWKINS
{from page 41}
SOURCES
JACKET
FABRIC FreeSpirit, Kumari Garden,
Teja Pink (jacket fabric), and Bijoux,
Swirlybuds by Heather Bailey,
freespiritfabric.com
EMBROIDERY A Bit of Stitch, Medallion
Motifs, abitofstitch.com
SUPPLIES Baby Lock, Inc., Sashiko
machine (used for quilting), babylock.
DOWNLOAD THE FULL-SIZE
com; Quilters Dream Cotton and
PATTERN FOR THIS PROJECT
Quilters Dream Blend battings, AT SEWDAILY.COM
quiltersdreambatting.com; The
Warm Company Warm & White quilt
FABRIC
batting, warmcompany.com; La Mode
Buttons, Hot Pink flowers, #41346, — Main/Lining: ¾ yd dress fabric
buttonlovers.com. (cotton or poly/cotton broadcloth,
cotton piqué, seersucker, or baby
SKIRT cord recommended)
FABRIC FreeSpirit, Swirly Buds by
OTHER SUPPLIES
Heather Bailey, and Neighborhood
flannel by Erin McMorris, — Templates, downloadable:
freespiritfabric.com — Bodice Front (A)
EMBROIDERY A Bit of Stitch, Peeps & — Right Bodice Back (B)
Posies, abitofstitch.com — Left Bodice Back (C)
EVY HAWKINS is a crazy lady who loves — Front Skirt (D)
to sew in her studio in South Carolina more — Back Skirt (E)
than she loves to sleep. She also teaches, blogs, — 1⁄4 yd Fusible Interfacing
writes, and creates embroidery designs,
— Two buttons, 3⁄8"
sewing patterns, and project tutorials. Visit
her at abitofstitch.com. — Matching thread
— Optional: Machine embroidery
threads
— Optional: Machine embroidery
appliqué designs and fabrics
— Optional: Tear-away Stabilizer for
machine embroidery
87
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 how-to
FINISHED SIZES
Chest CB Length
6mo 18" 14"
9mo 181⁄2" 15"
12mo 19" 16"
18mo 19¾" 16¾"
24mo 201⁄2" 17¾"
Shown in size 18 months
NOTES
— All seam allowances are ½" unless
otherwise noted.
— There is a 1" overlap on the Bodice
Back pieces (Left and Right).
Overlap pieces when marking
button placement.
CUT THE FABRIC
1 From the Main/Lining fabric, cut:
— Two Bodice Front (A), on fold
— Two Right Bodice Back (B)
— Two Left Bodice Back (C)
— One Front Skirt (D), on fold
— One Front Skirt (D), on fold
— Two Back Skirt (E)
— Two 1 1⁄8" u 6" Bias strips for
binding
2 From Fusible Interfacing, cut:
— Two strips 1" u length of Bodice
Back
ASSEMBLE THE BODICE
3 Fuse the Interfacing to the Bodice
Back Lining center 1⁄2" from the
edges.
4 Sew the Main Bodice pieces
together at the shoulder seams.
Repeat for the Lining Bodice pieces.
Press the seams open.
5 Place the Main Bodice and Lining
Bodice right sides together, aligning
the neckline edges. Sew around the
neckline using a 1⁄4" seam allowance.
6 Clip the curves every 1⁄2" and
finger-press the seam allowances
toward the lining. Understitch the
seam. Press the neckline.
7 Place the bodices right sides
together again. Sew the armholes on
both sides of the Bodice, beginning
88
stitch
figure 1
and ending ½" from the bodices lower
edges. (figure 1)
8 Finger-press toward the lining.
Understitch 1⁄8" from the seam by
stitching at the lower bodice edge
and sew to the shoulder seam, stop,
and then begin stitching from the
other side toward the shoulder seam.
Repeat for both sides.
9 Sew the center back seams to join
the Bodice Back and Bodice Back
Lining pieces. Turn the bodice right
side out, poking out the neckline
corners neatly; press.
ASSEMBLE THE SKIRT
Optional embroidery: To add appliqués
or other embellishments to the skirt,
join the skirt side seams first, apply
the embellishments, and then join
the Skirt Back center seam. Place the
embellishments away from the center
back seam, upper gathers, and skirt
hem.
0 Serge or zigzag the skirt side
seam and center back seam
allowance edges.
- With right sides together, join the
Skirt Back pieces, beginning at dots
1" above the placket curve, turn the
corner, and continue down the center
back seam. (figure 2) Press the Skirt
Back seam allowances and placket
toward the left.
= With right sides together, sew the
Skirt Back to the Skirt Front at the
side seams. Press the seams open.
FINISH THE ARMHOLES
q With wrong sides together, press
the bias strips in half lengthwise.
Align the raw edges of the bias with
the curved armhole edges on the
skirt, allowing the bias ends to extend
slightly past the yoke seam. Sew the
figure 2
figure 3
folded bias to the armhole, using a
¼" seam allowance. Clip the seam
allowance along the curve every 1⁄2".
Fold the bias over the edges. Sew the
folded bias edge to the skirt wrong
side; press. (figure 3)
ATTACH THE SKIRT
w Fold the Placket back at center
back for the left skirt, then press. Sew
two rows of gathering stitches across
the top of the skirt pieces. Pull up the
stitches to gather the skirt to fit the
corresponding bodice lower edges.
e Leaving the bodice lining free and
with right sides together, pin the
gathered skirt to the Bodice Front and
Backs, opening the placket section on
the Right Bodice Back, matching side
seams and back edges to skirt side
seam and back edges. Sew the skirt
to the bodice sections.
r Press under the lower bodice
lining edges ½" and hand-stitch over
the gathered seams, encasing the
raw edges.
t Mark the buttonhole positions
at the bodice center back using
Buttonhole Template, and sew
buttonholes on the left side ½" in from
the finished edge. Sew the buttons to
the right side under the buttonholes,
½" in from the finished edge.
 how-to

y Hem the skirt by hand or by — If the fabric ravels, finish the 9 Fold the Waistband overlap ends
machine. exposed seam allowances with to the inside 5⁄8" and press. Fold
zigzag, binding, or serging. the Waistband over the waist seam
SOURCES and turn the raw edge under 5⁄8".
EMBROIDERY A Bit of Stitch, Baby Girl FINISHED SIZES
Slipstitch the folded edge to the
Fashions appliqué designs and Petite Skirt, covering the stitching line and
Baby Borders designs, Waist Skirt Length extending the stitching to finish the
abitofstitch.com 2 24" 15¼" Waistband ends.
EVY HAWKINS is a crazy lady who loves 4 25" 151⁄2"
6 26" 15¾" FINISH THE SKIRT
to sew in her studio in South Carolina more
8 27" 16" 0 Attach the hook-and-eye closure
than she loves to sleep. She also teaches, blogs,
to the back Waistband.
writes, and creates embroidery designs, 10 28" 16¼"
sewing patterns, and project tutorials. Visit 12 291⁄2" 161⁄2" AMBER EDEN is the editor of Stitch
her at abitofstitch.com. 14 31" 16¾" magazine and loves to use vintage fabrics in
16 321⁄2" 17" modern projects.
18 341⁄2" 17¼"
Red Poppy Circle Shown in size 8
Skirt Color Block Dress
by KHRISTAL JOUETT
by AMBER EDEN CUT THE FABRIC
{from page 43}
{from page 42} 1 From the Main fabric, cut:
— One Skirt (A), on fold
— One Waistband (B), on fold
2 From the Lining fabric, cut:
— One Skirt (A), on fold

ASSEMBLE THE SKIRT

3 With right sides together, sew the
Main Skirt to the Lining Skirt along
the hemline curve. Clip and trim the
seam allowances if necessary. Press
the seam open.
4 Fold the Lining up into the Skirt
DOWNLOAD THE FULL-SIZE wrong sides together and press the
PATTERN FOR THIS PROJECT hem edge flat. Stitch the Lining to
AT SEWDAILY.COM the Skirt at the waist and center back DOWNLOAD THE FULL-SIZE
edges, keeping the layers totally flat. PATTERN FOR THIS PROJECT
FABRIC 5 Sew the center back seam from AT SEWDAILY.COM
— Main: 1 drapery panel, 42" u 63", the hem toward the waist and through
or 1 5⁄8 yd both layers, stopping at the zipper FABRIC
— Lining: 1 5⁄8 yd silk dupioni, 60" opening notch. — Main: 1 3⁄4 yd stretch cotton sateen,
6 Press the center back seam open 45" wide, for yoke, bands, center
OTHER SUPPLIES front, and hem band (shown: blue)
along the entire length.
— Templates, downloadable:
7 Following the manufacturer’s — Contrast: 11⁄2 yd stretch cotton
— Skirt (A) sateen, 45" wide, for piping, side
instructions, insert the zipper in the
— Waistband (B) center back opening. If the fabric front, and dress back (shown: red)
— One 7" zipper is bulky, use a hand pickstitch (see
OTHER SUPPLIES
— Matching thread Sewing Basics) to insert the zipper,
and then catch-stitch the center — Templates, downloadable:
— Hook-and-eye skirt closure back seam allowances to the lining — Front Yoke (A)
NOTES layer only. — Back Yoke (B)
— All seam allowances are 5⁄8" unless ATTACH THE WAISTBAND — Front Band (C)
otherwise noted. 8 With right sides together, sew — Back Band (D)
the Waistband to the Skirt, matching — Center Front (E)
the notches.
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 how-to

— Dress Side (F) — Enough 2" wide bias strips to make piping stitching. Note: The Front
— Dress Back (G) 2 yd of hem tape and Back Yoke ends are sandwiched
between the main fabric and lining.
— Lower Back Hem Band (H) MAKE THE PIPING
— Matching thread 3 Join the bias strips end-to-end SEW THE LOWER PORTION OF
using a diagonal seam (see Sewing THE DRESS
— Removable fabric marker
Basics) to make the length needed w Sew darts in the Side Front and
— 7 yd piping cord, 1⁄8" diameter press the dart seam folds down.
for piping.
— Water-soluble basting tape, such Serge the raw edge for a clean look.
4 Encase the piping cord in the bias,
as Wonder Tape e Sew the Side Fronts and Center
and stitch close to the cord using a
— 14" invisible zipper zipper foot. Front together. Press seams open,
— One hook-and-eye fastener 5 Trim the piping seam allowance to clipping the curves so seams lay flat.
— Zipper foot 1⁄2". r Sew darts in the Dress Back.
Press the darts toward center back.
FINISHED SIZES SEW THE PIPING TO THE BAND
PIECES t Sew the Lower Hem Band to the
lower edge of each Dress Back piece,
6 Sew the Front and Back Band matching notches. Press the seams
Bust Waist Hip CB Length pieces together at the side seams
4 33" 25" 351⁄2" 22¾" open.
for the Main fabric and Lining pieces.
6 34" 26" 361⁄2" 23" Press seams open. Press under 1⁄2" y Sew the dress front and back
8 35" 27" 371⁄2" 23¼" along the Band Lining lower edge. together at the side seams, matching
10 36" 28" 381⁄2" 231⁄2" notch to dart.
7 Sew the piping to the upper and
12 371⁄2" 291⁄2" 40" 23¾" lower edges of the Main Band. Position u Following the manufacturer’s
14 39" 31" 411⁄2" 24" the piping with the cord toward the instructions, insert the invisible zipper
16 401⁄2" 321⁄2" 43" 24¼" Band with the raw edges aligned. in the center back seam. Sew the
18 421⁄2" 341⁄2" 45" 241⁄2" Using a zipper foot, stitch close to the remainder of the center back seam.
This is a close fitting dress. Follow your bust size. cording to attach the piping. i Topstitch the contrast seams.
It is easier to adjust the waist and hip if needed.
SEW THE PIPING TO THE YOKES JOIN THE DRESS SECTIONS
Shown in size 8
8 Sew the Front and Back Yoke o With right sides together and
pieces together at the shoulder aligning centers and side seams, pin
seams for the Main fabric and Lining. the Upper Band lower edge to the
NOTES
Press the seams open. dress upper edge, matching notches.
— All seam allowances are ½" unless Using the previous piping stitching as
otherwise noted 9 Sew the piping to both halves of
the Main Yoke, as above. a guide, sew the pieces together. Turn
— Zigzag, overcast, or serge all and press the seam toward the band.
exposed edges. 0 With right sides together, pin the
Main Yoke to the Lining. Use the p Hand-stitch the Band Lining over
— Transfer all pattern markings to previous piping stitching as a guide to the seam and turn the ends in over
cut fabric pieces. stitch the seam on both halves. Turn the zipper.

CUT THE FABRIC

the Yokes right side out and press.
1 From the Main fabric, cut: SEW THE UPPER YOKE TO THE
— Four Front Yoke (A), two for Lining UPPER BAND
— Four Back Yoke (B), two for Lining - Starting at the Upper Band top
center, pin the left and right Front
— Two Front Band (C), one for Lining Yoke edges to the band, matching
— Four Back Band (D), two for Lining notches, with right sides together and
— One Center Front (E) matching placement markings. The
points at the neckline should overlap
— Enough 2" wide bias strips to make
slightly. Stitch the Yokes to the Band.
7 yds of piping
= In the same manner, attach the
2 From the Contrast fabric, cut:
Back Yoke.
— Two Dress Side (F)
q Stitch the Upper Band and Lining
— Two Dress Back (G)
and Main fabric Upper Band and
— Two Lower Back Hem Band (H) yokes right sides together along the
upper edge, following the previous
[ Attach the hook-and-eye fastener
to the ends of the band.
HEM THE DRESS
] Sew together the 2" bias binding
strips to make a piece long enough
for the hem circumference. Press up
the dress hem allowance and finish
the edges with bias binding.
\ Hand-stitch the hem edge in place.
KHRISTAL JOUETT is a designer from
North Alabama. She has an electrical
engineering degree, but has enjoyed clothing
design from an early age. She has been an
avid sewer and crafter since the age of 12 and
is inspired by her love of vintage clothing.

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 how-to

Funky Pocket Tee Stitch the top of the

by TARA MILLER pocket to the front.

{from page 44}

hem edge
hem edge
figure 1 figure 2 figure 3

NOTES together, being careful not to catch

DOWNLOAD THE FULL-SIZE
PATTERN FOR THIS PROJECT — All seams are 1⁄4" unless otherwise the pocket opening in the stitching
AT SEWDAILY.COM noted. (figure 3).

— Use a zigzag, stretch stitch, or 7 Sew the Side to the Back.

FABRIC serger for seaming. Finish the hem 8 Fold up the lower hem ½" and
— Main: 3⁄4 yd jersey knit, 56" (shown: with a twin needle for best results. topstitch in place using the twin
gray dots ) needle. This will also secure the
CUT THE FABRIC lower pocket.
— Contrast: 3⁄4 yd jersey knit, 56"
1 From the Main fabric, cut:
(shown: aqua stripes)
— One Front (A), on fold ADD THE SLEEVES AND
OTHER SUPPLIES COMPLETE THE T-SHIRT
— Two Pocket Facing (E)
— Templates, downloadable: 9 With right sides together, stitch
2 From the Contrast fabric, cut: the Back to the Front at the shoulder
— Front (A) — One Back (B), on fold seams.
— Back (B) — Two Side (C) 0 Sew Sleeve underarm seams. Turn
— Side (C) — One Pocket (D), on fold right side out and pin the Sleeve into
— Pocket (D) the T-shirt, matching the seam with
— Two Sleeve (F) the side seam and sleeve top notch
— Pocket Facing (E)
3 From the Knit Interfacing, cut: to the shoulder seam; stitch both
— Sleeve (F) — Two Pocket Facing (E) sleeves in place. Fold up each sleeve
— Knit Interfacing scraps, at least hem ½" and hem using the twin
3" u 7" PREPARE THE POCKET AND needle.
ASSEMBLE THE T-SHIRT
— Stretch needle - Serge the neck edge. Press under
4 Fuse interfacing strips to Pocket 1⁄2" toward the wrong side and stitch
— 2 mm twin stretch needle Facings. With right sides together, in place with a twin needle, being
— Matching thread pin the Facing to the Front, matching careful not the stretch the neck
notches, and stitch between notches opening as you sew.
FINISHED SIZES (figure 1). Clip seam allowance at
notch to the stitching line. Turn SOURCES
CB Length Bust Facing toward the wrong side; press FABRIC RileyBlake Fabrics, Knits,
edges. Topstitch the Facing in place rileyblakedesigns.com
XS 22½" 32-33"
along the pocket opening ¼” from
S 23" 34-35" TARA MILLER is a Yankee living in small
edge (figure 2).
M 231⁄2" 36-37½" town Georgia with her two young daughters,
L 24" 39-401⁄2" 5 Align Pocket to back side of front,
matching notches at side seam. husband, and two heavily-shedding dogs. She
XL 24 ⁄2"
1
421⁄2-441⁄2" has a degree in history but spends her days
Stitch across the top of the pocket.
Shown in size Small Baste layers across the hem. knitting, sewing, and writing. You can read
all about it on her blogs, editcreativedesigns.
6 Align Side to Front side seam, blogspot.com and blog.fabric.com.
matching notches. Stitch seams

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 how-to

NOTES ADD THE WAISTBAND AND

Open Pocket Slim
Skirt
by TARA MILLER
{from page 45}
DOWNLOAD THE FULL-SIZE
PATTERN FOR THIS PROJECT
AT SEWDAILY.COM
FABRIC
— Main: 1 1⁄4 yd print cotton twill, 45"
— Contrast: 1⁄2 yd print fabric
OTHER SUPPLIES
— Templates, downloadable:
— Skirt Front (A)
— Skirt Back (B)
— Pocket Facing (C)
— Front Waistband (D)
— Back Waistband (E)
— Front Hem Facing (F)
— Back Hem Facing (G)
— Pocket (H)
— One 9" contrasting zipper
— Matching thread
— Zipper foot
FINISHED SIZES
Natural Waist*
XS 24-25"
S 26-27"
M 28-291⁄2"
L 31-321⁄2"
XL 34 ⁄2-36 ⁄2"
1 1
* Skirt sits about 2" below natural waist.
Shown in size Small
— All seams are 5⁄8" unless otherwise
noted.
— Transfer all pattern markings to
the cut fabric pieces.
CUT THE FABRIC
1 From the Main fabric, cut:
— One Skirt Front (A), on fold
— Two Skirt Back (B),
— Two Pocket Facing (C)
— Two Front Waistband (D), on fold
— Four Back Waistband (E)
— One Front Hem Facing (F), on fold
— Two Back Hem Facing (G)
2 From the Contrast fabric, cut:
— Two Pocket (H)
PREPARE THE HEM
3 Press under ½" of each hem
facing upper edge and stitch in place.
With right sides together, pin the
Front Hem Facing to the Skirt Front
and each Back Hem Facing to each
Skirt Back piece, matching notches.
Stitch in place. Clip the curves, turn
right side out, and press. Topstitch
in place. Make a 1⁄4" clip at each side
seam right above the facing.
ASSEMBLE THE SKIRT AND
POCKETS
4 Stitch the darts on the Skirt Front
and Skirt Back pieces. Press toward
the center.
5 With right sides together, pin each
Pocket Facing to the Skirt Front and
stitch the curve. Clip the curves, turn
to the inside, and press. Topstitch
along the Pocket edge.
6 Pin each Pocket right side up under
the faced Pocket edge, matching
notches. Stitch to the facing along
Skirt Length both edges. Finish the edge of the
18¾" Pocket, then baste the top and outside
19" edges to the Skirt Front.
19¼" 7 With right sides together, stitch
191⁄2" the Skirt Front to the Skirt Back
19¾" pieces, starting at the hemline clip
and matching the upper edges. Press
seams open.
INSERT THE ZIPPER
8 With right sides together, pin and
stitch the Back Waistband pieces
to the Front Waistband at the side
seams. Press seams open. Repeat
for the other set of pieces used as the
waistband facing.
9 With right sides together, stitch
the upper Waistband edge to the
waistband facing. Press the seam
open and turn right side out. Press
again and baste the lower edges
together.
0 Pin the completed Waistband
to the skirt upper edge, matching
notches to center front and side
seams. Stitch in place.
- With right sides together, baste the
center back seam together from the
upper waistband edge to the zipper
notch. Change to a basting stitch
length at the notch and continue
stitching the seam closed. Press the
seam open.
= Following the manufacturer's
instructions, insert the zipper in the
upper center back seam. Remove
basting stitches.
SOURCES
FABRIC Riley Blake Fabrics, Home Décor
Collection, rileyblakedesigns.com
TARA MILLER is a Yankee living in small
town Georgia with her two young daughters,
husband, and two heavily-shedding dogs. She
has a degree in history but spends her days
knitting, sewing, and writing. You can read
all about it on her blogs, editcreativedesigns.
blogspot.com and blog.fabric.com.

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 how-to

PREPARE THE CLAMSHELLS

feathering our 3 In the desired color order, stitch
the long edges of eight strips together

nests figure 1
to form panels. Note: Don’t be afraid
to place similar fabrics next to each
other, adding in the Main neutral
fabric. Repeat to create additional
panels with the remaining strips.
Colorful
— Copy and cut eleven Clamshell (A) 4 Stack two panels on top of each
Clamshell Quilt templates. other with the seams aligned and pin
by LATIFAH SAAFIR AND together. Pin Clamshell (A) templates
RASHIDA COLEMAN-HALE CUT THE FABRIC
onto the panels so that the template
{from page 46} 1 From each Main and Accent fat center vertical line lines up with the
quarters, cut: piecing seamline. (figure 1) Cut out
— Four 5½" u 18" strips each Clamshell.
2 From the Binding fabric, cut: 5 Repeat step 4 with the remaining
— Six 21⁄2" u width-of-fabric strips panels to cut a total of ninety-eight

FABRIC
— Main: Four fat quarters (or 1 yd
cut into fat quarters [18" u 21"])
in neutral quilting-weight cotton
(shown: Dottie’s Cousin Natural)
— Accent: Twenty-one fat quarters
of quilting-weight cottons, cotton/
linen blends, and lawn
— Binding: 1⁄2 yd quilting-weight
cotton
— Backing: 54" u 62" quilting-weight
cotton
OTHER SUPPLIES
— Template, provided on insert:
— Clamshell (A)
— Batting: 54" u 62"
figure 2
— Rotary cutter (18 mm) and self-
healing mat

FINISHED SIZE
48" u 56"

NOTES
— All seam allowances are 1⁄4" unless
otherwise noted.
— Press all seams down toward the
clamshells unless otherwise noted. figure 3

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assorted Clamshells. Note: You can
cut more to have color options. Just
save the extras for another project.
LAYOUT THE CLAMSHELLS
6 Referring to figure 2, arrange the
clamshells into a pleasing layout.
7 Stack each row from left to right,
adding each Clamshell to the bottom
of the stack. Pin stack from each row
together and label with the row number.
8 Stitch the first row together by
sewing the clamshells together along
the dotted line on each side of the
template. Press seams open. (figure 3)
9 Starting with row two, remove the
top Clamshell from the row stack.
Match and pin ends, notches, and
center notch to the seamline of the
Clamshell above and the half circle it
will be sewn into. (figure 3) Sew the
clamshells from left to right in each
row (looking at the back of the quilt).
0 With previous rows on top, stitch
with the Clamshell right sides
together and against the feed dogs of
the machine. Note: Clamshell should
lay with the tip pointing away, and
sewing will start on the right side of
the curve. Stretch slightly between
notches as you’re sewing to fit the
fabric to the curve.
- Continue pinning and sewing
clamshells one at a time until all rows
are sewn. Note: On odd rows, the first
and last clamshells of the row will be
sewn in only as half clamshells.
FINISH THE QUILT
= Trim the quilt top as shown in
figure 2.
Layer the quilt top, Batting,
and Backing.
q Baste, quilt, and bind as desired
(see Sewing Basics).
SOURCES
FABRIC Cotton + Steel, Mochi
Collection, Dottie’s Cousin Natural,
cottonandsteelfabrics.com.
LATIFAH SAAFIR designed
the Glam Clam Quilt pattern
(thequiltengineer.com) making her
the perfect person for RASHIDA
COLEMAN-HALE to work with to
design this quilt. It was a match made
in heaven.
how-to
NOTES
Feather Your Nest — All seam allowances are 1⁄4" unless
Wall Hanging otherwise noted.
by ANNE DEISTER — Use a walking foot throughout
{from page 47} construction.
— Project uses a stitch-and-flip
method along with a quilt-as-you-
go method for easy construction.
PREPARE THE FABRICS
1 Using basting spray, adhere the
Backing fabric to the Batting, wrong
sides together.
2 Lay out the subtle prints in a
pleasing arrangement, going from
lightest at the top to slightly darker
toward the bottom.
PIECE THE WALL HANGING
3 Position the first strip right side up
on the layered Batting about 1" down
FABRIC and parallel to the upper edge. Stitch
— Thirteen or more subtle prints in along the top edge of the strip to
whites and grays: 3" u 18" each secure it to the Backing/Batting.
— One fat quarter (18" u 21"), solid 4 Position the next strip right side
Black down over the first strip and at a
slight angle. Pin in place. Sew the
— Several skinny strips of colorful second strip in place.
prints, 1⁄4"
5 Fold the Backing/Batting out of
— Three scraps of Blue fabric, 2" u 2" the way and trim the fabric seam
for eggs allowances to 1⁄4". Press.
— Two scraps of Green fabric, 3" u 4"
6 Continue adding strips following
for hanging tabs steps 4 and 5 until you have covered
— Fusible web, such as Pellon 805 a length of approximately 28". Trim
Wonder-Under and press after each addition to keep
— Backing fabric, 19" u 32" strips smooth and flat.
— Batting, 19" u 32" ADD THE APPLIQUÉ
7 Following the manufacturer’s
OTHER SUPPLIES
instructions, apply fusible web to the
— Templates, provided on insert:
wrong side of the Black fabric.
— Egg (A)
8 Using Templates (B), (C), (D),
— Branch 1 (B) and (E), trace the shapes onto the
— Branch 2 (C) fusible web paper side, reversing the
— Branch 3 (D) templates so the shapes are in the
correct direction when applied.
— Bird (E)
9 Apply fusible web to the back of
— Walking foot
the Egg fabric. Trace three of Egg (A)
— Basting spray onto the fusible web and cut out the
— Thread to match backing shapes.
— Thread to topstitch nest strips, 0 Build the back part of the nest
such as variegated approximately one third of the way
up from the quilt lower edge by
FINISHED SIZE arranging several narrow strips of
15" u 28" colored fabric to form the rounded
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 how-to
arc of the top and the back of the
nest. When you like the arrangement,
pin them in place and sew down with
a single line of stitching through the
center of each strip. Note: Rather
than starting and stopping after each
line, stop with the needle down, take
a couple of small stitches to secure,
and then lift the needle and move
to another strip. Clip the threads
between strips after all are sewn.
- Add the eggs in a pleasing
arrangement on top of the nest
strips. Fuse in place and stitch down
around the edges.
= Continue building the nest front
and sides by adding more narrow
fabric strips.
q Following the photo, position the
branches, and then the bird, tucking
edges under some layers as desired.
Fuse in place. Add a few more narrow
strips on top of the branches for
added dimension.
FINISH THE WALL HANGING
w If desired, add additional quilting
to the background and/or the shapes.
Trim the rectangle to 15" u 28" and bind
with pieced scraps (see Sewing Basics).
e Fold the 3" u 4" Green fabric to
make two 1" u 4" tabs. Press and
topstitch. Hand-stitch in place on the
back upper edge.
ANNE DEISTER started SpringLeaf
Studios as a way to merge her graphic design
background with her passion for fabric and
quilting. Her love of design is evident in the
versatile patterns she creates, which include
optional ideas meant to encourage quilters to
explore their personal style. See more of her
work at springleafstudios.com.
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CUT THE FABRIC
Blossom Placemat Note: Trace Templates (A), (B), and
and Napkin Set (C) onto plastic template material and
by CHARISE RANDELL cut out before cutting the fabric.
{from page 48} 1 From the Main fabric, cut:
— Thirty-two Outer Curve (A)
— Sixteen 4 1⁄2" u 4 1⁄2" squares
2 From the Print fabrics (each
colorway), cut:
— Print #1: Four Inner Curve (B); Two
28" bias strips, 1 7⁄8" wide
— Print #2: Four Outer Curve (A);
Eight Inner Curve (B)
— Print #3: One 16 1⁄2" u 16 1⁄2" square
3 From the Fusible Fleece, cut:
— Four 16 1⁄2" u 16 1⁄2" squares
ASSEMBLE THE PLACEMATS
4 Lay out the fabric pieces in the
finished placemat layout.
FABRIC 5 Stitch each pieced square
(SET OF FOUR PLACEMATS)
together: With right sides together,
— Main: 11⁄3 yd solid linen fold the Outer Curve pieces in half
— Print: 2⁄3 yd Print #1; 1⁄2 yd Print #2; along the seamline, matching raw
1⁄2 yd Print #3 in each of the pink, edges. Crease the center. Repeat for
orange, aqua, and green colorways the Inner Curve pieces. (figure 1)
6 Unfold the two pieces, match the
OTHER SUPPLIES
centers, and pin, right sides together.
— Templates, provided on insert:
Gently pull the fabric edge on the
— Outer Curve (A) Outer Curve to match the curved edge
— Inner Curve (B) of the Inner Curve and pin. (figure 2)
— Circle (C) 7 With the Outer Curve up, stitch the
— 2 yd Fusible Fleece, 20" wide seam. Press the seam allowances
— Matching thread
— Removable fabric marker
— Rotary cutter, cutting mat, and
clear acrylic ruler
— Spray starch
— Basting spray
B crease
— Plastic template material
— Optional: 1⁄4" foot
— Optional: 4" Drunkard’s Path
cutting templates
FINISHED SIZE
Placemats: 16" circle
Napkins: 16" u 16" square
A
NOTES
— All seam allowances are 1⁄4" unless
otherwise noted.
figure 1
 how-to

pin 2nd cut on line

fold and press ½" ½"
pin last

½"
pin 1st
½"

pin last

B
A
pin 2nd

press first

figure 2
press second

fold on line, press.

Placement Diagram
C press press
first second

edgestitch
figure 3

toward the Inner Curve. Use spray

starch on the seam and press.
8 Repeat steps 5–7 to complete the
remaining blocks.
9 Arrange the twelve pieced squares
and linen squares to make the block
following the Placement Diagram.
(figure 3) Stitch each row together.
Press seams open.
0 Stitch the rows together to make
the 161⁄2" unfinished square.
- Following the manufacturer’s
instructions, fuse the Fleece to each
block wrong side.
= Place the 161⁄2" Print #3 square
wrong side up. Place the finished
block on top, right side up. Hold
together with pins or basting spray.
q Quilt the block using a 1⁄4" outline
stitch around the blossom. Quilt the
inside circle 1⁄4" from the outside of
the seam.
E
figure 4
w Center the Circle (C) on the right side OTHER SUPPLIES
of the quilted placemat. Trace around — Matching thread
the template and cut on the line. — Rotary cutter, cutting mat, and
e Bind the placemat edge with bias clear acrylic ruler
using a 3⁄8" seam (see Sewing Basics).
FINISHED SIZE
BLOSSOM NAPKINS 16" u 16" square
FABRIC CUT THE FABRIC
(SET OF FOUR)
r From the Main fabric, cut:
— Main: 11⁄8 yd solid linen
— Four 18" u 18" squares
— Print fabrics: Use the leftover
fabric from the placemats (Print t From the Print fabric(s), cut for
#2), or, if making the napkins only, each color napkin:
then you will need 1⁄4 yard each of — One strip, 51⁄4" u 18"
four different prints

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TRIM THE NAPKIN
y Press under 1⁄4" on one long side
of each Print strip. Matching raw
edges, place the strip at the bottom
of the linen square, and pin in place.
Edgestitch the upper folded edge.
Baste the other raw edges to the
linen square.
u Press under 1⁄2" on each napkin
edge. Press under again 1⁄2" from the
first line.
i To miter the corners, mark a
diagonal line between the pressed
corner squares. Cut on the line. Mark
a diagonal line 5⁄8" from the first
line. Press the corner toward the
wrong side on the second marked
line. Following the pressed lines,
fold under each edge on the 1⁄2" line
and again on the next 1⁄2" line. Pin in
place. With the folded edge facing
you, edgestitch around the perimeter
of the napkin. (figure 4)
SOURCES
FABRIC Prints: FreeSpirit,
Up Parasol by Heather Bailey,
freespiritfabric.com; Solid fabric:
Robert Kaufman, Essex Linen Blend in
Linen, robertkaufman.com
DRUNKARD’S PATH ACRYLIC TEMPLATES
DeepBlue Templates, etsy.com/shop/
Customplastic
CHARISE RANDELL lives in Seattle with
her husband and two boys. She has designed
women’s apparel for more than 20 years
for companies including Nordstrom and
Union Bay. She designs sewing and quilting
patterns and shares her sewing adventures at
charisecreates.blogspot.com.
98
stitch
Walled Garden Pillow
by CASEY YORK
{from page 49}
FABRICS
All fabrics are 45" wide.
— Main: 5⁄8 yd for Front (shown: White)
— Contrast A: 1⁄2 yd for Exterior Wall
appliqués and Back (shown: Coral)
— Contrast B: 1⁄4 yd for Foliage, Bush,
and Flowerbed appliqués (shown:
Mint)
— Contrast C: 1⁄4 yd for Interior Wall
appliqué (shown: Sisters Pink)
OTHER SUPPLIES
— Templates, provided on insert:
— Foliage (A)
— Right Exterior Wall (B)
— Left Exterior Wall (C)
— Interior Wall (D)
— Bush (E)
— Flowerbed (F)
— 1 yd light double-sided paper-
backed fusible web, such as Pellon
805 Wonder-Under
— One 18" zipper
— Invisible thread (nylon or polyester)
for stitching appliqués
— Matching threads
— One 18" u 18" square pillow insert
— One skein six-strand embroidery
floss to match each solid fabric and
complementary colors for accents
— Zipper foot
— Removable fabric marker
— Hand embroidery needle
— 7" diameter embroidery hoop
— Optional: 5⁄8 yd lightweight fusible
interfacing
FINISHED SIZE
17½" u 17½"
NOTES
— All seam allowances are 1⁄4"
unless otherwise noted.
— Some appliqué pieces overlap;
overlap is approximately 1⁄4"
unless otherwise noted.
PREPARE THE APPLIQUÉS
1 Trace the templates onto the paper
side of the fusible web (templates
have already been reversed); note
from which fabric each template
should be cut. Cut out the shapes,
leaving 1⁄4" outside the traced lines.
2 Following the manufacturer’s
instructions, fuse the traced shapes
to the wrong side of the respective
appliqué fabrics.
3 Using sharp scissors, carefully
cut out each appliqué along the
traced lines.
CUT THE FABRIC
4 From Contrast A fabric, cut:
— One Right Exterior Wall (B)
— One Left Exterior Wall (C)
— One 181⁄2" u 81⁄2" rectangle for Small
Zipper Panel
— One 18½" u 101⁄2" rectangle for Large
Zipper Panel
5 From Contrast B fabric, cut:
— One Foliage (A)
— Two Bush (E), one in reverse
— Two Flowerbed (F), one in reverse
6 From Contrast C fabric, cut:
— One Interior Wall (D)
7 From Main fabric, cut:
— One 181⁄2" u 181⁄2" square
POSITION THE APPLIQUÉS
8 Remove the paper backing from
the appliqués and arrange them
on the right side of the solid White
background square, following figure 1.
Pin each appliqué in place as you go.
Work from the lowermost layer to the
top as shown in the photo, noting that
some pieces overlap.

A
Walled Garden Pillow
Placement Diagram
D
E E
½"
C B
F F
2"
figure 1
9 When you’re pleased with the
arrangement, remove the pins and
fuse the appliqués in place.
STITCH THE APPLIQUÉS
TO THE BACKGROUND
0 Using a zigzag or blanket stitch
(see Sewing Basics), carefully
stitch around the perimeter of each
appliqué, catching the appliqué fabric
securely.
- To finish and protect the edges of
the appliqués, outline each appliqué
with a matching hand embroidered
chain stitch (see Sewing Basics) using
three strands of floss.
= Using a removable fabric marker,
mark a series of dots randomly over
the Foliage, Flowerbed, and Bush
appliqués. At each dot, embroider a
French knot (see Sewing Basics) in a
complementary color. Use six strands
of floss for the Foliage blossoms,
three strands of floss for the
Flowerbed blossoms, and two strands
of floss for the Bush blossoms.
FINISH THE PILLOW COVER FRONT
q Add any additional desired
quilting. The sample features an
outline around each appliqué shape.
w Optional: To protect the stitching
on the inside of the pillow cover, use
lightweight fusible interfacing. Cut an
181⁄2" u 181⁄2" square and fuse to the
wrong side of the pillow front.
MAKE THE BACK OF
THE PILLOW COVER
e With right sides together, place
the zipper along the long edge of
the Small Zipper Panel rectangle,
aligning edges. Stitch as close to
the zipper teeth as possible, moving
the pull as needed. Press the fabric
rectangle away from the zipper.
Repeat along the other side of the
zipper, using the Large Zipper Panel
rectangle. If necessary, trim the
resulting square of fabric to measure
181⁄2" u 181⁄2".
ASSEMBLE THE PILLOW COVER
r With the zipper partially open,
place the pillow front and back right
sides together, aligning edges. Stitch
around the perimeter using a 1⁄2"
seam allowance. Clip corners and
turn the cover right side out through
the zipper opening.
t Insert the pillow form.
SOURCES
FABRIC Bella Solids, Coral, Sisters
Pink, and Mint, modafabrics.com
FUSIBLE WEB Pellon, 805 Wonder-
Under, pellonprojects.com
EMBROIDERY FLOSS DMC, colors 369,
352, 818, 335, 3836, and 727, dmc-
usa.com
CASEY YORK is an avid quilter and has
published several appliqué patterns. Her
first book, Modern Appliqué Illusions, is
currently available from Stash Books (C & T
Publishing), and includes 12 quilted projects
that evoke a sense of depth. To learn more
about Casey, please visit her at casey-york.
com or her blog, studioloblog.wordpress.com.
Double Gauze
Baby Blanket
by RASHIDA COLEMAN-HALE
{from page 50}
how-to
FABRIC
— Main: 15⁄8 yd double gauze fabric
(shown: stripe)
— Backing: 15⁄8 yd double gauze fabric
(shown: stars)
OTHER SUPPLIES
— High-loft batting, 40" u 58"
— Perle cotton
— Matching thread
— Removable fabric marker
— Rotary cutter, self-healing mat,
and clear acrylic ruler
— Hand embroidery needle
FINISHED SIZE
36" u 54"
NOTES
— All seam allowances are 1⁄4" unless
otherwise noted.
CUT THE FABRIC
1 From the Main fabric, cut:
— One 361⁄2" u 541⁄2" rectangle
2 From the Backing fabric, cut:
— One 361⁄2" u 541⁄4" rectangle
Note: Round all of the corners on
both pieces using a bowl, and trim the
excess fabric.
ASSEMBLE THE BLANKET
3 With right sides together, place
the Main and Backing fabrics on
top of the Batting. Thread-baste the
layers together.
4 Beginning on one long side,
stitch around the blanket perimeter,
backstitching at each end of the
stitching and leaving at least 6" open
for turning.
5 Remove the thread basting, trim
the excess Batting, and turn the
blanket right side out, pushing out the
corner curves.
6 Hand-stitch the opening closed
and press to remove any creases.
7 Hand- or machine stitch around
the blanket ¾" in from the edge.
TIE THE BLANKET
8 Using a ruler and marker, mark
a grid of dots about 5" apart on the
blanket Backing.
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9 With the blanket Backing side up,
make a tie at each dot: Thread the
needle with perle cotton and stitch
from the front to the back, and back
through to the front again. Clip the
threads, leaving enough length to tie
a knot. Complete all of the dots, then
securely tie all of the knots, being
sure to clip them short.
SOURCES
FABRIC Cotton + Steel, Double
Gauze, Ephemera Mustard
(blanket); Spark Mustard (backing),
cottonandsteelfabrics.com
RASHIDA COLEMAN-HALE is a
founding designer of Cotton + Steel Fabrics
and studied at the Fashion Institute of
Technology (FIT) in New York City. She has
designed fabric for Timeless Treasures and
Cloud9 Fabrics, and is the author of I Love
Patchwork and Zakka Style. Rashida lives
in Atlanta with her husband and their three
children.
Finch Pillow
by KRISJE DEAL
{from page 51}
FABRIC
— 1⁄2 yd each black, yellow, and purple
quilting-weight cottons
OTHER SUPPLIES
— Template, provided on insert:
— Finch (A)
— Fusible adhesive, such as Heat’n
Bond
— Matching thread
100
stitch
— Rotary cutter, self-healing mat,
and clear acrylic ruler
— Pillow insert, 14" u 14" square
— Cardstock
FINISHED SIZE
14" u 14" square
NOTES
— All seam allowances are 1⁄2" unless
otherwise noted.
— Press all seams open.
CUT THE FABRIC
1 From the Black fabric, cut:
— One 7" u 15" strip for center
— Two 9" u 15" rectangles for back
2 From the Yellow fabric, cut:
— One 5" u 15" strip for side front
— One 6" square for appliqué
3 From the Purple fabric, cut:
— One 5" u 15" strip for side front
— One 6" u 6" square for appliqué
ASSEMBLE THE FRONT
4 With right sides together, stitch the
long side of the Yellow panel to the left
side of the Black center panel.
5 Repeat step 4 to sew the Purple
panel to the opposite side of the
Black center panel.
CREATE THE FINCH APPLIQUÉ
6 Print the Finch (A) onto cardstock
and cut out. Trace four Finch
templates onto the fusible adhesive
paper backing. Following the
manufacturer’s instructions, fuse two
Finches to the wrong side of the 6"
Yellow and Purple squares. Cut out
the shapes on the drawn lines.
7 Remove the paper backing and
arrange the finches right side up,
alternating colors, on the Black
center panel, centering the shapes
11⁄2" from the top and bottom, 3⁄4"
from the side edges, and 11⁄4" apart.
8 Stitch around each Finch using a
zigzag.
ASSEMBLE THE BACK
9 Press under 1⁄2" twice along one
long edge of both Black back panels.
Sew the hem in place.
0 Place one back panel right sides
together with the pillow front,
aligning the raw edges. Repeat with
the second back panel, overlapping
the center. Stitch around the outer
edge. Clip the corners.
FINISH THE PILLOW
- Turn the pillow right side out and
insert the pillow form.
SOURCES
FABRIC P&B Textiles, Zenith collection,
pbtex.com
KRISJE DEAL has a fine art background
and loves all things creative. When she
is not creating, she can be found teaching
Kundalini yoga in the Finger Lakes
region of New York state. Visit her at
sewlongsweetheart.wordpress.com.
Springtime Roman
Shade
by KAREN SCHAPHORST
{from page 52}
FABRIC
— Main fabric suggestions: 54"–60"
home decorating fabrics such
as cotton, linen, damask, or
broadcloth. Stripes and plaids
work; not suitable for diagonals.
To determine the amount of fabric
needed, follow the process below.
YARDAGE REQUIREMENTS
(FOR WINDOWS UP TO 52" WIDE):
Determine whether the shade will be
mounted inside or outside the window
frame. (figure 1) _________________

Record your measurements here:
For inside mount:
Measure side to side, inside the
window frame. __________
Measure length of finished
shade inside the window frame.
__________+4”=________. (This is the
cutting length.)
For outside mount:
Measure side to side, across the
outside of the window frame.
______________ +1"=_____________
Measure desired finished shade
length from top of window frame.
__________+5”=________________
(This is the cutting length.)
To determine correct yardage for
either mounting, divide cutting length
by 36”. ____________
— Contrast: Purchase the same
amount for trim bands.
— Lining, 54"–60": Purchase the
same amount.
OTHER SUPPLIES
— 1⁄2" plastic rings
— Shade cord
— Cord lock or pulley
— Screw eyes
— Cord drop (a holder that will cover
the ends of the pull cords)
— 1⁄2" metal rod (flat or round), 2"
shorter than finished shade width
— 1⁄2" wood slat, 1" shorter than
finished shade width
— 1" u 2" mounting board, finished
width of shade (can be painted
or covered with fabric for a more
finished look)
— Screws and anchors for mounting
— L brackets (for outside mount only)
— Stapler and staples
— Removable fabric marker
— Ruler and/or T-square
— Fabric glue
NOTES
— All seam allowances are 1⁄2" unless
otherwise noted.
how-to
CUT THE FABRIC outside mount
1 From the Main fabric, cut:
— One rectangle, finished length plus
4" u width measurement minus 3".
inside mount
2 From the Contrast fabric, cut on
the lengthwise grain:
— Two side bands, 5" u finished
outside length
length measurement plus 6"
— One lower band, 5" u finished width
inside length
measurement plus 1"
3 From the Lining, cut:
— One rectangle, finished length plus
5" u finished width
SEW THE SHADE
4 With wrong sides together, press
all banding strips in half lengthwise. figure 1
Stitch side bands to the Main shade
panel side edges, right sides together.
Press seams toward the bands.
5 Pin the lower band to the lower
edge of the shade, right sides
together. Band ends will extend 1⁄2" on
each side of the pressed fold. Stitch
between pressed lines.
6 Press under 1" double hems on
the side bands. Press a 1" double
hem in the lower band and press
under seam allowance at ends.
7 Press under a 4" hem on the lower
edge of the Lining. Stitch a 11⁄4" tuck figure 2
in the lining from the pressed fold.
Press tuck downward. Note: This tuck sure all markings are even and straight.
will hold the weight rod. Pin through both layers of fabric.
8 Lay the shade out on a flat surface, - Attach rings by machine or hand-
wrong side up. Open out the side and sew through all thicknesses. The
lower bands, and place the Lining on rings on the sides will secure the
bands, or glue or hand-stitch in place
top of the shade right side up. Lining
if you prefer. Note: To attach rings by
should not extend beyond the band
machine, use the widest zigzag stitch
fold lines. The bottom of the Lining
and lower the feed dogs. Stitch over
tuck should fall at the top of the lower
band. Reposition the bands. Hand- each ring. To hand-stitch, make small
stitch across the top pressed edge of stitches using a double strand of thread,
the lower band, keeping the tuck free. stitching in place through all layers.
MARK AND ATTACH THE RINGS FINISH THE SHADE
9 To mark for ring placement, = Smooth the shade right side up,
smooth the shade out on a table, measure the finished length of the
shade, and press a crease at the upper
lining side up.
edge for mounting. Trim away excess
0 Using a fabric marker and ruler, fabric, making sure to leave 11⁄2" for
mark the first row 5" from the bottom
the board mounting. Finish the upper
edge and 3⁄4" from each side. Rings
edge with zigzag or serging.
should be 8"–12" apart horizontally and
6" apart vertically. Stop about 10" to 12" q With the lining side up, bring the
from the upper edge. (figure 2) Make first row of rings toward you. Press.
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 how-to
pulley
figure 3
w Fold up the next row of rings to
stack on top of the previous row.
Press. Continue folding and pressing
each row.
MOUNT AND STRING THE SHADE
e Place the shade right side down
on a flat surface. Staple the top edge
of the shade to the mounting board,
keeping the creased line on the edge
of the board.
r Attach screw eyes on the
underside of the mounting board,
aligning them with each row of rings.
t Slide the wood slat into the bottom
band of the shade. Slipstitch the open
ends closed.
y Open up one side hem at the tuck
and slide the metal rod into the tuck.
Replace the tuck under the side hem.
u Decide from which side the draw
cord will hang. Install the cord lock or
pulley following the manufacturer’s
instructions.
i Beginning at the first vertical row
of rings opposite the draw side, tie
the cord to the bottom ring. Run the
cord through the rings from bottom
to top and across the shade through
the screw eyes and into the cord lock.
Extend the cord the desired distance
down the draw side of the shade.
Continue for each row. (figure 3)
o Secure the knots at lower edge
with glue. Pull up the slack and insert
cord ends through the cord drop. Knot
and glue ends.
102
stitch
INSTALL THE SHADE
p To mount the shade inside the
window, pre-drill screw holes through
the board. Position the shade on the
window and drill into the frame. Note:
For outside mount, position an L
bracket at each end of the mounting
board and screw into the board. Hold
the board above the window and
mark for desired placement. Remove
L brackets from the board. Secure
the brackets to the wall at markings.
Place the shade on the brackets,
aligning pilot holes, and attach.
KAREN SCHAPHORST began her career
in New York City working for various pattern,
fabric, and sewing machine companies. She
has authored several books on sewing for
the home, sewing machine use, and sewing
tip books. Currently she has a home-based
window treatment and home fashions business.
She resides in Charlotte, North Carolina.
Pyramid Pillows
by RASHIDA COLEMAN-HALE
{from page 53}
FABRIC (FOR EACH)
— Main: 1⁄2 yd cotton/linen canvas
OTHER SUPPLIES
— Polyester stuffing
— Rotary cutter, self-healing mat,
and clear acrylic ruler
— Matching thread
— Hand-sewing needle
FINISHED SIZE
14" corner-to-corner
NOTES
— All seam allowances are 1⁄2" unless
otherwise noted.
CUT THE FABRIC
1 From the Main fabric, cut:
— One 15" u 29" rectangle
MAKE THE PILLOW
2 With right sides together, fold the
fabric in half, lining up the short edges.
3 Stitch along the seam, leaving a
4" opening in the middle for turning.
Press the seam open.
4 Lay the fabric in front of you with
the seam centered vertically and
matching the top edges horizontally.
Stitch across the upper edge.
5 Refold the opposite edges with
the seam at the left edge. Stitch the
remaining pillow edges together.
6 Clip the corners and turn the pillow
right side out. Press out any creases.
7 Stuff the pillow until firm, but still
soft, pushing the stuffing all the way
into the corners.
8 Hand-stitch the opening closed.
SOURCES
FABRIC Cotton + Steel, Mochi Collection,
Scattered in Fuschia, Mint, and Natural,
cottonandsteelfabrics.com
RASHIDA COLEMAN-HALE is a
founding designer of Cotton + Steel Fabrics
and studied at the Fashion Institute of
Technology (FIT) in New York City. She has
designed fabric for Timeless Treasures and
Cloud9 Fabrics, and is the author of I Love
Patchwork and Zakka Style. Rashida lives
in Atlanta with her husband and their three
children.
Find Your Style at KeepsakeQuilting.com
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Mollie Makes
ISBN 978-1-62033-543-7
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 how-to

FINISHED SIZES 7 With right sides together, pin the

RETURN Halter Front to the Lining. Pin the

to retro
Bust Waist ends of the elastic to the sides so
that when turned right side out, the
4 33" 25"
elastic ends are sandwiched between
6 34" 26"
the outer and lining sections. Be
8 35" 27" careful not to twist the elastic. Sew
10 36" 28" the pieces together along all edges,
Halter Top Meets 12 37½" 29½" leaving a 3" opening at the lower
High-waisted Shorts 14 39" 31" edge for turning. Trim the corners.
by EMILY LI MANDRI 16 40½" 32½" Turn right side out.
{from page 54} 18 42½" 34½" 8 Press the edges, rolling Lining
Shown in size 8 slightly under as you press to hide
the seam. Hand-stitch the bottom
opening closed.
NOTES 9 Sew a hook-and-bar set at the
— All seam allowances are ½" unless back neck strap.
otherwise noted.
SEW THE SHORTS
— Use a press cloth for pressing
brocade seams to avoid damaging 0 With right sides together, stitch
the Shorts Front and Shorts Back
the fabric.
together at the inner leg seam.
— Finish exposed seam allowances
with zigzag, overcasting, or serging - Encase the outer edges from the
front waist to the back waist in bias
to prevent raveling.
tape, easing the bias around the
CUT THE FABRIC curves. Stitch the bias tape in place.
1 From the Main Fabric, cut: = Lay the Shorts Side Panel Lining
— Two Shorts Front (A) under each Shorts Side Panel and
baste all edges together. Bind the
DOWNLOAD THE FULL-SIZE — Two Shorts Back (B)
lower edges as above.
PATTERN FOR THIS PROJECT — Two Halter Front (D)
AT SEWDAILY.COM q With right sides together, stitch the
2 From the Lining fabric, cut: crotch seam from the front waistline
— Two Shorts Side Panel (C) to the marked zipper opening in the
FABRIC
— Two Halter Front (D) Shorts Back. Clip the lower corner
— Main: 1 1⁄4 yd brocade, 45" of the zipper opening at a 45-degree
— Lining: 1 3⁄4 yd voile, 45" — Two Halter Front Lining (E) angle, cutting only 1⁄4". Turn under the
— Contrast: 1⁄4 yd athletic mesh, 45" 3 From the Contrast fabric, cut: zipper opening seam allowances and
— Two Shorts Side Panel (C) square the lower corners. Install the
OTHER SUPPLIES zipper in the seam.
4 From the elastic:
— Templates, downloadable: w Lap the bound Shorts Front and
For the halter, measure your upper
— Shorts Front (A) Shorts Back edges over the Shorts
back from “side seam to side seam”
— Shorts Back (B) Side Panels, matching seamlines.
where your bra band sits. Subtract 1".
Topstitch in place along the bias tape.
— Shorts Side Panel (C) Cut the elastic to this length.
For the shorts, measure your waist e Lap the elastic over the upper
— Halter Front (D)
shorts edge 1⁄2". Leave 1" extending at
— Halter Front Lining (E) and subtract 1". Cut the shorts elastic
the right back, and 1 1⁄2" extending at
to this length.
— 2 yd elastic, 2" the left back. Stitch the lower elastic
— 4 yd double-fold bias tape, 1" SEW THE HALTER edge in place, stretching the elastic
5 Stitch the darts in each Halter as needed to match the fabric.
— Three hook-and-bar closures
Front and Halter Front Lining. Press r Fold under the elastic ends and
— One 7" zipper seam allowances down on the Halter hand-stitch in place.
— Zipper foot and up on the Lining. t Sew two hook-and-bar sets in
— Hand-sewing needle 6 Sew pieces together at center place at the center back elastic area.
— Matching thread front on both the Halter Front and
Lining pieces. Press seams open.
— Press cloth

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EMILY LI MANDRI is a clothing designer in
Brooklyn, New York. Obsessed with outerwear
and unconventional materials, she loves
experimenting with new techniques to create
contemporary, wearable statement pieces.
Leather Squared Bag
by LISA POLDERMAN
{from page 55}
FABRIC
— Main: Approximately 4 sq. ft.
leather
— Contrast: Pieces at least
4" u 5" for six small patches, and
5" u 6" for six large patches
— Lining: 3⁄4 yd of coordinating solid,
quilting-weight cotton (visible on
the final bag)
OTHER SUPPLIES
— Templates, provided on insert:
— Lining (A)
— Patches (B)
— 3⁄4 yd Fusible Interfacing
— One pair of Lucite purse handles,
5" u 6 5⁄8"
— Matching thread
— Topstitching thread
— Leather needle
— Binder clips
— Chalk marker
— Walking foot
— Rotary cutter, self-healing mat,
and clear acrylic ruler
— Glue (Bond 527 Multi-Purpose
Cement or E6000 Adhesive,
industrial strength)
— Jean-a-ma-jig tool (or folded
square of fabric)
FINISHED SIZE
11 1⁄2" u 14" u 4"
NOTES
— Seam allowances vary—see
individual steps.
— Before purchasing the leather,
trace the pattern pieces and take
them with you to the store to be
sure of the amount needed.
— Transfer all pattern markings to
the cut pieces using chalk.
— When topstitching, use heavy
thread in the needle and matching
all-purpose thread in the bobbin.
— When sewing leather, do not
backstitch. Simply tie thread ends
together. Use a longer stitch
length (3.4 to 4) for seaming and
topstitching. Use binder clips
to hold layers together as pin
holes can be permanent. Practice
stitching on scraps before working
on the project to get a feel for
moving the leather through the
machine.
CUT THE FABRIC
1 From the Main leather, cut:
— Two 6" u 18" strips
— Two ½" u 12" strips
— Four 1" u 10" strips
— Four 2" u 10" strips
— Two 1 1⁄2" u 16" strips
2 From the Contrast leather
remnants:
— Cut apart the Patches (B) pattern
and cut two sets of shapes (front
and back of bag) from assorted
colors. Mark guidelines on the
right side of all of the pieces, ¼"
from the edge on all sides.
3 From the Lining fabric, cut:
— Two Lining (A)
— Two 7" u 8" rectangles for the
Pocket
— Four 2" u 4" rectangles for the
Handle Loop
4 From the Fusible Interfacing, cut:
— Two Lining (A)
SEW THE POCKET
AND HANDLE LOOPS
5 Fuse Interfacing to the wrong
sides of the bag Lining pieces.
6 With right sides together and
using a 1⁄4" seam, sew around the
Pocket rectangles, leaving a 3"
opening on one long side for turning.
Clip the corners and turn the Pocket
right side out. Press.
7 Sew across the long edge with the
opening, 1⁄8" from the folded edge.
8 Matching corners of the Pocket
with the dots on the Lining, pin
them. Stitch around the side and
lower edges 1⁄8" from the edge. Sew
diagonally across the top corners
of the Pocket with a satin stitch for
reinforcement.
9 Fold the Handle Loop in half along
the long side and press. Open up the
rectangle and fold the long sides to
the center; press again to create a
1" u 4" strip. Topstitch the long edges,
1⁄8" from the edge. Repeat for the
remaining three Handle Loops.
ASSEMBLE THE PATCHWORK
Note: For the patchwork, first glue
and then topstitch the strips on top of
the pieces.
0 Lay the three smaller pieces in a
row with ¼" gaps between pieces.
Apply glue along the bottom edges
of the patchwork pieces inside
the marked guideline. Lay the ½"
wide Main leather strip across the
bottom edge so that it overlaps the
patchwork pieces by ¼". Finger-press
in place.
- Lay the three larger pieces in a
row so that their top edges align
with the bottom edges of the smaller
pieces, edges butted together. Apply
glue along the top edges of the larger
patchwork pieces and affix a ½"
Main leather strip in place so that it
overlaps the larger patchwork pieces
by ¼". Finger-press in place. Allow
the glue to dry, then topstitch 1⁄8" from
each long side of the strip.
= Apply glue to the inside edges
of the upper and lower pieces and
affix the 1"-wide leather strips to the
edges, overlapping each patch 1⁄4".
Finger-press in place.

106
stitch

q Apply glue to the outside edges of
the patchwork grid. Lay the 2" u 10"
Main leather strips across the left
and right edges so that they overlap
by ¼". Finger-press in place. Cut off
the excess leather length. Topstitch
the strip 1⁄8" from lower edge.
w Apply glue to the top and bottom
outside edges of the patchwork
pieces. Lay a 1 1⁄2" u 16" Main leather
strip across the top edge and the
6"-wide strip across the bottom edge.
Finger-press in place. Topstitch the
joining seams 1⁄8" from the edge.
e Repeat steps 10–14 to create the
tote back. Compare the pieced tote
front and back to the lining piece and
evenly trim off any excess leather to
match.
ASSEMBLE THE TOTE
r Pin the interfaced front and back
Lining pieces right sides together
and stitch along the bottom and sides
using a 3⁄8" seam allowance.
t To box the corners, fold the Lining
corner so that it forms a triangle,
matching the side seam with the
bottom seam. Pin through the seams
to hold in place.
y Create a boxed corner by drawing
a 4" line across the triangle point.
Sew across the corner. Repeat with
the second Lining corner. Trim
excess fabric.
u Repeat the boxed corners on the
outer bag. If you have trouble sewing
through the thickness of the leather
seams, use a Jean-a-ma-jig or folded
square of fabric to keep the presser
foot level.
i Fold the Handle Loop through the
handle slots and pin to the upper
Lining edge at the markings. Baste in
place ¼" from the edge.
o Turn the Main bag right side
out and the Lining wrong side out.
Place the Main bag inside the Lining
with right sides together, aligning
the upper edge and tucking the
handles between. Use binder clips
to hold edges together. Sew around
the upper edge with a ½" seam
allowance, leaving a 9" opening for
turning.
p Turn the bag right side out and
push the Lining inside. The Lining
will wrap around the upper edge of
the leather so that the leather does
not fold at the seam. Topstitch the
bag upper edge 1⁄8" from the seam
to close the opening and secure the
lining and handles in place.
SOURCES
HANDLES Tutela, etsy.com/shop/Tutela
LISA POLDERMAN is a teacher, blogger,
and enthusiastic fabric ogler. She started
sewing at the age of 40, emboldened by
learning that Julia Child learned to cook at
39. Lisa dreams of opening her own sewing
school and custom design shop once all of her
children are in school. She creates custom-
made clothing and accessories for local women
and sells patterns on Etsy. Learn about her
classes and projects at www.poldapop.com.
Atomic Placemats
by KEVIN KOSBAB
{from page 56}
FABRIC (FOR TWO)
— Main: 5⁄8 yd linen (shown: aqua)
— Backing: 5⁄8 yd quilting-weight
cotton print
— Two scraps of yarn-dyed cottons,
each at least 6" u 6"
— Two scraps of yarn-dyed cottons,
each at least 4" u 4"
OTHER SUPPLIES
— Templates, provided on insert:
— Placemat Front and Back (A)
— Large Circle (B)
— Small Circle (C)
how-to
— 1⁄2 yd batting
— Freezer paper
— Spray starch and small paintbrush
— Coordinating sewing thread
— Clear monofilament thread
— Heavy quilting thread, such as
size 12 cotton, and appropriate
machine needle
— Walking foot
FINISHED SIZE
17 1⁄2" u 12 3⁄4"
CUT THE FABRIC
1 From the Main fabric, cut:
— Two Placemat Front (A)
2 From the Backing fabric, cut:
— Two Placemat Back (A)
MAKE THE CIRCLES
3 Trace the Large Circle (B) and
Small Circle (C) templates onto the
matte side of the freezer paper. Press
the freezer paper onto another sheet
of freezer paper, both paper sides
up. Peel the paper off of the ironing
surface and cut out each shape on
the traced lines.
4 Make two Large Circles and
two Small Circles from the fabric
scraps using the following process:
Press the freezer paper template
paper side up onto the wrong side
of the fabric, then cut out the shape,
leaving a fabric margin of 1⁄4" beyond
the template. Spray starch into the
bottle’s cap, allow foam to settle into
the liquid, and brush the starch onto
the fabric seam allowance around
the freezer-paper shape. Working
in short sections, wrap the seam
allowance over the template edges
and press dry with a hot iron. When
cool, lift the seam allowance to peel
the template away; the starched
fabric will retain the crisp edges.
SEW THE APPLIQUÉS
5 Position one prepared Large Circle
and one Small Circle right sides up
on each Placemat Front, referring
to the project photo for placement
guidance or placing as desired, and
pin in place.
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 how-to
figure 1
6 Using a short, narrow zigzag
stitch with monofilament thread in
the needle and lightweight thread to
coordinate with the Main fabric in the
bobbin, sew around the circle edges
to secure them in place. Adjust the
tension so no bobbin thread shows on
the right side, and sew with the left
swing of the needle in the appliqué
fabric and the right swing in the Main
fabric, just next to the appliqué.
ASSEMBLE THE PLACEMATS
7 Cut the batting into two pieces,
each at least 19" u 14".
8 Center an appliquéd Placemat
Front right side up on each batting
piece, then place a Placemat Back
on top of each, right sides together
and raw edges aligned. Safety pin the
layers together.
108
stitch
9 Sew each placemat stack together
with a 1⁄2" seam allowance, leaving Miss Miracle Bag
a 6" opening in one end. Trim the by ANNA LANKESHOFER
fabric and batting seam allowance {from page 57}
to 1⁄4" and cut notches into the seam
allowances around the curves.
0 Turn the placemats right sides
out through the openings. Press the
seams. Fold the seam allowances
in at the openings and press. Hand-
stitch the openings closed.
QUILT THE PLACEMATS
- Install a walking foot and thread
your machine with heavy quilting
thread in the needle. Note: Use a
lightweight matching thread in the
bobbin or the same thread as the
needle, depending on your sewing FABRIC
machine and desired look.
— Main: 3⁄4 yd quilting-weight cotton
= Quilt around the perimeter of each (shown: mint)
placemat, keeping the stitching 1⁄8" in
— Lining: 3⁄4 yd quilting-weight cotton
from the edge at the top and bottom
(shown: light orange)
but gradually widening to about 1⁄2" at
the side edges. — Contrast: 1⁄2 yd quilting-weight
cotton (shown: aqua polka dots)
q Quilt a seven-pointed star (or more
points if desired) over each of the OTHER SUPPLIES
circles. Start each star outside the — Templates, provided on insert:
circle, sew across it, and then pivot
with the needle down in the fabric to — Body (A)
sew back across the circle. The final — Side Panel (B)
line of stitching should return to the — Flap (C)
starting point to complete the star. — Body Accent (D)
(figure 1)
— Side Accent Panel (E)
w Quilt a few smaller seven-pointed
stars to fill in the background outside — 1⁄2 yd foam stabilizer, such as
the appliquéd circles. ByAnnie’s Soft and Stable
— 1 1⁄4 yd lightweight fusible
KEVIN KOSBAB is a contributing editor
Interfacing, such as Pellon SF101
to Stitch magazine. He designs sewing and Shape-Flex
quilting projects with a mid-century modern
flavor for magazines and his own pattern line, — Two magnetic purse snaps
Feed Dog Designs (feeddog.net). His book The — Two zippers, 9"
Quilter’s Appliqué Workshop (Interweave) — Four purse feet
offers instruction for hand and machine
— Removable fabric marker
techniques, fun quilted projects, and inspiration
for exploring the possibilities of appliqué. — Zipper foot
— Seam ripper
FINISHED SIZE
11" u 13" u 4 1⁄2"
NOTES
— All seam allowances are 1⁄2" unless
otherwise noted.
— All cutting measurements given
are height u width.

— Additional fabric may be required if
using directional fabrics.
— Transfer all pattern markings to
cut pieces.
CUT THE FABRIC
1 From the Main fabric, cut:
— Two Body (A), on fold
— Two Side Panel (B), on fold
— One 16" u 10 3⁄4" rectangle for the
Inner Zipper Pocket
2 From the Lining, cut:
— Two Body (A), on fold
— Two Side Panel (B), on fold
— One 5" u 13" rectangle for the
Bottom Panel
— One 16" u 10 3⁄4" rectangle for the
Back Zipper Pocket
— One 4 1⁄2" u 17" rectangle for the
Handle
3 From the Contrast fabric, cut:
— Two Flap (C), on fold
— Two Body Accent (D), on fold
— Two Side Accent Panel (E), on fold
— One 5" u 13" rectangle for the
Bottom Panel
4 From the Stabilizer, cut:
— Two Body (A), on fold
— Two Side Panel (B), on fold
— One Flap (C), on fold
— One 5" u 13" rectangle for the
Bottom Panel
5 From the Fusible Interfacing, cut:
— Two Body (A), on fold
— Two Side Panel (B), on fold
— One Flap (C), on fold
— One 5" u 13" rectangle for the
Bottom Panel
— One 4 1⁄2" u 17" rectangle for the
Handle
PREPARE THE PIECES
6 Fuse interfacing to the wrong side
of the corresponding Main fabric
pieces. Baste Stabilizer to the wrong
side of the following pieces using a
1⁄4" seam allowance:
— Two Main Body (A)
Note: Add the stabilizer to the second
Body after constructing the zipper
pocket.
— Two Main Side Panel (B)
— One Contrast Flap (C)
— One Main Bottom Panel
7 Fuse Interfacing to the following
pieces:
— Two Lining Body (A)
— Two Lining Side Panel (B)
— One Main Flap (C)
— One Lining Bottom Panel
— One Handle
8 Insert the purse feet into the
Contrast Bottom Panel: On each
corner measure and mark 2" from
both the top and side edges. Using
the washer as a guide, mark the
two slots centered on the marked
spot. Use a seam ripper to make two
small slits at the markings. Push
the prongs of the purse foot through
the slits from the outside. Place the
washer on top and bend the prongs
down. Repeat with the remaining
three purse feet.
ATTACH THE ACCENTS
9 On one of the Side Accent Panels,
press 3⁄8" under along the upper edge.
Place the Side Panel Accent right side
up on the lower edge of one of the
Side Panels, matching lower edges.
Pin in place and topstitch along the
upper edge 1⁄8" from the fold. Baste
along the side edges and the lower
edge using a 1⁄4" seam allowance.
0 Repeat step 9 for the second Side
Accent Panel, two Body Accents, and
Main Body panels.
MAKE THE HANDLE
- Press under 1⁄2" along the Handle
short sides. Fold in half horizontally,
wrong sides together and press.
Open the fabric again and fold the
long edges to the center crease.
Press and then fold in half again. The
Handle should now measure 1" u 16".
Edgestitch all edges.
= Place the Handle on the right side
of the outer Flap at the markings.
On each end, stitch the Handle
1⁄2" from the end and on the end
edgestitching lines.
how-to
2"
¾"
⅜"
9"
figure 1
figure 2
ATTACH THE FLAP
q Following the manufacturer’s
instructions, insert the male half of
the magnetic snaps on the Contrast
Flap at the markings.
w Place both Flap sections right
sides together, matching edges.
Stitch all edges together, except the
top edge.
e Trim the seam allowances, clip the
corners, and trim the angled corners.
Turn the Flap right side out and press.
Edgestitch the finished edges.
MAKE THE BACK ZIPPER POCKET
r Fold the Back Zipper Pocket in
half horizontally and press the center.
Place one Main Body panel right
side up. Measure and mark 2" down
from the top center edge and draw
a horizontal line. Place the Zipper
Pocket wrong side up and centered
on the Main Body, aligning the center
crease with the drawn 2" mark.
Unfold the Zipper Pocket and pin the
fabric piece in place.
t Measure down 3⁄4" from the Zipper
Pocket center crease and draw a
horizontal line; now measure 3⁄8"
down from that line and draw another
horizontal line for the zipper slot
opening; draw a line 9" wide centered
on the Zipper Pocket piece.
(figure 1) Topstitch along the
rectangular marking.
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 how-to
y Starting and stopping 1⁄4" from the
short edges, cut the slot open. At the
rectangle ends, cut a triangle, being
careful not to cut into the stitching.
(figure 2)
u Pull the Zipper Pocket through the
cut opening to the wrong side of the
Main Body. Press the edges.
i Place the zipper right side up and
centered under the opening. Pin and
stitch around the rectangle 1⁄8" from
the edges. Trim the zipper ends, if
needed.
o Fold the Zipper Pocket fabric down
so that the zipper is covered. Align all
edges and stitch the sides and bottom
together, catching only the pocket
fabric. Add the Stabilizer to the piece,
basting 1⁄4" from the edges.
MAKE THE INNER
ZIPPER POCKET
p Place one of the Lining Body
Panels right side up. Follow steps
16–21 to make the Inner Zipper
Pocket using the Main fabric Inner
Zipper Pocket piece.
110
stitch
ASSEMBLE THE BAG EXTERIOR
[ With right sides together, place
the lower edge of one Main Body
Panel onto the 13" edge of the
Contrast Bottom Panel. Stitch the
pieces together and repeat for the
second panel.
] Fold one of the exterior Side
Panels in half vertically, right sides
together. Pin in place and stitch
along the center crease, 1⁄4" from the
fold. (figure 3) Pin the exterior side
panels to the assembled Main Body
Panel/Bottom Panel Piece, right
sides together and matching centers.
(figure 4)
figure 3
\ Pin around the bag edges,
starting at the lower center to evenly
distribute the fabric. Sew the Side
Panel in place. Trim the upper edges
of the Side Panel if needed. Repeat
for the opposite side. Trim the seam
allowances and clip the curves.
Repeat to turn the bag right side out.
a With right sides together, center
the Flap on the bag back, aligning the
open edges. Stitch using a 1⁄4" seam.
ASSEMBLE THE BAG LINING
s Following steps 23–25, assemble figure 4
the Lining, leaving an opening 8 1⁄2" on
one side for turning. Leave the Lining SOURCES
wrong side out. FABRIC P&B Textiles, Color Weave
in Soft Mint and Orange (bag and
FINISH THE BAG lining), pbtex.com; Moda Fabrics,
d With right sides together, place Dottie, Small Dots Aqua (contrast),
the Lining over the Bag with the Inner modafabrics.com
Pocket toward the back and matching
the side seams. Pin, and stitch ANNA LANKESHOFER is a bag
around the upper edge. Trim the pattern designer and sewing instructor
seam allowances. Turn the bag right from Rochester, New York, and the owner
side through the lining opening. of the label Charmed Liebling. You can
f Tuck the Lining into the bag and find her bag patterns and free tutorials at
press. Comfortably turn down the charmed-liebling.com.
Flap and mark the spots where the
magnetic snaps touch the front.
g Reaching through the Lining
opening, install the opposite halves
of the magnetic snaps through the
bag front layer only. Stitch the Lining
opening closed and tuck back into the
bag. Topstitch the upper edge.

sleeves, or front opening edges; or
’40s Kimono Jacket changing the length.
by CAROLINE HULSE
CUT THE FABRIC
{from page 58}
1 From the Main fabric, cut:
— Two Front (A)
— One Back (B), on fold
— Two Sleeve (C), on fold
— One Bias Neck Tape (D)
SEW THE SHOULDERS
2 Place the Kimono Back and
Kimono Front pieces wrong sides
together, matching the shoulder
edges. Sew a 3⁄8" seam along the
shoulders. Trim the seam allowance
to 1⁄8" and press to one side. Flip
the kimono right sides together and
DOWNLOAD THE FULL-SIZE press the seam flat with the stitches
PATTERN FOR THIS PROJECT along the fold. Sew the seam again
AT SEWDAILY.COM
using a 1⁄4" seam allowance.
FINISH THE NECK OPENING
FABRIC 3 Fold Bias Neck Tape in 1⁄2" and
— Main: 25⁄8 yd fabric, 45" press. Pin raw edge, matching
OTHER SUPPLIES notches, to the neckline of the
kimono; stitch with 1⁄4" seam
— Templates, downloadable:
allowance. Clip seam every 1⁄2".
— Front (A) Understitch neck seam to Bias
— Back (B) Neck Tape. Turn Tape toward inside
— Sleeve (C) neck then topstitch 1⁄4". Press neck
opening flat before hemming center
— Bias Neck Tape (D) front edge.
FINISHED SIZE ATTACH THE SLEEVES
4 With wrong sides together and
CB Length matching one Sleeve to the kimono
XS 26½" armhole opening, pin and stitch the
S 27" seam following the method outlined in
M 28½" step 2. Repeat for the second Sleeve.
L 29" SEW SIDE SEAMS
XL 29½" 5 With wrong sides together, pin
Shown in size S the kimono side seams together,
matching the Sleeve hem edges,
underarm seams, and hem edges.
NOTES
— Seam allowances are 5⁄8" unless Follow the method outlined in step 2
to stitch both side seams.
otherwise noted. Instructions are
given for French seams. HEM THE EDGES
— Suggested fabrics: Voile, rayon, 6 Along the kimono lower edge, fold
double gauze, chiffon, lightweight and press a double 1⁄4" hem to the
jersey, or linen blend. wrong side. Topstitch close to the
— For variations, consider: adding folded edge.
trim around the sleeves and 7 Repeat step 6 to finish the kimono
hem; using contrasting fabric front opening.
for the sleeves; binding the hem,
how-to
CAROLINE HULSE is the author of the
creative lifestyle blog SewCaroline.com.
She resides in Fort Worth, Texas, with her
husband. Caroline is enthralled with the
world of handmade fashion and has released
her first women’s sewing patterns. She also
released a mini collection of fabric, Gleeful,
with Art Gallery Fabrics.
Vintage Patched
Coasters
by BARB BROWN
{from page 59}
FABRIC (FOR FOUR COASTERS)
— Main: Scraps (or fat eighths
[9" u 22"]) of four vintage textiles
(or new fabrics)
— Heat-resistant fabric: fat eighth
(9" u 22")
— Backing: fat eighth (9" u 22")
quilting-weight cotton
OTHER SUPPLIES
— Rotary cutter, self-healing mat,
and clear acrylic ruler
— Matching thread
FINISHED SIZE
4" u 4" square
NOTES
— All seam allowances are 1⁄2" unless
otherwise noted.
— If your vintage textile has
embellishments, like an
embroidered flower, pay attention
to the placement, both when
cutting the fabric and arranging
the blocks. Once sewn together,
the square is turned inside out, so
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 how-to
A A
figure 1
C steam press to shape.
A B
figure 2
it is important that the featured
embellishment is face down when
being sewn.
CUT THE FABRIC
1 From the Main fabrics, cut:
— Four 5" u 5" squares of each; label
fabrics as (A), (B), (C), and (D)
2 From the Heat-resistant fabric,
cut:
— Four 5" u 5" squares
3 From the Backing fabric, cut:
— Four 5" u 5" squares
ASSEMBLE THE COASTER TOPS
4 Separate the Main fabrics into
four stacks, each consisting of one
5" square of each fabric: (A), (B), (C),
and (D).
5 With wrong sides together, fold
the squares of the Main fabrics in half
and press.
112
stitch
D C
B Main fabric pieces have not shifted.
figure 3
figure 4
6 Using the first stack of folded Main
fabrics, place Fabric (A) along the
bottom edge of an imaginary square,
with the fold facing inward toward the
center of the square. (figure 1)
7 Place Fabric (B), fold facing inward,
along the right edge of the square,
overlapping one half of Fabric (A).
8 Place Fabric (C), fold facing
inward, along the top edge of the
square, overlapping one half of Fabric
(B). (figure 2)
9 Place Fabric (D), fold facing
inward, along the left edge of the
square overlapping one half of Fabric
(C), and then tuck the second half
of Fabric (D) under Fabric (A). This
makes one square of interlocking
fabrics. (figure 3) Note: The different
fabrics should be snug to one another
in the center.
0 Repeat for the remaining three
stacks of Main fabrics. (figure 4)
- Place one 5" square of Backing
fabric, right side together, with the
interlocked squares (it is best not
to move them until they are pinned
together), and then add one 5" square
of Heat-resistant fabric on top. Pin
the squares together through all
layers, being sure that the folded
Repeat for the other three coasters.
FINISH THE COASTERS
= Stitch around each square. Trim
the corners to reduce bulk.
q Turn the stitched stacks right side
out through the interlocked squares,
gently poking out the corners. Adjust
the fabric positioning as needed, and
BARB BROWN is an assistant editor at
Quilting Arts magazine. Her favorite hobby
is rescuing and recycling vintage textiles.
Visit her at thevintagethread.com.
Cutout Clutch
by LISA POLDERMAN
{from page 60}
FABRIC
— Main: Lightweight leather,
13" u 15"
— Contrast: Two leather squares,
4½" u 4½"
— Lining: Fat quarter (18" u 21")
coordinating quilting-weight cotton
 how-to

OTHER SUPPLIES
— Template, provided on insert: 1"

— Cutout (A)
— 3⁄8 yd fleece, such as Thermolam
— 8" metal open-channel clutch
frame
— Thread to match the leather
1"
— Topstitching thread in a contrast
color 1"

— Leather or denim machine needle

— Small binder clips
— Walking foot
— Painter’s tape
— Chalk marker 1"
— X-Acto Knife
— Box cutter figure 1

— Glue (Bond 527 Multi-Purpose

Cement or E6000 Industrial
Strength Adhesive)

FINISHED SIZE
8" u 6" u 2 1⁄2" 2”
NOTES 2"
— Seam allowances vary—see
individual steps.
— When topstitching, use heavy
thread in the needle and matching
all-purpose thread in the bobbin.
— When sewing leather, do not
backstitch. Simply tie thread ends
together. Use a longer stitch
length (3.4 to 4) for seaming and
topstitching. Use binder clips
to hold layers together as pin
holes can be permanent. Practice figure 2
stitching on scraps before working
on the project to get a feel for
moving the leather through the vertically and another that divides 6 Center and pin the Pocket 1¾"
machine. the piece in half horizontally. Draw below the long upper Lining edge.
a line 1" away from the edge of both Stitch around the side and lower
CUT THE FABRIC long edges. Draw a line 1" above edges ¼" from the edge. Sew
1 From the Lining fabric, cut: and below the horizontal center line. diagonally across the top corners
— One 15" u 13¾" rectangle
(figure 1) of the Pocket with a satin stitch for
reinforcement.
— Two 6" u 5" rectangles for the ATTACH THE INSIDE POCKET
inside Pocket 4 With right sides together and CREATE THE CUTOUT
2 From the Fleece, cut: using a 1⁄4" seam, sew around the IN THE LEATHER
— One 11" u 13" rectangle
Pocket rectangles, leaving a 3" 7 Cut the Cutout (A) pattern with an
opening on one long side for turning. X-Acto knife. Cut out the center of
PREPARE THE LEATHER Clip the corners and turn the Pocket each oval and the spaces between
3 Draw guidelines on the wrong side right side out. Press. ovals.
of the Main leather rectangle. Draw 5 Sew across the long edge with the 8 Place the Cutout (A) on the wrong
one line dividing the piece in half opening 1⁄8" from the folded edge. side of the leather so that the top

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 how-to

r Turn the bag right side out and

the Lining wrong side out. Place the
leather bag inside the Lining, right
sides together, aligning upper edges.
Sew around the upper edge using a
¼" seam allowance, leaving a 7"–8"
opening in the middle of one long
side. Trim seam allowances to 1⁄8".
post.
t Turn the bag right side out and
push the Lining into the clutch. The
Lining will wrap around the edge of
discuss.
Make the bag in different sizes to hold all of your
the leather so that the leather does
not fold at the seam. Stitch in the
ditch around the top edge to hold the
watch.
essentials. Reconfigure the cutout section as
Lining in place.
needed to fit the new size.

edge aligns with the top guideline

y Mark the upper bag center on each
side. Measure out 4" from the center
comment.
(1" below the top of leather) and the
center of the middle oval lines up
with the line that divides the leather
and mark. Apply a small amount of
glue to one of the clutch frame open
channels, leaving the last 1⁄4" on each
learn.
in half. Trace the design onto the side glue-free.
leather. Repeat for the lower half of
the leather. u Push one side of the clutch into connect.
the channel, centered along the
9 Carefully cut out the design using top edge. Use painter’s tape to hold
the box cutter. it in place. Let the clutch sit for Join us at Sew Daily, the
0 Apply glue to the wrong side of the 30 minutes before attaching the online community for
Cutout around all of the edges. Do not second side of the frame in the same
over glue. manner. modern sewists! Discuss
- With the right side of the Contrast sewing techniques and
SOURCES
leather against the wrong side of the tips, get feedback and
CLUTCH FRAME UPSTYLE design,
Main leather, place the Contrast over help, chat about Stitch,
Etsy.com/shop/upstyle
the Cutout. Finger-press in place.
or start a sew-along. You
Repeat with the second side. Let the LISA POLDERMAN is a teacher, blogger,
glue dry for 5–10 minutes. Topstitch can also upload photos of
and enthusiastic fabric ogler. She started
around the design ¼" from the edge. sewing at the age of 40, emboldened by your work, share informa-
= Position the Fleece on the wrong learning that Julia Child learned to cook at tion about yourself and
side of the leather, centered on the 39. Lisa dreams of opening her own sewing your projects, and make
15" side. Glue the fleece in place. school and custom design shop once all of her
children are in school. She creates custom-
friends in the community.
ASSEMBLE THE CLUTCH made clothing and accessories for local women Watch technique videos,
q Fold the Lining in half, right side and sells patterns on Etsy. Learn about her see what other users are
together (15" side will be on top, classes and projects at www.poldapop.com.
13 ¾" side will be folded). Pin the
working on, find the best
short sides and sew with a 3⁄8" seam magazines, books, and
allowance. Snip in at the bottom instructional DVDs, and
corners, cutting diagonally across 1⁄8"
more!
from the point.
w With the Lining wrong side out, all for FREE at sewdaily.com
create a boxed corner by folding the
side seam toward the fold, making
a triangle. Draw a line 2" across the

sewdaily
point. (figure 2) Sew along this line.
Trim, leaving a ¼" seam allowance.
e Repeat steps 13 and 14 with the
leather, using clips to hold the leather
in place.
114
stitch
 All New
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 how-to

DAILY
rituals
Scrappy Pillow Cover
by MELISSA PEDA
{from page 62}

figure 1 figure 2

3 From both the Fusible Fleece and

Muslin, cut:
— One 21" u 21" square

PIECE THE PATCHWORK

FABRIC
— Main: Twenty-five 5" u 5" squares,
or a charm pack, in various prints
— Backing: 1⁄2 yd Coordinating print
OTHER SUPPLIES
— 2⁄3 yd Fusible Fleece
— 2⁄3 yd Muslin
— One 20" u 20" square pillow form
— Matching thread
— Sixteen buttons, 1⁄2"
— Embroidery thread
FINISHED SIZE
20" u 20"
NOTES
— All seam allowances are 1⁄4" unless
otherwise noted.
— Patchwork seams may be pressed
using method of choice.
— HST= Half Square Triangle
CUT THE FABRIC
1 From the Main 5" u 5" squares,
diagonally cut:
— Fifty HSTs
2 From the Backing fabric, cut
— Two 13 1⁄2" u 20 1⁄2" rectangles for
the Pillow Back
4 Layout the HSTs in a 5 u 5 square
grid. (figure 1) When satisfied with
the color placement, stitch two
HSTs right sides together along
the diagonal edge. Repeat to make
twenty-five squares.
5 Press seams. Trim squares to
4½" u 4½", keeping the diagonal
seam exact from corner to corner.
6 Stitch five squares together to
make one row. Make five rows total.
7 Matching adjacent seams, stitch
the rows together to make the
patchwork Pillow Front.
FINISH THE PATCHWORK FRONT
8 Following the manufacturer’s
instructions, fuse the fleece to the
wrong side of the Pillow Front.
9 Baste the Muslin to the wrong side
of the fused Pillow Front. Trim to a
20½" u 20½" square.
0 Using embroidery thread, sew
buttons at the corners of the squares
as shown in figure 2.
MAKE THE PILLOW BACK
- Fold under one short side of a
Pillow Back panel 1⁄4" to the wrong side
and press. Fold under again 1½" to the
wrong side. Press and stitch in place.
= Repeat steps 10 and 11 for the
other Pillow Back panel.
q With the right sides up, overlap
the Pillow Back panels at the center
to make a 20½" u 20½" square.
201⁄2"
figure 3
Baste across the overlap top and
bottom edges using a scant ¼" seam
allowance. (figure 3)
COMPLETE THE PILLOW COVER
w With right sides together, pin the
Pillow Front to the Pillow Back. Sew
around all edges.
e Clip corners. Turn the pillow right
side out and press.
r Insert the pillow form through the
overlap.
SOURCES
FABRIC FreeSpirit, True Colors by Amy
Butler, and Dowry by Anna Maria
Horner, freespiritfabric.com
MELISSA PEDA is a blogger, designer,
seamstress/sewist, quilter, and crafter. She
strives to encourage and inspire others
to create. Her projects have appeared in
Sew It All magazine, Generation Q, and
Quiltmaker’s 100 Blocks. For more about
her creative process and projects, visit her
blog at 100billionstars.com/blog.

116
stitch

61⁄2" 8" 7"
Above the Curve
Table Runner D2 C1
B
by AMY STRUCKMEYER
{from page 63} placement guide
A
A F
B1
B1
1¼"
111⁄2" 7"
figure 1
— Press all seams open unless
otherwise noted.
CUT THE FABRIC
1 From the Main fabric, cut:
— Two 12" u 24" rectangles for
Background
FABRIC 2 From the Backing fabric, cut:
— One 15" u 24" rectangle for
— Main: 3⁄4 yd White quilting-weight
Backing
cotton
— Contrast: 9-12 fat quarters (or 1⁄8 — Two 15" u 14 1⁄2" rectangles for
Backing
yd each) quilting-weight cotton
in various prints or solids for — Four 3" u 25" strips for Facing
appliqués — Two 3" u 14" strips for Facing
— Backing: 1 yd solid quilting-weight
cotton PREPARE THE APPLIQUÉS
3 Lay the freezer paper dull side up
OTHER SUPPLIES over Templates (A), (B), (C), (D), (E),
— Templates, provided on insert: and (F). Trace one of each shape onto
— (A/A1) the freezer paper with a pencil or fine
point marker. Note: Some templates
— (B/B1)
are for more than one piece using
— (C/C1) separate cutting lines, but the same
curve. Cut the patterns from the
— (D/D1/D2)
— (E) freezer paper along the traced lines,
and then iron the shiny side of the
— (F)
freezer paper template to the desired
— Batting, 15" u 52" Contrast fabric using a hot dry iron.
— Matching threads 4 Cut the fabric leaving a 1⁄4" seam
— Freezer paper allowance around the curved sides
of the freezer paper shapes. Do not
— Rotary cutter, self-healing mat,
leave a seam allowance along the
and clear acrylic ruler
straight sides.
— Walking foot
5 With the wrong side of the cut
— Starch shape facing up, use a hot iron to
— Spray bottle or small paint brush press the curved edges of the fabric
over the freezer paper shape. Use
FINISHED SIZE a spray bottle of water or starch (or
11 1⁄2" u 47" paint starch on the edges with a small
paintbrush) to create crisp pressed
NOTES edges. Carefully peel off the freezer
— All seam allowances are 1⁄4" unless paper, turn the shape right side up,
otherwise noted. and press the turned edges again.
how-to
10¼"
11⁄2"
D1
E
A1
D C
C2
101⁄2" 51⁄2"
APPLIQUÉ THE QUILT TOP
6 Sew the two 12" u 24" rectangles
together end-to-end to make a
12" u 47 1⁄2" runner Background. Press
the seam open.
7 Lay the prepared curved
shapes on the right side of the
Background. Align raw edges and
use the Placement Guide (figure 1)
for positioning. Pin or baste all of the
pieces to the Background.
8 Hand- or machine-stitch the
curved shapes to the runner
Background using matching thread
and a small appliqué stitch. Clip
curves.
QUILT THE RUNNER
9 Sew the two 15" u 14 1⁄2" Backing
rectangles to either side of the
15" u 24" Backing rectangle, along
the short sides, to make a 15" u 52"
Backing.
0 Lay the Batting on the wrong side
of the Backing, and center the runner
on top, right side up. Baste the quilt
sandwich together.
- Quilt as desired. The sample
features straight lines with varied
spacing along the runner length.
= Trim the Batting and Backing to
square up the runner.
FINISH THE RUNNER
q To make the Facing, stitch two
long 3" strips together end-to-end.
Repeat with the second pair.
w Fold each facing strip in half
lengthwise, wrong sides together,
matching raw edges. Press.
e Place one short Facing strip on the
runner front with raw edges aligned,
centered on one end. Sew to the
runner. Repeat for the second end.
117
sewdaily.com
 how-to

r Press the Facing away from the waistband edge

quilt top, and then understitch along gather within seam allowance
the Facing strip, close to the seam
allowance.
t Turn the Facings to the back of
the quilt and press. Pin in place, and
hand-stitch to the quilt back. Trim the skirt
short overhanging Facing edges even
with the quilt top.
y Repeat steps 13-17 to attach the
Facing to the runner long edges, pocket
placement
turning under the ends even with

center front
the runner edge before stitching to
the back.

SOURCES
FABRIC Cotton+ Steel, Moonlit
by Rashida Coleman-Hale,
cottonandsteelfabrics.com

AMY STRUCKMEYER lives just outside

of Chicago with her husband and two
strong-willed and creative children. An
architect by profession, she now uses her
design and drawing skills to create modern
sewing projects and patterns. She is a
contributing author to the sewing books
Sew Gifts! and Kitchen Stitches, and her
first solo book, published by Martingale,
will be available in June. Visit her at
formworkdesign.blogspot.com. figure 1

Chicken Scratch — Three skeins embroidery floss embroidering cross-stitches, hoop

Apron — Hand embroidery hoop fabric whenever possible for even
by KATHY AUGUSTINE tension.
— Sharp, long-eyed hand-sewing
{from page 64} needle — Cross all Xs in the same direction.
Completing each X individually in
FINISHED SIZE this pattern can help to avoid long
Waistband: 16¾" wide; length: 21" thread carries on the back of the
project that can snag during wear.
NOTES In this design, the Xs are stitched
— For accuracy in cutting and sewing, in the darkest gingham blocks.
follow the lines of the gingham
checks. CUT THE FABRIC
— Seam and hem allowances vary. 1 Cut the apron pieces (Skirt,
Refer to directions. Waistband, Pocket, and Tie) according
to figures 1 and 2 using the ¼"
— Pressing throughout construction gingham squares as a guide. Note:
steps will improve finished results. It is easier to first cut a rectangle
EMBROIDERY TIPS for the apron Skirt and then mark
and cut the stair-step edges. For the
FABRIC — Work the stitches with three
proper placement of the gingham
— 1 yd 1⁄4" woven gingham strands of floss. For best results,
squares for embroidery, pay close
before threading the needle,
attention to color placement (dark
OTHER SUPPLIES separate the strands, allowing the
versus light gingham stripes) when
— 3 yd rickrack, ½" three threads to untwist. When

118
stitch

pocket
figure 2
cutting out the pieces. Cut the
following:
— One Skirt rectangle:
84 blocks u 149 blocks
— One Waistband: 75 blocks u 20
blocks
— Two Ties (mirror images):
14 blocks u 108 blocks
— One Pocket: 19 blocks u 20 blocks
PREPARE THE APRON PIECES
2 Press under a ¼" hem (one
gingham block) on the stair-step
edges of the Skirt, clipping inside
corners as needed to turn. Tuck half
of the width of the rickrack under the
pressed edge; topstitch the hem in
place from the right side, catching
the rickrack.
3 Press under a double 1⁄8" hem on
the Tie’s long edges and one tie end.
Stitch.
4 Press under 1⁄4" along the Pocket
upper edges. Finish the upper Pocket
edge with rickrack in the same manner
as for the Skirt. Turn under the
exposed rickrack ends and whipstitch
how-to
waistband
fold line
pleat tie
pleat
(see Sewing Basics). Press under ¼"
on the remaining Pocket edges.
CROSS-STITCH
EMBELLISH THE APRON Working from right to left, bring the
5 Following figures 1 and 2, cross- needle up at 1, insert at 2, then bring the
stitch the Pocket, Waistband, Tie, needle back up at 3. Finish by inserting
and Skirt. the needle at 4. Repeat for the desired
number of stitches.
APPLY THE WAISTBAND
6 Press under ¾" (three gingham
blocks) on one long edge of the inside
waistband (opposite the cross-
stitched side).
7 Stitch a double row of basting
stitches within the Skirt upper seam 2
allowance. Pin-mark the center
of the upper Skirt and Waistband.
Gather the Skirt to fit the Waistband,
3
matching centers and evenly 1
distributing gathers. With right
sides together, stitch the Skirt to the
Waistband using a ¾" seam (three 2
gingham blocks). 4
8 Fold and stitch two pleats on each
1
unfinished Tie end as marked. 3
9 With the Tie right side against
the cross-stitched portion of the
Waistband, stitch a 3⁄4" seam. Trim the
seam allowances to 1⁄4".
119
sewdaily.com
 how-to
0 Turn the Waistband right side
out and press the upper edge along
the fold line, following the line of
gingham checks. Slipstitch the inside
folded edge over the joining seam.
- Place the pocket on the apron skirt
following figure 1. Topstitch from dot-
to-dot to secure.
SOURCES
FABRIC RileyBlake Designs, 1⁄4"
Medium Gingham, C450-20 Aqua,
rileyblakedesigns.com
KATHY AUGUSTINE lives in Palmerton,
Pennsylvania, and frequently dons her apron
while baking treats for family and friends.
Her vintage apron collection is a tie to the
past that honors the women of yesterday, like
her grandmother, whom she remembers as
always wearing an apron while reading the
daily newspaper to protect her clothes from
ink smudges. Besides cooking and sewing for
her husband and daughters, Kathy also knits,
weaves, spins, and dyes.
120
stitch
— One strip 3" u 2-2 1⁄2 times the
Bright Spot Child’s lower apron measurement for the
Apron Lower Ruffle
by NIKI MEINERS — One strip 1" u 2 1⁄2 times the upper
{from page 65} apron measurement for the Upper
Ruffle
3 From the Accent fabric, cut:
— Two Tail (C)
4 From the Beak fabric, cut:
— One Beak (D)
MAKE THE RUFFLES
5 With wrong sides together, fold
each Ruffle strip in half matching the
long raw edges.
6 Stitch a line of basting along the
folded strip length 1⁄4" from the long
raw edge.
FABRIC
7 Pin-mark the Ruffle centers, and
— Appliqué: 8" u 8" quilting-weight
pull the basting threads to gather to
cotton (shown: gray polka dot)
fit the appropriate apron edge.
— Ruffle/trim: 1⁄4 yd quilting-weight
8 Mark the center point on the lower
cotton (shown: turquoise print)
and upper apron edges. Matching the
— Accent: 3" u 3" quilting-weight centers, lap the finished apron edge
cotton (shown: aqua) over the designated gathered Ruffle
— Beak: 1" u 1" square black felt raw edge. Pin in place, adjusting
gathers as needed to fit. Turn under
OTHER SUPPLIES the short Ruffle ends 1⁄4" and stitch in
— Templates, provided on insert: place.
— Bird (A) 9 Topstitch the upper and lower
— Wing (B) apron edges, catching the Ruffle
edges in place.
— Tail (C)
— Beak (D) MAKE THE APPLIQUÉ
— Pre-made child’s apron 0 Following the manufacturer’s
— Button instructions, fuse the Appliqué
shapes in place at the desired
— Embroidery floss location, beginning with the Bird and
— Hand-sewing needle topping with the Tail, Wing, and Beak.
— Matching thread - Use your choice of hand
— Fusible web embroidery stitches, like blanket
— Thimble
NOTES
— Use the thimble when hand
stitching through several layers.
CUT THE FABRIC
Note: Back all Appliqué fabrics with
fusible web before cutting shapes.
1 From the Appliqué fabric, cut:
— One Bird (A)
2 From the Ruffle/trim fabric, cut:
— One Wing (B)

stitching and backstitching, to accent
the appliqué edges. Use matching
or contrasting floss, as desired. (See
Sewing Basics for stitches.) Note: If
your apron has a pocket, stitch only
through the pocket layer.
= Using floss, sew the button eye
in place, and straight stitch the legs,
feet, and head tufts.
SOURCES
FABRIC Moda Fabrics, Dottie Medium
Dots in Steel, modafabrics.com;
Blank Quilting, Inspiration Collection,
BTR3913-M Teal, blankquilting.com
NIKI MEINERS lives in Amberley Village,
Ohio, with her husband Gary, two children,
Maxx and Gigi, and her furry little Keeshond
Cami. When she is not tending to her brood,
managing social media, or concocting
something in the kitchen, she is in her studio
creating. Visit her at 365daysofcrafts.com.
Sassy Laundry Bag
by SAMINA MIRZA
{from page 66}
FABRIC
— Main: 1 yd quilting-weight cotton
— Upper Band: 1⁄4 yd quilting-weight
cotton
— Lower Band: 1⁄4 yd quilting-weight
cotton
OTHER SUPPLIES
— 2 yd cording, ½"
— ½ yd of lightweight interfacing, 45"
— 2 1⁄2 yd single-fold bias tape, 1⁄2"
— Matching threads
— Embroidery machine
— Machine embroidery thread
— Stabilizer
— Seam sealant
— Optional: Fusible web tape
FINISHED SIZE
20 1⁄2" u 29"
NOTES
— All seams are ½" unless otherwise
noted.
— If you aren’t labeling with machine
embroidery, you will need
materials for the chosen method.
— If using a directional print, note the
orientation during construction.
CUT THE FABRIC
1 From the Main fabric, cut:
— One 42" u 30" rectangle
2 From the Upper Band fabric, cut:
— One 6" u 42" strip
3 From the Lower Band fabric, cut:
— One 6" u 42" strip
4 From the Interfacing, cut:
— Two 6" u 42" strips
PREPARE THE BORDERS
5 Fuse Interfacing to the wrong side
of the Upper and Lower Band pieces.
6 Stabilize and embroider the Lower
Band with "Dry Clean Only," centering
the words on one half of the width
and aligning as desired.
APPLY THE UPPER BAND
7 With the right side of the Upper
Band against the wrong side of the
Main bag rectangle, and aligning raw
edges, pin and stitch the Upper Band
to the upper edge of the Main fabric
rectangle. Press the seam toward the
band.
8 Turn the Upper Band to the
outside with the raw edge at the
seam. Press a fold line at the upper
edge.
9 Pin the bias tape in place over
the raw seam edges and topstitch in
place on both edges. If desired, use
fusible web tape to hold the bias in
place for stitching.
how-to
APPLY THE LOWER BAND
0 Place the embroidered Lower
Band on the bag lower edge with the
wrong side facing the bag right side,
and lower raw edges matching. Baste
the lower edges together. Topstitch
bias tape over the upper band raw
edge.
FINISH THE BAG
- Fold the bag in half lengthwise
and stitch the side and lower edges
together. Finish the seam with
zigzagging, serging, or an overcast
stitch. Turn the bag right side out and
press.
= Mark and stitch ten 1½"
buttonholes evenly spaced around the
Upper Border, 1" from the upper fold.
Carefully cut open the buttonholes.
Thread cording through the
buttonholes starting from a center
buttonhole, and knot the two ends
together. Apply seam sealant to the
knot and cord ends.
SOURCES
FABRIC Michael Miller Fabric,
Springtime in Paris and Eiffel Tower,
michaelmillerfabrics.com
SAMINA MIRZA has loved fashion
and sewing from a very young age, but
totally missed her calling as a fashion
designer. Writing about sewing and
passing on the skill to future generations
is her next love, as is obsessively reducing
her substantial fabric stash. Visit her at
seweverythingblog.wordpress.com.
121
sewdaily.com
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RESOURCES
WHAT’S NEW + COOL FEATURES LAURA KEITH
Page 8 CHICKEN SCRATCH FEVER laurakeithdesigns.com
PAPER PIECING, HAND QUILTING, AND Page 14
QUILTING & PIECING THREADS KATHY AUGUSTINE KEVIN KOSBAB
makeitcoats.com fluffydragon.kva@gmail.com feeddog.net

WONDER CLIPS WRIST CUSHION ARTIST PROFILE: CAROLINE HULSE ANNA LANKESHOFER
clover-usa.com Page 18 charmed-liebling.com
VERONICA GRAHAM
BERNINA B 350 SE veronica.graham@fwcommunity.com EMILY LI MANDRI
bernina.com emily.limandri@gmail.com
MAKE YOUR MARK
SUCCULENTS BY HEATHER GIVANS Page 22 NIKI MEINERS
windhamfabrics.net LINDA TURNER GRIEPENTROG 365daysofcrafts.com
sewnwrite@aol.com
CROSS STITCH KITS TARA MILLER
annamariahorner.com PROJECT DESIGNERS editcreativedesigns.blogspot.com
KATHY AUGUSTINE
GERTIE SEWS VINTAGE CASUAL fluffydragon.kva@gmail.com SAMINA MIRZA
interweavestore.com/sewing seweverythingblog.wordpress.com
BARB BROWN
THE PAPER-PIECED HOME thevintagethread.com MELISSA PEDA
interweavestore.com/sewing 100billionstars.com/blog
RASHIDA COLEMAN-HALE
SEW BOUTIQUE rcolemanhale@gmail.com LISA POLDERMAN
Page 10 www.poldapop.com
IT'S ALL ABOUT "SEWING HOPE" KRISJE DEAL
VERONICA GRAHAM sewlongsweetheart.wordpress.com CHARISE RANDELL
veronica.graham@fwcommunity.com charisecreates.blogspot.com
ANNE DEISTER
WISH LIST springleafstudios.com KATARINA ROCCELLA
Page 12 likeflowersandbutterflies.com
FEATHER NECKLACE AMBER EDEN
etsy.com/shop/noemiah amber.eden@fwcommunity.com LATIFAH SAAFIR
thequiltengineer.com
RAW DIAMOND RING EVY HAWKINS
etsy.com/shop/GefenJewelry abitofstitch.com KAREN SCHAPHORST
karen@schaphorst.com
TABLET CASE CAROLINE HULSE
etsy.com/shop/GalaBorn sewcaroline.com AMY STRUCKMEYER
formworkdesign.blogspot.com
PAINT MUG KHRISTAL JOUETT
etsy.com/shop/ElaineBussStudios kypsee@knology.net CASEY YORK
casey-york.com

123
sewdaily.com
 WARM UP YOUR WINTER WITH
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PAGE 12

From left: Floating Triangles Bag by Amy Struckmeyer, Lily Pads by Nelly Vileikis, Tessa by Nelly Vileikis order your copy today
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& MEET THESE Letterpress
FEATURED ARTISTS Kevin Bradley

www.clothpaperscissors.com Amy Barickman

Chelsea Miller
clothpaperscissors.com
Jamea Richmond-Edwards
winter 2015

Gustavo Victor Galor

pinterest.comMixedMediaCPS
facebook.com/MixedMediaCPS
 marketplace

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www.sewitup.com
740 Grapevine Hwy, Hurst, TX 76054
817-514-6061
R E TA I L . R E N A I S S A N C E R I B B O N S . C O M

sewing shop directory sewing web connection

florida fabric shops
StitchCraft—Boca Raton The Material Girls
Top-quality fabrics, www.materialgirlquilt.com
patterns, notions for the (313) 561-1111
modern, traditional, and Fabrics for the artist in you.
art quilter. Email
stitchcraftboca@gmail.com.
399 S. Federal Hwy.
(561) 447-4147

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 advertiser index

a Interweave Books/ 35 t
Present Perfect
Artists & Makers 125 Renaissance Ribbons 126
InterweaveStore.com 36
Robert Kaufman 7
c j
Craft Daily 93 s
Janome America Inc C4
Crafters’ Market 17 Sew It Up 126
Juki Home Sewing 3
Crafty Planet 126 Sewing & Quilt Expo 67
Stitch Back Issues 6
k
d Stitch Beautiful Bedrooms 13
Keepsake Quilting 103
Dear Stella 1 Stitch Digital Issues 81

m Stitchin’ Post 126

i
Martingale & Co. 13
Interweave Books/ 68
Michael Miller Fabrics C3
t
Artfully Embroidered
Timeless Treasures C2
Modern Machine Quilting 122
Interweave Books/ 61
Improvisational Tradition Modern Patchwork Winter 124
Interweave Books/ 000
Make It Fabulous q
Interweave Books/ 104 QATV 1500 115
Mollie Makes Patchwork

mend it, modify it, make it

FABULOUS Denise Wild, of BurdaStyle.com, brings you this
comprehensive resource that combines visual
inspiration with practical advice. Learn how to take
classic mending techniques one step further to add
personality and style to your clothes.
Mend & Make Fabulous
Denise Wild of BurdaStyle.com
160 pages, 7.5" × 10", $19.99
ISBN: 978-1-62033-534-5

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sewdaily.com
 sew inspired

a beautiful
UNFOLDING
Essay AMY BUTLER

All photos courtesy of Amy Butler

I’M FINDING MYSELF IN A VERY
EXCITING PLACE IN MY LIFE as an artist
and creator. I’m in the midst of a Creative
Evolution, and the more I speak with folks
and share, I see this evolution stirring, alive
and active in everyone!
We’re all looking for our own unique
pathways for our gifts to find expression,
and often the magic ingredient that wakes
us up to our light and brings more of our
gifts forward is life’s challenges. The key
is to see the challenges as opportunities
that create the contrast we need to look at
things differently. The challenges perfectly
bring forward what’s blocking us, in the
form of fears and repetitive negative
thoughts that have been ruling us, not
because they are true, but because they’ve
been in our heads for so long we’ve begun
to believe them. We get our inspiration and
power back when we start to dismantle the
thoughts that don’t serve us, looking with
love and not judgment. It’s here that we
make more space in our consciousness to
consider new choices that are empowering
and in alignment with our heart. As I
see my life from this perspective, I have
realized that in the toughest of times
life isn’t falling apart, it’s falling open.
The beauty is it’s all-inclusive. All our
experiences have happened on purpose,
and we’re all right where we are supposed
to be.
Things really opened up for me four
years ago in the midst of one of the scariest
times in my life. In the thick of it I found
myself holding on to how things were
when massive change was happening all
around me. I had built a gorgeous creative
business with Dave and everything
started to shift. The stress and fear I was
experiencing was consuming me, and I had
to do something about how I was feeling.
I found a retreat with Patricia Moreno,
creator of IntenSati, and Hildie Dunn, who
is a life coach from the Handel Group™.
It was a powerful experience because it
was the first time I had the opportunity
to start looking at the old beliefs and
negative programming in my head that
were creating the blocks to feeling my life
and happiness. I’ve always created from my
heart, but now my expansion can explode
as I make more space for my creative
happiness and abundance. I continue to
coach with Hildie and have learned that
life is all about expanding into more!
And life keeps bringing plenty of
challenges that give me the opportunity to
step into the next highest understanding
and opening for my happiness, self-
expression and joy! Now when change and
challenge come in I get curious and excited
Fabric from Amy's
Glow collection.
instead of being afraid because I know a
new opportunity is unfolding.
This is true for all of us. We’re all
here to shine and inspire each other! In
this expanded place, our gifts can come
forward, and we’re able to deeply connect
to what we love and express that fully. Life
is truly happening for us.
SOURCES TO SHARE
Amy’s web site and
Blossom Magazine
AMYBUTLERDESIGN.COM
Handel™ Life Coaching
HANDELGROUP.COM/CONTENT/
CONTACT-US-0
Patricia Moreno – Sati Life
SATILIFE.COM

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Paula loves the richness of her daughter Lily’s imagination and how she spends
hours pretending she’s a beautiful, magical mermaid. As a special surprise,
she used her Skyline S5 to craft a sparkly costume that Lily wears not just on
Halloween, but any day she wants to transform into a princess of the sea. Learn
more about the Skyline S5 and the full Janome line. Janome.com/Dealers

WHAT’S NEXT

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